The analysis of teaching service Essay Example | Topics and Well Written Essays - 1750 words

The examination of showing administration - Essay Example in any case, it really starts with necessity gathering, investigation, plan, coding, testing and acknowledgment (essentially what we have in Agile philosophy too today). I was progressively associated with prerequisite social affair and later on testing some portion of the procedure. Thusly I can say I was likewise engaged with such undertaking. Before I utilize one of the activities for instance and portray about the Work System that was utilized and its components, I needed to share some of encounters I’ve had with Systems Analysis and Design. Most importantly I should I made sense of that regardless of how much a framework is an enormous or little, the hypothesis will consistently work in the event that we focus on them. The norms would work in the event that you know yours framework from the outset and furthermore on the off chance that you comprehend what the hypothesis is discussing; albeit these need understanding too. Having said that I trust Systems Analysis and Desig n is one of the most significant parts of any improvement venture. The better the investigation the simpler the turn of events and market new items just as distinguish and enter new markets with existing and new items. There are various contemplations I have identified with framework examination and plan. From an overall point of view I perceive that the frameworks procedure happens in almost all conditions. Thusly I perceive that even brain science and family connections have been considered as far as frameworks components. Bronfenbrenner (1979, p. 34) built up Ecological Systems hypothesis as an overrunning method of looking at human connections in the home and workplace. In such matters I perceive that the structure of workplaces, yet in addition the people communicating inside these conditions fall inside the space of frameworks components. Another significant acknowledgment I have had identified with framework examination and configuration is the connection of methodical data s ources and their work environment usefulness. For sure, Alter (2006, p. 1) demonstrated that one of the essential difficulties of framework examination and configuration is ineffectual plan of contributions inside the framework. Dick and Carey (2009) showed that the absolute most significant factor of whether an orderly preparing info will be fused into the work environment condition is the setting of that work environment. Ordinarily as far as I can tell I have gotten preparing in a component that was later not straightforwardly important or upheld in the work environment condition. After entering the work environment condition this deliberate segment was then dismissed due to insufficient structures. Eventually, at that point I perceive that one of the most fundamental components of frameworks and orderly structure is guaranteeing that every one of the segments work together in an utilitarian and robotic manner. Part III. For a charitable undertaking I was engaged with our particu lar work framework was a secondary teacher working in state funded instruction. Clients While there are not clients in the customary sense, there are comparable segments. Along these lines there are understudies accomplishing and accepting the learning. There are guardians inspired by their children’s instruction. There are managers and state training board individuals keen on guaranteeing the instruction gave thinks about well their expert competency. At long last, there are business associations worried about guaranteeing that there is an informed workforce to look over. Items and Services The items and administration are course explicit. As far as a science study hall it is significant that understudies learn logarithmic capacities, geometry, and conceivably math. Furthermore, they increase basic reasoning and critical thinking capacities. Thusly the items and administrations are the instruction that is accommodated the understudies. This

Shakespeares As You Like It - Rosalind and Celia Essay -- Shakespeare

As You Like It - Rosalind and Celia   â â â A quest for women's activist analysis on William Shakespeare's parody, As You Like It, reveals a scope of various parts of the play and its players, however none is also spoken to as the nature and elements of the connection among Rosalind and Celia. Among different subjects are cross dressing or female transvestism and male self-designing, which extrapolates on the method of dress being a character. A women's activist view on Shakespeare inspects the writer's safeguard of ethicalness in the play. Many articles center around Rosalind alone. These varyingly talk about Rosalind comparable to sexual orientation issues, sentimental force, suggestion, explicit exhibitions of on-screen characters depicting Rosalind just as one piece which addresses Rosalind's very presence. Yet, the most firm and enlightening basic compositions dive the profundities of the connection among Rosalind and Celia.  Most reactions that incorporate Celia, concur that Celia holds the force on the phase during Act I. In Clare Calvo's article she poses the inquiry Is it truly Rosalind who moves the play (95). She addresses the since quite a while ago acknowledged conclusion that Rosalind is the courageous woman in As You Like It, however is the exemplification of the entirety of Shakespeare's comic champions (94). Calvo gives equivalent awards to Celia and her significant fellowship with Rosalind and to Celia's drive, choice and limit with respect to action(95). She investigates the lessening of Celia so as to raise Rosalind to legendary extents in both women's activist and non-women's activist analysis (95). In Calvo's words, the intrigue excited by the figure of Rosalind has would in general obscuration the significance of other characters(92).  