George Orwell's essay "Shooting an Elephant" describes his experience as a British police officer in colonial Burma who is pressured to shoot an elephant that has gone "must" (in a frenzied state). Orwell does not want to shoot the elephant, as it seems peaceful, but feels compelled to do so by the crowd of Burmese people watching him expectantly. In shooting the elephant, Orwell realizes the hollowness of Britain's imperial rule in the East and how imperial officials are puppets controlled by the expectations of the native populations they rule over.
George OrwellShooting an ElephantIn Moulmein, in Lower Burma.docxbudbarber38650
George Orwell
Shooting an Elephant
In Moulmein, in Lower Burma, I was hated by large numbers of people — the only time in my life that I have been important enough for this to happen to me. I was sub-divisional police officer of the town, and in an aimless, petty kind of way anti-European feeling was very bitter. No one had the guts to raise a riot, but if a European woman went through the bazaars alone somebody would probably spit betel juice over her dress. As a police officer I was an obvious target and was baited whenever it seemed safe to do so. When a nimble Burman tripped me up on the football field and the referee (another Burman) looked the other way, the crowd yelled with hideous laughter. This happened more than once. In the end the sneering yellow faces of young men that met me everywhere, the insults hooted after me when I was at a safe distance, got badly on my nerves. The young Buddhist priests were the worst of all. There were several thousands of them in the town and none of them seemed to have anything to do except stand on street corners and jeer at Europeans.
All this was perplexing and upsetting. For at that time I had already made up my mind that imperialism was an evil thing and the sooner I chucked up my job and got out of it the better. Theoretically — and secretly, of course — I was all for the Burmese and all against their oppressors, the British. As for the job I was doing, I hated it more bitterly than I can perhaps make clear. In a job like that you see the dirty work of Empire at close quarters. The wretched prisoners huddling in the stinking cages of the lock-ups, the grey, cowed faces of the long-term convicts, the scarred buttocks of the men who had been flogged with bamboos — all these oppressed me with an intolerable sense of guilt. But I could get nothing into perspective. I was young and ill-educated and I had had to think out my problems in the utter silence that is imposed on every Englishman in the East. I did not even know that the British Empire is dying, still less did I know that it is a great deal better than the younger empires that are going to supplant it. All I knew was that I was stuck between my hatred of the empire I served and my rage against the evil-spirited little beasts who tried to make my job impossible. With one part of my mind I thought of the British Raj as an unbreakable tyranny, as something clamped down, in saecula saeculorum, upon the will of prostrate peoples; with another part I thought that the greatest joy in the world would be to drive a bayonet into a Buddhist priest's guts. Feelings like these are the normal by-products of imperialism; ask any Anglo-Indian official, if you can catch him off duty.
One day something happened which in a roundabout way was enlightening. It was a tiny incident in itself, but it gave me a better glimpse than I had had before of the real nature of imperialism — the real motives for which despotic governments act. Early one morning the sub-ins.
Shooting an Elephant by George Orwell In Moulmein, in lower Bu.docxboadverna
"Shooting an Elephant" by George Orwell
In Moulmein, in lower Burma, I was hated by large numbers of people—the only time in my life that I have been important enough for this to happen to me. I was sub-divisional police officer of the town, and in an aimless, petty kind of way anti-European feeling was very bitter. No one had the guts to raise a riot, but if a European woman went through the bazaars alone somebody would probably spit betel juice over her dress. As a police officer I was an obvious target and was baited whenever it seemed safe to do so. When a nimble Burman tripped me up on the football field and the referee (another Burman) looked the other way, the crowd yelled with hideous laughter. This happened more than once. In the end the sneering yellow faces of young men that met me everywhere, the insults hooted after me when I was at a safe distance, got badly on my nerves. The young Buddhist priests were the worst of all. There were several thousands of them in the town and none of them seemed to have anything to do except stand on street corners and jeer at Europeans.
All this was perplexing and upsetting. For at that time I had already made up my mind that imperialism was an evil thing and the sooner I chucked up my job and got out of it the better. Theoretically—and secretly, of course—I was all for the Burmese and all against their oppressors, the British. As for the job I was doing, I hated it more bitterly than I can perhaps make clear. In a job like that you see the dirty work of Empire at close quarters. The wretched prisoners huddling in the stinking cages of the lock-ups, the grey, cowed faces of the long-term convicts, the scarred buttocks of the men who had been Bogged with bamboos—all these oppressed me with an intolerable sense of guilt. But I could get nothing into perspective. I was young and ill-educated and I had had to think out my problems in the utter silence that is imposed on every Englishman in the East. I did not even know that the British Empire is dying, still less did I know that it is a great deal better than the younger empires that are going to supplant it. All I knew was that I was stuck between my hatred of the empire I served and my rage against the evil-spirited little beasts who tried to make my job impossible. With one part of my mind I thought of the British Raj as an unbreakable tyranny, as something clamped down, in saecula saeculorum, upon the will of prostrate peoples; with another part I thought that the greatest joy in the world would be to drive a bayonet into a Buddhist priest's guts. Feelings like these are the normal by-products of imperialism; ask any Anglo-Indian official, if you can catch him off duty.
One day something happened which in a roundabout way was enlightening. It was a tiny incident in itself, but it gave me a better glimpse than I had had before of the real nature of imperialism—the real motives for which despotic governments act. Early one morning the sub-inspect.
The Effect of War as Reflected in Ernest Hemingway's "Old Man At The Bridge"Annisa Rahmi Pratiwi
The document analyzes Ernest Hemingway's short story "Old Man at the Bridge." It discusses how the story reflects the effects of the Spanish Civil War through its characters. The old man in the story, who is displaced from his hometown of San Carlos, represents the helpless victims of the war. Through conversations with the narrator, a soldier, the old man expresses disorientation and obsession over the fate of the animals he left behind. The analysis concludes that the characters in the story serve as reflections of the human impacts of the Spanish Civil War.
This document provides a summary of the novel "Invisible Man" by Ralph Ellison. It describes the book as a story about a young black man's experiences with racism and his journey of self-discovery. The summary highlights some of the key events in the novel, including the protagonist being expelled from college due to a racist encounter, working in a factory, becoming disillusioned with a civil rights group, and experiencing a violent race riot. It praises the book for its insights into racism and a person's struggle to find their identity.
This document provides excerpts from Anne Rice's novel Interview With The Vampire. It describes the backstory of the vampire, who recounts how he became a vampire in 1791 in New Orleans. He tells of how his devout younger brother began having visions and claimed they came from St. Dominic and the Virgin Mary, commanding him to sell their plantations and use the money for God's work. However, the vampire did not believe his brother and angrily dismissed his claims. Upset, his brother ran out of the house and fell to his death from the balcony, turning the vampire who was deeply regretful for not believing his brother.
