Affluenza Essay Example | Topics and Well Written Essays - 1000 words - 1

Affluenza - Essay Example This heady mix of wealth and power need to be counterbalanced by accountability and responsibility for the general public. But, going by the evidence presented by the authors of this book, the outcomes so far have been harmful for the people at large and the environment in which they live. The poor people are especially badly hit by this phenomenon (de Graaf et. al, p.112). While the rich are getting richer than ever before, the real incomes of the poor in America have stagnated or declined. In this way the poor are disadvantaged twice, as the consumerist society keeps promoting ‘affluenza’. In this context, one can understand the importance of delving further into this topic and learn more about its role in promoting a regressive consumerist culture. The following passages will cite pertaining arguments from the book in support of the thesis, which is that the poor are punished twice as a result of Affluenza. A major manifest symptom of Aflluenza, the authors point out, is the general decline in sense of self-worth among Americans. A culture that endlessly promotes materialism and accumulation of wealth with barely any mention of other aspects of healthy living such as harmonious family life, participation in communal activities, etc. is fundamentally wrong. What psychologists refer to as low self-esteem is alternatively called as ‘status anxiety’ by social commentators. These are especially more evident in poor peoples’ conceptions of themselves, as they suffer from ‘Affluenza’ - â€Å"the bloated, sluggish and unfulfilled feeling that results from efforts to keep up with the Joneses† (de Graaf et. al, p.172). In other words, it is the influenza like ailment that affects citizens when they march mindlessly in pursuit of affluence. As the authors pertinently state, â€Å"theres a downside to this obsession, and in our

Examining the Songs of Slavery In America Essay Example for Free

Examining the Songs of Slavery In America Essay For some reason, the last song you hear on the radio always sticks in your head. Later in the day, you catch yourself singing it†¦and you realize that it’s not even a song that you like! Fortunately for you, and unfortunately for all those around you, we can sing that song, no matter who, including yourself, cares to listen to it. No one is going to punish you for the quirkiness that goes with having the guts to actually sing a song that the guy in the cubicle next to yours just busted up the radio for playing. Music is part of our everyday lives. It is something that most of us have never lived without. Something in a song empowers us, saddens us, angers us, and makes us fall in love. So many of us can link a special memory to a song†¦and that 4-minute composition of words written by someone whom you’ve never even, met can take you back to â€Å"that place†, if for only a moment, and make you feel â€Å"that way† again. Songs are a way of life for most of us, and they have been for many years. Today, we listen to songs freely. History, however, reveals that many of us were not born with the same freedom. Can you imagine being punished for enjoying music? For history’s slave community, singing, humming, or listening to music was prohibited (Lang, p. 13). To slave owners, the practice of music portrayed a relaxed state for the slave. Most felt that carrying on with such â€Å"nonsense† would interfere with the slave’s focus, resulting in poor performance. The opposite, however, was the outcome. When they were allowed to sing, the slave found joy in the day Crane/Fleming 2 (Watts, p. 1). Singing was an outlet†¦a way to say how they felt about their owners, the job being done, family, God, and about dreams for themselves. Originating during the Civil War slave days, singing soon caught on all over the South and beyond. It served both hidden and obvious purpose. Not only could a slave could sing a song, and feel relaxed performing assigned duties, a slave could also â€Å"chant† a song to communicate messages to fellow slaves. So much mystery lies behind this aged practice, and uncovering the mystery will leave you appreciating the creativity utilized, whether you are of slave ancestry or not. If you have ever been to a traditional, majority Black church, you would walk out feeling energized. The energy exercised to convey God’s word is pretty unmatched by churches of other ethnicities. It’s as if the Black community has been doing this for years†¦and they have been. In early slave days, slaves were not allowed to read scriptures. Instead, they learned of God through â€Å"white folks’† church (Brown, p. 1). It was at these meetings that they listened to hymns, heard a few bible scriptures, and were told â€Å"mind† their masters. Soon, the slaves took it upon themselves to meet privately and discuss God and what he had planned for them. After the meetings, several would stay behind and â€Å"ring shout†, or chant songs about God and His plan for