A Christmas Carol Quotations

'A Christmas Carol' Quotations Charles Dickenss novel, A Christmas Carol (1843), is the famous redemption tale of the wicked Ebenezer Scrooge. On Christmas Eve, Scrooge is visited by spirits, including his former business partner Jacob Marley, and the Ghosts of Christmas Past, Christmas Present and Christmas Yet to Come. Each ghost has a different message for Scrooge about how his penny-pinching and indifference has affected himself and others who care about him. By the end of the story, Scrooge has become enlightened and vows to change his mean, miserly ways before its too late.   Famous Quotations The Ghost of Jacob Marley Marleys ghost tells Scrooge why he has  appeared to him on Christmas Eve, wearing the chains he forged in life. It is required of every man, the ghost returned, that the spirit within him should walk abroad among his fellow-men, and travel far and wide; and, if that spirit goes not forth in life, it is condemned to do so after death. The Ghost of Christmas Past After reliving his past and seeing his kindly former mentor Fezziwig, Scrooge is overwhelmed. He tells the Ghost: Spirit! said Scrooge in a broken voice, remove me from this place.I told you these were shadows of the things that have been, said the Ghost. That they are what they are, do not blame me! Ghost of Christmas Present There are some upon this earth of yours, returned the Spirit, who lay claim to know us, and who do their deeds of passion, pride, ill-will, hatred, envy, bigotry, and selfishness in our name, who are as strange to us and all out kith and kin, as if they had never lived. Remember that, and charge their doings on themselves, not us.   The Ghost of Christmas Present is telling Scrooge not to blame his past bad behavior on anyone else or any divine influence.   Ebenezer Scrooge   Scrooge takes a long time to get on board with the spirits, but once he does, he panics that hes run out of time to redeem himself. You may be an undigested bit of beef, a blot of mustard, a crumb of cheese, a fragment of underdone potato. Theres more of gravy than of grave about you, whatever you are! Scrooge says this to the ghost of his late business partner, Jacob Marley. Scrooge is doubting his senses, and cant believe that the Ghost is real.   Ghost of the Future, he exclaimed, I fear you more than any spectre I have seen. But as I know your purpose is to do me good, and as I hope to live to be another man from what I was, I am prepared to bear you company, and do it with a thankful heart. Will you not speak to me? After visits from the Ghosts of Christmas Past and Present, Scrooge most fears the visit of the Ghost of Christmas Yet to Come. When he sees what this spirit has to show him, Scrooge begs to know whether the course of events can be changed: Mens courses will foreshadow certain ends, to which, if persevered in, they must lead, said Scrooge. But if the courses  be  departed from, the ends will change. Say it is thus with what you show me!   When he wakes up on Christmas morning, Scrooge realizes he can make amends for his past cruelties.   I will  honour  Christmas in my heart, and try to keep it all the year. I will live in the Past, the Present, and the Future. The Spirits of all Three shall strive within me. I will not shut out the lessons that they teach. Oh, tell me I may sponge away the writing on this stone!

Repartee Definition and Examples

Repartee Definition and Examples A repartee means having a quick, witty reply or an exchange of witty remarks and comes from the Old French to set out again. Examples and Observations First one speaks, then presently tothers upon him slap, with a Repartee.(Bayes in The Rehearsal by George Villiers, 1672)†The concept of staircase wit, authored by the French writer Denis Diderot, refers to those devastatingly clever remarks that we’re unable to produce when they’re needed, but come to mind with perfect clarity moments later, as we’re walking down the staircase and heading out the door. There is no similar expression in English, but the Germans have long had their own word for it: Treppenwitz (also ‘staircase wit’). The writer Heywood Broun certainly had this phenomenon in mind when he wrote: ‘Repartee is what you wish you’d said.’... While the word retort suggests the notion of putting adversaries and opponents in their place, repartee is a broader term that refers to clever or witty remarks in almost any social situation. Repartee stories have been around for centuries.†(Mardy Grothe, Viva la Reparte e. Collins, 2005)†Even when members of the Algonquin Round Table pondered some of life’s most serious questions, one or another of the witty group would somehow find a way to lighten the conversation. During a discussion of suicide one day, George S. Kaufman was asked by another member of the group, ‘So, how would you kill yourself?’ Kaufman considered the question thoughtfully for several moments before replying: ‘With kindness.’†(Quoted by Mardy Grothe in Viva la Repartee) Repartee is something we think of twenty-four hours too late.(Mark Twain)[T]art-tongued Lady Astor, the first woman elected to the House of Commons, allegedly told [Winston] Churchill, If you were my husband, Id put poison in your coffee (in his tea, more likely). Madam, Churchill is said to have responded, If you were my wife, Id drink it. Many biographers of both Churchill and Astor report that some form of this exchange took place. However, the researcher for a biography of Churchill... discounted the comment as uncharacteristic of the rather prim prime minister.(Ralph Keyes, The Quote Verifier: Who Said What, Where, and When. Macmillan, 2006) Dorothy Parker â€Å"In the hospital Dorothy Parker was visited by her secretary, to whom she wished to dictate some letters. Pressing the button marked NURSE, Dorothy observed, ‘That should assure us at least 45 minutes of undisturbed privacy.’† â€Å"Dorothy Parker and a friend were talking about a forceful and garrulous celebrity. ‘She’s so outspoken,’ remarked the friend. ‘By whom?’ asked Dorothy.† â€Å"Looking at a worn-out toothbrush in their hostess’s bathroom, a fellow guest said to Dorothy Parker, ‘Whatever do you think she does with that?’ ’I think she rides it on Halloween’ was the reply.†(Quoted in The Little, Brown Book of Anecdotes, edited by Clifton Fadiman. Little,Brown and Co., 1985) Oscar Wilde â€Å"Ah, well, then, I suppose that I shall have to die beyond my means.†(at the mention of a huge fee for a surgical operation) â€Å"Work is the curse of the drinking classes.† â€Å"I have nothing to declare except my genius.†(at the New York Custom House) â€Å"Democracy means simply the bludgeoning of the people by the people for the people.†(Quoted in The Oxford Dictionary of Quotations, 6th ed., edited by Elizabeth Knowles. Oxford Univ. Press, 2004)

