A Discussion on the Renaissance Art and Its Influences Essay Example for Free

A Discussion on the Renaissance Art and Its Influences Essay 1. The Renaissance style is considered as a collective movement related to the reawakening of art – particularly drawing, painting, sculpture, and architecture – that centered in Italy from 1300-1600 (Cunningham and Reich, 2009, p. 265-266).   This movement evolved over the years as people – tired of the medieval life of poverty and sickness – started to develop new world views.   These world views centered on essential and profound questions related to human beings, their lives, and their purposes in lives.   They formed striking similarities to the Greco-Roman intellectual discourses, which were overshadowed during the dark times of the medieval age but rediscovered during the reawakening period of the Renaissance. Experts agreed that the Renaissance movement started in Florence, Italy, then a trading center between Europe and the rest of the world and a platform for exchange of ideas, purchase of arts, and commissioning of literary works (Cunningham and Reich, 2009, p. 267).   In Italy, people began to question tradition and authority, focus on life on earth, shape their own destinies, educate their selves and revisit the classical teachings from Greece and Rome.   Teachings from Italy were then dispersed elsewhere in Europe and the world through the printing press, a revolutionary invention during the Renaissance (Cunningham and Reich, 2009, p. 265). See more: Homelessness as a social problem Essay One example of a Renaissance art that is a symbol of the inner health of the people during that era was Raphael’s School of Athens (Cunningham and Reich, 2009, p. 315).   This painting pictured the great minds who existed in the city of Athens in Greece – Socrates, Plato and Aristotle – who were gathered in what appeared to be a school.   In the painting, the great minds seemed to be enthralled in a lively exchange of ideas.   Experts said that School of Athens attempted to show that the ancient greats of Greece were as good as the Renaissance men of Leonardo, Raphael and Michelangelo.   In fact in the painting, the three Renaissance artists were supposed to be Socrates, Plato and Aristotle. Another example of a Renaissance art that embodied the dynamism and transformation peculiar to the period was the sculpture of Michelangelo of David when the artist was at a relatively young age of 26 (Cunningham and Reich, 2009, p. 286). David was depicted as a civilized and a thinking individual who contemplates on challenges without immediately resorting to unnecessary brute.   David was said to represent the brightness of the Renaissance man.   It was also said to epitomize the confidence that the people then were feeling in influencing their destinies in terms of trouncing evil and gaining victories. Renaissance humanism is a notion that sprang during this period.   This notion placed emphasis on the capacity of human beings to manipulate their future without overreliance on the church (Cunningham and Reich, 2009, p. 287).   Although much of the art works had religious themes, the works portrayed religious icons as humans.   Such portrayal made light of the religious canons imposed by the church.   Instead, the portrayal highlighted the human spirit and its capacity to elevate to great heights.   One example of an art work that displayed humanism was Sandro Botticelli’s Birth of Venus, which depicted the goddess as an innocent woman with the use of pastel colors.   Another example is Simone Martini’s Annunciation, where an angel painted in realistic human dimensions and appearance appeared to tell Mary that she will bear God’s son. The rebirth of the artistic movement in Italy was largely attributed to the successful businessmen in the city of Florence who fed, trained, educated and provided for the basic needs of the artists (Cunningham and Reich, 2009, p. 268).  Ã‚   These patrons commissioned works based on clear-cut agreements. The powers of these businessmen from the Medici family stretched all the way to Rome, allowing many artists to secure contracts to accomplish religious works of arts for the Catholic Church.  Ã‚   The patronage of the Medici family for the artists was crucial to the Renaissance as artists were elevated to a stature important to the beautification and strengthening of the culture of Florence.   When the Medici family declined, artists went to Rome where they received the patronage of the pope (Weekly Lectures, n.d.). 3. Prior to the Protestant Reformation, there had been a fierce and widespread sentiment about the perceived abuses of the Catholic Church (Cunningham and Reich, 2009, p. 240).   People felt that the leaders of the church were leading extravagant lives that contrasted with the generally modest, if not poor, living of the majority of the people.   There were classes within the population that wanted to lead  Ã‚  Ã‚   towards positive change.   People were also weary of being caught in the cross-fire of conflicts between the Catholic Church and Kings, both desired power and wealth. To top these off, people were staring to change their beliefs about the capabilities of human beings during the Renaissance. These situations were the precursors to the ushering of the Protestant Reformation, which was set off by German monk Martin Luther.   Luther questioned the corruption and moral degradation in Rome and in the whole of the Catholic Church through his writings in The 95 Theses.   The Church however was not willing to change its ways.   It then financed the Counter-Reformation (Cunningham and Reich, 2009, p. 297). Immediately, art became the medium of propagating the beliefs of the Protestants, who had their bailiwicks in northern Europe, and Catholics, whose strongholds were in the south.   For the Catholics, art must focus on religious contents with certain symbolisms that magnify the holiness of the contents.   The Catholic art was similar to the art that had prevailed in the Middle Ages.   For the Protestants, Catholic religious contents in arts were idolatrous that must be destroyed through iconoclastic movements during the Protestant Reformation. The Protestant art was similar to the art of the humanist Renaissance artists who depicted contents in realistic settings. As a response to the Protestant Reformation, the Catholic Church introduced a Counter-Reformation.   It instituted a few changes within the church but became more austere in regulating heresy.   Regulations covered the arts, sending Catholic painters to produce religious contents similar to those done during the Middle Ages. Content in arts was the distinguishing factor between the Reformation and the Counter-Reformation.   For the Protestants during the Reformation, paintings centered on mundane activities of everyday existence.   Occasionally, paintings drawn out of scenes from the Bible were made.   However, these paintings depicted the religious contents in a humanistic manner.  Ã‚   Simple scenes found in regular occasions were also contained in paintings.   Generally, the contents did not attempt to glorify contents through symbols. For the Catholics during the Counter-Reformation, paintings focused on idealized religious contents that contained symbolisms of holiness, omnipotence, and great glory.   These religious contents were idealized in terms of appearance and the environment in which they were depicted to move.   Painters did not paint flaws.  Ã‚   They likewise veered from common scenes experienced by common people.   Some of the religious contents depicted in the Counter-Reformation included Catholic saints, sacraments, traditions, and codes of belief taught by the Catholic Church. The arts during Protestant Reformation and Counter-Reformation were divergent largely because of the opposing world views espoused by the Protestants and the Catholics.   On one hand, the Protestants believed that man could shape his destiny and approach God because the sacrifices of Christ were enough to save human souls.   On the other hand, the Catholics believed that intermediaries like saints and the Virgin Mary were needed to help Catholics approach God and enter the gates of heaven. Because intermediaries were needed, Catholics created relics where divine powers were supposed to reside.   A form of these relics is a typical painting created during Reformation.   Catholics worshipped the relics and sought from these relics intervention in order to get the graces of God. Because Protestants believed in the value of man and Christ’s sacrifices, they loathed these relics and called these relics channels of idolatry.