them. Foot tapping and hand clapping were accompanied by paced singing, and as the song continued, the pace would increase (Watt, p. 1). Men and women slaves became so involved in the chanting that they would collapse in emotion to the ground. Ministers were disturbed by this unusual behavior and soon banned the practice of ring shouts. It was at these early gatherings when the historical slave songs evolved. The very nature in which they are practiced lead back to the days of ring shouts. Soon, the topics of the shouts veered from being only about God, and began to include chants of hopes, prayers, and displays of confidence. Crane/Fleming 3 In the movie, Glory (Zwick, 1989) the men of the â€Å"Fifty-fourth† prepare to fight by performing a ring shout to bear hopes of success against the men they will soon face. These black men, formerly slaves, start slow and humble, and soon roar to a fast paced shout of faith in God, love of family, and belief in each other. Hands clap and legs are slapped for rhythm. This scene in the movie portrays the sole possession these men have to hold on to: each other. With a bit of encouraging, one soldier is assisted by another to not just â€Å"say† his hopes for the battle’s outcome, but to â€Å"demand† them with confidence that his prayers will be answered. Although Hollywood glamorized this scene with embellishments such as a pre-determined beat and a chorus, this type of shouting is how it all began. Knowing how it all began leaves us with the need to know â€Å"why† it all began. Why did â€Å"slave songs† (Ware, Allen, and Garrison, p. I) become such a big part of history? No other group in history utilized song the way that history’s slave did. Not only did singing pass the day, but singing helped the slave to identify with themselves. Bringing God into the lyrics, they created biblical images (Silverman, p. 79) of who they compared themselves to during biblical times. Many compared themselves to Moses, and sang of leading all slaves to freedom, just as Moses led the Israelites from Pharaoh’s captivity. This gave the slaves hope. Soon, this boost of hope led to singing songs about what it would be like when they were free. In Slavery Chain Done Broke at Last (Silverman, p. 83), the slave sings of how freedom is abound. He is sure to thank God, and vows to continue telling God his problems, in hopes of receiving more help when needed. In other songs, such as Oh, Freedom, (Ware, Allen and Garrison, p. 33), slaves give thanks at the end of a long and dangerous journey to freedom. On the other side of serious purpose, slave songs were not always sung just to say â€Å"thanks†. They were also sung as a way to Crane/Fleming 4 entertain, just as today’s music does for us. A good example of this is Now Let Me Fly (Brown, p. 1), where slaves sing of African people who could fly. Songs like these were loved by children, as their imaginations soared with images of flying people. But along with singing about being thankful and creating silly images for children, these songs served another purpose†¦perhaps the most important purpose of all: they served as a form of communication among the slaves (Johnson and Johnson, p. 18). Slaves lived a hard life. Along with being â€Å"owned† by another human being, the slave’s owner employed harsh rules for the slave to live by. One of these rules was that they were owned property, and could not leave on their own accord to be a free person (Watts, p. 1). Discussions of being free were punishable by whipping, beating and starving the slave. The slave was forced to create a way to communicate ploys to escape, warnings of a master’s mood, new slaves joining the old slaves, and many other issues in code. The slave song was the perfect way to convey messages without being discovered. Many of the slave’s work songs were composed out of sheer desperation to warn others of trouble ahead, or to keep an escape attempt from getting botched. Let Us Break Bread Together (Allen, Ware, and Garrison, p. 34) allowed fellow slaves to know about meetings to be held in the early morning hours (before sunrise) to discuss concerns, share prayers, and plan an escape. These meetings were held far earlier than the master’s waking hours. Plans were made, escape routes were decided, and updates on other slave’s escape attempts were provided. Later in the day, in the fields, around the house, or where ever else work was to be done, the slaves sang their songs, inconspicuously passing messages to one another. Other songs, such as No More Auction Block for Me (Johnson and Johnson, p. 20) conveyed a message of weariness of a slave’s hope. This song was often sung under one’s breath, during or Crane/Fleming 5 almost immediately after being beaten. One slave could often recognize the beaten slave’s mouth movements, and gather the support of fellow slaves to encourage new hope if the beating was survived. Happy, sad, useful, or light-hearted, the hidden messages of these songs were understood among all those who sang or listened