Rooms Devision Operations Management Assignment

Rooms Devision Operations Management - Assignment Example As such, legislation typically deals with safeguarding the privacy of all guests residing in the property, the security of individual guests and their property while they are in their respective rooms, and the protection of the personal information. Hospitality facilities have the legal and ethical responsibility to ensure the protection of the personal information that is provided to them by their guests. This information can include, but is certainly not limited to, the names of each guests, their personal, and financial information. This data is typically provided to the hotel at the time of registration, and again at check-in. When each guests checks out from the property, the obligation of the property to properly dispose of all such information is legally stipulated as well. There is also the expectation that the front of area staff should not divulge information about any current, future, or past guest unless they have specific permission and authorization to do so (McMillan, 2013). In terms of each individual room within the property, the staff in the accommodations division are charged with the responsibility of ensuring the safety and security of the personal property of each guests, and they should take all reasonable and customary measure to see after the personal safety of their guests as well. There is also the legal expectation that guest rooms be maintained according to the standards of cleanliness as dictated by the location in which the hotel property is located. 1.2 Roles and Responsibilities of Accommodation and Reception Staff The accommodations staff is largely responsible for maintaining each guest room and ensuring that is up to the expected of standards of the property each every night. Such staff people are also to make themselves available on as needed basis in order to facilitate the demands of guests as they happen. This includes make available any items that might have been neglected during the cleaning and room preparation process . The staff in the accommodations division must also set the standard of quality and cleanliness for the hotel, as they are the individuals responsible to ensure that each room is properly cleaned and prepared each evening. This is done in accordance with the level of quality that the respective property is designed to maintain. The staff at the reception of a hotel are also invaluable to this end as well, as they are the individuals that take care of the guests before and their arrival, and upon check out as well. It should be pointed out the the reception staff are usually the first contact people that the guests have at a hotel. They are also the individuals at the hotel that a guest often goes to first when they have a complaint about certain aspects of the room division operations, so the staff should be adequately trained in conflict resolution. Members of the receptions staff should be trained in how to accommodate the demands of their guests, within reason, and to make that they do everything in their power to make sure that their stay is memorable, from check-in through check-out. It should finally be noted that members of the reception staff are also responsible for the normal tasks of checking in customers, helping them to pay their bills, and making sure that all of their concerns have been properly addressed throughout their stay. Since they are the most visible component and human face of the hotel, they need to strive to always be pleasant and accommodating in all of their dealings with each guest

Crazy eddi Essay Example | Topics and Well Written Essays - 750 words

Crazy eddi - Essay Example His relatives were voluntarily sent out by Antar. (Knapp, 2009). The main reason for the failure is the inability to manage the firm. Since the management comprised of his relatives, Antar did not bother to look after the financial and investment needs. All this contributed to the problematic situation. The critical issue in the Crazy Eddar's case is the fraudulent activity of increasing the company's profits in the company's balance sheet. This was purposely done by Antar to tide over the situation that prevailed during the 1980's. Antar thought it would solve the financial issues. But it resulted in a problem that provoked the problems in the company's investment. There were several other issues that contributed to the problems in Crazy Eddie. Antar lacked experience in managing stores and he relied on his relatives to help him whenever there was a problem in the company. The company had a tremendous growth in the initial stages and Antar strived hard to maintain the status of the company. Though it was well received and people often visited the store, the increase in the competition created a wave of fear. measure to gain investment and capital to improve the company and to expand its operations. Even though this seemed to be a good option, this led to a situation where people started investing more on this company. Due to this, the level of expectation increased. The shelves of the shop were filled with electronic items and most of the items remained there for a long time. The sales decreased gradually since people started to buy from the other retail electronic stores. Without resolving the situation Antar continued to open up new branches. (Knapp, 2009).As the competitions increased the number of customers got reduced. This affected the growth and expansion of Crazy Eddie and the profits started to decline. Even the suppliers were reluctant to provide them the necessary electrical equipments. This led to a situation where Antar's relatives lost interest and they started to disintegrate. The company's financial condition was not stable and in spite of the increase in the share value. Antar then returned the procured electrical goods back to the suppliers. The company's growth rate and profit margin declined and as

Rhetorical Analysis Essay Example for Free

Rhetorical Analysis Essay Disclaimer: Let’s avoid abortion, the death penalty, gun rights, and gay marriage for this assignment unless you can convince me you have a fresh spin or take on it. These topics have been heavily used in previous semesters, so I want to encourage you to expand to less traveled territory. 2. Then, choose three interesting rhetorical artifacts that deal with or illustrate this social issue. This could be such things as advertising, films, books, songs, albums, YouTube/online videos, speeches, websites, etc. Limit yourself to only two samples per genre—that is, don’t pick three films, or three songs, or three books, but have some variety. It is possible to pick something very simple—like a single magazine page ad—but remember that you need to be able to pull a lot out of it to discuss. So find something that will be fruitful for many pages’ worth of discussion. Your assignment 1. In your introduction (5-8 sentences), first describe the social issue and why you’ve picked it. Then, briefly describe the three rhetorical artifacts and how they pertain to the social issue. 2. Finish your introduction with a thesis statement. Remember, a thesis statement is an argument and not a declarative sentence, a question, or an announcement. Two sample thesis statements: A descriptive analysis of six parts of [artifact A], [artifact B], and [artifact C] reveal how each of these pieces work to illuminate [Social Issue]. [Social issue] can be better understood by a six-part descriptive analysis of [artifact A], [artifact B], and [artifact C]. 3. Do the six-part descriptive analysis, which will be explained in the next section. Generally speaking, you will be doing six analyses of each of your artifacts, so a total of at least 18 separate examinations. Each analysis should be roughly one or two paragraphs. 4. Be sure to include a Works Cited/Bibliography page with for three rhetorical artifacts. 5. Your paper should total 7-10 pages, not counting the Works Cited/Bibliography page. The Six-Part Descriptive Analysis: In your essay, you’ll need to do each of the following six analyses. For each analysis, you’ll need to follow the Claim+Proof+Analysis structure that the book calls the critical equation (see page 30-34, especially 32). So for each analysis, you would 1) claim that such-and-such descriptive element is present. Then 2) give me proof of that—why can you make this claim? Then 3) tell me how well your artifact puts this descriptive element to use. 1. The six rhetorical purposes (pages. 8-13) a. Creating virtual experience b. Altering perception c. Explaining d. Formulating belief e. Initiating action f. Maintaining action Examine each of your three rhetorical selections in the light of these six rhetorical purposes. Which of the six is the best fit for each of your selections? There may be more than one purpose, but discussing just one of them is fine. So for each artifact, you would 1) claim that X type of rhetorical purpose was used. Then 2) give me proof of that—why can you make this claim? Then 3) tell me how well your artifact puts this rhetorical purpose to use. 2. The seven elements (page 24). Of the seven elements, two are of interest for this assignment. a. Persona. The role the persuader takes in addressing the audience. Think of things like good cop/bad cop; teacher; friend; pastor; reporter; clown b. Tone. The persuader’s attitude towards the subject (Detached, emotional, satirical.) AND the audience. (Personal/authoritative/supplicant.) Complete a critical equation for Persona and Tone for each of your three rhetorical artifacts. So for each artifact, you would 1) claim that X type of persona or tone was used. Then 2) give me proof of that—why can you make this claim? Then 3) tell me how well your artifact puts this persona/tone to use. 3. The VASES—Visuals, Analogies, Statistics, Experts, and Stories. (See page 80 for a brief overview, but you’ll need to look at the entire chapter 4 for a full understanding.) Describe how each of your three artifacts uses evidence in light of your social issue. Use the VASES, although note that not all five of the VASES will be used in each artifact. Remember that this should be structured in the Claim + Proof + Analysis structure. So for each artifact, you would 1) claim that X type of evidence was used. Then 2) give me proof of that—why can you make this claim? Then 3) tell me how well your artifact puts this evidence to use. 4. The dimensions of rhetorical action. We aren’t always convinced by purely logical reasons—sometimes psychological, social, and personal reasons convince us as well. (See pages 117-121). Think of each as these as on a continuum—that is, it isn’t 100 percent on one extreme or the other, but more likely a blend of 70/30, 60/40, etc. Purpose Instrumental ïÆ'ŸïÆ'   Consummatory (A tool) (Purpose in action itself) Argument JustificatoryïÆ'ŸïÆ'  Ritualistic (Offers reasons/justifies) (Participatory/performative/affirms) Structure LogicalïÆ'ŸïÆ'  Associative (Necessary links)(Learned from experience) Language LiteralïÆ'ŸïÆ'  Figurative Describes worldDescribes internal state Evidence FactualïÆ'ŸïÆ'  Psychological VerifiableAppeals to needs, drives, desire (logos)(pathos) Plot where each of the three artifacts lie on the continuum. (Do so in paragraph form—I don’t necessarily need a diagram.) You don’t have to use the same rhetorical dimension(s) for each artifact. Remember that this should be structured in the Claim + Proof + Analysis structure. So for each artifact, you would 1) claim that your artifact is placed somewhere on a continuum for a certain dimension of rhetorical action. For example, â€Å"This artifact is mostly figurative, but it contains a few literal elements as well.† OR: As an entertaining film, this piece is almost purely consummatory.† Then 2) give proof of that—why can you make this claim? Then 3) tell how well you think it works in this case. 5. Organizational patterns. (pages 136-142). How is the artifact organized? Sequence A. Chronological—by time B. Narrative—story C. Spatialdirection Topical A. PartsïÆ'   subtopic (breaking into chunks—unique to the subject) B. Perspectives ïÆ'   familiar divisions (common, often-used categories) Logical A. Causal—cause ïÆ'  effect B. Problem-solution—harm ïÆ'  solution What is at least one organizational pattern used by each artifact? How does this organizational pattern help promote its perspective on your social issue? (If you do not think your artifact demonstrates any of these organizational patterns, prove it—show me by process of elimination how none of them fit) You don’t have to use the same organizational pattern(s) for each artifact. Remember that this should be structured in the Claim + Proof + Analysis structure. So for each artifact, you would 1) tell me what organizational pattern(s) you see at work. Then 2) give me proof of that—why can you make this claim? Then 3) tell me how well you think it works in this case in light of your social issue. 6. Resources of language (See 165-169) Think of these as continuums. FormalityïÆ'Ÿ-ïÆ'  Informality PrecisionïÆ'Ÿ-ïÆ'  Ambiguity LiteralïÆ'Ÿ-ïÆ'  Figurative EconomyïÆ'Ÿ-ïÆ'  Redundancy Plot your artifact on what of the continuums of style (for example, 70 percent formal, 30 percent informal). How does this style help promote its perspective on your social issue? Give me one paragraph for each artifact. (Note: If you’ve explored the literal—figurative continuum in a previous portfolio assignment, please select a new one.) (If you do not think your artifact demonstrates any of the styles, prove it—show me by process of elimination how none of them fit.). You don’t have to use the same resource of language for each artifact. Remember that this should be structured in the Claim + Proof + Analysis structure. So for each artifact, you would 1) tell me what organizational pattern(s) you see at work. Then 2) give me proof of that—why can you make this claim? Then 3) tell me how well you think it works in this case in light of your social issue.

