Good and Bad in Othello Essay -- Othello essays

Good and Bad in Othello  Ã‚        Ã‚  Ã‚   A huge battle between good and evil is waged the William Shakespeare’s drama Othello. In this essay let us study the many facets of these two dimensions as presented through the words and actions of the characters.    Can the protagonist, who has committed a double killing in the last scene, be saved? In William Shakespeare: The Tragedies, Paul A. Jorgensen discusses the theology of the final scene:    It is better not to look too anxiously into the theology of the outcome. Othello has no doubt that he is damned. But better theologians than he would place more credence and hope in the genuineness of his final passion. From the stern general who had, as his first line, the cold â€Å"’Tis better as it is† (1.2.6), he has traversed a pilgrimage of known and feeling sorrow. And, it must be repeated, it will depend upon the beholder whether one judges or rejoices in the transfiguration of loving not wisely but too well. (66)    Unquestionably the most immoral, the most evil and sinister, character in the play is the ancient. Totaling the lies which he tells to everyone about him would require considerable effort and time. In Shakespeare’s Four Giants Blanche Coles comments on the lack of veracity in Iago’s speech:    The story that Iago tells Roderigo about the promotion of Cassio over him is not true, although it has been accepted by many discriminating scholars. Careless reading alone can account for this misapprehension, careless reading which for the moment dulls their alertness to one of the most essential requirements of Shakespearean character analysis. That requirement is that the reader must never accept, or must always be ready to challenge, the word of any charac... ...rdered mistress, resuscitates morality in this play. Emilia refutes the untrue notions which Othello says motivated him to kill; she counters Iago’s lies (â€Å"She give it Cassio? No, alas, I found it, / And I did give’t my husband.†) and lays the guilt for Desdemona’s murder on his shoulders. And she sacrifices her very life for the truth; she dies a martyr, stabbed by evil Iago. Othello also is a martyr in a sense, voluntarily paying in full for the crime that he committed.    WORKS CITED    Coles, Blanche. Shakespeare’s Four Giants. Rindge, New Hampshire: Richard Smith Publisher, 1957.    Jorgensen, Paul A. William Shakespeare: The Tragedies. Boston: Twayne Publishers, 1985.    Shakespeare, William. Othello. In The Electric Shakespeare. Princeton University. 1996. http://www.eiu.edu/~multilit/studyabroad/othello/othello_all.html No line nos.

Attention Deficit Hyperactivity Disorder Essay -- ADHD Research Paper

Attention deficit hyperactivity disorder is a prevalent in today’s classrooms. There are many co-existing communication difficulties associated with attention deficit hyperactivity disorder. In this paper I will discuss the nature of attention deficit hyperactivity disorder, its common communication characteristics, and the implications of these characteristics socially, emotionally and academically as well as communication strategies that teachers may use to ensure that students with this disorder may be included in a regular class setting. Attention deficit hyperactivity disorder is also known by its abbreviated name ADHD. The American Family Physician (2001) states that â€Å"at least 9% of school aged children have ADHD†. ADHD is described as â€Å"a complex neurobehavioral disorder characterized by varying degrees of inattention, hyperactivity and impulsivity† (American Family Physician, 2001). Characteristics of ADHD can be divided into three categories, impulsiveness, inattention and hyperactivity and can include the following: †¢ Excessive talking †¢ Blurting †¢ Interrupting †¢ Not following directions †¢ Off task behavior †¢ Poor Self-Regulation †¢ Distractability †¢ Poor follow through on tasks (Okmi & Kaiser, 2000) It is important to note that some visual and hearing problems may also cause these behaviors. Medical doctors must diagnose ADHD and will rule out these problems before diagnosis. ADHD is a genetic disorder and is highly heritable, this is also important to think of when diagnosing ADHD (Tannock, 2013). Doctors diagnose patients by reading rating scales that the child’s teacher and parents both fill out and listening to anecdotal information of people involved in the child’s life. They also shou... ... K., & Kaiser, A. (2000). Language Characteristics of Children with ADHD. Communication Disorders Quarterly, 21(3), 154-165. Ostrander, R., & Herman, K. (2006). Potential Cognitive, Parenting and Developmental Mediators of the Relationship Between ADHD and Depression. Journal of Consulting and Clinical Psychology, 74(1), 89-98 Tannock, R. (n.d.). Language and Mental Health Disorders: The Case of ADHD. Language and Mental Health Disorders: The Case of ADHD. Retrieved October 20, 2013, from http://www.cas.uio.no/Publications/Seminar Wymbs, B. (2011). Mechanisms underlying the influence of disruptive child behaviour on interparental communication. Journal of Family Psychology, 25(6), 873-884. Zentall, S. (2005). Contributors to the social goals and outcomes of students with ADHD with and without LD. International Journal of Educational Research, 43, 290-307