Please enjoy my novel. If you liked it a lot, I hope you'll go over to Amazon or another ebook retailer and buy it as an ebook. I'm trying a "busker" model....if you like it, in other words, please contribute some money by buying it and that will (hopefully) motivate me to write more novels. Without your support, I'm really not motivated, which is sad, but that's just the way it is.
https://www.amazon.com/Juliet-Sun-Gemma-Nishiyama-ebook/dp/B00BWVXYGS/ref=sr_1_1?ie=UTF8&qid=1499778269&sr=8-1&keywords=Juliet+is+the+Sun
1
P e b La H e
T e Ne S ea R e
By Langston Hughes (1921)
I e kno n i e :
I e kno n i e ancien a he o ld and olde han he flo of h man blood in h man ein .
My soul has grown deep like the rivers.
I bathed in the Euphrates when dawns were young.
I built my hut near the Congo and it lulled me to sleep.
I looked upon the Nile and raised the pyramids above it.
I heard the singing of the Mississippi when Abe Lincoln en do n o Ne O lean , and I e een
its muddy bosom turn all golden in the sunset.
I e kno n i e :
Ancient, dusky rivers.
My soul has grown deep like the rivers.
https://www.poetryfoundation.org/poets/langston-hughes
2
M e S
By Langston Hughes (1922)
Well, on, I ll ell o :
Life fo me ain been no c al ai .
I had ack in i ,
And splinters,
And boards torn up,
And places with no carpet on the floor
Bare.
But all the time
I e been a-climbin on,
And eachin landin ,
And nin co ne ,
And ome ime goin in he da k
Whe e he e ain been no ligh .
So bo , don o n back.
Don o e do n on he e
Ca e o find i kinde ha d.
Don o fall no
Fo I e ill goin , hone ,
I e ill climbin ,
And life fo me ain been no c al ai .
https://www.poetryfoundation.org/poets/langston-hughes
3
I, T
By Langston Hughes (1925)
I, too, sing America.
I am the darker brother.
They send me to eat in the kitchen
When company comes,
But I laugh,
And eat well,
And grow strong.
Tomorrow,
I ll be a he able
When company comes.
Nobod ll da e
Say to me,
Ea in he ki chen,
Then.
Besides,
The ll ee ho bea if l I am
And be ashamed
I, too, am America.
https://www.poetryfoundation.org/poets/langston-hughes
4
T e Wea B e
By Langston Hughes (1925)
Droning a drowsy syncopated tune,
Rocking back and forth to a mellow croon,
I heard a Negro play.
Down on Lenox Avenue the other night
By the pale dull pallor of an old gas light
He did a lazy sway. . . .
He did a lazy sway. . . .
To he ne o ho e Wea Bl e .
With his ebony hands on each ivory key
He made that poor piano moan with melody.
O Blues!
Swaying to and fro on his rickety stool
He played that sad raggy tune like a musical fool.
Sweet Blues!
Coming f om a black man o l.
O Blues!
In a deep song voice with a melancholy tone
I heard that Negro sing, that old piano moan
Ain go nobod in all hi o ld,
Ain go nobod b ma elf.
I g ine o i ma f o nin
And ma o ble on he helf.
Thump, thump, thump, went his foot on the floor.
He played a few chords then he sang some more
I go he Wea Bl es
And I can be a i fied.
Got the Weary Blues
And can be a i fied
I ain ha no mo
And I i h ha I had died.
And far into the night he crooned that tune.
The stars went out and so did the moon.
The singer stopped playing and went to bed
While the Weary Blues echoed through his head.
He le like a ock o a man ha dead.
https://www.poetryfoundat ...
1
P e b La H e
T e Ne S ea R e
By Langston Hughes (1921)
I e kno n i e :
I e kno n i e ancien a he o ld and olde han he flo of h man blood in h man ein .
My soul has grown deep like the rivers.
I bathed in the Euphrates when dawns were young.
I built my hut near the Congo and it lulled me to sleep.
I looked upon the Nile and raised the pyramids above it.
I heard the singing of the Mississippi when Abe Lincoln en do n o Ne O lean , and I e een
its muddy bosom turn all golden in the sunset.
I e kno n i e :
Ancient, dusky rivers.
My soul has grown deep like the rivers.
https://www.poetryfoundation.org/poets/langston-hughes
2
M e S
By Langston Hughes (1922)
Well, on, I ll ell o :
Life fo me ain been no c al ai .
I had ack in i ,
And splinters,
And boards torn up,
And places with no carpet on the floor
Bare.
But all the time
I e been a-climbin on,
And eachin landin ,
And nin co ne ,
And ome ime goin in he da k
Whe e he e ain been no ligh .
So bo , don o n back.
Don o e do n on he e
Ca e o find i kinde ha d.
Don o fall no
Fo I e ill goin , hone ,
I e ill climbin ,
And life fo me ain been no c al ai .
https://www.poetryfoundation.org/poets/langston-hughes
3
I, T
By Langston Hughes (1925)
I, too, sing America.
I am the darker brother.
They send me to eat in the kitchen
When company comes,
But I laugh,
And eat well,
And grow strong.
Tomorrow,
I ll be a he able
When company comes.
Nobod ll da e
Say to me,
Ea in he ki chen,
Then.
Besides,
The ll ee ho bea if l I am
And be ashamed
I, too, am America.
https://www.poetryfoundation.org/poets/langston-hughes
4
T e Wea B e
By Langston Hughes (1925)
Droning a drowsy syncopated tune,
Rocking back and forth to a mellow croon,
I heard a Negro play.
Down on Lenox Avenue the other night
By the pale dull pallor of an old gas light
He did a lazy sway. . . .
He did a lazy sway. . . .
To he ne o ho e Wea Bl e .
With his ebony hands on each ivory key
He made that poor piano moan with melody.
O Blues!
Swaying to and fro on his rickety stool
He played that sad raggy tune like a musical fool.
Sweet Blues!
Coming f om a black man o l.
O Blues!
In a deep song voice with a melancholy tone
I heard that Negro sing, that old piano moan
Ain go nobod in all hi o ld,
Ain go nobod b ma elf.
I g ine o i ma f o nin
And ma o ble on he helf.
Thump, thump, thump, went his foot on the floor.
He played a few chords then he sang some more
I go he Wea Bl es
And I can be a i fied.
Got the Weary Blues
And can be a i fied
I ain ha no mo
And I i h ha I had died.
And far into the night he crooned that tune.
The stars went out and so did the moon.
The singer stopped playing and went to bed
While the Weary Blues echoed through his head.
He le like a ock o a man ha dead.
https://www.poetryfoundat ...