Platos Symposium analysis Essay -- essays research papers

â€Å"Plato’s Symposium† Kaboom, that was the sound of Zeus’s thunder crashing towards the Earth. During this time period the people in Greece believed in these gods. Also happening at the same time period was when the worlds most famous philosophers began to come out and teach. Most importantly the philosophers did what they were suppose to, and that was to question the world around them. One of the most famous philosophers in the Greek period around 416 B.C. was a man named Socrates. Socrates was student of the Diotima which taught him things about love, ignorance, wisdom and right opinion, which he rehearses to the people attending the dinner of Agathon’s. We will first start by analyzing what Diotima has said about the four cognitive functions, which are: wisdom, understanding, right opinion and ignorance. She asks Socrates â€Å"do you think what is not wise, then it is ignorant?† and she continues with â€Å"Do you not perceive that there is something between wisdom and ignorance?† In these first quotes Socrates only believes that if something is not wise then it has to be ignorant and that there is no in between. Diotima then points out that doesn’t think see that there is an middle point between wisdom and ignorance. Diotima then replies â€Å"To have right opinion without being able to give a reason, is neither to understand (for how could an unreasoned thing be understanding?) nor is it ignorance (for how can ignorance hit the truth?). Right opinion is no doubt something between knowledge and ignorance.† In the second quote what Diotima tells Socrates is that right opinion is in between wisdom and ign orance. She explains this by telling Socrates that being incapable of giving a reason something cannot be considered knowledge, because how can knowledge be entirely lacking reason. She also points out that it can’t be considered ignorance because you can’t obtain the truth from ignorance, but then it is clearly something in between wisdom and ignorance which is called right opinion. Diotima explains the four cognitive functions more in depth a couple of paragraphs later on starting with â€Å"The truth is this: no god seeks after wisdom or desires to become wise—for wise he is already; nor does anyone else seek after wisdom, if he is wise already. And again, the ignorant do not seek after wisdom nor desire to become wise; for this is the worst of ignorance, that one who i... ... all equal forms, and from equal forms to equal practices, from equal practices to equal notions, until from equal notions he realizes the notion of absolute beauty, and finally knows what the essence of beauty is. Diotima explains that this is the life for which a man should live in the view of absolute beauty; a beauty that if you once touched you would not care of gold, clothing, and attractive boys, who’s presence entrances you; and you many a one would be satisfied to live seeing them and talking about them with out food or water, if that were possible, you only want to look to be closer to them and to stare at them. But what if man had eyes to see the true divine beauty, pure and undisrupted, not clogged with the pollutions of human life. To that place looking, and having ability to communicate with true beauty divine and simple? Remember how in that communion only, beholding beauty with the eye of the mind, he will be able to bring forward, not images of beauty, but realities for he has hold not of an image but of a reality, and bringing forth and nourishing true virtue to become the friend of God and be immortal, if mortal man may. Would that be a non-honorable life?"