Holdens Depression in J.D. Salingers The Catcher in the Rye Essay

Everybody feels depressed at some time or another in their lives.   However, it becomes a problem when depression is so much a part of a person's life that he or she can no longer  experience happiness.   This  happens to the young boy, Holden Caulfield in J.D Salinger's novel, The Catcher in the Rye.   Mr. Antolini accurately views the cause of Holden's depression as his lack of personal motivation, his inability to self-reflect and his stubbornness to overlook the obvious which collectively results in him giving up on life before he ever really has a chance to get it started.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Holden lacks the essential ability to motivate himself, which he needs to survive in the 'real' world.   He continues to be kicked out of every school he attends because he fails to apply himself, his simple reasoning being 'How do you know what you're going to do till you do it? The answer is, you don't' (213).   Everybody else in his life tries to encourage him to care about school and his grades but it doesn?t make any difference.   From the start of the novel Holden?s history teacher at Pencey tells him ?I?d like to put some sense in that head of yours, boy.   I?m trying to help you.   I?m trying to help you, if I can? (14).   But the fact of the matter is he can?t help him, Holden has to help himself.  Ã‚   The drive to succeed has to come from within him, ?I mean you can?t hardly ever do something just because somebody wants you to? (185).   In order for Holden to succeed he has to want it for himself.   The only pr oblem being Holden is unable to will him into doing anything he is not genuinely interested in, therefore missing out on further knowledge he could acquire that would truly entice him.   Holden gives up on school because he fears if ... ...why he never found them.   He will not allow himself to because by this point he had given up on school and eventually he gave up on the whole world.   Tragically though, he gives it all up before he truly has a chance to get it started.     Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Mr. Antolini?s theory as to what is wrong with Holden is right on, it?s just too bad he was unable to get through to Holden.   Due to the fact that Holden has already given up on himself and is unwilling to apply the valuable advice he has been given.   He has lost the substantial ability to find happiness in life and therefore can?t find the energy to motivate himself in anything he does.   It?s a tragedy that someone as bright as Holden Caulfield is unable to find the strength within himself to persevere in a world of insanity. Works Cited: Salinger, J.D. The Catcher in the Rye. London: Penguin Books Ltd., 1994.