George OrwellShooting an ElephantIn Moulmein, in Lower Burma.docxbudbarber38650
George Orwell
Shooting an Elephant
In Moulmein, in Lower Burma, I was hated by large numbers of people — the only time in my life that I have been important enough for this to happen to me. I was sub-divisional police officer of the town, and in an aimless, petty kind of way anti-European feeling was very bitter. No one had the guts to raise a riot, but if a European woman went through the bazaars alone somebody would probably spit betel juice over her dress. As a police officer I was an obvious target and was baited whenever it seemed safe to do so. When a nimble Burman tripped me up on the football field and the referee (another Burman) looked the other way, the crowd yelled with hideous laughter. This happened more than once. In the end the sneering yellow faces of young men that met me everywhere, the insults hooted after me when I was at a safe distance, got badly on my nerves. The young Buddhist priests were the worst of all. There were several thousands of them in the town and none of them seemed to have anything to do except stand on street corners and jeer at Europeans.
All this was perplexing and upsetting. For at that time I had already made up my mind that imperialism was an evil thing and the sooner I chucked up my job and got out of it the better. Theoretically — and secretly, of course — I was all for the Burmese and all against their oppressors, the British. As for the job I was doing, I hated it more bitterly than I can perhaps make clear. In a job like that you see the dirty work of Empire at close quarters. The wretched prisoners huddling in the stinking cages of the lock-ups, the grey, cowed faces of the long-term convicts, the scarred buttocks of the men who had been flogged with bamboos — all these oppressed me with an intolerable sense of guilt. But I could get nothing into perspective. I was young and ill-educated and I had had to think out my problems in the utter silence that is imposed on every Englishman in the East. I did not even know that the British Empire is dying, still less did I know that it is a great deal better than the younger empires that are going to supplant it. All I knew was that I was stuck between my hatred of the empire I served and my rage against the evil-spirited little beasts who tried to make my job impossible. With one part of my mind I thought of the British Raj as an unbreakable tyranny, as something clamped down, in saecula saeculorum, upon the will of prostrate peoples; with another part I thought that the greatest joy in the world would be to drive a bayonet into a Buddhist priest's guts. Feelings like these are the normal by-products of imperialism; ask any Anglo-Indian official, if you can catch him off duty.
One day something happened which in a roundabout way was enlightening. It was a tiny incident in itself, but it gave me a better glimpse than I had had before of the real nature of imperialism — the real motives for which despotic governments act. Early one morning the sub-ins.
Shooting an Elephant by George Orwell In Moulmein, in lower Bu.docxboadverna
"Shooting an Elephant" by George Orwell
In Moulmein, in lower Burma, I was hated by large numbers of people—the only time in my life that I have been important enough for this to happen to me. I was sub-divisional police officer of the town, and in an aimless, petty kind of way anti-European feeling was very bitter. No one had the guts to raise a riot, but if a European woman went through the bazaars alone somebody would probably spit betel juice over her dress. As a police officer I was an obvious target and was baited whenever it seemed safe to do so. When a nimble Burman tripped me up on the football field and the referee (another Burman) looked the other way, the crowd yelled with hideous laughter. This happened more than once. In the end the sneering yellow faces of young men that met me everywhere, the insults hooted after me when I was at a safe distance, got badly on my nerves. The young Buddhist priests were the worst of all. There were several thousands of them in the town and none of them seemed to have anything to do except stand on street corners and jeer at Europeans.
All this was perplexing and upsetting. For at that time I had already made up my mind that imperialism was an evil thing and the sooner I chucked up my job and got out of it the better. Theoretically—and secretly, of course—I was all for the Burmese and all against their oppressors, the British. As for the job I was doing, I hated it more bitterly than I can perhaps make clear. In a job like that you see the dirty work of Empire at close quarters. The wretched prisoners huddling in the stinking cages of the lock-ups, the grey, cowed faces of the long-term convicts, the scarred buttocks of the men who had been Bogged with bamboos—all these oppressed me with an intolerable sense of guilt. But I could get nothing into perspective. I was young and ill-educated and I had had to think out my problems in the utter silence that is imposed on every Englishman in the East. I did not even know that the British Empire is dying, still less did I know that it is a great deal better than the younger empires that are going to supplant it. All I knew was that I was stuck between my hatred of the empire I served and my rage against the evil-spirited little beasts who tried to make my job impossible. With one part of my mind I thought of the British Raj as an unbreakable tyranny, as something clamped down, in saecula saeculorum, upon the will of prostrate peoples; with another part I thought that the greatest joy in the world would be to drive a bayonet into a Buddhist priest's guts. Feelings like these are the normal by-products of imperialism; ask any Anglo-Indian official, if you can catch him off duty.
One day something happened which in a roundabout way was enlightening. It was a tiny incident in itself, but it gave me a better glimpse than I had had before of the real nature of imperialism—the real motives for which despotic governments act. Early one morning the sub-inspect.
The Effect of War as Reflected in Ernest Hemingway's "Old Man At The Bridge"Annisa Rahmi Pratiwi
The document analyzes Ernest Hemingway's short story "Old Man at the Bridge." It discusses how the story reflects the effects of the Spanish Civil War through its characters. The old man in the story, who is displaced from his hometown of San Carlos, represents the helpless victims of the war. Through conversations with the narrator, a soldier, the old man expresses disorientation and obsession over the fate of the animals he left behind. The analysis concludes that the characters in the story serve as reflections of the human impacts of the Spanish Civil War.
This document provides a summary of the novel "Invisible Man" by Ralph Ellison. It describes the book as a story about a young black man's experiences with racism and his journey of self-discovery. The summary highlights some of the key events in the novel, including the protagonist being expelled from college due to a racist encounter, working in a factory, becoming disillusioned with a civil rights group, and experiencing a violent race riot. It praises the book for its insights into racism and a person's struggle to find their identity.
This document provides excerpts from Anne Rice's novel Interview With The Vampire. It describes the backstory of the vampire, who recounts how he became a vampire in 1791 in New Orleans. He tells of how his devout younger brother began having visions and claimed they came from St. Dominic and the Virgin Mary, commanding him to sell their plantations and use the money for God's work. However, the vampire did not believe his brother and angrily dismissed his claims. Upset, his brother ran out of the house and fell to his death from the balcony, turning the vampire who was deeply regretful for not believing his brother.
Please enjoy my novel. If you liked it a lot, I hope you'll go over to Amazon or another ebook retailer and buy it as an ebook. I'm trying a "busker" model....if you like it, in other words, please contribute some money by buying it and that will (hopefully) motivate me to write more novels. Without your support, I'm really not motivated, which is sad, but that's just the way it is.
https://www.amazon.com/Juliet-Sun-Gemma-Nishiyama-ebook/dp/B00BWVXYGS/ref=sr_1_1?ie=UTF8&qid=1499778269&sr=8-1&keywords=Juliet+is+the+Sun
1
P e b La H e
T e Ne S ea R e
By Langston Hughes (1921)
I e kno n i e :
I e kno n i e ancien a he o ld and olde han he flo of h man blood in h man ein .
My soul has grown deep like the rivers.
I bathed in the Euphrates when dawns were young.