What Do You Think About the View That There Are No Women in The Great Gatsby With Whom the Reader Can Sympathize?

Sympathy is defined as having feelings of sorrow for someone else’s misfortune. In a novel, sympathizing in a character allows the reader to relate to them. In Fitzgerald’s â€Å"The Great Gatsby†, there is no female character with whom we can sympathize. However, at various points within the novel we do offer our brief condolences to each character. Throughout the novel Daisy Buchanan appears enigmatic to the reader: why is she in a loveless relationship? Why did she leave Gatsby hanging on a thread? Many conclude that the ultimate chapters prove to us in many ways that she is incapable of loving. Shown by her choice to stay with Tom for his wealth and security; rather than choosing Gatsby, for she was â€Å"appalled by its raw vigour that chaffed†. She looks down on the vulgar nature of people that try and buy their way into the upper class as he has done. However, it is feasible to suggest that she chose Tom; after all he didn’t build his empire selling illegal alcohol like Gatsby. In addition, it is possible to argue that being in an unhappy marriage – shown by her reaction to Tom speaking to his mistress over dinner – is a liable reason to which we can feel empathy for her. Despite all of this, however, it is apparent throughout the novel that she is materialistic, promiscuous and immoral. As soon as Tom leaves she â€Å"kiss[es] him on the mouth† she is not only betraying Tom, but she acts â€Å"careless[ly]† with Gatsby’s emotions. He is a character in which the reader can sympathize – meaning she is hated. Ultimately, she chooses to run away with Tom, this is her last act that convinces we, as the reader, to deplore her. Jordan is an equally difficult character to whom we can sympathize; however, for different reasons. There is only really one instance in the novel that contrasts this view, and that’s when Jordan had â€Å"met another bad driver† in Nick. This does make her emotionally accessible to us; we can feel pity for her. However, this is overshadowed by her compulsive ability to lie. Apparently, she does not â€Å"give a damn† about the end of her and Nick’s relationship; an obvious lie, yet it implies that she will move on soon enough. We will never know if she actually met someone else during her and Nick’s meeting, yet it is unlikely, as she is a neurotic fabricator. Adding to this, we notice that Jordan is a highly destructive and careless character, rather like Daisy. She casually mentions to Nick that she â€Å"left a borrowed car out in the rain, and then lied about it† She is being careless with other peoples property, lying about it to ensure she is not affected by any repercussions†. It is apparent he that Jordan does not, as a whole, evoke sympathy with us. Myrtle does not draw any sympathy from the reader at a first glance. She is the lower-class mistress to Tom. She is a poor representation of the 1920’s woman as she carries â€Å"her surplus flesh sensuously†, meaning she is rather provocative, it is also the only compliment she receives in the book, inferring Tom’s only use for her is sex; not a particularly good role model for women. She is somewhat comparable to Daisy in that her only care is money and materialism, she wants to escape the upper class, and Tom is her refuge. Her â€Å"tremendous vitality† should aid her in this. However, we can sympathize with â€Å"Myrtle Wilson† when she fulfils her â€Å"tragic achievement†. This refers to her death, all she ever wanted to do was to escape her class and accomplish her American dream, but Nick morbidly realizes that the only way she ever would is through death. Much like Gatsby, her dream is forever doomed. Myrtle, in my opinion is a character with we can sympathize the most; her tragic story is rather like Gatsby’s. In that she had an unachievable, completely unattainable dream in her sight, but it was never to be – a doomed dream. I believe all the female characters in â€Å"The Great Gatsby† have characteristics that make us, as the reader to both love and despise them at the same time. Fitzgerald has portrayed them as merely humans with certain traits and bad decisions that moulds them into who they are. All three of these women are accessible to the reader, whilst at the same time completely detached and despised. I believe that the view in question is different for every reader, as they can make their informed opinion on each of these women. As for me, I do feel sympathy for them, but only to a certain extent.

