Alexander Popes Essay on Criticism

Alexander Popes Essay on Criticism Free Online Research Papers Alexander Pope’s five tenets of neoclassicism are essentially in his preparation for his most famous work, his Essay on Criticism. For example, â€Å"One science only will one genius fit, so vast is art, so narrow human wit†¦Ã¢â‚¬  (Alexander Pope, Essay on Criticism part I, l. 60). Alexander Pope used a couple of tenets of Classicism in this quote, but he uses all five throughout his poem, Essay on Criticism. In Essay on Criticism, Alexander Pope incorporates the neoclassicism principles such as nature, wit, and genius. Alexander Pope amalgamates nature throughout his Essay on Criticism in various lines to express neoclassicism. According to Albert C. Baugh, Baugh says the in Essay on Criticism pt. 1, â€Å"Pope starts with the view that as poets must by natural endowment have genius, so critics must have taste; that most men ‘have the seeds of judgment in their mind,’ and that this natural taste must be developed by a study of Nature (that is, of the moral system of the universe together with its manifestations) and a study of the ancients and of ancients rules† (843). That means that Pope has that taste that many critics wish they had in their mind. Nature is expressed by Pope as the best guide of judgment, in his Essay on Criticism, in this following stanza, â€Å"First follow Nature, and your judgment frame by her just standard, which is still the same; Unerring Nature, still divinely bright, one clear, unchanged, universal light†¦Ã¢â‚¬  (lines 68-71). So, Pope is sayi ng that Nature is this unchangeable source that people should follow to walk in the right path. Alexander Pope says â€Å"Those rules of old discovered, not devised, are Nature still, but Nature methodized; Nature, like liberty, is but restrained by the same laws which first herself ordained†¦Ã¢â‚¬  (lines 88-91). Pope uses this simile to describe how Nature is very similar to liberty. Harold Bloom explains that â€Å"Everything in the Essay turns on this fundamental idea of Nature, and three main principles underlie Pope’s reasoning: (1) That all sound judgment and true ‘wit’ is founded on the observation of Nature; (2) That false ‘wit’ arises from a disregard of Nature and an excessive affection for the conception of the mind; (3) That the true standard for determining what is ‘natural’ in poetry is to be found in the best works of the ancients†¦Ã¢â‚¬  (1417). According to Edward Niles Hooker, â€Å"A critic must understand wit if he is to talk of literature† (227). The way that Alexander Pope coalesce wit into his work displays that Pope is indeed a poet and also a critic. Harold Bloom explains wit as â€Å"†¦the practice of finding resemblances in objects apparently dissimilar, as it was cultivated throughout the seventeenth century by poets like Donne, Crashaw, Quarles, and Cowley†¦Wit, as we see from the Essay on Criticism, was regarded in the early part of the century as a power object in poetry†¦Ã¢â‚¬  (1417). Pope explains how authors and critics are somewhat alike in this stanza, â€Å"Authors are partial to their wit, ‘tis true, but are not critics to their judgment too?† (lines 17-18). But unlike the last reference, Pope uses this stanza to explicate how searching for wit could lead to more problems, â€Å"In search of wit these lose their common sense, and then turn critics in their own defe nse†¦Ã¢â‚¬  (lines 28-29). Alexander Pope elucidates genius within several lines in his Essay of Criticism. Pope explains in the following stanza that a true taste is hard to find, and that is the same for a true genius, â€Å"’Tis with out judgment as our watches, none go just alike, yet each believes his own. In poets as true genius is bur rare, true taste as seldom is the critic’s share†¦Ã¢â‚¬  (lines 9-12). In the next selected stanza, Pope explains that if you just look for fame then you just be another name, but if you reach your goal or limit its no telling how far you will go, â€Å"But you who seek to give and merit fame, and justly bear a critic’s noble name, be sure yourself and your own reach to know, how far your genius, taste, and learning go†¦Ã¢â‚¬  (lines 46-49). Alexander Pope justifies in this next stanza that only one person with the right wit and imagination can understand what is going on, â€Å"One Where beam of warm imagination play, the memory’ s soft figures melt away. One science only will one genius fit, so vast is art, so narrow human wit†¦Ã¢â‚¬  (lines 58-61). In conclusion, Alexander Pope vindicates how these principles, nature, wit, and genius, were used to express neoclassicism throughout his Essay on Criticism. Research Papers on Alexander Pope's Essay on CriticismMind TravelThe Spring and AutumnComparison: Letter from Birmingham and CritoCapital PunishmentHonest Iagos Truth through DeceptionMarketing of Lifeboy Soap A Unilever ProductThree Concepts of PsychodynamicEffects of Television Violence on ChildrenResearch Process Part OneGenetic Engineering

cryptonym - definition and examples of cryptonym

cryptonym - definition and examples of cryptonym Definition A cryptonym is a word or name thats secretly used to refer to a particular person, place, activity, or thing; a code word or name. A well-known example is Operation Overlord, the cryptonym  for the Allied invasion of German-occupied western Europe during World War II. The term cryptonym is derived from two Greek words meaning hidden and name. See Examples and Observations below. Also see: Name That -nym: A Brief Introduction to Words and NamesPseudonym Examples and Observations Cryptonyms are  often temporary, are known to only a select group of people, and are usually of unrelated or at best covert meaning. Some  cryptonyms are  simply combinations of letters and figures.(Adrian Room,  An Alphabetical Guide to the Language of Name Studies. Scarecrow, 1996)Reinhard was the cryptonym for the German plan to exterminate the Jews of Poland.(MichaÅ‚ Grynberg, Words to Outlive Us: Voices From the Warsaw Ghetto. Macmillan, 2002) White House CryptonymsThe Oval Offices next occupant opted for this moniker [Renegade] after being presented with a list of names beginning with the letter R. As custom dictates, the rest of his familys code names will be alliterative: wife Michelle is known as Renaissance; daughters Malia and Sasha are Radiance and Rosebud, respectively.(Renegade: President-elect Barack Obama. Time magazine, November 2008) CIA CryptonymsThe true identities of  cryptonyms are  among the most precious secrets of the Central Intelligence Agenc y (CIA).- The CIA often used multiple cryptonyms for the same entity to strengthen operational security and maintain compartmentalization of the information.In the CIA nomenclature, cryptonyms always appear in capital letters. The first two letters were used for cryptographic security and were based on factors such as the geography or type of operation.  The rest of  the cryptonym  was a word selected randomly from a dictionary, in principle with no particular relation to the place or person  the cryptonym  was supposed to mask. However, it is not difficult to imagine tongue-in cheek CIA officers picking words like wahoo for Albanian, drink for Greece, credo for Rome, gypsy for communist, roach for Yugoslavia, crown for United Kingdom, steel for Soviet Union, and metal for Washington, D.C.(Albert Lulushi,  Operation Valuable Fiend: The CIAs First Paramilitary Strike Against the Iron Curtain. Arcade, 2014)- Vladimir I. Vetrovwho had the cryptonym FAREWELLreported to Weste rn intelligence services that the Soviets had placed bugs on the printers used by the French intelligence service for communications.(Ronald Kessler, Inside the CIA. Simon Schuster, 1992)- The longtime personal physician of the Castros mother and some of her daughters was a reporting source. Bernardo Milanes, known to  the Agency by  his cryptonym  AMCROAK, was recruited in December 1963 in Madrid. At the time he and others were plotting an assassination attempt against [Fidel] Castro.(Brian Latell,  Castros Secrets: The CIA and Cubas Intelligence Machine. Palgrave Macmillan, 2012)-  The Farm was known officially by the  cryptonym  ISOLATION. The names of places and operations were a special language in the Agency.(Don DeLillo,  Libra. Viking, 1988)-  Flower was the overall top-secret code-name designator given to anti-Qaddafi operations and plans. Only about two dozen officials, including the President and Casey, were given access.Under Flower, Tulip was the code name for a CIA covert operation designed to topple Qaddafi by supporting anti-Qaddafi exile movements.(Bob Woodward, Veil: The Secret Wars of the CIA, 1981-1987. Simon and Schuster, 2005) Pronunciation: KRIP-te-nim

Selection of Global Leadership Assignment Example | Topics and Well Written Essays - 750 words

Selection of Global Leadership - Assignment Example Nevertheless, experts have reacted by instigating broad appraisal concepts covering the obligation to comprehend what is expected from institutional directors, as well as to analyze the mindset along with individual probabilities critical for constructive administration. Though, only minimal basic analysis has been accomplished in the faculty, while a separate recent evaluation in the field has instead opposes most of the reports that were forwarded for the shortage of systematical multiplicity along with logical elasticity. However, generally the appraisal conception is broad and necessitates a lengthy duration to establish as well as to incorporate in the central proficiencies for constructive international direction alongside how to effectually nurture such qualities. Selection practices Among the most dynamic mechanism accessible for global agencies is recruitment; which in the presence of appropriate approach might be the most decisive in appraising latent executive contenders. Even though, integral diversity of an agency as well as the contender could prove to be permanent obstruct during the cross-examination program. Numerous aspects should be weighed when analyzing the ideal mechanism to utilize during a recruitment course, since edifying diversities presents a vast liability in choosing the most predisposed examination practice an agency might adopt to find the most productive workforce. If the company’s resource agent is incompetent of handling cultural diversities imposed by the contenders then the recruitment might definitely result in unconstructive outcome. In such a situation, the foundation would aspire to acquire personnel’s with critical ability to integrate ethical assortments. The interviewee should also be capable of detecting the clandestine distinctions such as eye contact among other individual characters that would represent dissimilar features in separate societies as reported by Mendenhall (2008). According to Edwards ( 2011), numerous models of expression should notably be comprehended for effectual cross-examination program. If recruiting proves to be unfeasible, ethnic understanding entailing various societal coaching concepts might be incorporated to ensure vibrant hiring. Guaranteeing that a recruiter is expansively informed as well as conscious of the duty prior to an interview course should be basic to outlining dynamic staff. Familiarity with the local language can also prove to be an essential device for ensuring an effective interview course. Since the contenders would presume that the agency has no contemplation for the native culture if the executive has not displayed the basic sensitiveness of the surrounding ethnicity and customs. Common variations in linguistics could also result in reflective implication as well as create language obstacles. Over the recruitment course, it might further be extensively constructive to master facts of the interview sessions as well as to be certain th at the contenders have comprehended the relevant inquiries they are to answer (Edwards, 2011). Verifying the scope of hatred that might be apparent between the agency and the immediate contiguous society would also be a prime aspect in outlining an appropriate hiring model. In case there is considerable scope of hatred, then an appraisal model should be adopted to instigate ideal staff for the firm. Assessment might be applied to verify if an aspirant has the precise