I built my hut near the Congo and it lulled me to sleep.
I looked upon the Nile and raised the pyramids above it.
I heard the singing of the Mississippi when Abe Lincoln en do n o Ne O lean , and I e een
its muddy bosom turn all golden in the sunset.
I e kno n i e :
Ancient, dusky rivers.
My soul has grown deep like the rivers.
https://www.poetryfoundation.org/poets/langston-hughes
2
M e S
By Langston Hughes (1922)
Well, on, I ll ell o :
Life fo me ain been no c al ai .
I had ack in i ,
And splinters,
And boards torn up,
And places with no carpet on the floor
Bare.
But all the time
I e been a-climbin on,
And eachin landin ,
And nin co ne ,
And ome ime goin in he da k
Whe e he e ain been no ligh .
So bo , don o n back.
Don o e do n on he e
Ca e o find i kinde ha d.
Don o fall no
Fo I e ill goin , hone ,
I e ill climbin ,
And life fo me ain been no c al ai .
https://www.poetryfoundation.org/poets/langston-hughes
3
I, T
By Langston Hughes (1925)
I, too, sing America.
I am the darker brother.
They send me to eat in the kitchen
When company comes,
But I laugh,
And eat well,
And grow strong.
Tomorrow,
I ll be a he able
When company comes.
Nobod ll da e
Say to me,
Ea in he ki chen,
Then.
Besides,
The ll ee ho bea if l I am
And be ashamed
I, too, am America.
https://www.poetryfoundation.org/poets/langston-hughes
4
T e Wea B e
By Langston Hughes (1925)
Droning a drowsy syncopated tune,
Rocking back and forth to a mellow croon,
I heard a Negro play.
Down on Lenox Avenue the other night
By the pale dull pallor of an old gas light
He did a lazy sway. . . .
He did a lazy sway. . . .
To he ne o ho e Wea Bl e .
With his ebony hands on each ivory key
He made that poor piano moan with melody.
O Blues!
Swaying to and fro on his rickety stool
He played that sad raggy tune like a musical fool.
Sweet Blues!
Coming f om a black man o l.
O Blues!
In a deep song voice with a melancholy tone
I heard that Negro sing, that old piano moan
Ain go nobod in all hi o ld,
Ain go nobod b ma elf.
I g ine o i ma f o nin
And ma o ble on he helf.
Thump, thump, thump, went his foot on the floor.
He played a few chords then he sang some more
I go he Wea Bl es
And I can be a i fied.
Got the Weary Blues
And can be a i fied
I ain ha no mo
And I i h ha I had died.
And far into the night he crooned that tune.
The stars went out and so did the moon.
The singer stopped playing and went to bed
While the Weary Blues echoed through his head.
He le like a ock o a man ha dead.
https://www.poetryfoundat ...
1
P e b La H e
T e Ne S ea R e
By Langston Hughes (1921)
I e kno n i e :
I e kno n i e ancien a he o ld and olde han he flo of h man blood in h man ein .
My soul has grown deep like the rivers.
I bathed in the Euphrates when dawns were young.
I built my hut near the Congo and it lulled me to sleep.
I looked upon the Nile and raised the pyramids above it.
I heard the singing of the Mississippi when Abe Lincoln en do n o Ne O lean , and I e een
its muddy bosom turn all golden in the sunset.
I e kno n i e :
Ancient, dusky rivers.
My soul has grown deep like the rivers.
https://www.poetryfoundation.org/poets/langston-hughes
2
M e S
By Langston Hughes (1922)
Well, on, I ll ell o :
Life fo me ain been no c al ai .
I had ack in i ,
And splinters,
And boards torn up,
And places with no carpet on the floor
Bare.
But all the time
I e been a-climbin on,
And eachin landin ,
And nin co ne ,
And ome ime goin in he da k
Whe e he e ain been no ligh .
So bo , don o n back.
Don o e do n on he e
Ca e o find i kinde ha d.
Don o fall no
Fo I e ill goin , hone ,
I e ill climbin ,
And life fo me ain been no c al ai .
https://www.poetryfoundation.org/poets/langston-hughes
3
I, T
By Langston Hughes (1925)
I, too, sing America.
I am the darker brother.
They send me to eat in the kitchen
When company comes,
But I laugh,
And eat well,
And grow strong.
Tomorrow,
I ll be a he able
When company comes.
Nobod ll da e
Say to me,
Ea in he ki chen,
Then.
Besides,
The ll ee ho bea if l I am
And be ashamed
I, too, am America.
https://www.poetryfoundation.org/poets/langston-hughes
4
T e Wea B e
By Langston Hughes (1925)
Droning a drowsy syncopated tune,
Rocking back and forth to a mellow croon,
I heard a Negro play.
Down on Lenox Avenue the other night
By the pale dull pallor of an old gas light
He did a lazy sway. . . .
He did a lazy sway. . . .
To he ne o ho e Wea Bl e .
With his ebony hands on each ivory key
He made that poor piano moan with melody.
O Blues!
Swaying to and fro on his rickety stool
He played that sad raggy tune like a musical fool.
Sweet Blues!
Coming f om a black man o l.
O Blues!
In a deep song voice with a melancholy tone
I heard that Negro sing, that old piano moan
Ain go nobod in all hi o ld,
Ain go nobod b ma elf.
I g ine o i ma f o nin
And ma o ble on he helf.
Thump, thump, thump, went his foot on the floor.
He played a few chords then he sang some more
I go he Wea Bl es
And I can be a i fied.
Got the Weary Blues
And can be a i fied
I ain ha no mo
And I i h ha I had died.
And far into the night he crooned that tune.
The stars went out and so did the moon.
The singer stopped playing and went to bed
While the Weary Blues echoed through his head.
He le like a ock o a man ha dead.
https://www.poetryfoundat ...
The document discusses different types of sentence structures, including simple, right branching, left branching, and middle branching sentences. It provides examples of each type using the common scenario of an elephant throwing an umbrella into a crowd. The examples range from a simple sentence to more complex sentences that add additional details or clauses through various branching techniques. The document also includes one example from literature describing a scenario of facing hostility from locals during the submitter's time as a police officer in Burma.
The summaries are:
1. The passage introduces Pip, the narrator of Great Expectations, and describes how he came to be called Pip. It provides background on Pip's family and the marsh country where he lives.
2. The passage describes an altercation between Lennie and Curley in Of Mice and Men, where Lennie accidentally crushes Curley's hand in a fight.
3. The passage describes Frankenstein bringing his creature to life and then being overcome with horror and disgust at what he has created.
Albani speaks about And writes about his.pdfbkbk37
This document summarizes a short story written by Albani about his experience witnessing a mob lynching as a 10-year-old boy in Nigeria. In the story, Albani and his aunt witness a man being accused of theft at the local market. When one elder calls for tolerance, he is booled down. The mob proceeds to hang a tire around the man's neck, pour gasoline on him, and light him on fire while the crowd watches. Albani's aunt forces him to watch the man burn and spit on his burning body. The story highlights the prevalence of mob justice and lack of due process in 1970s Nigeria through the eyes of a young boy.