Linear B Archives and the Mycenaean World

What part do the Linear B archives make to understanding the Mycenaean universe in regard of one of the followers: societal administration, cult patterns, stock genteelness and agribusiness, warfare, bronze working? The Linear B archives provide us with the earliest primary grounds about Mycenaean palatial civilizations [ 1 ] and an alone penetration into the nature of Mycenaean warfare. The archives consist of about five 1000s clay records [ 2 ] and contain information on armor, arms, chariots, naval warfare and subordinate inside informations about possible military personnels. The importance of these paperss is greatly enhanced by the complete deficiency of historical histories [ 3 ] from this epoch, and besides the fact that about all of the ideographs used in the archives are devoted to armor, arms, Equus caballuss and chariots [ 4 ] agencies that they are of intrinsic value to the apprehension of warfare in the Mycenaean universe. However, there are restrictions with the Linear B archives, peculiarly in footings of their chronological scope, stock list manner and possibly bias representation of the importance of warfare under normal fortunes. It is besides of import to see what other finds have made critical parts to our apprehension of Mycenaean warfare, such as the castles themselves, lasting arms and representations of war or armor in art. Since all of the tablets come from the palatial Centres, one of their most of import parts is that they tell us straight about the economic systems of the castles and that their chief focus’ were ‘military preparedness’ [ 5 ] , defensive schemes and the wealth to back up these things. The Linear B archives record information about the production, renovation and besides the distribution [ 6 ] of many different types of military equipment. It is possible to construe from the archives, that the Mycenaean’s used a really centralized system to garner and organize military equipment and that this was based around the chief palatial composite. Evidence for this can be seen in a tablet from Pylos which lists 16 different topographic points that were responsible for providing an sum of bronze in the signifier of caputs for pointers and lances [ 7 ] . The tablets besides straight show the extent that these castles were concerned with holding a to the full equipped fo rce [ 8 ] , this is chiefly due to the sheer figure of mentions to armor and arms throughout the archives. The many tablets picturing armor are particularly utile when seeking to understand Mycenaean warfare. Tablets at Tiryns [ 9 ] , Pylos and Knossos all record suits of armor and supply us with grounds for the usage of armor across a wider scope of palatial Centres than archeological discoveries would propose. At Pylos the tablets mention at least 20 suits of armor with the ideographs for a cuirass and a helmet, and at Dendra there are at least one hundred and 40 suits recorded in the chariot tablet [ 10 ] . The ideograms themselves are of great value because organize them you can see the manner and type of armor which is really similar to the suit which was discovered at Dendra and those described by Homer [ 11 ] . Not merely do the archives provide grounds for the usage of armor they besides give us some indicant of the value of the armor itself. In some tablets the ideograph for armor is replaced with one for a bronze metal bar [ 12 ] , this could be interpreted as a representative of the value of the armor or possibly as an approximative measure of stuff used to do the armor itself. A farther part made by the archives is the being of an illustration on the contrary of a tablet. The drawing shows a adult male have oning cracklings and pulling his blade, and was likely the work of a Scribe while he was waiting to do his recordings [ 13 ] . This is peculiarly interesting as it allows us to see the influence that warfare may hold had on a member of Mycenaean society who chose to chalk out this scene and its shows the arm and armor which was associated with a soldier. Weapons are an indispensable portion of warfare and were a major resource recorded in the tablets. The importance of arms to the Mycenaean’s can be clearly seen in a tablet from Pylos which records a measure of recycled bronze by the figure of pointer or spearheads it would be able to do [ 14 ] . The tablets besides contribute to our cognition of which stuffs were being used to fabricate arms, for illustration we can state that most arms were being made from bronze because articles of Fe were ne'er mentioned in the tablets [ 15 ] . The usage of ideographs to picture arms allows us to partially see how the arms would be used ; thrusting lances, throwing javelins, slings and bows are all shown in the tablets [ 16 ] . The ideographs are besides utile because it is possible to compare types of blades or stickers by looking at what is different between each separate ideograph. In the Linear B archives there have been big Numberss of tablets devoted to chariots or their furnishings. Many of these parts have unsmooth terrain so this is frequently seen as peculiarly surprising. One illustration is the part around Knossos, which was, and still is, particularly cragged and the lone manner to utilize a chariot would be to convey it to the beach or to the fields some distance off [ 17 ] . Records associating to chariots include ; a tablet from Pylos naming one hundred and fifty one chariot wheels [ 18 ] , and the Knossos tablets having several hundred chariots and trim parts [ 19 ] along with single stock lists which record a name, chariot, Equus caballuss and a suit of armour [ 20 ] . However, of peculiar involvement in footings of chariots are a few texts from Knossos and Pylos. The first, from Knossos, records the distribution of defensive armor to each of the chariot crew [ 21 ] . The texts from Pylos, which were found in the Northeast Workshop, list leather points that relate to chariots, some illustrations are reigns, hackamores, espousals and saddlebags [ 22 ] . These groups of tablets provide us with information that non merely supports the other Linear B grounds, but besides archeological discoveries every bit good. The archives have far more limited information in footings of naval warfare. At Pylos there are some ill-defined mentions to over six 100 ‘rowers’ [ 23 ] , and lists of coastal colonies [ 24 ] , when considered together, these could be interpreted as naval administration or defensive readyings. A farther of import add-on to our