to them. Although creative in nature, and almost ingenious in creation, these songs were recorded in words for us to read today in the exact format in which they were written. It is interesting to read some of the lyrics of these songs, spelling included, particularly because these songs were written down exactly the way they were spoken. The spoken English of some slaves could be somewhat choppy, and sometimes difficult to understand. Though the message is clear, songs such as Hear from Heaven Today (Allen, Ware and Garrison, p. 2) display a perfect example of how the words of the song were to be pronounced: â€Å"†¦a baby born in Bethlehem, and I yearde De trumpet sourd in the oder bright land My name is called and I mus go De bell is a-ringin’ in de oder bright world My brudder, my brudder Joseph and sista Mary†¦Ã¢â‚¬  -Anonymous Though some are difficult to read, the authenticity of unedited lyrics links us to a part of history not to be misunderstood. While the level of education is evident, what can be proven is that slaves were absolutely not ignorant people. Sometimes the subject matter of a song is simple. An example of this can be found in Git De Chores Done (Brown, p. 1). The slave sings, â€Å"Did you feed my cow? Yes, Maam. Will you tell-a me how? Yes, Maam. Oh, what did you give her? Cawn and hay. Oh, what did you give her? Cawn and hay. -Anonymous Crane/Fleming 6 The slave was encouraged by something as simple as a brief conversation between him and the slave’s owner to create a song that added motivation to the day’s duty. On the other side of the â€Å"work song† (Watt, p. 1) is a song far more complex. Codes were often sent through songs. In Get Dem Chilen Home (Brown, p. 1), the slave sings of certain obstacles to look out for: â€Å"†¦Take careful when you turn dat co’ner. He waitin’ fo you, waitin’ fo you, always watchin’. Get Dem Chilen Home by way of dem hills, But take careful when you turn dat co’ner. -Stephen Foster In history, no other group of people made full use of song the way the slaves did (Watt, p. 1). Not only did they sing about what they did, they saved lives and led each other to freedom. Their songs changed what we know about history in a colorful way. Love it or not, music and song are here to stay. We have the great fortune to do with it what we will. Some will choose to listen, and others will choose to write. We may never again do with song what the slaves did with it, and that’s o. k. But who knows†¦maybe one day our children’s children will be writing a paper on what people of our time did to change music and song forever.

Loneliness and Isolation in Baldwin’s, Here be Dragons :: Here Dragons

Loneliness and Isolation in Baldwin’s, Here be Dragons I am not a targeted minority and I have never felt discriminated against, but I certainly have found my self weighed down, unable to keep up, in the constant rush and roar that is our society. I have felt isolated and left behind by everything around me, and this utter loneliness is not something that is easy to deal with. This loneliness inevitably turns to self-hatred as I ask myself why I can’t keep pace with everyone else when they seem to be doing just fine? Reading James Baldwin has reminded me that I’m not alone, and that there are many ways to deal with the isolation one feels within society. For some, struggling to keep afloat in the mainstream as it rushes along is the most comprehensible way, but for others, like Baldwin, it’s easier to simply get out of the water and walk along the bank at his own chosen pace. In Baldwin’s â€Å"Here be Dragons† he addresses the issues of loneliness and isolation in many ways. In the end, he comes to the conclusion that everyone has a part of everyone else inside of him or her, much like a yin yang: â€Å"†¦we are all androgynous†¦because each of us, helplessly and forever, contains the other-male in female, female in male, white in black and black in white. We are a part of each other†(160). If we are all a part of each other, then we do not need to try to keep up with the current of society to stay connected with the world. We can go wherever we please, whenever and however, and never have to fear the loss of the vital links that keep humans human. In the beginning of his story Baldwin speaks of his young adolescence during which various men constantly take advantage of him. In this part of life he speaks much of loneliness. First, as he talks about those who are literally androgynous, containing male and female parts, he guesses at the â€Å"†¦all-but-intolerable loneliness†¦Ã¢â‚¬ (150) that they must feel at not being able to find love by being themselves for fear of humiliation at being so different. Later, he tells of his many encounters with men that appeared to be stereotypical American citizens looking â€Å"†¦like cops, football players, soldiers†¦or bank presidents†¦construction workers†¦Ã¢â‚¬ (153). These men would accost Baldwin in dark movie theaters and in the alleys at night begging or bullying him to take them to bed.