Strategic Marketing- Coca Cola Essay Example | Topics and Well Written Essays - 2750 words

Strategic Marketing- Coca Cola - Essay Example Coca-Cola is one of the leading food and beverage country with a geographical reach that extends to over 200 countries around the world. Coca-Cola manufactures, distributes and sells over 3,500 non-alcoholic beverages that range from drinking water to sports drinks. Coca-Cola is world-known for their soft drinks and most popularly its namesake Coca-Cola. The main product that Coca-Cola sells is its carbonated drinks such as Coca-Cola and its different variations that include Diet Coke, Coke with lime, Coca-Cola Blak and Coca-Cola Orange. The Coca-Cola Company began as J.S. Pemberton Medicine Company that sold medicinal products such as Cough syrup and hair dye. Later the co-founder of Coca Cola, Dr. John Pemberton, a pharmacist, discovered the formula for Coke, quite by accident. Soon J. S. Pemberton Medicine Company became Coca-Cola and began to operate as a beverage company. The revolutionary taste of Coke soon became a preferred taste for the consumers and Coke became a symbol of ‘Open Happiness’. The beverage industry is one the most growing industries as consumers’ preference has gradually shifted from drinking water to soft drinks and even to energy drinks. Thus Coca-Cola faces immense competition from other beverage industries, with the top competitors being Dr. Pepper Snapple Group, Inc., Nestl and Pepsico, Inc. (Yahoo Finance, 2011). In this report, we will develop a marketing plan for 2011-2012 for Coca-cola to be presented to the board of directors at Coca-Cola. The marketing plan will discuss the current position of Coca-Cola in the market, using marketing audit that analysis both the micro and macro environment for the company. MARKETING AUDIT MACRO ENVIRONMENT- PESTLE ANALYSIS Political Factors With the growing consumer awareness towards the food and beverage industry, many have become concerned over the power and impact of junk food over the children and teenagers. Coke has been easily termed as junk food that contains empty calories which contribute toward s the number of obese in the world. With the consumer concern growing, governments may be forced to take action against Coke and other junk foods. Since Coke is an international brand, there is always concern over the growing instability in certain countries which has been on the rise in the last few years. Since Coke is originally an American brand, it is impacted by the growing Anti-American sentiment in the Gulf and certain Asian countries. However, with globalization on the increase, Coke can benefit from emerging and developing markets where demand for Coke will increase even higher. Economic Factors The unmarked recession that began after the US war against terrorism has not just impacted America but also the rest of the world. As the recession continues to take hold, the buyer power of the consumers is greatly reduced. Consumers are moving from luxury items to items of necessity and even at that, they are looking for discounts and bargains. The instability and period of near war that is prevalent in many countries including London, also impacting buyer power and preference of the consumer. Also with the escalating oil prices, production and transportation costs have gone up considerably higher which has resulted in increased prices of the product. The same product is now available at higher prices and at a time of recession. However, the advantage for Coca-Cola is that their manufacturing plant is located in every city where they market their product which considerably decreases transportation costs. Socio-Cultural Factors The recent focus on health and nutrition has led consumers to consider buying carbonated and other drinks that negatively impact their health. Thus there has been a decrease in the demand of traditional Coca Cola products, that are carbonated drink, among the consumers especially baby boomers.

Consider Two Contrasting Characters In The Play Essay Example for Free

Consider Two Contrasting Characters In The Play Essay Consider two contrasting characters in the play. How does the playwright convey their personalities and their attitudes to the situation in which they find themselves? The playwright of The Long, the Short and the Tall is Willis Hall and he wrote it in 1959. The play is set in the Malaysian jungle in 1942 during the Second World War. It is about a British scout patrol, which is caught in the unexpected Japanese advance down the Malaysian peninsula. It deals with men from all over Britain, from different backgrounds and cultures, and their relationships with each other. The main issue though, is whether the men are able to kill another human being. It shows their reactions in tense and almost unreal situations. World War Two lasted from 1939 to 1945. It was fought in two places; in Europe against Germany and in the Pacific against Japan. Britain and the USA started fighting against Japan because Japan bombed Pearl Harbour in December 1941, which had docked a whole fleet of American war ships. The British and the Americans didnt expect the Japanese to attack, so they were not able to defend themselves. From here Japan continued to expand into other countries. They quickly conquered South-East Asia. The next thing the Japanese did was to invade Singapore in Malaysia. Again the British were completely unprepared for the attack. All Singapores defences were facing into the sea, never expecting or believing that anybody would come down the peninsula, through the jungle, but this is exactly what the Japanese did. Because no one in Singapore believed that they would be attacked from the land side, all the defences were on the ocean side, to protect against a marine attack. The Japanese were so successful because they had had better training in jungle warfare. They wore light clothing, had light ammunition and made use of bicycles for transport. This meant that they could travel great distances in a relatively short time. There wasnt much hope for the British soldiers, who had little or no training in jungle warfare, they had heavy clothing and ammunition and no suitable transport. Morale in the British army was very low. Most of the soldiers were conscripts who were very cynical about the ability of the generals of the army to direct the army in the right away and also because of the lack of proper training and equipment. This can be seen in the play in the way the characters talk of the radio not working. Damn duff equipment is how Johnstone describes the radio. To the British conscripts the Japanese army seemed invincible, with their incredibly patriotic soldiers who were prepared to die rather than surrender. The Japanese believed in the motto Death before dishonour. They seemed a completely fearless army because of this, which didnt do the morale of the British soldiers much good. The two contrasting characters I have chosen to look at are Bamforth and Johnstone. I have chosen Bamforth because his character changes a great deal throughout the play and his point of view moves to a different angle and I have chosen Johnstone because his character is one of the few ones, which doesnt change much throughout the play. Private C. Bamforth is a conscript into the British army and has been posted over to the Far East to help fight the Japanese. He is from London and is in the lowest possible rank in the army. His position is completely different from Johnstones. His full title is Corporal E. Johnstone. He is two above Bamforth in ranks and is part of the regular army and is not conscripted. This means that is attitude to the army is different. His attitude is much less cynical and he respects authority more, in terms of Mitchem. He is cynical in one part of the play where he becomes exasperated when the radio wont work. Damn duff equipment. The whole damn issues duff. But overall he is much less cynical of the British armys capabilities. On the other side Bamforth is very cynical of the British army in the way he speaks of it. He apparently quotes one of the Generals, Bammo, my old son, the British armys in a desperate situation. The yellow perils about to descend on us Here he is joking about the state of the British army, but he obviously believes it, otherwise he wouldnt be saying it and it wouldnt be funny. Also he makes clear that he isnt prepared to be a hero, I wasnt meant to be a hero he states it clearly and decisively, which shows that he has no doubts about it. Bamforth enjoys making fun of others especially people who cant defend themselves very well like Whitaker and people who are of a certain area such as Wales or Scotland. He tends to generalise about people of a certain area and call them derogatory names. You Scotch haggis!, you Cardiff creep, Youre an ignorant Welsh Taff! He is a really unpleasant character in the beginning and obviously resents authrority; Nit is what he says under his breath at Johnstone. Johnstone is also unpleasant in the way he threatens Bamforth, but as the person watching the play, with no knowledge of how Bamforths character will change, I found that I sympathised with Johnstone and felt glad that he was giving Bamforth what he deserved. Their initial reaction was also very similar, as it was Johnstone who grabbed the prisoner and ordered one of the other men to kill him with their bayonet and Bamforth was the only other soldier who felt able to kill him. He regarded the Japanese soldier as only as important as an animal. Its only the same as carving up a pig. The prisoner was very low in his opinion Johnstone has very little contact with the prisoner; he only has direct contact with the prisoner when he has the argument with Bamforth over whether the prisoner should be allowed any cigarettes. He obviously has strong opinions on what should happen to the prisoner; he thinks it is a bad decision of Mitchems to take the prisoner back as it is too risky. He tries to argue with Mitchem that they should kill the prisoner right then, before it all got out of hand. Get rid of him. Right now Strangely enough, it is Bamforth who befriends the prisoner and talks to him and joke with him. He even begins to regard the prisoner as almost human. Hes almost human this one is!. His opinion of the prisoner has risen from that of animal to almost human. This is because the prisoner showed him his photos of his family. He indicates that he also has a baby, this is probably why Bamforth begins to regard him with more respect. Next Bamforth offers the prisoner a cigarette, but Johnstone knocks the prisoners from his mouth. At once Bamforth demands an explanation from Johnstone. Here he is clearly defending the prisoners rights, but also I think that he argues with Johnstone just because he did something that infringed his rights. Later on when the argument about the prisoners cigarette case begins, the playwright cleverly makes Bamforth leave so that the argument can progress without anyone coming to the prisoners defence. When Bamforth returns the argument reaches a climax; he immediately comes to the prisoners defence. He defends him verbally and helps the prisoner. He tells the others that he gave the prisoner the cigarettes. This may not have been true and I dont think that Johnstone really believed him. He is the one who asks to look at the case before it is returned to the prisoner and he starts another argument about the case. This time Bamforth does not claim to have given it to him, but turns the story back on Johnstone by making Whitaker tell the others how he has a locker full of Japanese souvenirs. He defends the prisoner all the way. This is sign that he has become really attached to the prisoner. By the end when they have to decide whether to kill the prisoner or not, Bamforth has become very attached to the prisoner. He physically stands in-between the prisoner and Johnstone, as can be seen from the stage directions. This is a clear piece of proof that he is now prepared physically protect the prisoner not just argue for him. Its him and me. This shows that he is saying that if they want to kill the prisoner, they will have to kill him too. Also he now expresses freely that he regard the prisoner highly. Hes a man, showing that the prisoner has earned a lot of Bamforths respect. Johnstone on the other hand is the one who is trying to kill the prisoner. Johnstone still thinks they should kill the prisoner and his opinion of him has not risen either, Its a bloody nip From this we can see that he regards him as really low because he says it instead of he and uses the derogatory term of bloody nip. He orders Bamforth out of the way, but he will not move and appeals to each of the men in turn to help him. But each one turns him down, he appeals to Macleish last of all, probably hoping that at least he was going to help him because his brother could be a POW too. But even he does not help Bamforth. He is obviously desperate because he turns to sheer pettiness when each of the men turn him down. I hope they carve your brother up. Get that? I hope they carve your bloody brother up! In the end the decision is made for them as Whitaker shoots the prisoner as he rises, during the fight between Bamforth and Johnstone. The play offers no obvious answers to who was right or what they should have done. It was quite ironic how it is Johnstone left alive at the end who surrenders because it is was he who was prepared to kill their POW, having said this he did not have much choice in the matter. Personally I really dont know what they should have done because it was such a hard decision, but if I had to make a decision I would probably have tried to take the prisoner back to camp rather than hanging around arguing about it. If they had done that they might have had a chance of getting back alive, but as it was they had no hope. With the benefit of hindsight, I can see that Johnstone was right, when he said that they should kill the prisoner in the beginning, when none of them were attached to the prisoner and there would have been no problem. However I dont think I would be able to kill someone in that situation even if I was ordered to.