Islamic Banking Essay

Islamic Banking is interest free banking, in which there is no fixed rate of return. Islamic banking is the banking system which is run in accordance with the Islamic laws and the Shari a’ board; that guides the institutions. This Shari a’ board authorizes the products that whether these are Shari a’ compliant or not. Islamic banking is the banking that is guided by Islamic law (Shari a’) principles and guided by Islamic economics. In particular, Islamic law prohibits usury, the collection and payment of interest, also commonly called Riba in Islamic discourse†. Islamic banking also finds its roots in Islamic finance and all type of transactions are interest free of risk sharing. The interest is probihited in Islamic ways of banking as it is also obvious from Quran. In Quran, in Sura Al-Iman, Allah said that; â€Å"O you who believe! Do not devour Riba multiplying it over and keep your duty to Allah that you may prosper† (3:130). Same kind of prohibition regard fixed interest is also lead in sura Al-Rum(39), Al-Nisa (160-161) and Al-Baqarah (275-281) of Quran. Riba and Gharar are illegal under Islamic law. Riba refers to fixed rate of interest. Gharar refers to fixed rate of interest. Gharar refers to speculation. Islamic banking shows dramatic improvements and developments in Pakistan. Islamic banking is taken as national policy and it is supported but there exist dual banking structure in the Muslim countries. Mostly the banks of conventional system are also opening their separate Islamic banking divisions and branches. The expectation of increase in growth of networking of Islamic banking system is increasing. The Islamic banking has increased in terms of branches, deposits, capital funds, sources. The ratio of income to expenses is high which indicates increasing profitability of the sector. Riba in Hadith â€Å"Every loan that derives a benefit (to the creditor) is riba†. (Hazrat Ali Radi-AllahuAnhu). Abu said al Khudri Radi-AllahuAnhu narrated that Holy Prophet ( peace be upon him) said: â€Å"Gold for gold, silver for silver, wheat for wheat, barley for barley, dates for dates, and salt for salt, like for like, payment made hand by hand. If anyone gives more or asks for more, he has dealt in Riba. The receiver and giver are equally guilty. If the creditor received a goat as mortgage from the debtor, the creditor may use its milk to the extent he has spent in providing fodder to the goat. However, if the milk is more than the price of the fodder, the excess is riba. â€Å"Usmani, para 99). For Usamah ibn Zayd : â€Å"There is no riba except in nasi’ah (waiting). â€Å"Bukhari, Kitab al-Buyu, Bab Bay al-dinari bi al-dinar nasa’an, ( : 386); also Muslim and Musnad Ahmad). There is no riba in hand-to-hand (spot) transactions. † (Muslim, Kitab al-Musaqat, Bab bay’I al-ta’ami mithlan bi mithin; also in Nasa’i). What is the significance of Islamic Banking in a post recession world? Islamic banking is gaining popularity in emerging markets after helping some financial institutions avoid the worst of the economic meltdown. Islamic banks have been less affected than many conventional banks in the current global recession. This is mainly because unlike conventional banks, the Islamic banks have not been exposed to losses from investment in toxic assets nor have they been dependent on wholesale funds since these practices are not in accordance with the principles set out in the Sharia Law. Moreover, recent years have already indicated that there is an interest in Islamic banking beyond Islamic investors. The UK is one of the leading centres for Islamic banking in the world, yet only 5% of its population is Muslim. And lastly, governments and regulators in a variety of countries have already recognized the importance of Islamic banking as a feasible alternative to conventional banking. The global recession brought about by the collapse in credit supply saw many of the globally accepted models of investment disappeared almost overnight with the collapse of Lehman Brothers in September 2008. It is well accepted that the credit crunch was essentially caused by gambling and inadequate regulation. The radical change in the investment dynamics of the market and a clear question of the morality of the investment industry signify a clear turning point in the development of regional and global investment markets. That will provide new boost to the already burgeoning Islamic private equity and venture capital industries. Thus, surely a system in which gambling is banned, where everything must be backed by tangible assets should be significant in a post recession world. In this era of scarred savers and investors, everyone shall move their money over to this low-risk system. A post-crisis market is more realistic and searches for an ethically based approach to investment. The new investment markets, after the crash, will see a growing demand for a far more partnership approach to private equity and venture capital investment. In private equity, the investor shares both the risks and the rewards, which replicates the basic principles of Islamic investment. Even before the full attack of the global downturn, the characteristics of Islamic private equity and venture capital ensured the sectors enjoyed increasing attention from regional and global investors. The merger of companies, as a means of meeting the operational and strategic challenges of the economic downturn, will show a growing demand for a far more partnership approach to private equity and venture capital investment. Islamic investment should be made on the basis of partnership and investment also to be made in largely infrastructure-orientated projects, such as transport, energy, healthcare and education, as these sectors not only offer asset backed investment but also long term investment into societies. Thus, in the post recession world, where the market and society is demanding that the investment industry provide a responsible form of investment, Islamic private equity and venture capital are both ideally suited to meet this demand.