Albani speaks about And writes about his.pdfbkbk37
This document summarizes a short story from the perspective of a 10-year-old boy in Nigeria. He accompanies his aunt to the market on a rainy day. They witness a mob form and chase after a man accused of theft. The man runs to the courtyard where elders dispense justice, seeking sanctuary. However, the mob overwhelms the elders and proceeds to lynch the man, hanging a tire around his neck, dousing him with fuel, and setting him on fire while he pleads for his life. The boy's aunt forces him to watch the burning man and spit on his charred body along with the mob, as a lesson.
The student composition discusses the statement that nobody should enjoy going to zoos which keep animals in cages. While the student enjoyed zoos as a child, they recognize that keeping animals in cages denies them freedom and can cause psychological harm. Supporters of zoos argue that the animals are well cared for, but the student believes proper wildlife parks that allow both security and freedom for animals are better. In conclusion, the student thinks zoos are often cruel, but acknowledges many families will continue visiting zoos with their children.
Sonnys BluesSonnys BluesSonnys BluesSonnys Blues I.docxrafbolet0
Sonny's BluesSonny's BluesSonny's BluesSonny's Blues
I read about it in the paper, in the subway, on my way to work. I read it, and I couldn't believe
it, and I read it again. Then perhaps I just stared at it, at the newsprint spelling out his name,
spelling out the story. I stared at it in the swinging lights of the subway car, and in the faces
and bodies of the people, and in my own face, trapped in the darkness which roared
outside.
It was not to be believed and I kept telling myself that, as I walked from the subway station
to the high school. And at the same time I couldn't doubt it. I was scared, scared for Sonny.
He became real to me again. A great block of ice got settled in my belly and kept melting
there slowly all day long, while I taught my classes algebra. It was a special kind of ice. It
kept melting, sending trickles of ice water all up and down my veins, but it never got less.
Sometimes it hardened and seemed to expand until I felt my guts were going to come
spilling out or that I was going to choke or scream. This would always be at a moment when I
was remembering some specific thing Sonny had once said or done.
When he was about as old as the boys in my classes his face had been bright and open,
there was a lot of copper in it; and he'd had wonderfully direct brown eyes, and great
gentleness and privacy. I wondered what he looked like now. He had been picked up, the
evening before, in a raid on an apartment down-town, for peddling and using heroin.
I couldn't believe it: but what I mean by that is that I couldn't find any room for it anywhere
inside me. I had kept it outside me for a long time. I hadn't wanted to know. I had had
suspicions, but I didn't name them, I kept putting them away. I told myself that Sonny was
wild, but he wasn't crazy. And he'd always been a good boy, he hadn't ever turned hard or
evil or disrespectful, the way kids can, so quick, so quick, especially in Harlem. I didn't want
to believe that I'd ever see my brother going down, coming to nothing, all that light in his
face gone out, in the condition I'd already seen so many others. Yet it had happened and
here I was, talking about algebra to a lot of boys who might, every one of them for all I knew,
be popping off needles every time they went to the head. Maybe it did more for them than
algebra could.
I was sure that the first time Sonny had ever had horse, he couldn't have been much older
than these boys were now. These boys, now, were living as we'd been living then, they were
growing up with a rush and their heads bumped abruptly against the low ceiling of their
actual possibilities. They were filled with rage. All they really knew were two darknesses, the
darkness of their lives, which was now closing in on them, and the darkness of the movies,
which had blinded them to that other darkness, and in which they now, vindictively,
dreamed, at once more together than they were at any other time, and more .
Sonnys BluesI read about it in the paper, in the subway, on m.docxrafbolet0
Sonny's Blues
I read about it in the paper, in the subway, on my way to work. I read it, and I couldn't believe it, and I read it again. Then perhaps I just stared at it, at the newsprint spelling out his name, spelling out the story. I stared at it in the swinging lights of the subway car, and in the faces and bodies of the people, and in my own face, trapped in the darkness which roared outside.
It was not to be believed and I kept telling myself that, as I walked from the subway station to the high school. And at the same time I couldn't doubt it. I was scared, scared for Sonny. He became real to me again. A great block of ice got settled in my belly and kept melting there slowly all day long, while I taught my classes algebra. It was a special kind of ice. It kept melting, sending trickles of ice water all up and down my veins, but it never got less. Sometimes it hardened and seemed to expand until I felt my guts were going to come spilling out or that I was going to choke or scream. This would always be at a moment when I was remembering some specific thing Sonny had once said or done.
When he was about as old as the boys in my classes his face had been bright and open, there was a lot of copper in it; and he'd had wonderfully direct brown eyes, and great gentleness and privacy. I wondered what he looked like now. He had been picked up, the evening before, in a raid on an apartment down-town, for peddling and using heroin.
I couldn't believe it: but what I mean by that is that I couldn't find any room for it anywhere inside me. I had kept it outside me for a long time. I hadn't wanted to know. I had had suspicions, but I didn't name them, I kept putting them away. I told myself that Sonny was wild, but he wasn't crazy. And he'd always been a good boy, he hadn't ever turned hard or evil or disrespectful, the way kids can, so quick, so quick, especially in Harlem. I didn't want to believe that I'd ever see my brother going down, coming to nothing, all that light in his face gone out, in the condition I'd already seen so many others. Yet it had happened and here I was, talking about algebra to a lot of boys who might, every one of them for all I knew, be popping off needles every time they went to the head. Maybe it did more for them than algebra could.
I was sure that the first time Sonny had ever had horse, he couldn't have been much older than these boys were now. These boys, now, were living as we'd been living then, they were growing up with a rush and their heads bumped abruptly against the low ceiling of their actual possibilities. They were filled with rage. All they really knew were two darknesses, the darkness of their lives, which was now closing in on them, and the darkness of the movies, which had blinded them to that other darkness, and in which they now, vindictively, dreamed, at once more together than they were at any other time, and more alone.
When the last bell rang, the last class ended, I let out my breath. It se.
This document is the beginning of a story told from the perspective of a young black girl who is preparing to attend her first day at a formerly all-white school following desegregation laws. She has recurring nightmares about being attacked by racist white men. Her mother wakes her from the nightmare and encourages her to get ready for school, emphasizing the need to make a good impression on the white people. The girl resents her mother's focus on white approval but gets dressed for school reluctantly.
Your employer is pleased with your desire to further your educatio.docxwoodruffeloisa
Your employer is pleased with your desire to further your education and would like you to inform other employees about the process of online education; however, she still has questions about applying. Using proper memo format, and Figure 6-1 of the textbook, explain the process of applying for a degree at CSU. Use word processing software, such as Microsoft Word, to create your memo.