Just In Time Essay

Just-In-Time or J-I-T is defined in the APICS dictionary as â€Å"a philosophy of manufacturing based on planned elimination of all waste and on continuous improvement of productivity. † To put it simply, it means products are produced in the necessary quantities at the necessary time, basically, everything happens just in time. It promises to provide a tailored solution for business matching none of the off-the-shelf software available in the market. It believes that it must adapt to its customers not the other way around. It takes its name from the idea of replenishing material buffers just when they are needed. Also known as lean production or stockless production, it seeks to improve profits and ROI by the reduction of inventory levels, by increasing inventory turnover rate, by the reduction of variability, by the improvement of product quality, by the reduction of production and delivery lead times and by the reduction of other costs like those that are associated with machine set up and equipment breakdown. It applies to repetitive manufacturing processes where it involves the same products and components being produced over and over again. J-I-T, a recognized philosophy, technique or way of working takes its root in Japan. Developed by the Toyota Motor Company in the mid-1970’s, it was originally known as Toyota Production System (TPS). Toyota’s Taiichi Ohno is after all the credited father of this way or working. He developed a system of production based on waste elimination. Waste, according to Ohno includes time and resources as well as materials. Just-in-time and autonomation were then born. The former means that items move through production as and when they are needed; and the latter means that production system must be automated to include inspection, where human attention was only called for when a defect was detected automatically, signaling a temporary stop in the system until the problem has been solved. J-I-T believes that waste and its many forms must be eliminated. These wastes can be in the form of materials, space and labor. Problems that may lead to the production of such wastes are paid close attention to. There has been a constant improvement on operation and procedures to finely tune them in to an increase in productivity. Ordering or holding costs can be reduced. And there must also be a continuous effort to strive to improve. This means an improvement on processes and systems to an efficient and competitive one. Moreover, a certain respect among the workers must be maintained. It assumes a stable environment and requires an active participation among the employees, the basics of industrial engineering, continuous improvement, small lot sizes and total quality control. Stock or inventory, overproduction, time spent waiting, transportation or movement, processing time as well as defects are considered to be unnecessary wastes. This techniques promises to render its users the benefits ranging from consistent high quality products, quality as a responsibility of every worker, uniform Master Production Schedule, standardization of components and work methods, product focus, preventive maintenance, reduced scrap, reduced re-work, reduced cycle times, lower set up time, smoother flow of production, less inventory, cost savings, higher productivity, more skilled and multi-tasking work force, reduced space requirements and improved relationships with suppliers and continuous improvement. Setting it apart from all the other traditional techniques applied which provides large amount of options available to its customers and accepts almost all orders, J-I-T targets a limited market in order to deliver high quality services at low cost. In terms of capacity, a traditional technique employs excess capacity designed into the system anticipating problems that may arise, they are highly utilized and are inflexible as opposed to that of J-I-T that minimizes waste of having extra capacity, and such is flexible and moderately utilized. In the traditional technique, there is a lot of space for inventory storage. Job shops are often converted to cellular manufacturing when J-I-T technique is employed. Traditional technique believes that long lead times allow more time to make decisions and get the job done. J-I-T on the other hand, believes that more accurate forecasting and planning can be done in short lead times. In terms of layout, a job shop in a traditional set up are spread-out to accommodate areas for stock rooms, tool cribs and work-in-the process inventories between the equipment. It even requires automated or semi-automated materials handling equipment in the form of conveyors and forklifts, another addition to an already big space requirement. In a J-I-T system, manual transfer is employed. Equipment is as close together to aid the handling over of parts from one worker or machine to the other. In terms of quality, in a traditional technique, goods are inspected at critical points and scrap rates are tracked. In the case of the J-I-T technique, workers themselves inspect parts to achieve the zero defects goal in the end. Toyota and its suppliers were alone in the use of the TPS for almost a decade. Not until the late 1970’s when other Japanese automobile manufacturers in the likes of Mazda, Honda and Nissan adopted the concept of J-I-T to continue to compete with arch rival Toyota. Then in the mid 1980’s US and European manufacturers like Chrysler, Ford and General Motors benchmarked the J-I-T philosophy. Other firms such as CM, Ford, Bendix, Harley-Davidson, IBM, Hewlett-Packard, AT&T and others have been strongly advocating J-I-T. There have been progresses in regaining competitiveness. Many firms are once again at if not near world class status. But J-I-T is not a revolution but an evolution. Not all accounts will be success stories. Managers only implement J-I-T when they are convinced that it can enhance the firm’s performance. This is true even though there have been a lot of testaments to the benefits that it claims to deliver to its clients. There have been studies that show that the implementation and maintenance of the J-I-T manufacturing systems will eventually reap rewards as measured by improved financial performance. J-I-T is not the end of an evolution- it actually is just the beginning. There will be new J-I-T generations to be born in the years to come. We all have to then learn how to embrace changes in order to improve and gain control of our growing enterprises. We can always take a pick amongst the ones available. The choice is ours to make. References Donath, Bob. Reduced warehouse storage/inventory costs. The IOMA Handbook of Logistics and Inventory Management, p. 310. Retrieved November 21, 2007 from http://books.google.com/books?isbn=047120935x.

Characteristics of Romanticism Essay

1. Medievalism – looking on the past to a simpler lifestyle (the good ole days). †Written in the Close of Spring† by Charlotte Smith 2. Orientalism – (exotic locales) places that everyday people would not venture. Mystery – emotional stimulus. 3. Primitivism – belief that man was born inherently good. (Noble Savage – writing by people of primitive cultures – Africa, Native American) Society makes them bad. 4. Progress – Romantics were not against progress but feared the effects on society. Man could create a better world without materialism. 5. Anti-intellectualism – belief that everything is just not rational. †The Tables Turned† by William Wordsworth 6. Sentimentalism – (emotions) very affected by what they see. Raw formality. 7. Humanitarism – believed that all men were created equal and that you should help others. 8. Democracy – supporters of the French revolution until it became violent. Agreed with the civil American revolution, used portage to fight for reform. 9. Originality – New poetic formats and genres. 10. Diversity – Authors wrote books and music, but did not write in one style. Mastered the art of writing. 11. Confessionalism – art is a confession of the inner soul. Characters confess and express how they feel. 12. Purgative Purpose of Art – authors believed their writings were cleansing their souls. †Lines Composed a Few Miles away from Tintern Abbey† by William Wordsworth 13. Protest and Dissent – Original Protesters ills of society and the church. Not all authors of this era believed in this. †Lines Written in Early Spring† by William Wordsworth 14. A love of the wild and picturesque – Nature is almost a character in novels. Nature inspires creativity. †Pastoral Poesy† by John Clare