Calvo focuses on the fellowship among Rosalind and Celia ... ...hers of English Studies 56 (1991 Sept): 5 - 11. Martin, Louis. As She Liked It: Rosalind as Subject. Pennsylvania English 22,1 - 2 (2000 Fall-Spring):91 - 96. Shakespeare, William. As You Like It. The Norton Shakespeare Comedies. Ed. Stephen Greenblatt et al. New York: Norton, 1997. 594-651. Shaw, Fiona, and Juliet Stevenson. Celia and Rosalind in As You Like It. Jackson, Russell ed. introduction., Robert Smallwood ed. Players of Shakespeare II: Further Essays in Shakespearean Performance. New York: Cambridge UP, 1988. 55 - 71. Tvordi, Jessica. Female Alliance and the Construction of Homoeroticism in As You Like It and Twelfth Night. Frye, Susan ed. what's more, introduction., Robertson, Karen ed. what's more, introduction., Howard, Jean E. after word; Maids and Mistresses, Cousins and Queens: Women's coalitions in Early Modern England. New York: Oxford UP, 1999. 114 - 130. Â

Book Riots Deals of the Day for October 25th, 2019

Book Riot’s Deals of the Day for October 25th, 2019 Sponsored by TBR: Tailored Book Recommendations These deals were active as of this writing, but may expire soon, so get them while they’re hot! Todays  Featured Deals Intimations  by Alexandra Kleeman for $1.99. Get it here, or just click on the cover image below. Tenth of December  by George Saunders  for $2.99. Get it here, or just click on the cover image below. The Mere Wife  by Maria Dahvana Headley for $2.99. Get it here, or just click on the cover image below. Universal Harvester by John Darnielle  for $2.99. Get it here, or just click on the cover image below. In Case You Missed Yesterdays Most Popular Deals Spinning Silver  by Naomi Novik for $2.99. Get it here, or just click on the cover image below. The Dark Dark  by Samantha Hunt for $2.99. Get it here, or just click on the cover image below. Previous Daily Deals That Are Still Active As Of This Writing (Get em While Theyre hot!): Destroyer by Victor LaValle for $4.99 Let the Right One In by John Ajvide Lindqvist  for $2.99 The Ladys Guide to Celestial Mechanics by Olivia Waite  for $3.99 The Exorcist  by William Peter Blatty  for $1.99 Mrs. Martins Incomparable Adventure by Courtney Milan for $2.99 Toil and Trouble: 15 Tales of Women and Witchcraft edited by Tess Sharpe and Jessica Spotswood for $1.99 Complete Stories of Clarice Lispector by Clarice Lispector, translated by Benjamin Moser and Katrina Dodson  for $2.99 Intercepted by Alexa Martin  for $2.99 Hearts Unbroken  by Cynthia Leitich Smith for $2.99 Devotion by Dani Shapiro  for $1.99 Ruhlmans Twenty by Michael Ruhlman for $2.99 Ten  by Gretchen McNeil for $1.99 Revenge by Yoko Ogawa, translated by Stephen Snyder for $2.99 White Rabbit by Caleb Roehrig for $2.99 Coraline Graphic Novel by Neil Gaiman and adapted by P. Craig Russell for $1.99 The Bone Houses by Emily Lloyd-Jones for $2.99 Cross Her Heart by Sarah Pinborough for $1.99 Deerskin by Robin McKinleye for $1.99 Inspector Singh Investigates: A Curious Indian Cadaver by Shamini Flints for $3.99 Meddling and Murder: An Aunty Lee Mystery by Ovidia Yu for $2.99 Halloween Party: A Hercule Poirot Mystery by Agatha Christie for $1.99 Whatever Happened to Interracial Love? by Kathleen Collins for $3.99 The Angels Game (The Cemetery of Forgotten Book 2) by Carlos Ruiz Zafon, translated by Lucia Graves for $2.99 The Once and Future King by T. H. White for $1.99 Destinys Captive by Beverly Jenkins for $1.99 A Brief History of Seven Killings by Marlon James for $1.99 The Four Agreements: A Practical Guide to Personal Freedom by Don Miguel Ruiz for $1.68 The Devil’s Star by  Jo Nesbø for $1.99 The Collector’s Apprentice by  B. A. Shapiro for $1.99 The Friend by Sigrid Nunez for $1.99 Dare to Love a Duke  by Eva Leigh for $1.99 Prime Meridian  by Silvia Moreno-Garcia for $3.99 The Science of Discworld  by Terry Pratchett, Ian Stewart and Jack Cohen for $2.99 The Walls Around Us by Nova Red Suma for $1.99 Foe: A Novel by Iain Reid for $1.99 Quiet: The Power of Introverts in a World That Cant Stop Talking by Susan Cain for $2.99 Silver Phoenix by Cindy Pon for $2.99 City of Bones by Martha Wells for $2.99 Dr. Strange Beard by Penny Reid for $1.99 Under the Knife by Tess Gerritsen for $2.99 Antelope Woman by Louise Erdrich for $1.99 Borne by Jeff VanderMeer for $2.99 The Betel Nut Tree Mystery by  Ovidia Yu for $3.99 Plenty by Yotam Ottolenghi for $2.99 Confessions of a Funeral Director by Caleb Wilde for $1.99 The Secrets Between Us by Thrity Umrigar for $1.99 The Iron King by Julie Kagawa for $3.99 A Dead Djinn in Cairo by P. Djèlí Clark for $0.99 The Star-Touched Queen by Roshani Chokshi for $2.99 Odd One Out by Nic Stone for $1.99 The Dark Descent of Elizabeth Frankenstein by Kiersten White for $1.99 The Ascent to Godhood (The Tensorate Series Book 4) by JY Yang for $3.99 Dear Martin by Nic Stone for $1.99 Glutton for Pleasure by Alisha Rai for $3.99 The Frangipani Tree Mystery by Ovidia Yu for $3.99 The Female Persuasion by Meg Wolitzer for $1.99 Labyrinth Lost  by Zoraida Cordova for $3.82 The Gurkha and the Lord of Tuesday by Saad Z. Hossain for $3.99 The Black Tides of Heaven (The Tensorate Series Book 1) by JY Yang for $3.99 Let it Shine by Alyssa Cole for $2.99 The Banished of Muirwood for $3.99 Let Us Dream by Alyssa Cole for $2.99 A Curious Beginning (A Veronica Speedwell Mystery Book 1) by Deanna Raybourn for $2.99 Romancing the Duke: Castles Ever After by Tessa Dare for $2.99 The Murders of Molly Southbourne by Tade Thompson for $3.99 Feel Free by Zadie Smith for $3.99 Mapping the Interior by Stephen Graham Jones for $3.99 Shuri (2018 #1)  by Nnedi Okorafor for $1.99 The Only Harmless Great Thing by Brooke Bolander for $1.99 The Black Gods Drums by P. Djèlí Clark for $1.99 Gods, Monsters, and the Lucky Peach by Kelly Robson for $1.99 My Soul to Keep by Tananarive Due for $0.99 All Systems Red: The Murderbot Diaries by Martha Wells for $3.99 Jade City by Fonda Lee for $2.99 Silver in the Wood by Emily Tesh for $3.99 Storm Front  by Jim Butcher (Book One of the Dresden Files)  for $2.99 Guapa  by Saleem Haddad for $1.99 Sign up for our Book Deals newsletter and get up to 80% off books you actually want to read.