Your response should be at least 200 words in length. You are required to use at least your textbook as source material for your response. All sources used, including the textbook, must be referenced; paraphrased and quoted material must have accompanying citations.
Pfeiffer, W., & Adkins, K. (2012, 109-110).
Technical communication fundamentals
. Upper Saddle River, NJ: Prentice Hall.
.
Your finished project, including both elements of the paper, should .docxwoodruffeloisa
Your finished project, including both elements of the paper, should be approximately 12 to 14 double-spaced pages, not including the cover or reference pages but including the abstract, submitted as one document. Make sure you present an introduction and a conclusion tying together both aspects of the paper. Follow the guidelines in either Course Content or in the conference. You must post your selection in this conference. The paper is due at the end of week 8 and must be submitted in your Assignments folder. Review the late policy above. The paper will not be accepted late.
.
Your first task is to find a public budget to analyze. It is suggest.docxwoodruffeloisa
Your first task is to find a public budget to analyze. It is suggested you focus on a city/county department, a small municipality/township, a school district, a special district (such as a forest preserve district, stadium district, or water district), a community college, a small public university, or a single state agency.
Be sure not to choose a budget that is too large to analyze in one written exercise. Most budgets are readily available on the institution’s website or by contacting the budgeting/finance department. Many local libraries will also have these documents.
In your analysis, you should address the following items/questions:
Offer a brief overview of your chosen agency. What are its primary functions and roles in the community?
What are the primary expenditures for your chosen agency?
How do these expenditures determine public policy priorities?
Has the agency’s budget increased or decreased since last year? What does this indicate about the success of the agency and its ability to deliver services?
Is the agency allocating resources wisely?
What recommendations would you offer, in terms of resource allocation, for the agency in the future?
The entire budgetary analysis should be 8 to 10 pages in length and should be submitted in Unit VIII. The Final Project
must incorporate no fewer than five (5) peer-reviewed journal articles to bolster your analysis of the budget. You should be able to apply the theories learned in class to your case. The project must conform to APA format, and all sources must be properly cited and referenced.
.
Your essay should explain the trip from your personal point of view,.docxwoodruffeloisa
The essay should be written from your personal point of view about the trip, explaining your experience and what you learned without just listing historical facts or timelines. It should discuss your impressions of the location, any surprises or disappointments, and any knowledge or wisdom you gained from the trip.
Your dilemma is that you have to make a painful medical decision and.docxwoodruffeloisa
Your dilemma is that you have to make a painful medical decision and
to explain, in writing, who benefits from what you decided, who gets
denied a needed benefit, and why. The document is to be in the form of
an official memorandum that will be kept for the record and could be
potentially read by not only your Peer Review Committee, but also
possibly those involved in charitable fundraising to support hospital
development and others with financial interests in the choice made.
Include in the document the utilitarian ethical philosophy of John
Stuart Mill (The Ethics of Consequences) and ONE OTHER ETHICAL
PHILOSOPHER of your choice and use both of those philosophies to bolster your decision.
We can do John Stuart Mill and Jeremy Bentham for the two utilitarian ethical philosopher. They said: The Principle of Utility from Bentham and Mill expressed in ethical form is this: “We should act in such a way as to maximize the happiness of everyone affected by our actions.” This was a radical idea, because it included no references to religion and had a purely human focus. It was also teleological (learn this new word), because it focused only on the consequences of decisions.
This paper will be at least two double spaced pages but
limited to three pages. Remember both professional written form and
potential audience, as well as tone when writing this sensitive paper.
Your assignment is to make the decision using utilitarian ethics and
then to write it up in the form of a Memorandum for the hospital
records.
The Memorandum should be at least two double-spaced pages with a
maximum of three pages, in memorandum form, ready to become an
official item of record.
Scenario You Decide
One of the great ongoing situations that calls for ethical decision
making is the reality that there is almost always a greater need for
something than there is a supply to meet the need.
For our assignment and scenario, the demand is the life-and-death
situation of the need for transplantable organs and the rather small
and transitory supply. Hard decisions need to be made, and there is
little time to think things through. These are emergency situations.
Transplantable organs become available on short notice--usually
because a donor has died for reasons unrelated to the organ. They need
to be removed and transplanted very quickly because they only remain
fresh for a limited period. Then there is the whole complicated issue
of tissue type matching. There is also an ongoing concern about how
long recipients can wait.
Scenario:
Ok, Lead Surgeon, its time to do what you do the best!
You are the Lead surgeon in a major hospital, and by virtue of your
seniority you are also the key decision maker for transplant cases.
Right now you have three people who are waiting and hoping for a
suitable heart to become available. Your call phone rings suddenly,
and you are notified that a heart has become available- meaning that
you need to make a quick yet sound decision about which patient wil.
your definition of moral reasoning. Then, compare two similarities.docxwoodruffeloisa
your definition of moral reasoning. Then, compare two similarities and two differences in moral reasoning across the two cultures you selected. Finally, describe two culture-specific factors that might lead to these differences and explain how.
and the two cultures that I selected is Muslim and India's
.
Your company is in the process of updating its networks. In preparat.docxwoodruffeloisa
Your company is in the process of updating its networks. In preparation for the upgrade, your CEO has requested that you write a white paper (search term: White paper template) explaining the various telecommunication technologies. Begin by explaining basic telecommunication channel characteristics (minimum 5). Next discuss at least three network types (for example: Local Area Network/LAN). Then differentiate between client/server networks and peer to peer networks. Finally, recommend a network type and identify and describe three types of telecommunications hardware that will be required to set up this network. Conclude by explaining three things the company can do to secure their network.
.
Your company has just announced that a new formal performance evalua.docxwoodruffeloisa
Your company has just announced that a new formal performance evaluation system will be used (effective immediately). One of your supervisor's anniversary date is coming up and the human resources (HR) manager has asked you not only to rate this supervisor but to develop a grading form to use for her and other supervisors.
Assess the leadership, interpersonal skills, and earned values on other areas of concentration you deem necessary to rate the overall performance of any supervisor you have worked with, observed, know of, worked for, been supervised by, or supervised. Include your objective reasoning for eachassigned grade with an explanation of one or more sentences.
For example, on a scale of 1–9 (superior performance), you rate the supervisor as a 4; your explanation might be as follows:
Rarely held department meetings
Poor verbal communication skills
Uses foul language when counseling employees
.
Your CLC team should submit the followingA completed priority.docxwoodruffeloisa
Your CLC team should submit the following:
A completed priority analysis
Determination of which project is to be undertaken first, along with a summary of why the project was chosen, including an explanation of the relationship between the project and the organization’s mission, vision, and objectives
I AM ONLY RESPONSIBLE FOR QUESTION TWO.
Please see attachment for completed project.
.