Life And Work Of Barbara Baer Capitman History Essay Essay Example

Life And Work Of Barbara Baer Capitman History Essay Essay Example Life And Work Of Barbara Baer Capitman History Essay Paper Life And Work Of Barbara Baer Capitman History Essay Paper who lives in London, and John A. , who lives in Cambridge, Mass. , and four grandchildren. Barbara Baer Capitman, the audacious small old lady credited with salvaging Miami Beach s colourful Art Deco territory made celebrated on the hit telecasting series Miami Vice, has died in the metropolis she sought to continue. She was 69. Mrs. Capitman, who suffered from diabetes and bosom jobs, died Thursday at Mt. Sinai Medical Center in Miami Beach, harmonizing to infirmary spokesman Arthur Ehrlich. She was president of the Art Deco Society of America and had organized chapters in metropoliss around the state, including Los Angeles, to continue the cosmetic humanistic disciplines manner of architecture popular between the two universe wars. Although slightly more capricious in Miami, the manner is exemplified by the Chrysler Building and Radio City Music Hall in New York City and the old Pan Pacific Auditorium and the Times edifice in Los Angeles. At the clip of her decease, Mrs. Capitman was seting together the first World Congress on Art Deco and working on a book, Art Deco U.S.A. Last twelvemonth she published a book about Miami Beach s 1930s hotels and other Art Deco edifices called Deco Delights. Mrs. Capitman became a preservationist in 1975 as a agency of doing new friends after the decease of her hubby, William, at 53. She attributed her quavery voice, which her disparagers often mimicked, to the daze of his decease. Within four old ages, despite resistance by the Miami Beach metropolis director and Chamber of Commerce, Mrs. Capitman and her Design Preservation League won listing of the mile-square territory on the National Register of Historic Places, supplying federal revenue enhancement inducements for Restoration. The country is the lone territory with 20th-Century architecture in the registry. It was a enormous accomplishment by one individual one small old lady, said her boy Andrew. Barbara Capitman deserves her repute as the never-say-die title-holder of the Art Deco hoarded wealths of Miami Beach, said billionaire investor Robert Bass, president of the National Trust for Historic Preservation. The territory s 800 or so edifices, designed in the 30s to look like ocean line drives or projectile ships or even bonbons to take holidaying Americans heads off the Depression, are the focal point of Miami Beach s one-year Art Deco Weekend festival, which draws about 400,000 people. In Salvaging South Beach, historic saving clangs with development as each side vies for control of South Beach. A spectrum of characters are present, from Barbara Baer Capitman, the ailing middle-aged widow who became an revivalist for the Miami Beach Art Deco territory, to Abe Resnick, the millionaire Holocaust subsister determined to halt her. From innovators to voluntaries, from Judaic retired persons to Cuban expatriates, from occupants and concern proprietors to developers and metropolis leaders, each adds another piece to the mystifier, another position of the intense struggle that ensued. Although a figure of the country s iconic edifices were demolished, the Miami Design Preservation League succeeded in come ining about half of the vicinity into the National Register of Historic Places, kicking off a revival attempt that spread throughout South Beach. Preservationist M. Barron Stofik lived in Miami during this turmoil-ridden period and, through 100s of interviews and extended probe, weaves together dramatic subjects of civic gallantry, saving, and cultural alteration in the passionate human narrative behind the pastelfacades and neon visible radiations. Barbara Capitman is our 2010 Woman In History Honoree She was born in Chicago and attended New York University. A In her early old ages she was a newsman for The Atlantic City Daily World and was an advertisement copywriter.A When she moved to Miami in 1973, she used her literary accomplishments to assist excite involvement in 1920aˆ?s and 1930aˆ?s Art Deco edifices throughout the state. Much of South Beach s edifices were neglected and abandoned at the clip, but Barbara Capitman was a airy mind and was greatly inspired by happening the universe s largest concentration of Art Deco architecture. In 1976 she helped establish Miami Design Preservation League ( MDPL ) and led a extremely criticized battle to salvage Miami Beach s Art Deco architectural buildings.A Miami Design Preservation League eventually won its landmark conflict on May 14, 1979, and the Art Deco District was added to the National Register of Historic Places.A It was the first clip a twentieth century territory was recognized as Historic by the U.S. authorities. This act brought federal revenue enhancement alleviation to the down country, and South Beach began to demo marks of economic and cultural growth.A One by one, the abandoned edifices were restored into vibrantly colored Art Deco plants of art which about instantly became backgrounds for International manner catalogues, movies and telecasting shows ; and all of a sudden theoretical accounts, famous persons, and lensmans began to flock to the new pastel resort area. Art Deco is the bosom and psyche of South Beach, and Miami Design Preservation League carries forth its spirit, says Miami Beach Mayor Matti Herrera Bower. Our community s success narrative is a testimonial to MDPL s defending our historic territory. Continuing the community s architecture, character and unity led the manner to theA economic and cultural resurgence we all benefit from today. The League was the universe s first Art Deco Society and Capitman s attempts led to the formation of Art Deco saving groups throughout the United States, Europe, Latin America, Australia and New Zealand. Barbara besides hosted a wireless show and authored the books Art Deco Trademarks , Rediscovering Art Deco U.S.A. andA Deco Delights Continuing Miami Beach Architecture . Barabara Capitman died twenty old ages ago in March 1990 but her unerasable grade on South Beach history will neer be forgotten.A WE are proud to call Barbara Baer Capitman our 2010 Women s History Honoree and have asked early preservationist to come and portion a few memories about her and the saving of the Art Deco District. Possibly the following clip you walk down Ocean Drive you will believe of Barbara.A WE invite you to see the new Miami Design Preservation League s ART DECO WELCOME CENTER located on Ocean Drive at the corner of Barbara Capitman Way ( 10th St ) and we hope it inspires you to fall in in the Preservation Movement that continues in South Beach and environing communities.A Click the nexus below if you would wish to do a $ 50 Donation to MDPL aid continue the memory of the adult female who led the battle to continue our community.A Your contribution will include a 1 Year Membership to MDPL and a part to The Barbara Capitman archives. August 1976 The Miami Design Preservation League ( MDPL ) was formed through the attempts of Barbara Baer Capitman and her boy John Capitman. The initial drift was to happen a undertaking to honour the United States bicentenary ; the Capitmans worked with interior decorators Leonard Horowitz and Lillian Barber to place a concentration of 1930s edifices in South Miami Beach that the group felt could be a historic territory of twentieth century architecture. A December 1976 MDPL held its first large-scale public meeting, dubbed the Design Forum. A May 6, 1977 MDPL was incorporated by the State of Florida. Military officers were: Barbara Baer Captiman, President ; David Gell, Secretary ; Jerry Peters, Treasurer ; and Howard M. Neu, Vice President. A September 1977 Art Deco Number of Night and Day magazine high spots the ends and achievements of MDPL. A October 13-19, 1978 Art Deco Week organized by MDPL. The festival was held at and around the Cardozo Hotel on Ocean Drive. Barbara Capitman created the event as a show window for the Art Deco subdivision of Miami Beach trusting to pull both locals and tourers to the country which was comprised of an aged population populating on fixed income, many life at the poorness degree. A December 12, 1978 By-laws of MDPL were amended and submitted to State of Florida. Barbara Baer Capitman, David J. Gell and Carl Weinhardt, Jr. were authorized to put to death the Articles as endorsers and Andres Fabergas and Michael Kinerk, president and secretary, severally, were authorized to put to death the declaration. Chairperson, Barbara Baer Capitman ; President, Andres Fabregas ; Vice President, Leonard Horowitz ; Secretary, Michael D. Kinerk ; Treasurer, Jose Madrazo ; Board members besides officers: Jerald Goodman, Claire Major, Joy Moos, Karolyn Robinson, Sol Schreiber, Landon Thorne III, Carl J Weinhardt, Jr. , Mitchell Wolfson, Jr. A May 14, 1979 The Miami Beach Architectural Historic District ( popularly known as the Art Deco District and Old Miami Beach ) was listed on the National Register of Historic Places. It was the state s first twentieth century Historic District. A July 1979 Portfolio of the Art Deco Historic District was published by MDPL with support from the