‘If’ by Rudyard Kipling Analysis

The poem ‘If’ is directed to Kipling’s son, and is a message to him on his route to manhood. This is seen in the very last line of the poem, when Kipling writes: â€Å"And- which is more- you’ll be a Man, my son! † The poem is about setting goals, taking risks, being a leader and self-belief, but all in moderation. An example in the text is: â€Å"If you can trust yourself when all men doubt you. But make allowance for their doubting too†. Kipling tells his son to believe in himself, but to never be over-confident. Throughout the poem, Kipling writes what it takes to be a man, and what his son should aspire to be.The purpose of the poem is to both inspire and warn the reader. An example in the text is â€Å"If you can dream- and not make dreams your master;†. This phrase inspires readers to dream and set goals in their life, through hardships and failures. However, it also warns readers to never let these dreams consume them, and to be able to detach from these dreams when they need to. This phrase sends a message to keep a balance. You can work towards a dream, but it should not be all you work towards, and you should not be a slave to that dream. Throughout the poem ‘If’, emotion is expressed.At the start of the poem (stanza 1) the emotion is generally quite sad and more depressing then the rest of the poem. This is shown in the second line â€Å"Are losing theirs and blaming it on you;†. However, as the poem progresses the emotion of the poem becomes happier and more inspirational. This is shown in the line â€Å"Or walk with Kings- not lose the common touch†. The poem seeks to make the reader reflect on their own life and to compare the attitudes and feelings to the ones described in the poem. Kipling uses many writing techniques in his poem to help get his message across.A few of these include personal pronouns, repetition and personification. An example of personification in the te xt is: â€Å"Except the Will which says to them†, where Kipling personifies a will. Kipling uses personal pronouns such as â€Å"you† to make the reader feel as if the poem is directed to them, and therefore make it more personalised. This use of personal pronouns could inspire readers, as the feel they are being directly spoken to. Kipling uses repetition to emphasise certain points, an example of this in the text is â€Å"if you can†.This phrase is also repeated to inspire, as readers may think, â€Å"If I can do something, I’ll be able to get this†. The poem is made up of four octaves. Every other line of the poem rhymes with each other (e. g. ABAB rhyming structure). The first line of the poem has eleven syllables and the second has ten syllables this pattern continuous throughout the poem, with every other line having 11 syllables. Throughout the poem there are only two main sentences, from stanza one to three, and the last stanza is its own s entence. In the poem a semi-colon or colon splits the main phrases up.The lack of punctuation throughout the poem makes the poem easier to read, as it is almost one collective thought. Kipling could possibly be showing the confusion in a boy’s head when entering manhood. The poem is almost constructed as an instructional manual, as the language of the poem is quite descriptive and somewhat instructional, yet mainly simple words are used throughout the poem. This is shown in the first two lines, where Kipling writes: â€Å"If you can keep your head when all about you Are losing theirs and blaming it on you†.This type of language is quite appropriate as it is supposed to be directed to his son (so simple words are used), and is a guide towards how his son should act (so the instructions in the poem are clear). Using this type of language the instructions are easy to understand. Kipling uses various techniques to get different images in the reader’s head; commonly used techniques include metaphors and personification. An example of personification in the text is â€Å"If you can meet with Triumph and Disaster, and treat those two imposters just the same.†Where Kipling personifies Triumph and Disasters as two people who have betrayed someone. An example of a metaphor in the poem is â€Å"If you can fill the unforgiving minute With sixty seconds' worth of distance run†, where he uses running as a metaphor for life. In this metaphor Kipling says you must try you’re hardest all the time, even if it leaves you exhausted, which is what running does. These different forms of imagery could have been written in order to make the reader imagine and dream. Therefore, they can get a better understanding of what message the writer may be trying to convey.The poem ‘If’ has a regular rhythm following the pattern of an iambic pentameter. An example in the poem is (where the capitalised words are stressed