The Return Shadow Souls Chapter 10 Free Essays

The next morning Elena got up and dressed quietly in the motel room, grateful for the extra space. Damon was gone, but she had expected that. He usually got his breakfast early while they were on the road, preying on waitresses at all-night truck stops or early-morning diners. We will write a custom essay sample on The Return: Shadow Souls Chapter 10 or any similar topic only for you Order Now She was going to discuss that with him someday, she thought as she put the packet of ground coffee in the little two-cup percolator the motel provided. It smelled good. But more urgently, she needed to talk to someone about what had happened last night. Stefan was her first choice, of course, but she’d found that out of body experiences weren’t just to be had for the asking. What she needed to do was call Bonnie and Meredith. She had to talk to them – it was her right – but now, of all times, she couldn’t. Intuitively, she felt that any contact between her and Fell’s Church might be bad. And Matt had never checked in. Not once. She had no idea where he was on the road, but he had better be in Sedona on time, that was all. He had deliberately cut off all communication between them. Fine. As long as he showed up when he had promised. But†¦Elena still needed to talk. To express herself. Of course! She was an idiot! She still had her faithful companion that never said a word, and never kept her waiting. Pouring herself a cup of scalding black coffee on the way, Elena dug her diary out of the bottom of her duffel bag and opened it to a fresh, clean page. There was nothing like a fresh page and an ink pen that ran smoothly to start her writing. Fifteen minutes later there was a rattle at one window and a minute later Damon was stepping through. He had several paper bags with him and Elena felt unaccountably pleased and homey. She had provided coffee, which was rather good even if it came with dried cream substitute, and Damon had supplied†¦ â€Å"Gasoline,† he said triumphantly, raising his eyebrows significantly at her as he set the bags on the table. â€Å"Just in case they try to use plants against us. No, thanks,† he added, seeing she was standing with a full cup of coffee held in his direction. â€Å"I had a garage mechanic while I was buying this. I’ll just go wash my hands.† And he disappeared, walking right past Elena. Walking right past her, without a glance, even though she was wearing her only clean pair of clothes left: jeans and a subtly colored top that looked white at first glance and only in the brightest light revealed that it was ethereally rainbow-shaded. Without a single look, Elena thought, feeling a strange sensation that somehow her life had just lapped itself. She started to throw the coffee away but then decided she needed it herself and drank it in a few scalding gulps. Then she went and stood by her diary, reading over the last two or three pages. â€Å"Are you ready to go?† Damon was shouting over the sound of running water in the bathroom. â€Å"Yes – in just a minute.† Elena read the diary pages from the previous entry, and began skimming the one before that. â€Å"We might as well go straight west from here,† Damon shouted. â€Å"We can make it in one day. They’ll think it’s a feint for one particular gate and search all the small ones. Meanwhile we’ll go on heading for the Kimon Gate and be days ahead of anyone tracking us. It’s perfect.† â€Å"Uh-huh,† Elena said, reading. â€Å"We ought to be able to meet Mutt tomorrow – maybe even this evening, depending on what kind of trouble they cause.† â€Å"Uh-huh.† â€Å"But first I wanted to ask you: do you think it’s a coincidence that our window is broken? Because I always put wards on them at night and I’m sure – † He passed a hand over his forehead. â€Å"I’m sure that I must have done that last night, as well. But something got through and broke the window and got away without a trace. That was why I bought all the the gasoline. If they try something with trees, I’ll blast them all back to Stonehenge.† And half the innocent residents of the state, Elena thought grimly. But she was in a state of such shock that not much could make an impression on top of it. â€Å"What are you doing now?† Damon was clearly ready to get up and going. â€Å"Getting rid of something I don’t need,† Elena said, and flushed the toilet, watching the torn-up bits of her diary swirl round and round before disappearing. â€Å"I wouldn’t worry about the window, though,† she said, coming back into the bedroom and slipping her shoes on. â€Å"And don’t get up for a minute, Damon. I’ve got to talk to you about something.† â€Å"Oh, come on. It can wait until we’re on the road, can’t it?† â€Å"No, it can’t, because we’ve got to pay for that window. You broke it last night, Damon. But you don’t remember doing it, do you?