cognition of naval warfare is the pulling found on the contrary of a tablet in Pylos, its shows an image of a ship. The image is non merely comparable to an ideograph used on a tablet from Knossos, but it besides resembles the ships used non by the Mycenaeans but the Minoans [ 25 ] . One could reason that there were possible convergences in the manner of ships used from the Minoan period into the Mycenaean epoch. The parts made by Linear B are undeniable, but on the other manus it is besides critical to see the disadvantages that these archives have. The records themselves were non intended to be long permanent [ 26 ] as they were merely preserved by opportunity. They are in a manner comparable to the modern post-it note: a disposable, inexpensive and movable manner of entering informations. The endurance of the tablets is besides wholly random [ 27 ] , which means that we are frequently left with disconnected subjects and it impossible to state how complete the archives we have are. The archives are besides merely based on a certain group of palatial Centres and so there is a possibility that there were some differences bing between these and others [ 28 ] . Therefore intending that utilizing the archives to acquire a image of the full Mycenaean universe is non dependable. A farther job with the tablets is the possibility that there are inaccurate. For illustration, those found in the ‘Room of the Chariot tablets’ , have been interpreted, by some, to be scribal exercisings and non echt records, the ground for this reading is that they were all written by different custodies in the same characteristic manner [ 29 ] . If this was the instance so much of our grounds for chariots would no longer be valid and the statement for their usage in cragged countries would be far weaker. The archives besides have immense chronological restrictions in footings of their scope as they are either limited to the last twelvemonth or so before the devastation of the castles, or they are random dateless old ages [ 30 ] . The maximal scope of the archives has been dated to between 14 hundred and twelve hundred BC, and each of the paperss merely refers to the current twelvemonth [ 31 ] . This makes it highly hard to determine information sing tendencies or forms across the whole of the Mycenaean epoch. It is besides of import to take into consideration that these records represent what can merely be seen as a period of agitation for the Mycenaean civilizations. The twelvemonth before the devastation of the castles would hold likely been far more militaristic than ordinary twenty-four hours to twenty-four hours life. In the tablets we see illustrations of particular commissariats made for this clip of warfare, one such illustration was Bronze Smiths being excused from holding to pay revenue enhancement because they were so busy doing arms [ 32 ] . The tablets from Pylos include records of parts of gold [ 33 ] and specific weights of bronze [ 34 ] from local functionaries ; it could be possible that this was to finance the war attempt. These records may so be giving us imbalanced position of the precedences of the Mycenaeans, and that possibly under less pressing times there is a much smaller focal point on warfare. Since the Linear archives are about wholly made up of stock lists [ 35 ] , it is exceptionally hard to understand either how objects were used or the nature of warfare itself in the Mycenaean universe. This is peculiarly important when you consider that none of the paperss record the being of an existent ground forces [ 36 ] . It seems apparent that although the archives provide us with a great sum of information, they do hold their restrictions. In order to to the full understand Mycenaean warfare it is besides necessary to see the archeological grounds that we have available. For illustration, the castles themselves show grounds of a demand for strong defense mechanisms. The edifice works which took topographic point before their devastation are a clear indicant of readying for besiegings and onslaughts ; in peculiar the debut of H2O supplies [ 37 ] that would let those inside the walls to last, even under a long term besieging. Furthermore the parts in footings weaponry from the archives are much more valuable to us when we use it aboard existent lasting arms and armor. One of the most of import finds was the Dendra armor, a full bronze corselet and neckpiece [ 38 ] which is made from a figure of single sheets of bronze [ 39 ] . Armours of this type were recorded in tablets at both Knossos and Pylos [ 40 ] and the armour type can be clearly recognised by the ideograms themselves. We can besides utilize comparings between archeological grounds and the tablets to follow different types of blade, and by making so it is possible to see some possible alterations in military patterns [ 41 ] . Since the archives consist largely of stock lists it is utile to see these points as represented by the Mycenaeans, in peculiar through art, which gives us the chance to see word pictures of chariots, arms and armor in usage. One such illustration of this is the ‘Silver Siege Ryhton’ from Shaft Grave four, which depicts an onslaught on a walled colony [ 42 ] . What is peculiarly interesting is that this is a seaborne onslaught and so could associate to the tablets naming coastal colonies from Pylos ; it besides shows an bowman [ 43 ] which supports information on arms. Another vas which provides utile information is the ‘Warrior Vase’ from Mycenae, this shows six work forces processing on each side of the vase. The work forces all wear white spotted, horned helmets, and carry lances and shields. They wear cracklings, abruptly fringed skirts and corselets [ 44 ] . The subject of processing soldiers is besides seen on the ‘Painted Grave Stelae’ from Mycenae [ 45 ] . It is possible so to acquire some thought of how the equipment of a soldier would be put together and to see that warfare had a large influence on Mycenaean art. The usage of Sus scrofas tusk helmets is far more emphatic through art than in the archives, for illustration ; in the fresco from Akrotiri which is dated to about 16 hundred BC [ 46 ] , and on a carven tusk alleviation from the house North of the ‘Oil Merchants’ which shows a Mycenaean warrior have oning a Sus scrofas tusk helmet. These illustrations are important because they represent the demand to see the Linear B tablets every bit merely one portion of the image, and non as a exclusive subscriber to our apprehension of Mycenaean warfare. In decision,