syllables): â€Å"i f YOU can KEEP your HEAD†. The regular rhythm of an unstressed syllable followed by a stressed syllable is quite calming and reassuring. The poem flows very well and it is almost written like a song. This steady rhythm allows readers to be inspired, as they are reassured by the calmness of the poem. Kipling uses alliteration throughout his poem to emphasise key points.An example in the text is when Kipling writes â€Å"Twisted by knaves to make a trap for fools†. In this sentence a hard ‘t’ sound starts three different words. The hard ‘t’ sounds could be said to reinforce negativity in the sentence. The last two words of the line have a ‘f’ sound at the start which could be said to reinforce the ‘fools’ sound. The last word of every other line in the poem rhyme with each other (e. g. ABAB) rhyming structure. For example â€Å"not make dreams your master†¦ Meet with Triumph and Disaster†. This structure coul d be implemented to make the poem more interesting.I feel like this poem was written very well as through the use of many techniques it does achieve the poet’s purpose, which is to inspire. The poem is written in a very easy way to understand, as the language is relatively simple, the rhythm is regular, great imagery is used and the poem is structured well. The poem teaches one to be a leader, to have a strong work ethic and to be self-righteous, yet always be able to detach from these things when necessary. Due to the strong message the poem conveys and great craftsmanship, I really enjoyed this poem.

Art Is an Expression

Art History 6A 19 November 2011 Triumph! Art is an expression that we as humans do as a way to express and communicate with others. Through art every painting/sculpture has an intended purpose and message/story to convey. No matter what race, gender, or class, one can understand what message is being shared or find an entirely opposite interpretation other than what the artist intended. It can relate to the individual on a personal level, and that’s the beauty of art. In this essay I will be writing about two pieces of art that have been around for thousands of years.I will be comparing and contrasting the Palette of King Narmer (back) and the painting â€Å"Ti watching a hippopotamus hunt. † Both murals contain symbolism, as well as concepts of life and death. Each in their individual way conveys a message of importance and triumph. The Palette of King Narmer dates back to the first Egyptian dynasty, from Hierakonpolis, c. 3000 B. C, it is flat in appearance and double -sided with engravings on both sides, each individual side separated into 3 distinctive sections by horizontal lines with the middle being the biggest.It stands approximately 25† inches (63. 5cm) in height and tapers down to a point. The structure of the piece is very similar to the outline of a shield. It is composed of a dark color slate, common rock found in Egypt. Unlike the Palette the painting of â€Å"Ti Watching a Hippopotamus Hunt† is much bigger almost double in size, standing 4 feet tall. It was created during the fifth dynasty, Saqqara, c. 2400 B. C. and is composed of painted limestone. Prior to the creation of the Palette of King Narmer, art was divided throughout Egypt.Egypt was divided geographically and politically into Upper and Lower Egypt. Society had an emphasis on becoming unified and the palate marks the unification of these two lands. King Narmer is famously known as the first king to rule these lands. The palettes’ historical importance m arks the transition from pre-historical to historical period in Egypt and serves as the foundation for generations of art glorifying kings. During the time of â€Å"Ti Watching a Hippopotamus Hunt† Egyptians had a very strong belief and emphasis in death and the afterlife.Death was rarely filled with a sense of fear, but instead embraced with open arms and seen as a necessary transition one must make to live in the afterlife. Egyptians constructed mastabas for the dead. For this reason there was a plethora of funerary offerings including statues, carvings, and paintings made and placed into mastabas. The Egyptians built their mastabas very similar to homes for the dead so when they entered the afterlife they would have all the necessities and luxuries they once had during their lifetime.Narmers palette was an object commonly used in the preparation of eye make up, used by the Egyptians mostly to block and shield out the sun. The palette is most likely a votive or gift to the gods. Whereas the painting of â€Å"Ti Watching a Hippopotamus Hunt† was a funerary gift made to honor loved ones who have passed and entered their next chapter in life. In both works of art, animals are portrayed but only in the palette do animals have true symbolic meaning. On the Back of the