Emily Brontes Wuthering Heights Essay -- Emily Bronte Wuthering Heigh

Emily Bronte's Wuthering Heights   Ã‚  Ã‚  Ã‚  Ã‚  In "Wuthering Heights," we see tragedies follow one by one, most of which are focused around Heathcliff, the antihero of the novel. After the troubled childhood Heathcliff goes through, he becomes embittered towards the world and loses interest in everything but Catherine Earnshaw –his childhood sweetheart whom he had instantly fallen in love with.—and revenge upon anyone who had tried to keep them apart. The novel begins with a few short introduction chapters which Bronte had most likely used to illustrate how incompetent the character of Lockwood was, and to foreshadow what was to come in later chapters. After these, it begins to immediately demonstrate to the reader the plight of Heathcliff’s childhood and how hard a time he had had of it. The very first time that Heathcliff is mentioned, he is described as â€Å"A dirty, ragged, black-haired child, big enough both to walk and talk†¦Ã¢â‚¬  [Wuthering Heights, Chapter 4] and is referred to as â€Å"It.† Mr. Earnshaw claimed to have found him starving, homeless, and abandoned on his trip to Liverpool. This sounds incredulous to say the least, considering that Mr. Earnshaw had made the trip on several other occasions without bringing back any ‘surprises’, and that the cities of London at the time were practically crawling with Orphans. While it never outright states so within the novel, it appears as if Heathcliff is in fact Mr. Earnshaw’s illegitimate child. If this was the case, it would also p...