† Damon stared at her. She could tell that his first temptation was to laugh. His second temptation, to which he gave in, was to think that she was nuts. â€Å"I’m serious,† she said, once he had gotten up and started to pace toward the window with a distinct look of wanting to be a crow flying out of it. â€Å"Don’t you dare go anywhere, Damon, because there’s more.† â€Å"More stuff I did that I don’t remember?† Damon lounged against the wall in one of his old, arrogant poses. â€Å"Maybe I smashed a few guitars, kept the radio on until four A.M.?† â€Å"No. Not necessarily things from – last night,† Elena said, looking away. She couldn’t look at him. â€Å"Other things, from other days – â€Å" â€Å"Like maybe I’ve been trying to sabotage this trip all along,† he said, his voice laconic. He eyed the ceiling and sighed heavily. â€Å"Maybe I’ve done it just to be alone with you – â€Å" â€Å"Shut up, Damon!† Where had that come from? Well, she knew that, of course. From her feelings about last night. The problem was that she also had to get some other things settled – seriously, if he would take them. Come to think of it, that might be a better way to go about this. â€Å"Do you think that your feelings about Stefan – well, have changed at all recently?† Elena asked. â€Å"What?† â€Å"Do you think† – oh, this was so difficult looking into black eyes the color of endless space. Especially when last night they had been full of myriads of stars – â€Å"do you think that you’ve come to think of him differently? To honor his wishes more than you used to do?† Now Damon was openly examining her, just as she was examining him. â€Å"Are you serious?† he said. â€Å"Completely,† she said, and, with a supreme effort, she sent her tears back where they were supposed to go. â€Å"Something did happen last night,† he said. He was looking intently at her face. â€Å"Didn’t it?† â€Å"Something happened, yes,† Elena said. â€Å"It was – it was more of a – † She had to let out her breath, and with that almost everything went. â€Å"Shinichi! Shinichi, che bastardo! Imbroglione! That thief! I’m going to kill him slowly!† Suddenly Damon was everywhere. He was beside her, his hands on her shoulders; the next minute he was shouting imprecations out the window, then he was back, holding both her hands. But only one word mattered to Elena. Shinichi. The kitsune with his black, scarlet-tipped hair, who had made them give up so much just for the location of Stefan’s cell. â€Å"Mascalzone! Maleducato – † Elena lost track of Damon’s cursing again. So it was true. Last night had been completely stolen from Damon, taken from his mind as simply and completely as the interval when she had used Wings of Redemption and Wings of Purification on him. The latter he had agreed to. But last night – and what other things had the fox been taking? To cut out an entire evening and night – and this evening and night in particular, implied that†¦ â€Å"He never shut down the connection between my mind and his. He still can reach inside me any time he chooses.† Damon had finally stopped swearing, and stopped moving. He was sitting on the couch opposite the bed with his hands drooping between his knees. He looked singularly forlorn. â€Å"Elena, you have to tell me. What did he take from me last night? Please!† Damon looked as if he might fall on his knees in front of her, without melodrama. â€Å"If – if – it was what I think – â€Å" Elena smiled, although tears were still running down her face. â€Å"It wasn’t – what anyone would think, exactly, I suppose,† she said. â€Å"But – !† â€Å"Let’s just say that this time – was mine,† Elena said. â€Å"If he’s stolen anything else from you, or if he tries to do it in the future, then he’s fair game. But this†¦will be my secret.† Until maybe someday you break into your huge boulder of secrets, she thought. â€Å"Until I tear it out of him, along with his tongue and his tail!† snarled Damon, and it was truly the snarl of an animal. Elena was glad it wasn’t directed at her. â€Å"Don’t worry,† Damon added in a voice so chilling that it was almost more frightening than the animal fury. â€Å"I will find him, no matter where he tries to hide. And I will take it from him. I might just take his entire little furry hide off with it. I’ll make you a pair of mittens out of it, how’s that?† Elena tried to smile and did a pretty good job. She was just coming to terms with what had happened herself, although she didn’t believe for a minute that Damon would really leave her alone on the subject until he forced the memory back out of Shinichi. She realized that on some level she was punishing Damon for what Shinichi had done, and that was wrong. I promise no one will know about last night, she told herself. Not until Damon does. I won’t even tell Bonnie and Meredith. This made things a lot harder on her, and therefore probably more equitable. As they were cleaning up the debris from Damon’s most recent fit of fury, he suddenly reached up to brush a stray tear from Elena’s cheek. â€Å"Thank you – † Elena began. Then she stopped. Damon was touching his fingers to his lips. He looked at her, startled and a little disappointed. Then he shrugged. â€Å"Still unicorn bait,† he said. â€Å"Did I say that last night?† Elena hesitated, then decided that his words didn’t fall within the crucial time limits of secrecy. â€Å"Yes, you did. But – you won’t give me away, will you?† she added, suddenly anxious. â€Å"I’ve promised my friends not to say anything.† Damon was staring at her. â€Å"Why should I say anything about anybody? Unless you’re talking about the little redheaded one?