Your classroom will be made up of diverse children. Research what va.docxwoodruffeloisa
Your classroom will be made up of diverse children. Research what varying cultures are represented in your community and the school/district resources that are available to support families. Also, include additional resources that may not be directly provided by the school or school district.
Write a 500-750-word plan for community culture that will support families in the school/district. Include information about the varying cultures in the community.
Identify how selected resources can provide positive support for families. This assignment can be presented as a brochure or document; be creative.
.
Your business plan must include the following1.Introduction o.docxwoodruffeloisa
Your business plan must include the following:
1.
Introduction of the proposed business;
2.
Description and explanation of the type of business entity that is best for your business;
3.
Description of the specific steps needed to be followed to successfully and legally start the business;
4.
A draft of a valid contract with a vendor, supplier, customer, etc. that illustrates all elements of a contract and takes into consideration some of the topics discussed in the contract chapters;
5.
Possible ethical considerations for your business, including any social responsibility plans or attitudes that your business will embrace;
6.
Description of a possible disagreement that could be encountered among the partners or investors and shareholders; and
7.
Illustration of the various ways the disagreement could be resolved (referring back to the formal documents, such as the articles of incorporation or the partnership agreement).
This paper must be 1,500–2,100 words, double-spaced, Times New Roman font or similar, and include at least 3 citations/sources in current APA format.
.
Your assignment is to write a formal response to this work. By caref.docxwoodruffeloisa
Your assignment is to write a formal response to this work. By carefully describing subject matter, medium, form, and context, you should be able to arrive at a thoughtful well -defended interpretation of the piece. (1) Describe it . Thoroughly. If it is representational, what is the subject matter depicted? If it is non -representational, say so. What does it look like? What is the medium? Have we studied/do you know anything about the process that resulted in the work? What size is it? Is it a 2 -dimensional or 3 -dimensional piece? Which formal elements stand out to you? What are the colors being used? Be as descriptive as possible. (2) Contextualize it . What is the title? What is the name of the artist who created it? Do you know anything about the artist? Is there a statement giving you more information? In which year was it made? Where is it being displayed as you are looking at it? How is it being displayed? Are there other works by the same artist there to give you more context? Can you compare and contrast it to other works you’ve seen elsewhere or studied ? (3) Interpret it. Based on your description, what do you think the artist was trying to say? It may be difficult to separate this interpretation from the descriptive process and it is okay if the two aspects are interwoven. (4) Respond to it. Though I am not interested in merely hearing whether or not you like the piece, I also want you to meaningful respond to the work. As art -critic Peter Scheldahl proposes, a question more valuable to ask yourself can be, “If I were someone who did like this piece, why would I like it?” Who is its intended audience and are you among that audience? Why did you choose this particular piece? What does it make you think about? Why do you think that the artist made the choices that she or he did? Do you agree with all of those choices? Is the artist’s intention clear/well -executed? How do you feel about the way in which the work is being displayed? Would it be more suitably exhibited somewhere else or alongside different work? This part of the paper may contain judgments, but at this point they will be well founded. Never make a proclamation without continuing the sentence with the because… Your response should be a minimum of one and a half double -spaced pages, 12 point font. If you are thorough in your description, you should find that you easily exceed this length.
Name of this Artwork: The Black Ring
.
Your assignment is to write about the ethical theory HedonismYour.docxwoodruffeloisa
This assignment asks students to write a graduate-level critical review summarizing the ethical theory of hedonism and how it relates to ethical and unethical behavior in the criminal justice system, supported with additional research. Students must discuss how hedonism, which focuses on pleasure as the ultimate good, is applied to criminal justice practices and decision making.
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Similar to You will compare the themes of a political cartoon to the themes o.docx
The document discusses different types of sentence structures, including simple, right branching, left branching, and middle branching sentences. It provides examples of each type using the common scenario of an elephant throwing an umbrella into a crowd. The examples range from a simple sentence to more complex sentences that add additional details or clauses through various branching techniques. The document also includes one example from literature describing a scenario of facing hostility from locals during the submitter's time as a police officer in Burma.
The summaries are:
1. The passage introduces Pip, the narrator of Great Expectations, and describes how he came to be called Pip. It provides background on Pip's family and the marsh country where he lives.
2. The passage describes an altercation between Lennie and Curley in Of Mice and Men, where Lennie accidentally crushes Curley's hand in a fight.
3. The passage describes Frankenstein bringing his creature to life and then being overcome with horror and disgust at what he has created.
Albani speaks about And writes about his.pdfbkbk37
This document summarizes a short story written by Albani about his experience witnessing a mob lynching as a 10-year-old boy in Nigeria. In the story, Albani and his aunt witness a man being accused of theft at the local market. When one elder calls for tolerance, he is booled down. The mob proceeds to hang a tire around the man's neck, pour gasoline on him, and light him on fire while the crowd watches. Albani's aunt forces him to watch the man burn and spit on his burning body. The story highlights the prevalence of mob justice and lack of due process in 1970s Nigeria through the eyes of a young boy.
Albani speaks about And writes about his.pdfbkbk37
This document summarizes a short story from the perspective of a 10-year-old boy in Nigeria. He accompanies his aunt to the market on a rainy day. They witness a mob form and chase after a man accused of theft. The man runs to the courtyard where elders dispense justice, seeking sanctuary. However, the mob overwhelms the elders and proceeds to lynch the man, hanging a tire around his neck, dousing him with fuel, and setting him on fire while he pleads for his life. The boy's aunt forces him to watch the burning man and spit on his charred body along with the mob, as a lesson.
The student composition discusses the statement that nobody should enjoy going to zoos which keep animals in cages. While the student enjoyed zoos as a child, they recognize that keeping animals in cages denies them freedom and can cause psychological harm. Supporters of zoos argue that the animals are well cared for, but the student believes proper wildlife parks that allow both security and freedom for animals are better. In conclusion, the student thinks zoos are often cruel, but acknowledges many families will continue visiting zoos with their children.
Sonnys BluesSonnys BluesSonnys BluesSonnys Blues I.docxrafbolet0
Sonny's BluesSonny's BluesSonny's BluesSonny's Blues
I read about it in the paper, in the subway, on my way to work. I read it, and I couldn't believe
it, and I read it again. Then perhaps I just stared at it, at the newsprint spelling out his name,
spelling out the story. I stared at it in the swinging lights of the subway car, and in the faces
and bodies of the people, and in my own face, trapped in the darkness which roared
outside.
It was not to be believed and I kept telling myself that, as I walked from the subway station
to the high school. And at the same time I couldn't doubt it. I was scared, scared for Sonny.
He became real to me again. A great block of ice got settled in my belly and kept melting
there slowly all day long, while I taught my classes algebra. It was a special kind of ice. It
kept melting, sending trickles of ice water all up and down my veins, but it never got less.