Research on the Effects of Media Violence

Whether or not exposure to media violence causes increased levels of aggression and violence in young people is the perennial question of media effects research. Some experts, like University of Michigan professor L. Rowell Huesmann, argue that fifty years of evidence show â€Å"that exposure to media violence causes children to behave more aggressively and affects them as adults years later. Others, like Jonathan Freedman of the University of Toronto, maintain that â€Å"the scientific evidence simply does not show that watching violence either produces violence in people, or desensitizes them to it. † Many Studies, Many Conclusions Andrea Martinez at the University of Ottawa conducted a comprehensive review of the scientific literature for the Canadian Radio-television and Telecommunications Commission (CRTC) in 1994. She concluded that the lack of consensus about media effects reflects three â€Å"grey areas† or constraints contained in the research itself.First, me dia violence is notoriously hard to define and measure. Some experts who track violence in television programming, such as George Gerbner of Temple University, define violence as the act (or threat) of injuring or killing someone, independent of the method used or the surrounding context. Accordingly, Gerber includes cartoon violence in his data-set. But others, such as University of Laval professors Guy Paquette and Jacques de Guise, specifically exclude cartoon violence from their research because of its comical and unrealistic presentation.Second, researchers disagree over the type of relationship the data supports. Some argue that exposure to media violence causes aggression. Others say that the two are associated, but that there is no causal connection. (That both, for instance, may be caused by some third factor. ) And others say the data supports the conclusion that there is no relationship between the two at all. Third, even those who agree that there is a connection between media violence and aggression disagree about how the one effects the other.Some say that the mechanism is a psychological one, rooted in the ways we learn. For example, Huesmann argues that children develop â€Å"cognitive scripts† that guide their own behaviour by imitating the actions of media heroes. As they watch violent shows, children learn to internalize scripts that use violence as an appropriate method of problem-solving. Other researchers argue that it is the physiological effects of media violence that cause aggressive behaviour. Exposure to violent imagery is linked to increased heart rate, faster respiration and higher blood pressure.Some think that this simulated â€Å"fight-or-flight† response predisposes people to act aggressively in the real world. Still others focus on the ways in which media violence primes or cues pre-existing aggressive thoughts and feelings. They argue that an individual’s desire to strike out is justified by media images in which both the hero and the villain use violence to seek revenge, often without consequences. In her final report to the CRTC, Martinez concluded that most studies support â€Å"a positive, though weak, relation between exposure to television violence and aggressive behaviour. Although that relationship cannot be â€Å"confirmed systematically,† she agrees with Dutch researcher Tom Van der Voot who argues that it would be illogical to conclude that â€Å"a phenomenon does not exist simply because it is found at times not to occur, or only to occur under certain circumstances. † What the Researchers Are Saying The lack of consensus about the relationship between media violence and real-world aggression has not impeded ongoing research.Here’s a sampling of conclusions drawn to date, from the various research strands: Research strand: Children who consume high levels of  media violence are more likely to be aggressive in the real world In 1956, researchers to ok to the laboratory to compare the behaviour of 24 children watching TV. Half watched a violent episode of the cartoon Woody Woodpecker, and the other 12 watched the non-violent cartoon The Little Red Hen. During play afterwards, the researchers observed that the children who watched the violent cartoon were much more likely to hit other children and break toys.Six years later, in 1963, professors A. Badura, D. Ross and S. A. Ross studied the effect of exposure to real-world violence, television violence, and cartoon violence. They divided 100 preschool children into four groups. The first group watched a real person shout insults at an inflatable doll while hitting it with a mallet. The second group watched the incident on television. The third watched a cartoon version of the same scene, and the fourth watched nothing. When all the children were later exposed to a frustrating ituation, the first three groups responded with more aggression than the control group. The children who watched the incident on television were just as aggressive as those who had watched the real person use the mallet; and both were more aggressive than those who had only watched the cartoon. Over the years, laboratory experiments such as these have consistently shown that exposure to violence is associated with increased heartbeat, blood pressure and respiration rate, and a greater willingness to administer electric shocks to inflict pain or punishment on others.However, this line of enquiry has been criticized because of its focus on short term results and the artificial nature of the viewing environment. Other scientists have sought to establish a connection between media violence and aggression outside the laboratory. For example, a number of surveys indicate that children and young people who report a preference for violent entertainment also score higher on aggression indexes than those who watch less violent shows. L. Rowell Huesmann reviewed studies conducted in Australia, Fi nland, Poland, Israel, Netherlands and the United States.He reports, â€Å"the child most likely to be aggressive would be the one who (a) watches violent television programs most of the time, (b) believes that these shows portray life just as it is, [and] (c) identifies strongly with the aggressive characters in the shows. † A study conducted by the Kaiser Family Foundation in 2003 found that nearly half (47 per cent) of parents with children between the ages of 4 and 6 report that their children have imitated aggressive behaviours from TV.However, it is interesting to note that children are more likely to mimic positive behaviours — 87 per cent of kids do so. Recent research is exploring the effect of new media on children’s behaviour. Craig Anderson and Brad Bushman of Iowa State University reviewed dozens of studies of video gamers. In 2001, they reported that children and young people who play violent video games, even for short periods, are more likely to behave aggressively in the real world; and that both aggressive and non-aggressive children are negatively affected by playing.In 2003, Craig Anderson and Iowa State University colleague Nicholas Carnagey and Janie Eubanks of the Texas Department of Human Services reported that violent music lyrics increased aggressive thoughts and hostile feelings among 500 college students. They concluded, â€Å"There are now good theoretical and empirical reasons to expect effects of music lyrics on aggressive behavior to be similar to the well-studied effects of exposure to TV and movie violence and the more recent research efforts on violent video games. Research Strand: Children who watch high levels of media violence are at increased risk of aggressive behaviour as adults In 1960, University of Michigan Professor Leonard Eron studied 856 grade three students living in a semi-rural community in Columbia County, New York, and found that the children who watched violent television at home behav ed more aggressively in school. Eron wanted to track the effect of this exposure over the years, so he revisited Columbia County in 1971, when the children who participated in the 1960 study were 19 years of age.He found that boys who watched violent TV when they were eight were more likely to get in trouble with the law as teenagers. When Eron and Huesmann returned to Columbia County in 1982, the subjects were 30 years old. They reported that those participants who had watched more violent TV as eight-year-olds were more likely, as adults, to be convicted of serious crimes, to use violence to discipline their children, and to treat their spouses aggressively. Professor Monroe Lefkowitz published similar findings in 1971.Lefkowitz interviewed a group of eight-year-olds and found that the boys who watched more violent TV were more likely to act aggressively in the real world. When he interviewed the same boys ten years later, he found that the more violence a boy watched at eight, th e more aggressively he would act at age eighteen. Columbia University professor Jeffrey Johnson has found that the effect is not limited to violent shows. Johnson tracked 707 families in upstate New York for 17 years, starting in 1975.In 2002, Johnson reported that children who watched one to three hours of television each day when they were 14 to 16 years old were 60 per cent more likely to be involved in assaults and fights as adults than those who watched less TV. Kansas State University professor John Murray concludes, â€Å"The most plausible interpretation of this pattern of correlations is that early preference for violent television programming and other media is one factor in the production of aggressive and antisocial behavior when the young boy becomes a young man. However, this line of research has attracted a great deal of controversy. Pullitzer Prize-winning author Richard Rhodes has attacked Eron’s work, arguing that his conclusions are based on an insignifica nt amount of data. Rhodes claims that Eron had information about the amount of TV viewed in 1960 for only 3 of the 24 men who committed violent crimes as adults years later. Rhodes concludes that Eron’s work is â€Å"poorly conceived, scientifically inadequate, biased and sloppy if not actually fraudulent research. Guy Cumberbatch, head of the Communications Research Group, a U. K. social policy think tank, has equally harsh words for Johnson’s study. Cumberbatch claims Johnson’s group of 88 under-one-hour TV watchers is â€Å"so small, it's aberrant. † And, as journalist Ben Shouse points out, other critics say that Johnson’s study â€Å"can’t rule out the possibility that television is just a marker for some unmeasured environmental or psychological influence on both aggression and TV habits. Research Strand: The introduction of television into a community leads to an increase in violent behaviour Researchers have also pursued the link b etween media violence and real life aggression by examining communities before and after the introduction of television. In the mid 1970s, University of British Columbia professor Tannis McBeth Williams studied a remote village in British Columbia both before and after television was introduced. She found that two years after TV arrived, violent incidents had increased by 160 per cent.Researchers Gary Granzberg and Jack Steinbring studied three Cree communities in northern Manitoba during the 1970s and early 1980s. They found that four years after television was introduced into one of the communities, the incidence of fist fights and black eyes among the children had increased significantly. Interestingly, several days after an episode of Happy Days aired, in which one character joined a gang called the Red Demons, children in the community created rival gangs, called the Red Demons and the Green Demons, and the conflict between the two seriously disrupted the local school.Universit y of Washington Professor Brandon Centerwall noted that the sharp increase in the murder rate in North America in 1955 occurred eight years after television sets began to enter North American homes. To test his hypothesis that the two were related, he examined the murder rate in South Africa where, prior to 1975, television was banned by the government. He found that twelve years after the ban was lifted, murder rates skyrocketed. University of Toronto Professor Jonathan Freedman has criticized this line of research.He points out that Japanese television has some of the most violent imagery in the world, and yet Japan has a much lower murder rate than other countries, including Canada and the United States, which have comparatively less violence on TV. Research Strand: Media violence stimulates fear in some children A number of studies have reported that watching media violence frightens young children, and that the effects of this may be long lasting. In 1998, Professors Singer, Sl ovak, Frierson and York surveyed 2,000 Ohio students in grades three through eight.They report that the incidences of psychological trauma (including anxiety, depression and post-traumatic stress) increased in proportion to the number of hours of television watched each day. A 1999 survey of 500 Rhode Island parents led by Brown University professor Judith Owens revealed that the presence of a television in a child’s bedroom makes it more likely that the child will suffer from sleep disturbances. Nine per cent of all the parents surveyed reported that their children have nightmares because of a television show at least once a week.Tom Van der Voort studied 314 children aged nine through twelve in 1986. He found that although children can easily distinguish cartoons, westerns and spy thrillers from reality, they often confuse realistic programmes with the real world. When they are unable to integrate the violence in these shows because they can’t follow the plot, they a re much more likely to become anxious. This is particularly problematic because the children reported that they prefer realistic programmes, which they equate with fun and excitement.And, as Jacques de Guise reported in 2002, the younger the child, the less likely he or she will be able to identify violent content as violence. In 1999, Professors Joanne Cantor and K. Harrison studied 138 university students, and found that memories of frightening media images continued to disturb a significant number of participants years later. Over 90 per cent reported they continued to experience fright effects from images they viewed as children, ranging from sleep disturbances to steadfast avoidance of certain situations.Research Strand: Media violence desensitizes people to real violence A number of studies in the 1970’s showed that people who are repeatedly exposed to media violence tend to be less disturbed when they witness real world violence, and have less sympathy for its victims. For example, Professors V. B. Cline, R. G. Croft, and S. Courrier studied young boys over a two-year period. In 1973, they reported that boys who watch more than 25 hours of television per week are significantly less likely to be aroused by real world violence than those boys who watch 4 hours or less per week.When researchers Fred Molitor and Ken Hirsch revisited this line of investigation in 1994, their work confirmed that children are more likely to tolerate aggressive behaviour in the real world if they first watch TV shows or films that contain violent content. Research Strand: People who watch a lot of media violence tend to believe that the world is more dangerous than it is in reality George Gerbner has conducted the longest