National Endowment for the Arts ( NEA. ) Barbara Capitman, editor ; Diane Camber, Assistant Editor ; Bill Bucolo, Managing Editor ; photographic essay by David Kaminsky ; articles by Carl J. Weinhardt, Jr. , Karalyn Robinson, Barbara Capitman and Andrew Capitman. A September 1979 The Art Deco District: Time Present Time Past, a magazine with articles on assorted facets of Art Deco, was published by MDPL. A March, 1980 Andy Warhol, world-famous creative person and one of the pioneering Art Deco aggregators, called the MDPL office in March 1980 and asked if person would demo him the Art Deco edifices in Miami Beach. An assignment was made, Warhol arrived from New York and he was given a top to bottom circuit led by MDPL laminitis, Barbara Baer Capitman and Diana Camber the Executive Director of MDPL, now Director of the Bass Museum of Art. This event was widely covered by the intelligence media and gave our new historic territory a cast of blessing from an art-world famous person. A April 1980 The Boulevard Hotel, at 775 Dade Boulevard, was demolished. A January 1981 The Anderson-Notter-Finegold program for the Miami Beach Architectural Historic District was completed ( the program was neer adopted ) . A January 7, 1981 The New Yorker Hotel ( Henry Hohauser, 1939 ) , at 1611 Collins Avenue, was demolished. Despite sustained protests from preservationists, the hotel was destroyed by proprietors Abe Resnik, Dov Dunaesvsky, and Isaac Fryd. The hotel, which many consider to be Hohauser s most successful design, awakened the community to the demand to ordain local statute law to protect belongingss listed on the National Register. The hotel s facade was subsequently used in the new logo of the Miami Design Preservation League ; the New Yorker s batch stood vacant for many old ages and is now occupied by the northern-most part of the Loew s convention centre hotel. A February 1981 Adoption of the first Dade County Historic Preservation Ordinance, which required municipalities to follow Historic Preservation Ordinances by July 1982. A February 4, 1981 City Commission adopted Resolution No. 81-16551 bespeaking freedom from County Historic Preservation regulations. A 1981 MDPL laminitiss Barbara Baer Capitman and Leonard Horowitz took a cross-country trip to detect Art Deco architecture in major U.S. metropoliss. The trip spurred the development of Art Deco societies in many of the metropoliss, and Capitman began to be referred to as the Johnny Appleseed of Art Deco. A 1981-1982 MDPL worked to protect historic edifices by promoting local historic appellation on the National Register District. A April 2, 1982 First meeting of Mayor s Ad Hoc Committee to outline and reexamine a Historic Preservation Ordinance for Miami Beach. A June, 1982 Miami Beach Art Deco District: Time Future was published by Community Action and Research under the protections of MDPL. The brochure, edited by Paul A. Rothman and Barbara Capitman with in writing design by Woody Vondracek, summarized the Anderson Notter Finegold program for the Art Deco Historic District and lobbied for its acceptance by the City of Miami Beach. A June 16, 1982 The first Miami Beach Historic Preservation Ordinance, No. 82-2318, was adopted ; it contained 100 per centum proprietor consent proviso. A September 23, 1982 The Dade County Historic Preservation Board found the Miami Beach Ordinance non in conformity with county demands. A October 20, 1982 The City Commission appointed the first Historic Preservation Board. A January 31, 1983 The U.S. Department of the Interior found the Miami Beach Ordinance to be in conformity with National Register criterions for local authoritiess. A April 20, 1983 Regulation No. 83-2367 amended Historic Preservation Ordinance No. 82-2318, altering proprietor consent from 100 per centum to 51 per centum required for appellation. A May 4-7, 1983 The Art Deco District came to the attending of the art universe as a consequence of Surrounded Islands, an installing by creative persons Christo and Jeanne-Claude in which a series of 11 islands in Biscayne Bay were wrapped in pink cloth. During the installing, the creative persons established their central offices in the Art Deco District. A August 15, 1983 Dade County and others filed a case to annul the Miami Beach Historic Preservation Ordinance. A October 5, 1983 The City Commission adopted Ordinance No. 83-2388 denominating the Old City Hall edifice as the metropolis s first Historic Preservation Site. A February 1, 1984 The City Commission adopted Ordinance No. 84-2402 denominating the 21st Street Community Center a Historic Preservation Site. A April 4, 1984 The City Commission adopted Ordinance No. 84-2405 making a Design Review Board. A 1984-1989 The Art Deco District achieved world-wide acknowledgment as a consequence of the hit telecasting show Miami Vice, starring Don Johnson and Philip Michael Thomas. The show used the Art Deco District as a background in many of the episodes. A February 6, 1985 The City Commission adopted the Ocean Drive program incorporating recommendations for local Historic District appellation. A March 20, 1985 The City Commission adopted Ordinance No. 85-2470 extinguishing the proprietor consent proviso from Historic Preservation regulations. A October 16, 1985 The City Commission adopted the Espanola Way program incorporating a recommendation for local Historic District appellation. A 1985 Renowned manner lensman Bruce Weber chose Miami Beach s Breakwater Hotel for a exposure shoot for an ad for Calvin Klein s Obsession, spurring an onslaught of manner picture taking shoots in the Art Deco District. A July 23, 1986 The City Commission adopted Ordinance No. 86-2511 denominating the Espanola Way District and the Ocean Drive/Collins Avenue District as Miami Beach s first Historic Preservation territories. These regulations were adopted after important grassroots attempts by MDPL. A 1986 Our DriveaˆÂ ¦Ocean Drive was a joint run by MDPL and its sister organisation, the Miami Beach Development Corporation ( MBDC ) , now renamed the Miami Beach Community Development Corporation ( MBCDC ) . As a consequence, a $ 3 million bond bundle was approved to fund the broadening of the pavement on the west side of Ocean Drive, leting hotels to set up pavement coffeehouse. On the east side of the street, a broad promenade was created along the wall dividing Lummus Park from the beach. A 1986-1988 MDPL campaigned for local appellation of the full National Register District and alterations to the districting codifications to do them more compatible with historic saving. A MDPL started the SOS ( Save Our Senator ) run to forestall destruction of the Senator Hotel. Although the hotel was demolished ( see May 3, 1988 ) , MDPL s attempts delayed destruction for more than a twelvemonth. The public call that MDPL created resulted in the City Commission go throughing a reinforced local saving regulation that could forestall destruction. A 1987 The Biscaya Hotel ( 1925 ) , at 650 West Avenue, was demolished. MDPL mounted an unsuccessful run to salvage the hotel, originally the Floridian Hotel and the last leftover illustration of the expansive bayside hotels. A May 6, 1987 The City Commission adopted Ordinance No. 87-2665 denominating Altos del Mar a Historic Preservation District. A January 1988 The Poinciana Hotel ( Albert Anis, 1939 ) , at 1555 Collins Avenue, was demolished. A February 3, 1988 The City Commission adopted Ordinance No. 88-2598, beef uping the destruction subdivision of the Historic Preservation Ordinance. A May 1988 Miami Beach Art Deco Guide was published by MDPL. The guidebook, written by Keith Root with editorial aid by Dr. Ernest Martin and Michael Kinerk, contained six self-guided walking Tourss of the Art Deco District. A May 3, 1988 The Senator Hotel ( L. Murray Dixon, 1939 ) , at 1201 Collins Avenue, was demolished. A June 1988 Deco Delights: Continuing the Beauty and Joy of Miami Beach Architecture, written by MDPL laminitis Barbara Baer Capitman, was published by E.P. Dutton. A June 1, 1988 The City Commission adopted Ordinance No. 88-2616 puting the Architectural District under Design Review legal power. A April 5, 1989 The City Commission adopted Ordinance No. 89-2637 denominating the Venetian Causeway ( 1926 ) a Historic Preservation Site. A September 7 A ; 21, 1989 The City Commission nominated the Flamingo and Museum vicinities for Historic Preservation Districts appellation. The Museum country was nominated as a local historic territory or aggregation of historic sites depending on the findings of the Historic Preservation Board. A March 30, 1990 Barbara Baer Captiman dies of congestive bosom failure. An protagonism plan efforts to act upon public policy and public actions in a way consistent with a group s mission. MDPL s protagonism plan is guided by its advocators purpose to move systematically with MDPL s mission statement: A Miami Design Preservation League ( MDPL ) is a non-profit organisation devoted to continuing, protecting, and advancing the cultural, societal, economic, environmental and architectural unity of the Miami Beach Architectural Historic District and all other countries of the City of Miami Beach where historic saving is a concern. A The MDPL Advocacy Committee suggests these precedences for