† â€Å"I told you; I’m not saying anything. Except that obviously Caroline isn’t a virgin. Well, with all the ruckus about her being pregnant – â€Å" â€Å"But you remember,† Damon interjected, â€Å"I came to Fell’s Church before Stefan did; I just lurked in the shadows longer. The way you talked – â€Å" â€Å"Oh, I know. We liked boys and boys liked us, and we already had reputations. So we just talked any way we felt like talking. Some of it may have been true, but a lot of it you could take two ways – and then of course you know how boys talk – â€Å" Damon knew. He nodded. â€Å"Well and so pretty soon everyone was talking about us as if we’d done everything with everyone. They even wrote stuff about it in the paper and the yearbook and on the bathroom walls. But we had a little poem, too, and sometimes we even wrote it with our signatures on it. How did it go?† Elena cast her mind back a year, two years, more. Then she recited: â€Å"Just because you heard it, doesn’t make it true. Just because you read it, doesn’t make it so. The next time that you hear it, it may be about you. Don’t think that you can change their minds, just ’cause you know – you know!† As Elena finished, she looked at Damon, suddenly feeling the urgent need to get to Stefan. â€Å"We’re almost there,† she said. â€Å"Let’s hurry.† How to cite The Return: Shadow Souls Chapter 10, Essay examples

Much Ado About Nothing Essays (537 words) - English-language Films

Much Ado About Nothing Sid Philavanh Hum. 120 Mr. Lewis Response Paper #3 Much Ado about Something My opinion about the movie, Much Ado about Nothing, is that it was a very good movie. This movie had just about everything that makes a movie good. It had drama, romance, action, and most importantly it had comedy. This movie is one of the funniest movies I have ever seen. Even though they spoke in Shakespearean language, the character's expressions were enough to make anyone rollover and laugh. The cast of the movie was well organized, because every one of them played the part as if the movie was written for them. Much Ado about Nothing is a very good movie because it is dramatic, romantic, and funny. The drama in this movie was very thick and plentiful. Especially when the Prince's brother, Don John, was trying to stop Claudio from marrying his love Hero. The trouble he caused was very sinister. He put people's lives in danger without even caring about their feelings. The tension between Bene*censored* and Beatrice also setup some drama, which subsequently made the movie very enjoyable and funny. The battle between man and woman was well represented by the two characters. This movie was very romantic. This is the type of movie that I would love to take my girlfriend to go watch. It touches the romantic side of anyone who watches it, but it isn't too cheesy either so guys will like it. Claudio and Hero's love for each other made the movie very romantic. It seemed as if they would die for each other's love if it came to it. Yet, they weren't always in each other's faces kissing and hugging and this made the romance scenes bearable to watch. Though, the romance affair between Bene*censored* and Beatrice made the movie well worth seeing, because it was one of the funniest parts of the movie. Their love affair was more like a struggle then it was a romance. The cast for this movie was great also. It seemed as if the roles were specifically written for the cast. Denzel Washington played a very good Prince, and as well did Robert Sean Leonard playing young Claudio. Michael Keaton's roll as Dogberry was the funniest character in the movie. He seemed to relish in playing the greasy and dirty constable. One of the best actors that I think made the characters come alive was probably Kenneth Thompson who played Bene*censored*. His acting was superior to the others because it seemed like he was very into his role. His character stood out from all the others. In conclusion, I think that this movie was very good movie in all. It had a lot of things that didn't make it boring once. It's got drama, romance, action, and comedy. All of these things can usually make a movie worth seeing. I liked the movie because it was one of the funniest movies I have seen in awhile, and I will always recommend it to my friends. The cast who played the rolls was very good, and they made the story come alive. Therefore, I think Much Ado about Nothing is a very good movie because it is dramatic, romantic, and funny. Mythology

The view that The Merchant of Venice is a comedy with tragic possibilities Essay Example

The view that The Merchant of Venice is a comedy with tragic possibilities Essay Example The view that The Merchant of Venice is a comedy with tragic possibilities Paper The view that The Merchant of Venice is a comedy with tragic possibilities Paper Essay Topic: Merchant Of Venice Play I consider The Merchant of Venice as a comedy with tragic possibilities mostly due to the melancholy ending which leaves the reader thinking whether what happened during the play could be considered morally good or not. Aristotle produced the first ideas about what a tragic and comic play were. Shakespeare altered this slightly but the Shakespearean model is still pretty much identical. I would define a comedy as everything a tragedy is not. In a tragedy all of the main action happens in one day and in that day there must be a revolution. Most of the time, the main character, or the tragic hero, is of noble birth or of high status so that when they die, which they most likely will, they fall far. This makes us feel sympathetic to the character. This happens as we let ourselves go through a, willing suspension of belief during the play, which makes us basically get emotionally involved in the play even though we know that the play is not real. A tragic play, because of this willing