palette the upmost section portrays two cow heads one on each side, which appear to have human faces.This representation depicts a variety of interpretations: the goddess Hathor, or the goddess bat, or just a symbolism for the Kings power and strength, which is a common symbolism of a bull throughout Egyptian art. The true meaning of these symbolic bulls is unknown till this day due to the uncommon frontal portrayal of the bulls. Also in the back of the palette there stands a falcon, symbolizing the god Horus- protector of kings. The falcon is placed on top of a head sitting on papyrus representing Lower Egypt. This signifies the triumph and power Upper Egypt had over Lower Egypt.In th e painting of â€Å"Ti Watching a Hippopotamus Hunt† animals individually serve no significant value, but as a whole in Egyptian art a successful hunt is a metaphor for triumph over evil. In the palette of King Narmer there are a series of hieroglyphics used to signify the powerful King Narmer making Narmers palette the earliest existing labeled piece of art. In between the bullheads are hieroglyphics of a catfish (nar) and a chisel (mer) within a frame representing the royal palace. The fish also pays tribute to the Nile River since Egypt strived and lived off the river for all its resources such as food and water.In the painting of â€Å"Ti Watching a Hippopotamus Hunt† there are no hieroglyphics used because it was intended for the dead. Its purpose served to represent and honor the loved ones passed. In â€Å"Ti Watching a Hippopotamus Hunt† the artist incorporates a unique series of lines/patterns to bring structure and organization to the piece. This is po rtrayed in the water beneath the boats by a pattern of wavy lines that embody fish and hippopotami. In the uppermost of the painting the artist uses a series of fine grooves that lead into a commotion of birds and foxes resembling papyrus flowers.Similarly lines play a Important role in the Palette of Narmer. A series of Horizontal lines are used to break the palette into 3 distinctive sections. Without the use of lines, the palette would have no organization and would become chaotic. The portrayal of the body when referencing both Narmer and Ti is very similar. Showing the influence Narmers palette had in art. In both pictures the eye and upper body is in frontal view while the head and legs/feet are in profile view, one in front of the other, which was a very common depiction of important figures.It was believed that by showing the Egyptians in this way all the body parts needed in the afterlife would be properly expressed and available to the deceased when needed. Slaves and anim als were painted more natural and relaxed, and with a smaller scale in drawings to show there limited importance. In both pictures the artists illustrate both Narmer and Ti being the dominating and largest figure (which is called  hierarchical scale). In the palette of King Narmer, Narmer is significantly larger in his ceremonial beard wearing a bowling pin shape crown, which represents Upper Egypt.Attached to the end of his kilt is a bulls tail indicating the power and strength of Narmer. Behind King Narmer is a much smaller servant, most likely of high rank, carrying his sandals making Narmer barefoot. Throughout Egyptian art being barefoot symbolizes the person is on holy ground. In Narmers right hand he holds a club, ready to strike a kneeling warrior he holds by the head with his left hand. This once again signifies the power and strength of Narmer over his enemies. Below this scene are two bearded men most likely enemies of the king lying dead symbolic of how lethal and vict orious of a ruler he is.In the mastaba of a Ti the painting â€Å"Ti Watching a Hippopotamus Hunt† Ti is similarly portrayed. Ti is shown much larger and out of scale compared to his slaves depicted, representing his importance and social status. In Egypt a successful hunt was a metaphor for triumph over evil. Ti and his slaves are roaming through marshes, hunting hippopotami and birds. Ti unlike Narmer is distant away from the hunt, not engaging in the action of killing the hippopotami but yet he is still present over looking his slaves during the hunt.He is a neutral observer of life, resembling his Ka being at peace. Both murals use a variety of lines, symbols, and details not only to focus on the importance and triumph of Narmer and Ti but also make a structured organized piece of art. The palette of Narmer represents this triumph over evil more straightforward being that Narmer has already killed two of his foes about to kill another, holding in the palm of his hand the power to give life or death. On the other hand the painting â€Å"Ti Watching a Hippopotamus Hunt† is metaphorically representing victory and triumph through the hunt.