10 Tips for the SAT Essay

10 Tips for the SAT Essay 1. Follow the rules.Don’t score a zero for failing to follow instructions. Use the essay paper that is provided. Do not write in your booklet. Do not change the question. Do not use a pen. 2. Divide your time. You will have twenty-five minutes to write your essay. As soon as you begin, make a note of the time and give yourself benchmarks and limits. For example, give yourself five minutes to brainstorm for main points (which will become topic sentences), one minute to come up with a great introduction, two minutes to organize your examples into paragraphs, etc. 3. Take a stance. You will be writing about an issue. Readers judge essays on the depth and complexity of the argument you make (and you will be taking a side), so be sure to show that you understand both sides of the issue you’re writing about. However, you can’t be wishy washy! You will pick one side and explain why it is right. Demonstrate that you understand both sides, but pick one and explain why it is correct. 4. Don’t get hung up if you don’t actually have strong feelings one way or the other on a subject. You don’t have to feel guilty about saying things you don’t really believe. Your task is to show that you can craft a complex argument essay. That means you will have to make specific statements about your position and expound upon your individual points. Just take a side and argue it! 5. Don’t try to change the subject. It may be tempting to change the question to something that is more to your liking. Don’t do that! Readers are instructed to assign a zero score to an essay that doesn’t answer the question provided. If you try to change your question, even slightly, you are taking a risk that the reader will not like your answer. 6. Work with an outline! Use the first few minutes to brainstorm as many thoughts as possible; organize those thoughts into a logical pattern or outline; then write as quickly and neatly as you can. 7. Talk to your reader. Remember that the person scoring your essay is a person and not a machine. As a matter of fact, the reader is a trained educator- and most likely a high school teacher. As you write your essay, imagine that you are talking to your favorite high school teacher. We all have one special teacher who always talks with us and treats us like adults and actually listens to what we have to say. Imagine that you are talking to this teacher as you write your essay. 8. Start with a fabulous or surprising introductory sentence to make a great first impression. Examples:Issue: Should cell phones be banned from school property?First sentence: Ring, ring!Note: You would follow up on this with well-crafted, fact-filled statements. Don’t try too much cute stuff!Issue: Should the school day be extended?First sentence: No matter where you live, the longest period of any school day is the last one. 9. Vary your sentences to show that you have a command of sentence structure. Use complex sentences sometimes, mid-sized sentences sometimes, and two-word sentences a few times to make your writing more interesting. Alsodon’t keep repeating the same point by rewording it several ways. Readers will see right through that. 10. Write neatly. Neatness counts to some degree, in that the reader must be able to read what you’ve written. If your writing is notoriously difficult to read, you should print your essay. Don’t get too hung up on neatness, though. You can still cross out mistakes that you catch as you proofread your work. The essay represents a first draft. Readers will like to see that you did, in fact, proof your work and that you recognized your mistakes. Further reading: How to Write a Descriptive Essay