suspension of belief, excites the emotions of pity and fear. Pity is a synonym of sympathy and fear is felt due to the fact that we wonder what it would be like for us to be in that position and we are fearful of it. Catharsis, an idea of Aristotle which the audience feel they are watching the play. It is like a cleansing process as it teaches you not to become a murderer and so forth. It makes you into a better person. Whilst reading the merchant of Venice I felt Sympathy for Shylock and fear arose when Antonio was about to die. The play told me not to be criticising of others because of there beliefs. The Merchant of Venice consequently has the characteristics of a tragedy. A comedy is therefore is a play in which the main character, the comic hero, prospers. The evil character therefore gets what is coming to him and usually dies. This was seen as a waste of time by Aristotle and I agree as in the end everyone is happy and there is no revolution. Pity and fear are not felt, and in its place is happiness. This means that there is not as much point in the play as things work out. When things dont work out we feel sympathy and we learn a lesson. This is the Catharsis which makes us a better person. Even though you may have Catharsis experienced in a comedy due to the fact that it tells you not to be the like the bad character, the catharsis from watching a tragic play is much greater. This is because we feel more intense emotions and it gets the audience thinking more about the issues in the play, whether they are social, cultural, legal, moral etc. The play has the basic layout of a comedy because you could say there is a comic villain, and a comic hero throughout the play but tragedy also comes into it as if you feel sympathy for Shylock he is the tragic hero. The comic characters in this play are Launcelot Gobbo and Old Gobbo. The Prince of Morocco and the Prince of Arragon can be seen as comic characters also for their extravagance and arrogance. The Prince of Morocco says he would Outbrave the heart most daring on the earth which is a very overconfident thing to say. In Act 2, Scene 2, Launcelot, referred to as the clown and Old Gobbo, his father, interact in a comic way. Due to the fact that Old Gobbo is blind and easy to fool Launcelot plays around with him and tricks him into thinking his son is dead even though he is talking about himself and is obviously not. Then when he tries to convince his father he is not dead, being the dim old man he is he says to Launcelot that he is sure you are not Launcelot my boy. This comic interaction continues but these characters are very minor, especially Old Gobbo as he does not appear at any other time unlike Launcelot who appears several times. However these are the most clearly comic characters as one is called a clown and one is very old and gullible. They may have been placed in the story to give the other characters some time to change, but mainly they are there to provide the audience with some comic relief. Launcelot would have been used to show that Shylock is a dull and unkind man as he leaves Shylock without a servant and becomes the servant of Bassanio who is portrayed as much kinder and interesting person. These comic characters would be used in a comedy. With these characters the play becomes much more light hearted and comic for the audience, creating a happy feeling of the play. The Prince of Morocco and the Prince of Arragon are also minor roles in the play. There are comic as they are seen as big-headed and very flamboyant as they say things like did I deserve no more than a fools head. This is when Arragon is trying to seem incredibly intelligent above others as he mocks a man who would go for the golden casket and comically for the audience it was Morocco who would went for the Golden casket. Morocco is very proud and believes he is very worthy of Portia because of how noble and rich he is. Arragon is slightly wiser yet still quite proud and also tries to impress Portia, but with words, not his reputation. These characters are comic but still have a role to play. They have to be the characters who try the casket game and fail. This leaves the reader or audience with the knowledge of which casket is the right one and makes it more exciting when Bassanio chooses the right casket. A comedy would include these characters as they bring a comic feel to the play due to their comically high opinions of themselves. To me there is only one clearly comic scene in the play as there are others which are partially comic but have serious issues displayed as well. For instance, the scenes with Morocco and Arragon fit this description as they are comic because of the way in which the Princes are very exaggerated, ostentatious and adoring of themselves. Morocco says that his reputation hath feared the valiant. However they also talk about important issues like racial issues when Morocco says to Portia not to immediately dislike him because of his complexion. They both talk in a very passionate and heartfelt way showing that they are there not purely for comic reasons. The clearly comic scene in the play is Act 2 Scene 2 as this is the scene with Launcelot Gobbo and Old Gobbo. As I said before Launcelot jokes with his father and tricks him as he is very easy to fool. Launcelot fools Old Gobbo into thinking that he is not Launcelot and that the Launcelot he speaks of has gone to heaven. Launcelot then tries to convince his father that he is really his son but Old Gobbo is not convinced until Launcelot mentions Margaret which is his mothers name. This interaction is all very light hearted and insignificant to the play but its function is to provide some