running study of television violence. His seminal research suggests that heavy TV viewers tend to perceive the world in ways that are consistent with the images on TV.As viewers’ perceptions of the world come to conform with the depictions they s ee on TV, they become more passive, more anxious, and more fearful. Gerbner calls this the â€Å"Mean World Syndrome. † Gerbner’s research found that those who watch greater amounts of television are more likely to: * overestimate their risk of being victimized by crime * believe their neighbourhoods are unsafe * believe â€Å"fear of crime is a very serious personal problem† * assume the crime rate is increasing, even when it is not Andre Gosselin, Jacques de Guise and Guy Paquette decided to test Gerbner’s theory in the Canadian context in 1997.They surveyed 360 university students, and found that heavy television viewers are more likely to believe the world is a more dangerous place. However, they also found heavy viewers are not more likely to actually feel more fearful. Research Strand: Family attitudes to violent content are more important than the images themselves A number of studies suggest that media is only one of a number of variables that put children at risk of aggressive behaviour.For example, a Norwegian study that included 20 at-risk teenaged boys found that the lack of parental rules regulating what the boys watched was a more significant predictor of aggressive behaviour than the amount of media violence they watched. It also indicated that exposure to real world violence, together with exposure to media violence, created an â€Å"overload† of violent events. Boys who experienced this overload were more likely to use violent media images to create and consolidate their identities as members of an anti-social and marginalized group.On the other hand, researchers report that parental attitudes towards media violence can mitigate the impact it has on children. Huesmann and Bacharach conclude, â€Å"Family attitudes and social class are stronger determinants of attitudes toward aggression than is the amount of exposure to TV, which is nevertheless a significant but weaker predictor. † Undoubtedly that th e media has an effect on our lives. The debate that rages is whether or not the media has a negative and discernible effect on us as human beings. How much does the media effect out actions, our houghts, our decisions and, in general, our lives? We live in a society which praises individuality and freedom, and therefore to most people it is a scary thought that an outside source, such as the media, has such a large effect on our lives, and therefore it is no surprise that most people do not believe that the media has a strong effect on them. But when it comes to children, the debate becomes more personal. It is common knowledge that children are very impressionable, and that the people they meet, their parents, and teachers can have a huge impact in the lives of Children.I myself can attribute much of my current interests and behavior to the effect my parents had on my when I was a child. Today, though, many children are in poor families (the child poverty rate in America is now aro und 35%), and, as a result, many children often do not have parents that reside at home. Often both parents work long hours, and the children have nothing else to occupy their time except for the media, especially television media. How does what the child sees on TV effect his or her behavior?The real question that faces society is does the increasing amount of violence and sex on TV effect children? My personal opinion is that violence and sex in the media greatly effects a child's development. The amount of sex and violence on TV today dwarfs what was on when I was little. Does a day not pass when their is a story about a child killing another child, or an even younger girl becoming pregnant? When I go an elementary or middle school I am shocked at the types of clothing that the children wear, and the way that they talk and act.Even elementary school children know about things that I did not learn about till I was in High School, and in my opinion things they should not know ab Ki ndergarten teachers in many school across the country, often in poor immigrant neighborhoods, no longer get to deal with innocent, wide eyed six year olds, but instead have to become conflict resolvers between children who see violence and intimidation as the only way to solve any problems. Teachers and Parents cannot compete with television.A study by the Mediascope Institute found that many children have already, by age six, spent more time watching TV than time they will spend talking to their fathers in their entire lifetime. Dean Geoffrey Cowan spoke in class about how the media does not effect everyone uniformly. He said that the effects of violence in the media may be stronger on some individuals than others, but that this effect is still significant. I agree with Dean Cowan, and I want to add that this effect is stronger in younger children than in any other age group.Many students in the class did not seem to believe that the media had a very strong effect on their lives an d as a result seem to assume that this effect is uniformly weak, and unfortunately I believe that it is thinking like that is making it so difficult for us as a society to tackle this problem. Studies have shown that the effect of violence in the media on children can be small, leading to more violent behavior in maybe 15% of children. But other studies have shown that this effect can be greater when children are â€Å"raised by the media†.It is hard to say whether a certain child will become more violent or aggressive due to the media, and I believe that other factors contribute to violence in children, such as problems at home, the influence of peers, or lack of a positive source of morals. But as a society we need to make sure that there are options for children in the media so that they do not have to exposed to so much mature content, and I believe that currently the protections in place are terribly inadequate. The effects of our modern media on our children is somethin g that we will not truly know for many years, if ever.History might give us a clue – the parallels between the advent of todays new media and the advent of books show that we could be in for a paradigm societal change. But no other media absorbed ones life in such a passive, complacent way as television and the Internet do to thousands of children. More research needs to be done in this field, but I believe that it is self apparent to everyone that the media does have a large impact on our lives. We determine our identity in relation to the media – our favorite television show, favorite band, favorite book, all are determined by the media to some extent.Ideally, as adults we would learn the skills to discern the effect of media on our lives and learn to control and to resist its temptations. Unfortunately most children and too many adults have not learn these skills. Everyone agrees that in today’s society, television has a significant impact on us all. How it a ffects children is of primary concern, as it is in childhood that we are given the tools we need to become successful, respectful citizens as adults. How exactly does television impact childhood, and what should we do to ensure that that impact is a positive one?Television is one of the first ways in which children learn about gender roles and stereotypes. Although family and peer groups also teach these roles, it is through television that children are inundated with the sex roles and stereotypes that reflect the ideas of a handful of people in charge of creating and programming this medium. Although these portrayals have broadened in the last ten or so years to include more diversity in gender stereotyping, there are still many television icons that denote negative gender images, such as the Bratz.Bratz are a Saturday morning cartoon and a glut of heavily marketed toys and clothing products that represent tweens and early teens as overly sexualized independent young women with att itude. Although I admire the strength and empowerment they embody, I am also incredibly concerned with the revealing clothing, heavy makeup, and defensive postures the characters all seem to take. I can’t help but wonder what a ten-year-old watching these girls would take away as being the feminine traits that they represent.Will she want to identify with the strength and independence or with the heavy-handed sexuality that she sees? Add to that television’s fascination with glamorous girl icons such as Brittney Spears and Paris Hilton, and what are young girls supposed to believe about being a girl? Boys likewise have macho images to imitate—superheroes and wrestlers and sports heroes. What does that teach them about being male? How does the repetition of these images teach boys how to respect others, cooperate, and engage with those around them?These problems with television’s sex and gender stereotypes can only make it more difficult for these children to develop socially and emotionally. Being taught these gender stereotypes may make it almost impossible for some children to break out of those roles and become comfortable with all their traits and individualities. If a boy is taught by television that men are always strong, what does he do with his own characteristics that defy that stereotype—does he continue to build his nurturing qualities or quash them in an effort to fit in?Do children learn that relationships only work when both people are behaving according to television’s ideas of their gender stereotypes, or do children learn to accept and respect people along the entire continuum of gender traits? If children are lost in this quagmire of conflicting information about who they should be and how they should act, clearly they will not be able to develop the strong self-esteem they need to be successful, either at school or in relationships. There is a strong bond between all three of these developmental area s.There are lots of arguments made that television is a bane to the moral development of children. Violent television, especially, has been examined in over 1000 studies and reviews, and has been found guilty on the charges of increasing fear and aggression in children who watch too much violent. However, in many shows and in children’s programming especially, morality is key, with the entire story line being written around one character’s moral dilemma and the healthy resolution of that dilemma, offering children a way to see how morality works in action in ways that apply to their lives.Cognitively, there is some ambiguity of the impact of television. There is the argument that television is responsible for the â€Å"dumbing down† of America, that television is responsible for shutting down our brains and acting as a tranquilizer. But there are also a great many good educational and instructional shows that teach children interactively in ways that books simpl y cannot, and a perceptive look at television programs today verses those created twenty years ago reveals that shows have actually gotten more complex, with layers of storytelling and subtle nuances that audiences have to work harder to comprehend.Clearly, television is a powerful tool that can alter a child’s ideas about the world. How those ideas change and how the child changes in response demonstrate how the tool was used. Television can be detrimental to childhood; in fact, too much television watching is strongly correlated with childhood obesity. The time spent in front of the television could often be better spent in other ways—with friends, actively playing, or doing homework—and this often has negative consequences for the child, such as poor relationships or worse performance in school content. However, television watching can also be productive for children.Television can offer children the chance to see other parts of the world and other cultures w ithout having to leave home. Children’s educational programs and documentaries can teach them about animals, science, math, reading—just about any subject the child has an interest in. The key to making the time spent watching television rewarding is the manner in which it is done. If parents take the time to choose carefully the programs they want their children to watch, and then sit down and watch the show with them, asking questions to promote understanding, then that time is highly beneficial for the child.However, if parents don’t take the time to choose the child’s programs and just sit Junior down and let the television act as babysitter, then the time spent watching television will not only probably not teach that child new things, but he will also not be participating in the powerful social interaction he craves. In a 2001 article in The Nation, author Maggie Cutler makes the point that although television viewing is a rite of passage for Americ an kids today, parents need to remember â€Å"the rule of the real†: that real life is always more powerful. A real conversation is always better for children than watching one on television.Parents don’t need to go to the extreme of keeping their children from watching television completely; they just have to keep in mind moderation and attention is best. For parents, the question of whether or not to let a child watch television is like the question of whether or not to let a child eat at McDonald’s. There are potentially good and bad effects of each, and both decisions weigh on a child’s health. A cheeseburger and fries every once in awhile won’t do any lasting damage; nor will an hour of cartoons just for entertainment every now and then.However, a menu with little more than that will cause grave damage to a child’s development physically, emotionally, cognitively, and socially. Negative Impact of Television on Children something with pl ay – dough. Since there is no scope for imaginative games in the lives of busy parents television seems to be the most inexpensive way of filling the gap and playing the role of an ideal baby sitter. Watching WWF fights, is on the other hand watching a show full of thumps, knocks, hurting an opponent, and jumping on senselessly. This program clearly sends out the message that ‘fighting is fun'.If children are constantly brought up in front of a television then reading habits are not instilled in them, and they are not encouraged to participate in outdoor activities. Only the world of television is their own private world. Of course when television replaces human companionship there is also a good chance of the child being influenced by it. Young children cannot process the information which they are imparted by the television, same way as adults. They think that whatever they are watching is true and this may lead to the corruption of their minds if too much violence is viewed by them.Parents should take strict action so they can limit the negative impact of television as much as possible. They should set rules as to what should be watched and what should be avoided. Alternative to television should be provided, for example if a parent starts spending more time with the child, reads books with him or her, indulge in creative games and indoor crafts, there is every possibility that the child will start shunning television for the better means of entertainment provided. To end it, I say that parents attitude towards the children acts as the building block of their futures.