How Has Physical Theatre Changed Over Time Essay

Physical theatre is a form of performance where movement and physicality of the body has the main part within a performance. There are several quite distinct traditions of performance which all describe themselves using the term â€Å"physical theatre†, which has led to a lot of confusion as to what the definition of physical theatre actually is. The term physical theatre has been applied to performances consisting mainly of mime, contemporary dance, theatrical clowning and other physical comedy (such as slapstick), puppetry and mask work and theatrical acrobatics and lifts. One of the early practitioners of physical theatre was Artaud. His ideas included total theatre, wherein actors appeal to all of the audience’s senses; he rejected the idea of the proscenium arch and directed his actors to use the space in different ways. It was also his view that in performance, all expression was physical expression. Whereas Steven Berkoff’s style incorporates actors using their whole bodies, including facial expressions to tell the audience the story, and actors using their bodies to create sound effects. He is also a great believer in Le Coq’s seven states of tension, in this exercise the actor will move through seven different body states, starting off as exhausted and lazy and finishing in an the highest state of tension. The style of physical theatre can differ widely, but generally in a performance of physical theatre the audience would expect to see: elements of contemporary dance (fluid, graceful movements), detailed mime, as there are often limited props in physical theatre performances, complex lifts sometimes with several people, acrobatics and gymnastics and many fast-paced moments where actors will be stretching the limits of their bodies. One of the first instances of physicality being used within theatres was by the Greeks, as they used a lot of mime and pantomime acts within their performances. The performance of pantomime originates from Ancient Greece, the first recorded pantomime actor being TelestÄ“s in the play Seven Against Thebes by Aeschylus. Mime is u sed to give actors a way of portraying feelings, emotions, and entire stories through movement and expression, which helps in telling the overall story. It gives a focus on expression and movement, and it takes away speech, which makes performers use their bodies and their faces to show to the audience what is happening, therefore making it physical theatre as the body is used rather than the voice. Around the  16th century, Italian theatre developed, what they called, Commedia dell’arte, which is a form of theatre characterized by masked â€Å"types† which began in Italy in the 16th century. The Commedia dell’art characters first began to appear in English plays around 1660. This style of theatre has three important aspects to it; mask, music and costumes. The audience was able to pick up from each character’s dress the type of person he was representing. For example, loose–fitting garments alternated with very tight, and jarring color contrasts opposed monochrome outfits. Males would identify themselves with character-specific costumes and half masks and all the fixed character types, the figure s of fun or satire, wore colored leather masks. Today in Italy handcrafted theatre masks are still created in the ancient tradition of carnacialesca (carnival). Commedia dell’arte is classed as physical theatre as masks forced actors to project their characters’ emotions through the body. Leaps, tumbles, stock gags, obscene gestures and slapstick antics were incorporated into their acts. Pantomime (informally panto), is a type of musical comedy stage production, designed for family entertainment. The origins of pantomime go back to ancient Rome, and was developed in England to generally be performed during the Christmas and New Year season. Modern pantomime includes songs, slapstick comedy and dancing, employs gender-crossing actors, and combines