Things a Service Business Must Get Right Assignment

Things a Service Business Must Get Right - Assignment Example This paper illustrates that the business strategies that are applicable in a commodity market are totally different from those applicable from the service markets, owing to the tangibility of the commodity as opposed to a service. While promoting a product, it is much easier for the customer to inspect and try out the product before making a purchase decision, since the product is tangibly available for inspection. This is different with a service market since the prospective buyer cannot try out a service before he/she purchases it. Thus for a service business to earn good profits, more efforts in strategizing must be applied as opposed to a business dealing in goods. This forms the subject of this Journal Article review, covering a brief summary, critique of the article and offering concluding thoughts. The fundamental reason for choosing this article is the realization that the service industry operates completely different from a commodity market. While some business strategies a re applicable to any form of business whether product or service business, there is some uniqueness in the service industry that calls for applying different strategies. This article is relevant to advance this realization, since it covers four things a service business must get right, in order to survive and succeed. Most of the management tools that have been established over time have specialized in addressing the challenges of the product companies. Although such management tools are of considerable value to managers operating in the service businesses, they fall short of the requirement for effective and efficient management of such businesses to enhance successful growth and profitability. Frei has introduced four main elements that would help see the service business grow towards profitability. These elements, which constitute the new management tool for the service industry, are the design of the offering, employee management, customer management, and the funding mechanism, which collectively forms the service model. To start with, the service offering by any service business should be well designed, tailor-made to meet the desires and the needs of the most attractive customer groups.

Examine a published research report which has been conducted about Essay

Examine a published research report which has been conducted about police management or management in a related field profession - Essay Example Best Value policing is also bringing in a major change in the daily routines of the forces and would need major organizational change management techniques. It is an acknowledged management concept that implementing new ways of working brings instability and uncertainty among workers if not managed well. The legislation required authorities to review all their services over five years and critically examine whether the service is needed in the first place comparing it with other competitive alternatives. Review findings must be published together with improvement actions and targets in an annual performance plan. The legislation deliberately did not provide what mechanisms and techniques are needed to provide best value but left it to local police and fire authorities along with other public service providers to decide ''how best to establish their strengths and weaknesses, how to benchmark; what consultation methods to use; how to produce and carry forward action plans; and so on.'' Early 1999, the home office working group on police performance and best value decided to develop briefing information on best value policing. There was a recognized need to draw on practical experiences in three formal best policing pilots authorities and on preparatory work in some departments the service. Most forces were at differing stages of their preparations, but it was clear that developments were moving at a very fast pace. Though authorities were adopting different methods of implementing best value, at a point, the approaches and preparedness was broadly converging. Authorities were mainly aiming to build on existing structures, systems and cycles rather than creating radical changes in their set ups. All forces were using the business excellence model in varying degrees though, as a self-assessment tool. Most forces were forming teams to oversee daily best value management details. There were signs that police authorities were developing closer working relationships. Despite these developments, there were some emerging concerns and challenges. Some of these were Forces were feeling challenged about