Basic Tips to Ace Your Biology Class

Basic Tips to Ace Your Biology Class Taking a biology class doesnt have to be overwhelming. If you follow a few simple steps, studying will be less stressful, more productive, and result in better grades. Always read the lecture material before class. This simple step will pay big dividends.Always sit in the front of the class. It minimizes distractions and gives you an opportunity for your professor to know who you are.Use effective study techniques like comparing notes with a friend, not cramming, and making sure to start studying well before exams. Biology Study Tips Always read the lecture material before the classroom lecture. This simple step is surprisingly powerful and effective. By preparing beforehand, your time in the actual lecture will be more productive. The basic material will be fresh in your mind and you will have the opportunity to get any questions answered during the lecture. Biology, like most sciences, is hands-on. Most of us learn best when we are actively participating in a topic. So make sure to pay attention in biology lab sessions and actually perform the experiments. Remember, you wont be graded on your lab partners ability to perform an experiment, but your own.Sit in the front of the class. Simple, yet effective. College students, pay close attention. Youll need recommendations one day, so make sure your professor knows you by name and you arent 1 face in 400.Compare biology notes with a friend. Since much of biology tends to be abstract, have a note buddy. Each day after class compare notes with your buddy and fill in any gaps. Two heads are better than one!Use the lull period between classes to immediately review the biology notes you have just taken.Dont cram! As a rule, you should start studying for biology exams a minimum of two weeks prior to the exam.This tip is very important- stay awake in class. Teachers have observed too many people s noozing (even snoring!) in the middle of class. Osmosis may work for water absorption, but it wont work when it comes time for biology exams. Additional Study Tips Avail yourself of your teachers or professors office hours, review sessions, and similar activities. In these sessions, you are able to get any questions answered directly from the source.Many schools have excellent tutorial programs that are a great resource for getting questions answered. Studying for the AP Bio Exam   Those who wish to gain credit for introductory college level biology courses should consider taking an Advanced Placement Biology course. Students enrolled in the AP Biology course must take the AP Biology exam to gain credit. Most colleges will give credit toward entry level biology courses for students who earn a score of 3 or better on the exam. If taking the AP Biology exam, it is a good idea to use good AP Biology exam prep books and flash cards to be sure that you are prepared to score high on the exam. Key Takeaways Always read the lecture material before class. This simple step will pay big dividends.Always sit in the front of the class. It minimizes distractions and gives you an opportunity for your professor to know who you are.Use effective study techniques like comparing notes with a friend, not cramming, and making sure to start studying well before exams.