topical humour with a story loosely based on a well-known fairy tale. It is a participatory form of theatre, in which the audience is expected to sing along with certain parts of the music and shout out phrases to the performers. The development of English pantomime was strongly influenced by commedia dell’arte. This was a â€Å"comedy of professional artists† travelling from province to province in Italy and then France, who improvised and told comic stories that held lessons for the crowd, changing the main character depending on where they were performing. Pantomime mainly incorperated song, dance, buffoonery, slapstick, cross-dressing, in-jokes, topical references, audience participation, and mild sexual innuendo. The general movement within Pantomime creates physical theatre as the storyline is presented to the audience mainly through lifts, dance and slapstick, although performers also use their voice throughout. The Theatre of the Absurd is the name for particular plays of absurdist fiction written by a number of primarily European playwrights in the late 1950s, as well as one  for the style of theatre which has evolved from their work. Their work expressed what happens when human existence has no meaning or purpose and therefore all communication breaks down, alerting their audiences to pursue the opposite. The Absurd in these plays takes the form of man’s reaction to a world apparently without meaning, and/or man as a puppet controlled or menaced by invisible outside forces. Theatre of the Absurd consisted of horrific or tragic images; characters caught in hopeless situations forced to do repetitive or meaningless actions; dialogue full of clichà ©s, wordplay, and nonsense; plots that are cyclical or absurdly expansive. The term â€Å"Theatre of the Absurd† was coined by the critic Martin Esslin, who made it the title of a book on the subject first published in 1961. The â€Å"Absurd† or â€Å"New Theater† movement was originally a Paris-based form of theatre, tied to extremely small theatres. There are many conventions of â€Å"absurd† theatre, such as words often appearring to have lost their denotative function, thus creating misunderstanding among the characters. Instead, language gains a certain rhythmical, almost musical quality; no plot, minimal staging, babbling; abstract setting, â€Å"It is sometimes said to express the ‘human condition’ in a basic or ‘existential’ way† (Worthen 1639 ). Pirandello, one of the first experimentalists, wanted to bring down the fourth wall that was created by Realism, thus creating more physicality and a deeper connection with the audience. Modern physical theatre has grown from a variety of origins. Mime and theatrical clowning schools, such as L’Ecole Internationale de Theatre Jacques Lecoq in Paris, have had a big influence on many modern expressions of physical theatre. Practitioners such as Steven Berkoff and John Wright received their initial training at theatre schools just like this. Contemporary Dance has also had a strong influence on what is regarded as physical theatre, partly because most physical theatre requires the performers to have a level of physical control and flexibility. This is rarely found in those who do not have some sort of movement background. Modern physical theatre also has strong roots in more ancient traditions such as Commedia dell’arte and some people suggest this links to the ancient greek theatre. Eastern Theatre traditions have influenced a number of practitioners who have then influenced physical theatre. A number of Oriental traditions have a high level of physical t raining, and are visual masterpieces. Antonin Artaud was fascinated with the energy and  visual nature of Balinese theatre and wrote extensively on it. He admired Eastern theatre because of the highly ritualized and precise physicality of Balinese dance performance, and advocated what he called a â€Å"Theatre of Cruelty†, which he used to create physical theatre within performances and to describe a form of