MDPL protagonism activities: Preserve and protect the historical and architectural unity of the Miami Beach Architectural District, both of its single edifices and of the territory as a whole ; Support the historic saving procedure put in topographic point by the City of Miami Beach and the City s enforcement of the results of that procedure in any country where historic saving is a concern. Propose and support alterations in the City s historic saving procedure and land usage policies when necessary to transport out and carry through the mission statement ; Propose and support alterations in Florida and national policy when necessary to transport out and carry through the mission statement ; Preserve and protect historical, architectural, and environmental resources in other countries of Miami Beach, particularly when designated as local historic territories by the City of Miami Beach, but including any country where historic saving is a concern. Act to back up occupants and belongings proprietors, in current and possible historic territories, when citizens act to continue, protect and advance the historic, architectural, cultural, societal, economic, and environmental unity of any country where historic saving is a concern. Miami Beach s edifice roar came during the 2nd stage of Art Deco known as Streamline Moderne, which began with the stock market clang and ended in most instances with the eruption of World War II. It was less decorative-a more sober contemplation of the Great Depression. It relied more on machine-inspired signifiers, and American thoughts in industrial design. It was buttressed by the belief that times would acquire better and was infused with the optimistic futurism extolled at America s Worlds Fairs of the 1930s. Stripped Authoritative or Depression Moderne was a sub-style frequently used for governmental edifices, the U.S. Post Office being the best illustration in Miami Beach. Miami Beach designers used local imagination to make what we now call Tropical Deco. These edifices feature relief ornamentation having capricious vegetations, zoologies and ocean-liner motives to reenforce the image of Miami Beach as a seaboard resort. Art Deco What to look for Over-all symmetricalness, ziggurat ( stepped ) rooflines, glass block, cosmetic sculptural panels, superciliums, unit of ammunition porthole Windowss, terrazzo floors, curved borders and corners, elements in groups of three, neon lighting ( used in both outsides every bit good as interior infinites ) . However, there truly are three overriding architectural manners found in the Art Deco District: When our circuit usher revealed yesterday that the individual most responsible for salvaging Miami Beach Art Deco edifices from the bust uping ball of capitalist advancement was a Communist Jew from New York, my first reaction was surprise and delectation. But after a minute it sunk in that this was merely what I might hold suspected. When it comes to looking after the long-run involvements of society, whether it is cultural heritage or clime alteration, you have to lift above the net income motivation and who better to presume this function than the Red. In 1948 the 28 twelvemonth old Barbara Capitman met her future hubby Will at a May Day party sponsored by the Young Communist League in N.Y. She was the lone kid of a sweater-importing male parent and a female parent who was a sculpturer and painter. When Will graduated from NYU jurisprudence school in 1951, he was blocked from go throughing the saloon because of his YCL yesteryear. So alternatively he made a life instruction concern and selling at Harvard and Yale. In 1973 he got a term of office path place at the Florida International University concern school and the two moved to Coconut Grove, Miami s version of Greenwich Village. Two old ages subsequently he died from pancreatic malignant neoplastic disease and Barbara was on her ain. After traveling to Miami Beach, Barbara ran into Leonard Horowitz, a doorkeeper at a luxury condo who was homosexual and an aspirant artist/designer. They became close friends after meeting and shortly discovered a shared committedness to the saving of Art Deco edifices. The two formed a commission to salvage the old edifices now falling into disrepair that relied to a great extent on contributions from cheery people and senior citizens. Within 3 old ages, they managed to hold over half of South Beach s Art Deco hotels covered by landmark saving Torahs. Leonard Horowitz died of AIDS in 1988. The hotel we are remaining at is between 10th and 11th streets on Ocean Drive and 11th street has been renamed Leonard Horowitz Drive. Barbara Capitman died two old ages subsequently. The NY Times obit noted: In 1976 she helped to establish the Miami Design Preservation League, which in 1979 won Federal historic appellation for the South Beach territory of Miami Beach. Her vocal, irregular mode subsequently led to her ejector from the group. She would force and foment and do problem until people would nt talk to her, said Michael Kinerk, president of the Art Deco Weekend festival. She was interested in consequences, non societal sensitivenesss. I would state that no societal alteration takes topographic point without people who are vocal and irregular . The fact that she was interested in consequences instead than societal sensitivenesss should non be lost on those collectivists who are loath to take on the position quo. In the April 27 1982 Village Voice, Alexander Cockburn hailed Capitman as a true heroine. He quoted her on the Art Deco territory: At dark when the full Moon is overhead, the residential streets of the Art Deco territory return on that stagey, grave simpleness of another epoch. Moonlight and neon articulate the chevrons and circles of the little flats on Euclid or Jefferson and the rocking thenars cast shadows on the curving walls. This is the dark universe that Thomas Wolfe wrote of in the 1930s-the decennary of our territory s revival-nights filled with the far-hooting of trains, the nearer sounding of great vass traveling into port, the cryptic rustling of treesaˆÂ ¦ Cockburn noted that Capitman was non able to support all of Miami Beach from the assault of existent estate developers. The South Beach country remains unsullied but the center and northern parts of the island have succumbed to the forces Cockburn describes as follows: The forces of darkness gathered their nervus, and eventually, in 1981 tore off their beards and pounced. Anyone who wants to see what might go on to the Deco Square Mile need merely peek North of 23rd Street, where architectural brutality is on the violent disorder and the condomaniac, behemothic tide Marches down via the Fountainbleau and other guideposts of Babylon. Cockburn concludes his article by stating that if the existent estate developers had their manner, the northern sector of South Beach would yield and the consequence would be tantamount to the lasting submergence of significant parts of Venice. Ironically, Art Deco was an effort to use the aesthetic of Russian Constructivism and Italian Futurism to architecture. These art motions were in themselves attempts to come close the signifiers of machinery to ticket art in the spirit of a modernisation stripped of nostalgia for the yesteryear. The merchandises of that age now are threatened by the relentless March of capitalist modernisation which will ensue in the grading of all that is beautiful and its replacing by shopping promenades and Walmarts. It is to the recognition of people like Barbara Capitman, person who presumptively would hold read the Communist Manifesto at some point in her life and who would hold absorbed Marx s dyspneic evocation of the middle class s most radical function , to pull a line in the sand and state this middle class to acquire fucked. Anyone who knew the late Barbara Capitman was bowled over by her deathless devotedness to Art Deco Miami Beach. A laminitis of the Miami Design Preservation League, Capitman led the conflict to hold a big swatch of the Beach listed as an historic territory in the National Register of Historic Places the first such territory made up of 20th-century edifices. This book is her memorial. Tropical Deco: the Architecture and Design of Old Miami Beach, by Laura Cerwinske, David Kaminsky ( Photographer ) . ( Rizzoli, 1982. ) Barbara Baer Capitman, born in 1920, founded the Miami Design Preservation League ( MDPL ) which started the Miami Beach Art Deco saving motion. She led in the formation of the Miami Beach Architectural Historic District, the state s lone Art Deco territory to be listed in the National Register of Historic Places. Her attempts to protect Art Deco architecture led to the initiation of Art Deco societies in San Francisco, Chicago, Washington, D.C. , Boston and New York. Capitman was besides the laminitis of the World Congress on Art Deco. She was the writer of three books: American Trademarks, Deco Delights and Rediscovering Art Deco U.S.A. In 1993 The Miami Herald named her one of the 100 most of import people in the history of South Florida. Barbara Baer Capitman died in 1990. Her Great Floridian plaque is located at the Cardozo Hotel, 1300 Ocean Drive, Miami Beach. hypertext transfer protocol: //www.flheritage.com/services/sites/floridians/ ? section=m