In 1485 – 1603 to what extent was the government of England dysfunctional in the mid-Tudor period?

In the context of the years 1485 to 1603 to what extent was the government of England dysfunctional in the mid-Tudor period? During the Tudor Dynasty it is easily thought that the years between 1547 and 1558 were ones of crisis. With the succession of a child and the first woman within England, people have assumed that the years between Henry VIII and Elizabeth I were an unproductive interlude. The mid Tudor period is seen as negative years within the Tudor Dynasty.It is regarded that Henry VIII and Elizabeth I’s reputations were a factor in why historians such as A.F Pollard and S T Bindoff supported the ‘Mid Tudor Crisis’ . The ‘two little Tudors’, referring to Edward and Mary, seemed colourless in comparison to their surrounding successors, so much so that A Pollard says â€Å"Edward was portrayed as a sickly boy who, throughout his reign, was the pawn of two ‘regents’† while Mary was seen as an ‘intolerant, dogmatic and n eurotic woman who failed to produce an heir’ .Therefore it could be seen that people believed the years of crisis were at their most dysfunctional between the years 1547-1558. W R D Jones argued that Edward and Mary’s reigns were a period of religious disruption, large scale disorder and rebellion alongside the inefficiency and sterility in government and administration, social and economic problems and disastrous foreign policy. This supports the description of the mid-Tudor period being dysfunctional. However there could be influence from the 16th Century writers such as John Foxe who was author to ‘Book of Martyrs’, which was written just after Marys death and depicted her as a monster. Foxe was responsible for a lasting picture of Mary as it fitted prejudices of a confident.Under these circumstances it was not surprising that the period 1547 – 1558 were marked by disasters. However historians such as David Loades, Jennifer Loach and Robert Tittl er stress that there was much creativity in the period. Government under Duke of Northumberland and Mary continued to be effective; also there was continuity in religious beliefs and some foreign policy successes. There were problems within Edward and Marys reigns that were also found in times of Henry VIII and Elizabeth’s for example Pilgrimage of Grace in 1536, Spanish Armada in 1588 and social and economic problems in late 1590’s matched those in 1540’s.Therefore the significance of Edward’s and Mary’s reign was what did not happen rather than what did in supporting that their reigns were the least dysfunctional in England. But in order to gain an understanding of whether or not there was a â€Å"Mid-Tudor† crisis in this period, it is important to compare and contrast other periods of the Tudor dynasty. Some revisionist historians argue that certain areas of Henry VII’s reign, 1485-1509, involved a â€Å"crisis†, for exampl e the Pretenders of Lambert Simnel and Perkin Warbeck.Also the death of the next heir to the throne, Arthur Tudor, in 1502, Elizabeth I and the Pilgrimage of Grace, 1536, the greatest rebellion that threatened England during the reign of Henry VIII, which would have caused the monarchy more concern then the alleged Mid-Tudor crisis . Above all this however, was the Spanish Armada in 1588 during the reign of Elizabeth I. The Spanish Armada threatened national security. Revisionist views of this period have already questioned the presence of a dysfunctional government during the reigns of the Mid-Tudors. Historians such as S. J Lee and D.Loades argue that other parts of the Tudor regime were crisis ridden and that the Mid-Tudor period was relatively stable in comparison. When it came to foreign policy, Henry VII was far less extravagant than his son. Henry’s greatest achievement in foreign policy was possibly his alliance with the Catholic monarchs and the Treaty of Medina del Campo in 1489. After his policy successes he suffered a defeat in Brittany which was a low point for the King’s foreign policy. His main weaknesses in his foreign policy were not helped by the successive losses of his family members, firstly his son Arthur in 1502 and then his wife Elizabeth in 1503.He then failed to re-marry and achieve stronger diplomatic relations outside of England following the death of Elizabeth creating a weak government in England. Also the death of Isabella of Castile was another problem for Henry as he would have Ferdinand as his rival instead of an ally over territorial gains in Europe and in the New World. The later years of Henrys foreign policy were definitely his most challenging and difficult period of foreign affairs allowing the government to be weak and therefore vulnerable to a crisis.His son, Henry VIII was a commanding figure who immediately set about wanting to gain respect and authority in Europe. Henry VIII’s foreign policy can be divided into two separate periods of time in which he went to war. The first period was at the beginning of his reign, in 1509-1515, Henry enforced a policy of aggressive and glorious warfare, this policy allowed invasions to occur within in France and Scotland. He was victorious within both invasions however it was an expensive policy to initiate.The second time period was during the years 1540-1547, this is when Henry, yet again, wanted more glory and domination over foreign affairs. This period of foreign policy was extremely expensive and came at a great financial cost. The gaining of Boulogne and loss of military personnel, costing ? 2,144,765, achieved nothing greater than personal glory for Henry showing his reign as one of dysfunction. The disastrous warfare policy in France and Scotland left Henry’s son Edward with little in the treasury and no financial platform to build upon as well as weak alliances with these countries.Therefore Henry VIII weakened the govern ment for his sons reign which could have created a crisis, this supports that the mid-Tudor period was highly influenced by previous successors allowing any dysfunction to be partially blamed outside the years 1547-1558. So when the death of Henry VIII occurred, the throne was left to his child Edward VI in 1547 with England’s financial stability and foreign relation being left in a poor condition with uncertainty on whether it will recover. As Edward was a minor, his two Lord Protectors, firstly the Duke of Somerset and later Northumberland advised Edward with his decisions.Somerset’s administration was faced with rebellions and uprisings in 1549. The rebellions were part of a mixture of religious and social upheaval. Kett’s rebellion in Norfolk, suffered particularly seriously from the enclosure laws . They were not, however, a threat to the ruling dynasty in the way the Pretenders were to Henry VII. With Lord Somerset ruling at the beginning of Edwards reign, England yet again was at war with Scotland; however this time was without royal approval. Somerset funded his efforts against Scotland with money from the debased coinage.It is possible to say that Somerset allowed the foreign policy to dominate over other royal problems, especially the king’s finances, which he lost all control of . The economy within England suffered from inflation after the debasement of the coinage. This was mostly seen in England's wool and cloth exports as they collapsed in 1551, mainly because of prices rising. In 1552, an Act was passed regulating the manufacture of wool to try and encourage trade . The inflationary pressures increased due to a poor harvest in 1548.This led to unrest within the country that then provoked uprisings the following year in Cornwall and Devon . To some historians, it can be viewed that Somerset’s ruling was as if he was the King. This was thought due to Somerset treating Edward as a child and not respecting the Kin g’s authority. The lack of respect and underestimation of Edwards authority ultimately led to Somerset’s death. Due to the rebellions, this period under the ruling of Somerset it would be seen to be leading towards a crisis.The situation was rescued and turned around by the more pragmatic approach of Somerset’s successor, the Duke of Northumberland. Once Edward replaced Somerset and appointed Northumberland as his new protector, Northumberland faced the task of restoring the Crown’s finances. To do this, the expenditure would be reduced to fund the campaigns in France and Scotland. Northumberland entrusted Cecil with reorganising the Crown’s finances. This was seen as an achievement as Cecil managed to gain extra revenue out of the Church.Edward’s protectors Somerset and Northumberland had different ways of ruling. Somerset continued to debase the coinage and spend large amounts of money on placing troops in Scotland and going to war with Fr ance as if the king’s money was limitless. Northumberland on the other hand, helped by Walter Mildmay, the Treasurer, reorganised the governments finances which involved the stopping of debasement and pulling England out of conflicts with France and Scotland. This progress continued in to Mary I reign and then without Mary I, Elizabeth could never have completed the process of recoinage.This is argued in Michael Hutchings article: â€Å"Elizabeth’s government could never have tackled the coinage problem so swiftly had the ground not been prepared† . This allows Edward and Marys reigns to show great improvement and only positive progress regarding finance, therefore turning away from the period being a ‘crisis’. But the greatest action of the Duke of Northumberland’s financial success as Edward’s protector was to put an immediate end to the disastrous foreign wars in Scotland and France, wars which Somerset had financed .Northumberland had gained his funds by signing the Treaty of Boulogne in 1550 this stopped the expenditure flow out of Boulogne. Despite much criticism, Northumberland’s actions in foreign policy were positive due to England gaining financially, a profit of ?133,333 which was received from the French. Even though a truce was decided, there was still a constant threat from the Scots and French to the English security . J. Guy states that Northumberland’s success in foreign policy was due to ending Somerset’s wars . This is because Northumberland had recognised that foreign affairs should not be mixed into a domestic policy, which is something which Somerset failed to understand and led England towards a financial crisis.Edward’s full authority and respect as King is hard to assess, mainly because of his short reign as King and the fact that he had two Protectors at his side constantly. It is well known that Edward was an intellectual and had a strong grasp on how the gov ernment and court functioned due to being well educated and taught about ruling from an early age. But Edward’s death occurred too early to tell if he would have made a successful king.In theory it is thought that he had the skills and knowledge to rule England successfully. In David Starkey’s documentary about the reigns of Edward and Mary, it was said that Edward was â€Å"not a puppet King† and that he made decisions in court due to his knowledge of the government . Edward was naturally studious, intelligent and a devout Protestant. Apparently he was always self-disciplined and gained advanced knowledge of government, economics and the nobility from an early age due to his Father, Henry VIII, relying on his male heir to be his successor.Edward made decisions in his own interests, for example the disposal of Somerset. The King showed a lack of emotion and was described as â€Å"mature and driven† which was a combination of qualities from his two previou s successors. This does not support the belief of the mid-Tudor period being dysfunctional due to the qualities of Edward being a strong combination of the positive and successful qualities of the previous reigns, showing a solid base of a successful reign. After the death of the boy King Edward, for the first time a woman gained the throne of England.Mary’s initial concern before her rise to the throne was marriage and producing an heir for her reformed Catholic society. Foreign policy was not high on Mary’s list of priorities. Therefore the preference of gaining a foreign husband in Philip II of Spain allowed an Anglo-Spanish alliance against European rivals and gained Mary a husband. But her aim to gain a foreign husband was not welcomed by the English people as many felt that a male foreign ruler would take the control of England from the authority of Mary.This led the marriage to result in immediate discontent which brought uprisings in the country. The most threa tening rebellion was Wyatt’s Rebellion in 1554. The Wyatt rebellion arguably was the greatest threat to Mary’s reign. The social unrest brought into England, due to high unemployment figures was evident as many chose not recognise a foreign ruler in an English government. Although it represented a real threat to Mary the uprising never had the backing or strength to take over and control Mary so the possibility of a crisis was avoided.One of Mary’s greatest achievements economically, however, was her government’s plans for recoinage. Even though the completion of the recoinage took place after her death in Elizabeth’s reign, according to C. E. Challis ‘Elizabeth could never have tackled the problem of the coinage either as quickly or as effectively as she did had it not been so thoroughly aired amongst government officials in the immediately preceding years’ . This supports the purpose of Marys reign and shows that her reign was not an unproductive interlude before Elizabeth’s reign.David Loades supports the positive view towards Mary. He states that â€Å"she succeeded in enforcing her will over three major matters: her marriage, the return to Rome and the declaration of war† . In M. Hutchings article of Mary Tudor, he makes the statement that â€Å"Mary gave financial stability†¦ countered unemployment and social problems. Above all, simply by establishing her own claim to the throne and maintaining it, Mary re-established the legitimacy of the Tudor succession† . The Succession of Elizabeth I after Mary I as Queen of England occurred in 1558.The reputation of Elizabeth I is of high standard and she is considered as good as English monarch as some of the male rulers. The foundations of this reputation were found in the impressive nature of the Elizabethan court, the development of the English culture, the defeat of the Spanish Armada and her successful re-creation of the Church of Engl and following the death of the Catholic Mary I . However, during Elizabeth’s reign as Queen was full of revolts and uprisings. These included key revolts the Northern Earls revolt in 1569, The Ridolfi plot of 1571 and the Babington plot of 1586 which aimed to remover Elizabeth from the throne.The plots were due to the social, economic and religious unrest within England. The rise in population and vagrancy were issues in which Elizabeth had to contend with. Therefore these revolts do not portray a Queen who did not face crises throughout her long reign and also display more serious displays of dysfunction than that of the mid-Tudor period. During Elizabeth’s reign the Spanish Armada and social discontent was much more of a threat to the English crown than any other rebellion or foreign policy with the other monarchs in the Mid-Tudor period.The real possibility of invasion from a foreign force was more of a threat than any other rebellion during the reigns of Edward VI and Mary I but due to their successful reigns this was avoided. This is the Armada Portrait which was taken after her victory against the Spanish Armada. It depicts Elizabeth as the gloriana figure in her country. The picture portrays a stormy, defeatist view of the Spanish loss against the English navy with the picture showing light shaded sky, calm and steady water and the English navy in the foreground on the left side.On the right of the picture is the defeated Spanish Armada. However what dominates the picture is Elizabeth herself. The portrait displays Elizabeth in all her glory, with her flame red hair and whitened face . Her dress and jewels show her power as well as beauty. The portrait captures Elizabeth as a very beacon of defiance which suggests that her reign was one of no dysfunction but as one of many successes and victory, however due to much propaganda within the era this could be an unfair representation of Elizabeth’s reign.This portrait is named the Rainbo w portrait and Elizabeth is displayed in a light tone again. The crown symbolises her royalty and her clothes suggest that her royal magnificence and aura over the English people is maintained due to their extravagance. Elizabeth is holding a rainbow in her right hand. The rainbow symbolizes peace, and the inscription reminds viewers that only the queen's wisdom can ensure peace and prosperity . This could suggest that she is an idol to her people for showing defiance in the tough periods of the 1590s when poverty was rife and harvests failed in England.The snake on her left arm also denotes the wisdom of the Queen. The whole portrait is one of a warning to those who oppose Elizabeth. At the time of this portrait, Elizabeth was 60 years of age, the light shades of the portrait show the Queen as a youthful and a beautiful figure who is in control of her country. In the rainbow portrait, Elizabeth is ageless . All this is powerful propaganda and shaped people’s opinions and vie ws of her, this suggests that she needed to create a false view of herself in order to make up for the dysfunction during her reign.During the years 1485 to 1603 it is certain that financially they were extremely unstable in many different moments during the reigns of each monarch. Henry VII was the only monarch that kept control of his money and died with money left to pass down, this is the main reason as to why Henry VII is regarded as a successful King. However the enclosure issue and the Cornish rebellion threatened to drain him financially. So at the end of his reign, Henry’s popularity suffered greatly but despite this, Henry VII was able to provide his son with a large treasury to start him off as King.Henry VIII however failed to follow in his father’s footsteps. Even though Henry VIII did gain financially through the Break with Rome and the Dissolution of the Monasteries in 1536, within his second period of â€Å"aggressive and glorious† warfare he use d all his money to go to war which left him with nothing financially. Even though during the next two reigns social unrest and major propaganda took hold, Mary in particular was effective in controlling the masses with her councillors and effective revenue and recoinage reforms.Also Edward was able to manipulate his two Lord Protectors despite being a minor; he had very good intellectual knowledge of the process of government and had the power to implement his policy into the country. The governments of the two monarchs were kept intact and were not as faction-ridden as Henry VIII’s final years as King. The Mid-Tudors if anything strengthened the finances of the government; stabilized the government and increased the diplomatic skills of the monarchy.The most significant part of the reigns is what didn’t occur as there was no breakdown in parliament, no overhaul of Royal Supremacy, no foreign invasion and no civil wars. Historians such as S. J Lee and D. Loades have pr esented the question of â€Å"Was there a Mid-Tudor crisis? † They reviewed the Mid Tudor period and allowed an argument to support Mary’s and Edwards reigns as the opposite of a crisis. Therefore I believe that the â€Å"Mid-Tudor crisis† is an over-exaggeration to describe the period of Edward and Mary.Even though there were a number of personal crises to test the Mid-Tudor monarchs such as being a child and the first woman on the throne, but nothing that threatened the public order, government and security. This is in comparison to other events during the period of 1485-1603, the Pilgrimage of Grace in 1536 threatened national security more than Wyatt’s rebellion of 1554. The pretenders to Henry VII’s throne, Lambert Simnel and Perkin Warbeck threatened to de-stabilize a Tudor regime that had only just begun following the Wars of the Roses in the 15th Century.And Elizabeth was not the â€Å"golden monarch† that she was portrayed as follow ing the succession crisis of 1603. The conclusion is that the Mid-Tudors have been unfairly criticized during their reigns due to the way in which they were depicted by their people and historian commentators, such as John Foxe, and it was until recently revisionist historians started to review the events of the Mid-Tudor period presenting an argument against the time period being a ‘crisis’ but as one of tests and tribulations that were all over come, showing a period of an effective government of England.