theatre that he hoped would unleash unconscious responses in audiences and performers that were normally inaccessible. Another physical theatre practioner, Steven Berkoff, used techniques such as background movement, repetitive actions, and mime to explore further the ways in which he approaches exchanges between two characters. Berkoff said that it was important â€Å"to see how I could bring mime together with the spoken word as its opposite partner, creating the form and structure of the piece†. Berkoff also used a theory he called Total Theatre, which is key to him and stemmed from Artaud’s theatre style. Total Theatre maintains that every aspect of theatre must have purpose: every movement, that is chor eographed; to each line, that is learned perfectly; to each lighting effect, that is used to convey a mood or message; to each sound effect, that enhances the audience’s experience; to each prop that has a use. The aim of Total Theatre is to create extreme moods to give the audience an overwhelming experience and to shock, amuse, scare, or amaze them. As a result of Total Theatre, performances are often minimalist, with bare stages and little language so that the focus remains on the physical movement and not on all the effects or the creation of a scene. This serves to detach the audience from the play and make them think about what was being said. However, from 1911 to 1916 Stanislavski, proposed that actors study and experience subjective emotions and feelings and perform these experiences to audiences by physical and vocal means. While in the early stages his ‘system’ focused on creating truthful emotions and embodying them, even though he later worked on the Method of Physical Actions. Its focus was on physical actions as a means to access truthful emotion, and involved improvisation. The focus remained on reaching the subconscious through the conscious. In other words, he wanted the performer to focus internally to portray a character’s emotions onstage. Later, between 1934 and 1938, this technique evolved to a method of physical actions in which emotions are produced through the use of actions. From Greek theatre to modern day, physical theatre has been used by many different practitioners and theatre  groups for one sole purpose; to impact the audience. On one hand, the mime and Commedia dell’arte that the Greeks first developed is still used widely today; mime is still an extremely popular form expression within plays, and commedia dell’arte is still extremely popular in creating humorous performances using masks, and over-exaggerated costumes. Similarly, pantomime is still one of the most popular forms of theatrical entertainment used across the world, achieving physical theatricality by including slapstick, lifts and dances, occasional mask work and costumes. This is effective as it provides the audience with the storyline in a less conventional and, arguably, more interesting way. It intrigues the audience, and makes them feel more emotionally connected with the characters involved in the performance, especially when the performers break the fourth wall, which frequently happens during pantomimes. However it can also be argued that many things have changed as time passed in regards to physical theatre. As technology advanced, the use of lighting and special fx have made creating a dramatic and intense atmosphere easier. Breaking the fourth wall is also a new idea, as the Greeks and Romans believed that the audience should not be included in the performance, and should purely be onlookers, whereas Artaud and Stanislavski believed that by bringing the audience into the performance, it would not only make it more intense and engaging, it would also achieve the â€Å"attacking the senses† criteria that Artaud believed in, by using â€Å"in yer face† theatre to scream and shout in the audience’s face. Physical theatre as it is used today, is st ill very popular with both performers and audiences, as it is both entertaining to watch and perform.