Cause and Effect Outline Practice Exercise

Cause and Effect Outline Practice Exercise Here well practice making a simple outline: a list of the key points in a paragraph or essay. This basic outline can help us revise a composition by showing at a glance if we need to add, remove, change, or rearrange any supporting details. Why Outlines are Useful Some writers use outlines to develop a first draft, but this approach can be tricky: how can we organize our information before weve figured out what we want to say? Most writers need to start writing (or at least freewriting) in order to discover a plan. Whether you use an outline for drafting or revising (or both), you should find it a useful way to develop and organize your ideas in paragraphs and essays. Cause and Effect Paragraph Lets begin by reading a students cause-and-effect paragraph, Why Do We Exercise?, and then well arrange the students key points in a simple outline. Why Do We Exercise? These days, just about everyone, from toddler to retiree, seems to be running, pedaling, lifting weights, or performing aerobics. Why are so many people exercising? There are several reasons. Some people, the ones in designer jump suits, exercise simply because keeping in shape is trendy. The same people who a few years ago thought doing drugs was cool are now just as seriously involved in self-conditioning. Other people exercise to lose weight and appear more attractive. The paunchy crowd is willing to undergo extreme self-torture in the name of beauty: thin is in. Finally, there are those who exercise for their health. Regular, intensive exercise can strengthen the heart and lungs, build endurance, and improve the bodys immunity system. In fact, judging from my observations, most people who exercise probably do so for a combination of these reasons. Cause and Effect Paragraph Outline Now heres a simple outline of the paragraph: Opening: Everyone is exercising.Question: Why are so many people exercising?Reason 1: Be trendy (exercise is cool)Reason 2: Lose weight (thin is in)Reason 3: Stay healthy (heart, endurance, immunity)Conclusion: People exercise for a combination of reasons. As you can see, the outline is just another form of listing. The opening and question are followed by three reasons, each expressed in a brief phrase and followed in parenthesis by an equally brief explanation. By arranging the main points in a list and using key phrases rather than complete sentences, we have reduced the paragraph to its basic structure. Cause and Effect Outline Exercise Now try it yourself. The following cause-and-effect paragraph, Why Do We Stop at Red Lights?, is followed by the plan for a simple outline. Complete the outline by filling in the main points given in the paragraph. Why Do We Stop at Red Lights? Say its two in the morning with not a policeman in sight, and you approach an empty intersection marked by a red light. If youre like most of us, you stop and wait for the light to turn green. But why do we stop? Safety, you might say, though you can see perfectly well that its quite safe to cross. Fear of being nabbed by a sneaky police officer is a better reason, but still not very convincing. After all, the police dont generally make a habit of setting up road traps in the dead of night. Perhaps we are just good, law-abiding citizens who wouldnt dream of committing a crime, even though obeying the law in this case does seem faintly ridiculous. Well, we may claim to be following the dictates of our social conscience, but another, less high-minded reason probably underlies it all. We stop at that red light out of dumb habit. We probably dont consider whether its safe or unsafe to cross, right or wrong; we stop because we always stop at red lights. And, of course, even if we were to think about it as we idled there at the intersection, the light would probably turn green before we could come up with a good reason for why we do what we do. Fill out the simple outline for Why Do We Stop at Red Lights?: Opening: __________Question: __________?Reason 1: __________Reason 2: __________Reason 3: __________Reason 4: __________Conclusion: __________ Completed Cause and Effect Outline Now compare your outline with the completed version of the simple outline for Why Do We Stop at Red Lights? Opening:Â  Red light at two a.m.Question:Â  Why do we stop?​Reason 1:Â  Safety (though we know its safe)Reason 2:Â  Fear (though police arent around)Reason 3:Â  Social conscience (maybe)Reason 4:Â  Dumb habit (most likely)Conclusion:Â  We have no good reason. Once you have practiced creating a few simple outlines, youre ready to move on to the next step: evaluating the strengths and weaknesses of the paragraph you have outlined.

Business Analysis Case Study Example | Topics and Well Written Essays - 4000 words - 1

Business Analysis - Case Study Example The process of planning the analysis approach for Green Electrical Store will be designed based on the requirements and objectives of the business. It can be gathered from the given information about the company that their revenues have been on a downward trail since 2003. Apart from this, it was also observed that the resource base and the existing product segment of the company are not streamlined with the existing scenario of the electrical market. The target customer base has also limited the scope of business for Greens despite of having an established brand image and consumer brand perception (R. Gershon & R. A. Gershon, 2008). Considering these factors to be the key issues of the company, the business plan analysis approach has been set with three particular elements namely, decision analysis, structured walkthrough and process modeling. The designed analysis approach for Greens Electrical Store is as follows: The above given diagram reflects the business approach that is to be followed for analyzing the business plan of Greens Electrical Store. The analysis begins by observing the mission and vision of the company in order to set the direction of business development plan. The next step in the process is to identify the key stakeholders associated with the process and thereafter analyze all the functional departments of the company individually in context of their contribution towards the organizational objective. The final business plan will be developed in accordance to the gaps evaluated in all the business departments and hence design models for rectification. With the help of a quarterly review, the business planning process can be constantly monitored and improved. The stakeholder analysis for Greens Electrical store will be conducted by keeping in mind the above drawn model for business plan analysis. The stakeholder analysis will help