comic relief for the audience and maybe give some time to the other actors to get changed and practice their lines and so forth. Also this kind of scene would be used in a comedy as I said before to make the play more light hearted, happy, and enjoyable. Shylock is a Jew and is therefore a minority in Venice. He is criticised for this and prejudices are formed against him about him being a bad man for being a Jew. He is put down by always being referred to as the Jew which would be very angering. During the play we feel mixed emotions towards Shylock. With the knowledge of what has happened to the Jews during the centuries we feel sympathetic to a greater extent towards him. However does he deserve this sympathy? Does he have the right to feel unhappy because he has been mistreated for being a Jew or is he really just a bad man who is deserving of these prejudices? When Antonio first meets Shylock we dont know whether or not to feel sympathetic towards him as he passionately speaks about how he is mistreated but he also backs up the reason for this treatment as he gives us a reason to believe he is tricking Antonio due to his incredibly kind jester of lending money to him without any interest at all, just the right to his flesh if he fails to pay him back in time. We are backed up about this view as Bassanio says that Shylock has a villains mind. When it comes to the court case, Shylock has had his daughter and his money taken away from him by a Christian, and his servant taken away from him by another Christian. He feels as if everyone he knows has turned on him and out of emotion he is desperate to kill Antonio by taking his flesh. Is he right to do such an awful deed because of how badly he feels, or is it unthinkable of a man who has had everything taken from him by Christians to take a Christians life. This has even signed a contract, and agreed to his own death if he does not pay it back, and then he doesnt? We are not sure whether or not he is a comic villain or a tragic hero which makes the classification of the Merchant of Venice as a comedy or tragedy harder. This helps the view that the Merchant of Venice is a comedy with tragic possibilities. It is up to the reader whether or not Shylock is a comic villain or a tragic hero. Most would portray him as a comic villain and there is a lot of evidence to agree with that. When considering Shylock as the comic villain, the comic hero must be Bassanio. People leave Shylock for Bassanio or other Christians including his servant, Launcelot, and his daughter, Jessica. Shylock must be an evil man if people despise him enough to leave him and call his house a house of hell, like Jessica did in Act 2 Scene 3. Ever since the start we have seen him as a cunning and devious person. We thought that somehow he must have an ulterior motive if he is lending Antonio a large sum of money without any interest, and taking a pound of mans flesh if it is not paid back. Even though his gesture this time is one interest free, Shylock is a very money greedy man. He makes money from others misfortunes as he is a money lender and he hates Antonio because he lends money interest free. His reason for this is a greedy one as he feels that he loses money if people lend money from Antonio and not from him. He values his money more than his daughter after she runs away with his Ducats. He cries My Daughter, O my Ducats, My Daughter which shows that he loves them both equally until he says he I would have her at my feet with the Ducats and Jewels in her ears. This tells us that he would have his own daughter dead if he could have his money back. He is not a merciful man as when asked to show mercy he doesnt and he uses Justice as a loophole for the right to kill Antonio legally. Shylocks evil, devious, greedy, sinister and merciless characteristics cause the reader to believe that he is a comic villain. Being a comic villain would make the play more a comedy than a tragedy and there would then need to be a comic hero, Bassanio. Maybe the reason why everyone hates Shylock is not because he is an awful man, but because he is a Jew. I believe that it is a spiral of hatred as Shylock feels he must be mean to others as he has been a victim of anti-Semitic behaviour, and more anti-Semitic become the Christians when Shylock is mean to them. Being fair to Shylock, in those days, being a money lender was all Jews could do at the time. This is because Jews were not allowed to do more respectful jobs and money lending is all that they could do to earn money. Shylock also is ganged up upon by most of the characters in the play and has everything of value taken from him. These include his Daughter, who leaves him for a Christian, and his money, which he has rightfully earned as he doesnt force people to lend from him. Also Launcelot has left Shylock to be the servant of Bassanio instead and Shylock is left with no one as his wife is deceased. You could call the Christians the evil ones as they are prejudice against Shylock and steal all things of value from him. If people have taken all of value from you, do you not deserve to feel hatred for them? Shylock does feel hatred towards the people who are against him and uses Antonio as a way to exact his revenge. No matter how sinister it is, he is made to feel like this by the people who in the courtroom case beg for his mercy. Could we see him therefore as a tragic hero? If he was a tragic hero then there would need to be a tragic villain, but who would this be? It would be a tragedy if there was a tragic hero and villain but as there is not, the Merchant of Venice can only have tragic possibilities. The end of the play is very melancholy. The