Animals and Fertilized Embryo Transfer essays

Animals and Fertilized Embryo Transfer essays Embryo transfer is the process of taking fertilized embryos from one animal and inserting them into another. This is very useful today in cattle because now it is economically feasible and it allows the producer a greater number of offspring from one cow with desirable traits. The process normally starts by artificially inseminating the cow. Exactly seven days later, the uterus is flushed, and the embryos and ova. Next, the embryos will be isolated. The embryos are then inserted into the recipient cow. Artificially inseminating the cow is the preferred way to fertilize the eggs in the donor cow. The cow should be inseminated at least three times at intervals of twelve hours, to insure fertilization. In preparation for AI, a shot of FSH (Follicle Stimulating Hormone) should be given to the cow to super-ovulate her. This causes more eggs to drop from the ovaries, allowing more embryos. Seven days after the cow is inseminated the third time, her uterus should be flushed. Before flushing the cow, her posterior should be cleaned up as much as possible. After this is complete, an instrument known as the "introducer" is inserted into the vagina. The instrument is much like a long syringe with a plunger going through the center. The vet then will push his hand through the anus and guide the introducer along the cervix. The instrument is pushed through the cervix and into the uterus. Once it reaches the uterus, the plunger is pulled out, and a catheter is inserted into the uterus, against the uterine horn, through the center of the introducer. The "cuff," a small balloon type object, is inflated in the cow's uterus, and a sodium based phosphate is released for lubrication. It is then pumped back through the introducer, and filtered by an embryo filter. The liquid caught by the filter is then examined to determine the number of good embryos. At this stage, the sex can even be determined. They are graded, then placed in straws or frozen for l...