The Book of J and the Hebrew Bible

Getting a comparison between the Book of J and the Hebrew Bible, we can have an extensive scope of change and transition from the initial writings and the later writings. For some reason, some information from the first book has either been altered or removed from the other version. The two books differ from each other even though they have almost same aspects of meaning. Comparing the two books, one gets the rough story, but then the book of J has more perspective and explanation as compared to the Hebrew Bible. An example, the Hebrew Bible explains to us how Adam and Eve came into existence. We understand that God created Adam from dust and Eve from his rib. That is almost everything told about how a man happened to be by the Hebrew Bible (Safire, 1997). However, this is entirely different with the book of J. Here we get to know a more profound extent of how Adam came to be. After the initial flood, the gods decided to send him to earth because of his mortality. Furthermore, the book of J also looks at the aftermath of the misunderstanding between Cain and Abel. Eve manages to give birth to a third son, Seth. The first man continued to give birth and spread all over the earth. By doing so, they also began getting immoral and reckless. This angered God. He wanted to wipe them off the face of the planet. The story of the Babel tower is also one of the stories that have been on the nook. We can look at it in the book of J explained so well how it came to be and how God used this opportunity to scatter man all over the earth. This was after they tried to build a tower to heaven. This is what has added to the book of J and is not in the Hebrew Bible. Furthermore, the text of J has a feminist nature in it. The writer has focused more on the feminine side of the story. In both stories, we can have a difference in the relationships between Yahweh and Man. In the book of J, God at first used other gods to execute his earthy wants while in the Hebrew Bible, God communicates directly with man. (Coogan, 2009) Therefore, both of the two books express the religious nature of humanity and this makes it somewhat connected to the religious nature of humankind. They both tend to expound more on the acts that took place. In fact, at some point, stories are similar but are differentiated in a tiny way.

WASH ASSISTANT Personal Statement Example | Topics and Well Written Essays - 250 words - 1

WASH ASSISTANT - Personal Statement Example tional Rescue Committee (IRC) based in Garowe in Somalia because I possess the potential, prerequisite knowledge and experience required to make a difference. According to Godfrey (2005), the IRC responds to the worst humanitarian crisis in the world by helping people survive and rebuild their lives. The IRC’s objectives and goals inspire me to contribute to alleviating the suffering of people afflicted by calamities, and in the process acquire more experience and knowledge with regard to disaster management. My training on several essential WASH courses with redr.uk on mock WASH cluster gives me an added advantage. This is borne out of the fact that during these training sessions I have to collaborate with other WASH actors in identifying and addressing gaps in an emergency response. Given this opportunity to work with the IRC in Garowe in Somalia, I will be able to apply and test the viability of the proposed strategies to address the gaps in emergency response. My focus will be to address and enhance WASH protocols in a bid to improve disaster emergency responses by filling the gaps identified. This will include conducting household water and hygiene promotion and assessments to gauge the safety and appropriateness of available water sources in use during and after disasters. This will be in an effort to mitigate the effects of unsanitary water sources in calamities. To this effect, my experiences will enable me to easily identify WASH related factors needed to control and eliminate neglected tropical and respiratory diseases. This has also enabled me to formulate prevention strategies against water borne diseases and water related insect vector disease phenomena, which I can apply to improve the capacity of

Action Planning Assignment Example | Topics and Well Written Essays - 500 words

Action Planning - Assignment Example However, there is a specific mechanism of approaching each action to reach the desired goals. The inclusion of actions will interfere with customer service, retention and acquisition. However, it is advisable for human resource managers to establish a social network with more colleges to discuss on similar ideas and generate remedies that do not drag the success of an entity. The process of action planning is very sensitive in the operation of an organisation where the human resource shall compare and contrast the effect of taking certain action as discussed in the goals realised in the study which are going to enhance our business growth below (Kumar 2011, p. 20). The process of enhancing, an action in an organisation to influence any goal of the entity the human resource will cater for several questions, for instance, what is the cost of expenditure. Do we have the right person to recruit? In addition, is it the right time to initiate the action? In the case of improving the staff body, it involves regulating g of the personnel working within a certain period in an entity that is mostly done through head count to ensure that the correct role is being done for the right cost. Critically, the human resource should come up with procedures of prospecting managers who fit the activities run by an entity and high quality interviews for the staff to get the right people. However, in the performance of these activities the human resource will be in a position to reach these goals. However, these actions cannot be enhanced and made by an individual, but it will need a mentor to provide advice to the HR office (Caruth, Caruth, and Pane 2009, p.30). The goal deserves attention in increasing the customers tally and calls for a distinct customer service that stands as the differentiating factor with other organisations trading on the same commodity.