resolution that should happen in the play for a comedy is that Shylock, the evil man in the play gets his just deserts when he is deserted by his daughter and loses the court case and with it all his remaining money. Also Jessica is now happy with Lorenzo, Portia is happy with Bassanio, Gratiano is happy with Nerissa, Launcelot is happy serving his new master and Antonio lives and becomes amazingly rich. Then again is this really the case? Shylock is a beaten, devastated man who even though he wanted to kill Antonio had a motive that the Jewish people would be happy for this revenge to take place. He ends up losing all his money, his daughter, his pride, his house and any friends he might have had because of this and there is still prejudice against him. Being a Christian person the others must feel some form of guilt towards Shylock for him being such a broken man. Jessica must feel sad for stealing Shylocks money and deserting him and her faith and siding with the Christians against him. Lorenzo doesnt understand why she might feel like this and that couple end up unhappy. Portia knows that Bassanio has given his ring away for Antonio, and that Antonio loves Bassanio. Consequently that relationship is quite awkward and unhappy. Nerrisa is also unhappy with Gratiano as he has given the ring away, and Antonio, even though he is rich again, is lonely, still loves Bassanio and is jealous of Portia. Thus nobody in the end is really happy. The Jews are still put down by the Christians and the other characters are unhappy with each other and unhappy about what they have done to Shylock. What should have been a comedy has turned out to be a comedy with tragic possibilities. So in conclusion is the merchant of Venice a tragedy or a comedy? I would agree with the view that the merchant of Venice is a comedy with tragic possibilities. It depends on whether or not you think of Shylock as a comic villain or a tragic hero. I would see Shylock as a comic villain in the play as he hates the Christians and in the end tries to kill one. Then again there is more to this as Shylocks hateful emotions towards the Christians has been a result of immense prejudice against him. The Christians stole his servant, his daughter, and with her his money and pride. After the court case, and his harsh punishment we cannot help but feel sympathetic towards Shylock. Even the characters that had hated him throughout the play now feel guilt and sympathy. Most of which comes from Jessica, who has deserted her father, stolen his money and sided against him. Therefore we could see Shylock as a tragic hero in some respects. The main feel of the play however is a comic one even if there are blatant elements of a tragedy involved in the play. For that reason I will conclude by saying that The Merchant of Venice in my eyes is indeed a comedy with tragic possibilities.

Back-Channel Signal Definition and Examples

Backs .In conversation, a back-channel signal is a noise, gesture, expression, or word used by a listener to indicate that he or she is paying attention to a speaker. According to H.M. Rosenfeld (1978), the most common back-channel signals are head movements, brief vocalizations, glances, and facial expressions, often in combination. Examples and Observations Fabienne: I was looking at myself in the mirror.Butch Coolidge: Uh-huh?Fabienne: I wish I had a pot.Butch Coolidge: You were lookin in the mirror and you wish you had some pot?Fabienne: A pot. A pot belly. Pot bellies are sexy.(Pulp Fiction, 1994)We .. show we are listening and do not wish to interrupt by giving back-channel signals, such as yes, uh-huh, mhm, and other very short comments. These do not constitute turns or attempts to take the floor. On the contrary, they are indications that we expect the speaker to continue.(R. Macaulay, The Social Art: Language and Its Uses. Oxford University Press, 2006)Karen Pelly: Brent might learn a little lesson if his security camera got stolen.Hank Yarbo: Yeah.Karen Pelly: By someone.Hank Yarbo: Hmm.Karen Pelly: Someone he trusts.Hank Yarbo: Yeah, I suppose.Karen Pelly: Someone he would never suspect.Hank Yarbo: Yeah.Karen Pelly: Plot the cameras motion and approach from a blind spot. You could pull it off.(Security Cam, Corner Gas, 2004) Facial Expressions and Head Movements The face plays an important role in the communication process. A smile can express happiness, be a polite greeting, or be a back-channel signal. Some facial expressions are linked to the syntax structure of the utterance: eyebrows may raise on an accent and on nonsyntactically marked questions. Gaze and head movements are also part of the communicative process. (J. Cassell, Embodied Conversational Agents. MIT Press, 2000)And here Mrs. Aleshine nodded vigorously, not being willing to interrupt this entrancing story.(Frank R. Stockton, The Casting Away of Mrs. Lecks and Mrs. Aleshine, 1892) A Group Process Turn-taking and suppressing signals are given by the current speaker; they are used to defend the right to continue speaking on the same subject or with the same level of emphasis. ​Back-channel signals are communication acts by others, such as a person agreeing or disagreeing with the speaker. The types of signal and the rate at which they are used relate to the underlying group process, particularly the group regulatory forces. Meyers and Brashers (1999) found that groups use a form of participation reward system; those who are co-operating with the group receive helping communication behaviors and those in competition are received with communication-blocking behavior. (Stephen Emmitt and Christopher Gorse, Construction Communication. Blackwell, 2003)