Story Structure 3 Main Templates for Structuring an Unforgettable Story

Story Structure 3 Main Templates for Structuring an Unforgettable Story Story Structure: 3 Main Templates for Structuring an Unforgettable Story Your story structure does matter.Not only was Rome not built in a day, but it also wasn’t built without a plan. London was built without a plan.Hit some Google maps and look at an aerial view of both cities. You will see the difference.And your readers will definitely see the difference if your book doesnt have a cohesive structureand they will not be back for more.The three main types of story structure well cover are:3 Act StructureHeros JourneyThe 5 MilestonesNOTE: If you want a coach to help you plan out your story structure, check out our VIP Fiction Self-Publishing Program for that, and so much more. Learn more about it hereWhat is story structure?There are a few main types of story structure but overall, the structure of your story is how the events are laid out with an emphasis on using each part to further the story in an intriguing and cohesive structure.Structure, suffice it to say, is important. The structure makes all the difference in creating a narrative that is poignant and satisfying. More importantly, structure helps you, as the writer, keep track of all the events so that characters and story elements don’t fall through the cracks.Keeping track of story elements makes writing a lot easier. Like following a recipe, it keeps you from leaving out important bits or putting in too much of others. Even simple stories contain numerous smaller nuances that, when forgotten, lead to disaster.Watch any B movie from the 80s and you can see places where the editor, the script, and the director all lost the plotdont allow that when writing a novel yourself.Furthermore, readers expect certain structures within story. They have an emotional attachment to certain pacing. They start to feel anxious if an element they are expecting hasn’t yet occurred, or never occurs.Depending on the book genre, manipulating these expectations is a part of the style.If you want to keep track of all of this, weve put together all three of these methods into story structure templates for you.To gain access to all three, fill out the form below: Why focus on the structure of a story?Much like the streets of Rome, you want your story to get somewhere.You might enjoy meandering through London’s sprawling game trails turned roadways, but you want to get somewhere eventually.That is why a story structure serves as a map to guide you, the characters, and the reader to an eventual, and hopefully rewarding, destination. Some of the most famous stories out there have a very specific, replicable story structure that has served them well.Thats why we always recommend outlining your book using these methods for planning your novel. Story Structure: 3 Templates for Getting it RightNow that we’ve stressed the need for a story structure its time to learn about your options. Story structures don’t have to be confining, rigid, things.They work best when used as signposts and tentpoles, holding up the scaffolding and guiding you on your way. Note that a story structure is somewhat different than a story shape. The shape is more about the feel and thrust of a story over its arrangement.Story Structure #1 The 3 Act PlayThe most basic of story structures, very popular in Hollywood style films, is the 3 Act Play.Many world-famous novels use this structure, including:Ember in the Ashes by Sabaa TahirTwilight by Stephenie MeyerThe Hunger Games by Suzanne CollinsThis structure relies on a total of five elements which includes the acts themselves, composed of various scenes, and two key transitions, referred to as pinches here.Here is the three-act structure broken down:Act 1: Setup Were introduced to the main players as well as the main conflict. We understand the voice, tone, and direction of the story.Pinch 1 This is when the initial conflict arises (sometimes known as the inciting incident).Act 2: Confrontation Were in the thick of the main conflict here, along with some secondary conflicts. Were faced with difficult (seemingly impossible) odds to overcome.Pinch 2 The conflicts addressed in Act 2 come to a head, and decisions need to be made. This is often the moment where all hope is lost for your protagonist.Act 3: Resolution Everything boils down to this act. All of the conflict, subplots, and challenges arise and the climax kicks off, shortly followed by the resolution of the story.In the past, plays were structured with five acts, with two of the acts serving as long-form versions of the modern transitional elements of Pinch 1 and 2. These have faded, partially because audiences have adapted to storytelling tropes and don’t need them spelled out. Also, stage tech, at least in plays, has advanced, requiring less busy work on the fringes to enact scenery changes for the more crucial acts.Act 1 The SetupThe first act introduces the characters with some mild character development and sets up the conflict. Take Romeo and Juliet (a fine example because we can discuss both the play’s 5 act structure and the films 3 act version).The major players are all introdu ced in the first act and then attend a party. This gives us further information about each character in how they rep and participate in the party. We also see their conflicting social dynamics.We set up an additional set of character dynamics between Romeo vs Paris as parties interested in Juliet and Mercutio and Tybalt as loyal but antagonistic figures.Pinch 1 occurs at the end of the first act, introducing the conflict of the young couples’ love for each other. Act 2 The ConfrontationIn the play this is developed through the second act as the stakes for the lovers is spelled out. They marry in secret and that forms the end of the major plot point, the star-crossed lovers are not just passingly at odds with their society.Within the 3 act structure, this is a single plot point. We get that they love each other, and that love means marriage.Then, the middle act is the apprehension of their actions bringing about unintended, but not unforeseeable consequences.The second act is often the longest as it is the place where elements move and forces muster. Everyone has to get into further trouble, further develop their roles, and gain power toward a resolution.Act 2 ends shortly after a complication that brings the elements to a head. No longer able to maintain the secret, Romeo is confronted with a duel and his actions result in the death of his friend which then results in his banishment once he kills Tybalt.Act 3 The ResolutionAct 3 then begins with the fallout of these actions.With Romeo headed to banishment, Juliet seeks a drastic plan to keep him around. She fakes her death to bring out the true feelings of the interested parties.Since it is a tragedy, Romeo to get the clever reveal of the ruse and kills himself rather than being alone, though your story structure doesnt have to follow this specific tragic ending.Juliet then has to kill herself in turn and we end up with a high body count to bring the story to a close.Story Structure #2 Hero’s JourneyWhile the 3 Act structure works well for simple, straightforward stories, it doesn’t have the necessary oomph to underpin more nuanced tales.When the good guys and bad guys are less black and white, you need to reach for the ancient wheel that is the Hero’s Journey.The journey typically consists of 12 steps. It is the backbone of traditional storytelling, except it works and is a joy to take part in.Older versions of the structure had more steps, the Tarot stemmed from an early understanding of this story structure starting with the fool (our hero) and ending with the world (resolution or complete understanding).Here are the 12 steps of the heros journey:The Ordinary WorldCall to AdventureRefusing the CallMeeting a MentorCrossing the ThresholdTests, Allies, and EnemiesApproach the Innermost CircleThe OrdealSeizing the TalismanThe Road AheadResurrectionReturn with the ElixirThese steps explain, in detail, the trajectory of the story while leaving room to put in differing characters and pursuits of different ideals. While many contemporary stories still follow this structure, it is easiest to see it in the light of an epic.We’ll use Lord of the Rings as an example of this story structure. While the entire story follows the structure multiple times, we’ll stick to Frodo’s arc.Step 1 The Ordinary WorldThe Lord of the Rings story begins, rather appropriately, in the most banal land in Middle Earth. The Shire is a pure ordinary world where nothing too much happens, and everyone lives without any idea that better or worse things exist outside its borders. (Well, they have some idea, but go the cognitive dissonance route to ignore it.)Step 2 The Call to AdventureThe Call to Adventure comes when Gandalf shows up in search of the One Ring.He tells Frodo a quest needs to be taken up but doesn’t give the full details. T his bleeds into Refusing the Call as Frodo accepts part of the responsibility, without understanding the rest.Step 3 Refusing the CallRefusing the Call is about seeing what has to be done and deciding there has to be someone else.A good hero, like a proper Platonic philosopher-king, needs to reject the call first to be more worthy of it. Frodo will finish Refusing the Call later in Rivendell as he tries to bargain that others are more capable.Step 4 Meeting a MentorThough Gandalf served as a Mentor in The Hobbit, Aragorn (as Strider) is the Mentor here.Meeting him gets the four hobbits along the correct path and out of the shying away into the real journey. The Mentor often brings insight, training, or purpose to a hero.Step 5 Crossing the ThresholdCrossing the Threshold reflects the hero facing a challenge and realizing they can make a difference.For Frodo, this occurs twice, the first time as he faces the barrow wraiths and rescues his friends, the second is surviving the orc a ttack in Moria. Both thresholds show the power of gifts he received from Biblo but also hint at how friendship will play a role in his other tests.Step 6 Tests, Allies, and EnemiesTests, Allies, and Enemies is a larger middle section of the Hero’s Journey which winds through other elements.The gathering of the fellowship is a gaining of allies, their journey is a test, the fellowship mirrors the numbers of the enemy Ring Wraiths.This step might not necessarily be a solid, definable moment, but rather something that has been happening throughout the story until this point.Step 7 Approach the Innermost CircleApproach the Innermost Circle is a great danger, if not the greatest danger, a hero faces.Within Frodo’s journey, this is when he attempts to leave the rest of the group behind, going alone on the river because he fears what will happen if he keeps with the group.This moment in your story should be high tension, with consequences that impact the overall plot.Step 8 The OrdealThe Ordeal is what takes place inside the Innermost Circle.In the wastes of Mordor, Frodo must hold out against the weight of the One Ring. It is a prolonged Ordeal but well within the idea of the step.This is another step that can fall within a previous step.Step 9 Seizing the TalismanSeizing the Talisman is about gaining an object of power that will turn the tide for the hero.Tolkien has many of these for other characters, usually in the form of legendary or magical weapons they acquire. For Frodo, the specifics of the talisman are in his pity on Gollum.Step 10 The Road AheadThe Road Ahead takes the hero from the talisman to a final conflict.In this case, Frodo is betrayed by Gollum and nearly killed by Shelob, saved only by the friendship with Samwise.The consequences of Seizing the Talisman are usually a downward turn, comparable with Pinch 2 from the 3 Act structure.Step 11 ResurrectionResurrection often involves a person, or entity returning after being thought dead.Gandalf becomes the white, Luke comes back with a mechanical hand, Frodo fails to discard the ring and has to be attacked by Gollum.Frodo’s resurrection is being saved at the last moment by his previous good decisions, often a resurrection succeeds because of past decisions by a hero and rarely the actions they take in that moment.Step 12 Return with the ElixirFinally, the hero must Return with the Elixir, taking everything they have learned and accomplished back to the Ordinary World they once inhabited.Frodo and Sam arrive to take on Saruman, showing their knowledge and skill acquired through the Journey to return the land to peace.This is often the last chapter, showing your character/s returning to their life or beginning to create their new life.Story Structure #3 The 5 MilestonesIf the previous two structures seemed restrictive or overly elaborate (the Hero’s Journey is 12 freaken steps, after all) then the 5 Milestones structure is for you.This structure keeps it simple by focusing on five plot points, usually one or two scenes each, that create the scaffold of the story. These Milestones have to go in order, but the space between them can be adjusted quite a lot.Here are the 5 Milestones for this story structure:SetupInciting Incident1st Slap2nd SlapClimaxWe’ll use the Hunger Games to rundown this structure.Milestone 1 The SetupThe first Milestone works just like the 3 Act and the Ordinary World. It shouldn’t be surprising as beginnings all need to do the same thing.Collins sets her premise up by explaining the reason there are districts, why the Games exist, and introducing Katniss as the protagonist.We know, rather quickly, that the world is dystopian and unfair, and we know the main character has the skills to make an impact.Milestone 2 The Inciting IncidentThis leads to the Inciting Incident, the kickoff to the main plot and conflict in your novel.In this case, Katniss’ own sister is chosen to take part in the Games. A task she is not ready for and will likely not survive. Not only that, it will spell disaster for the rest of the District if or when she fails.That spec ific moment is the inciting incident because it leads to Katnisss next decision, which kicks off the entire point of the book: Katniss volunteers to be the tribute.This sets the rest of the plot in motion while also anchoring the reader to the motives of the hero.Milestone 3 The 1st SlapThe 1st Slap, much like Pinch 1, sets the stakes and introduces the larger plot.The Inciting Incident is often character motivating and motivated. The 1st Slap is usually external, a factor within the world that must be overcome. The opening of the Games sets the stakes and shows the danger Katniss will face. This parallels Crossing the Threshold in the Heros Journey story structure, where first blood is drawn and the hero, as well as the reader, see the reality of the dangers.Rather than simply being told â€Å"there be dragons†, they see one firsthand.The 1st Slap also makes good on the promise of adventure by putting the hero into the middle of a peril that they must escape. There is no tu rning back, only moving forward.Milestone 4 The 2nd SlapThis takes us into the 2nd Slap. Here, we see things get worse like a Pinch 2, but we see the hope on the horizon.We know the Talisman, as seen in the Heros Journey story structure, is out there to be seized.In The Hunger Games, this is seen by Katniss working out a plan to fake a relationship with Peta to get support from the outside; a means of survival. She needs to keep him alive for his sake, and for hers. He is dying from an infection and she is told there will be an item she needs at the feast.The feast is a huge risk, but it offers hope. She must take the chance. Things go badly, of course, and the hope teeters her on ruin.Milestone 5 The ClimaxAll of this creates the landscape for the final Milestone: The Climax.With the Games coming down to just Peta or Katniss, we go back to the events of the Inciting Incident and loop that motivation into how the hero wins.Frodo helped Gollum, who saves him in return (not out of g ood intent, but it gets us there). Katniss has a need to protect others, all her actions follow that desire.She sees a way to save Peta by threatening herself. This kind of character-driven resolution makes for a rewarding story and makes it easy to weave the details of your final victory throughout.Your readers stay looped into the triumph because they root for the character because they like them, not because the plot says that they win.The secret to making a story kickass is to make it come from within. A good reader can smell a set up a mile away. A good reader also loves to see a Milestone achieved.There you have it, three ways to get a story from ‘In the Beginning’ to ‘The End’ that will keep you focused and organized. The reader will know what you’re doing, following along through the peaks and valleys, the twists and turns, confident that your roadmap will lead somewhere promising.Start Your Story Off Right TODAYIf you have a writing prompt o r story idea and youre ready to write your book, dont do it alone.Check out this free training to help you go from idea, to outline, to finished book.