The Role of Cordelia in King Lear Essays

The Role of Cordelia in King Lear Essays The Role of Cordelia in King Lear Paper The Role of Cordelia in King Lear Paper Essay Topic: King Lear Although Cordelia appears in Act I, Scene I and disappears until Act IV, she has an enormous impact on the play as a whole. It is generally acknowledged that the role played by Cordelia in King Lear is a symbolic one. She is a symbol of good amidst the evil characters within the play. Since the play is about values which have been corrupted and must be restored, it is not surprising that the figure who directs the action must be embodiment of those values which are in jeopardy – love, truth, pity, honour, courage and forgiveness. Cordelia’s reply does not initiate the tragedy; Lear’s misguided question does that. Her â€Å"nothing† sets her father’s tragic journey in motion. There is nothing wrong with her remarks. Cordelia is a catalyst and sparks action in the play. Her actions at the start of the play provide us with an explosive opening and create much suspense. Her behaviour prompts Lear’s stupidity and subsequent action. Her refusal to â€Å"heave her heart into her mouth† causes Lear to banish her and he ends up at the mercy of his two evil daughters. If Cordelia had not spoken as she did, Lear would never have embarked on his journey of rediscovery. Her scenes with Lear in Act IV provide much poignancy and show the reader how much Lear has changed. She acts as a perfect foil for her evil sisters, Goneril and Regan. Her reaction to them at the start of the play leaves the audience interested but suspicious. Her words â€Å"nothing, my lord† and Lear’s actions arising from them trigger the theme of â€Å"nothingness† in the play. She also brings the theme of â€Å"appearance versus reality† to the forefront. She personifies true love in the play. Words can eloquently describe love but they do not express it. Only behaviour expresses it. She forgives her father and strives to look after him despite his betrayal of her. She honours her filial duty within the play. Both she and Edgar are needed in the play to represent good. If they were not present in the play the audience would have a very pessimistic view of the world. Even at the risk of losing Lear’s love and her inheritance, she refuses to indulge in the flattery that Lear demands. She is disgusted at her ercenary and calculating sisters, who deceive their father. She prefers to â€Å"love and be silent. † â€Å"Unhappy that I am, I cannot heave My heart into my mouth: I love your majesty According to my bond; now more now less. † Cordelia personifies integrity, honesty and love throughout the play. By her very nature she is unable to flatter or curry favour since dishonesty is not part of that nature. She represe nts the truth and it is against the backdrop of her loyalty and undying love for her father that we measure Lear’s arrogant behaviour. Cordelia’s disinheritance and banishment are frighteningly disproportionate to the â€Å"sin† she has committed in not flattering Lear. So too, is Kent’s treatment at his hands. This concept of disproportionate consequences for actions done, underlines how monstrous Lear’s arrogance is, as well as his petty tyranny and his lack of self-knowledge. However, the horrors Lear himself will have to suffer later in the play, as a result of his own folly, will also be out of all proportion to his initial blunder. Without Cordelia in the play, these actions would not have been sparked in Lear. The rivals for Cordelia’s hand are interestingly contrasted in Act I Scene I. Burgundy is mercenary, refusing Cordelia’s hand when she is offered â€Å"new-adopted to our hate† and without a dowry. France on the other hand is a sensitive, courteous prince who sees her now â€Å"most rich, being poor. † He ignores Lear’s spiteful advice â€Å"to advert your liking a worthier way. † France takes her as his queen. He admires her personal qualities and it is for those that he wants to marry her. Cordelia’s role in the play here is to highlight how shallow Burgundy is and how he only wanted her for her land and status. She represents goodness, love and bravery in this scene. When she is unjustly treated by her father, Cordelia does not hurt or condemn either Lear or her sisters but gently forgives her father. â€Å"The jewels of our father, with wash’d eyes Cordelia leaves you: I know you what you are. Use well our father. † She also represents forgiveness in the play. In Act IV, celestial language is used to capture the lyrical and spiritual nature of her forgiveness. There she shook The Holy water from her heavenly eyes † Absolute love includes absolute forgiveness. When she says she â€Å"has no cause† to hate Lear, she is right. Cordelia is not proud or obstinate – she is, like the Fool, a hostage to truth. In everything she says she reinforces this. She points out that she is glad not to have a tongue like her sisters, implying t hat in her, speech is of a different kind. If Cordelia’s purpose was to enlighten Lear and expose the corruption of the court, her task is accomplished by the end of the play. The only outlet then is through her death. Her death adds to the tragedy of the play. Though Cordelia dies, her cause and truth do not. In carrying her corpse, Lear emits an animal cry of anguish â€Å"howl, howl, howl. † He has discovered that no words can contain his grief and pain, that words are limited, that they can be abused. This cry echoes Cordelia’s own truth. Edgar’s closing words bear witness to the martyrdom of Cordelia. The lesson learnt is: â€Å"Speak what we feel, not what we ought to say. † (Act V, Scene III)