Sometimes it hardened and seemed to expand until I felt my guts were going to come
spilling out or that I was going to choke or scream. This would always be at a moment when I
was remembering some specific thing Sonny had once said or done.
When he was about as old as the boys in my classes his face had been bright and open,
there was a lot of copper in it; and he'd had wonderfully direct brown eyes, and great
gentleness and privacy. I wondered what he looked like now. He had been picked up, the
evening before, in a raid on an apartment down-town, for peddling and using heroin.
I couldn't believe it: but what I mean by that is that I couldn't find any room for it anywhere
inside me. I had kept it outside me for a long time. I hadn't wanted to know. I had had
suspicions, but I didn't name them, I kept putting them away. I told myself that Sonny was
wild, but he wasn't crazy. And he'd always been a good boy, he hadn't ever turned hard or
evil or disrespectful, the way kids can, so quick, so quick, especially in Harlem. I didn't want
to believe that I'd ever see my brother going down, coming to nothing, all that light in his
face gone out, in the condition I'd already seen so many others. Yet it had happened and
here I was, talking about algebra to a lot of boys who might, every one of them for all I knew,
be popping off needles every time they went to the head. Maybe it did more for them than
algebra could.
I was sure that the first time Sonny had ever had horse, he couldn't have been much older
than these boys were now. These boys, now, were living as we'd been living then, they were
growing up with a rush and their heads bumped abruptly against the low ceiling of their
actual possibilities. They were filled with rage. All they really knew were two darknesses, the
darkness of their lives, which was now closing in on them, and the darkness of the movies,
which had blinded them to that other darkness, and in which they now, vindictively,
dreamed, at once more together than they were at any other time, and more .
Sonnys BluesI read about it in the paper, in the subway, on m.docxrafbolet0
Sonny's Blues
I read about it in the paper, in the subway, on my way to work. I read it, and I couldn't believe it, and I read it again. Then perhaps I just stared at it, at the newsprint spelling out his name, spelling out the story. I stared at it in the swinging lights of the subway car, and in the faces and bodies of the people, and in my own face, trapped in the darkness which roared outside.
It was not to be believed and I kept telling myself that, as I walked from the subway station to the high school. And at the same time I couldn't doubt it. I was scared, scared for Sonny. He became real to me again. A great block of ice got settled in my belly and kept melting there slowly all day long, while I taught my classes algebra. It was a special kind of ice. It kept melting, sending trickles of ice water all up and down my veins, but it never got less. Sometimes it hardened and seemed to expand until I felt my guts were going to come spilling out or that I was going to choke or scream. This would always be at a moment when I was remembering some specific thing Sonny had once said or done.
When he was about as old as the boys in my classes his face had been bright and open, there was a lot of copper in it; and he'd had wonderfully direct brown eyes, and great gentleness and privacy. I wondered what he looked like now. He had been picked up, the evening before, in a raid on an apartment down-town, for peddling and using heroin.
I couldn't believe it: but what I mean by that is that I couldn't find any room for it anywhere inside me. I had kept it outside me for a long time. I hadn't wanted to know. I had had suspicions, but I didn't name them, I kept putting them away. I told myself that Sonny was wild, but he wasn't crazy. And he'd always been a good boy, he hadn't ever turned hard or evil or disrespectful, the way kids can, so quick, so quick, especially in Harlem. I didn't want to believe that I'd ever see my brother going down, coming to nothing, all that light in his face gone out, in the condition I'd already seen so many others. Yet it had happened and here I was, talking about algebra to a lot of boys who might, every one of them for all I knew, be popping off needles every time they went to the head. Maybe it did more for them than algebra could.
I was sure that the first time Sonny had ever had horse, he couldn't have been much older than these boys were now. These boys, now, were living as we'd been living then, they were growing up with a rush and their heads bumped abruptly against the low ceiling of their actual possibilities. They were filled with rage. All they really knew were two darknesses, the darkness of their lives, which was now closing in on them, and the darkness of the movies, which had blinded them to that other darkness, and in which they now, vindictively, dreamed, at once more together than they were at any other time, and more alone.
When the last bell rang, the last class ended, I let out my breath. It se.
This document is the beginning of a story told from the perspective of a young black girl who is preparing to attend her first day at a formerly all-white school following desegregation laws. She has recurring nightmares about being attacked by racist white men. Her mother wakes her from the nightmare and encourages her to get ready for school, emphasizing the need to make a good impression on the white people. The girl resents her mother's focus on white approval but gets dressed for school reluctantly.
Similar to You will compare the themes of a political cartoon to the themes o.docx (9)
Your employer is pleased with your desire to further your educatio.docxwoodruffeloisa
Your employer is pleased with your desire to further your education and would like you to inform other employees about the process of online education; however, she still has questions about applying. Using proper memo format, and Figure 6-1 of the textbook, explain the process of applying for a degree at CSU. Use word processing software, such as Microsoft Word, to create your memo.
Your response should be at least 200 words in length. You are required to use at least your textbook as source material for your response. All sources used, including the textbook, must be referenced; paraphrased and quoted material must have accompanying citations.
Pfeiffer, W., & Adkins, K. (2012, 109-110).
Technical communication fundamentals
. Upper Saddle River, NJ: Prentice Hall.
.
Your finished project, including both elements of the paper, should .docxwoodruffeloisa
Your finished project, including both elements of the paper, should be approximately 12 to 14 double-spaced pages, not including the cover or reference pages but including the abstract, submitted as one document. Make sure you present an introduction and a conclusion tying together both aspects of the paper. Follow the guidelines in either Course Content or in the conference. You must post your selection in this conference. The paper is due at the end of week 8 and must be submitted in your Assignments folder. Review the late policy above. The paper will not be accepted late.
.
Your first task is to find a public budget to analyze. It is suggest.docxwoodruffeloisa
Your first task is to find a public budget to analyze. It is suggested you focus on a city/county department, a small municipality/township, a school district, a special district (such as a forest preserve district, stadium district, or water district), a community college, a small public university, or a single state agency.
Be sure not to choose a budget that is too large to analyze in one written exercise. Most budgets are readily available on the institution’s website or by contacting the budgeting/finance department. Many local libraries will also have these documents.
In your analysis, you should address the following items/questions:
Offer a brief overview of your chosen agency. What are its primary functions and roles in the community?
What are the primary expenditures for your chosen agency?
How do these expenditures determine public policy priorities?
Has the agency’s budget increased or decreased since last year? What does this indicate about the success of the agency and its ability to deliver services?
Is the agency allocating resources wisely?
What recommendations would you offer, in terms of resource allocation, for the agency in the future?
The entire budgetary analysis should be 8 to 10 pages in length and should be submitted in Unit VIII. The Final Project
must incorporate no fewer than five (5) peer-reviewed journal articles to bolster your analysis of the budget. You should be able to apply the theories learned in class to your case. The project must conform to APA format, and all sources must be properly cited and referenced.
.
Your essay should explain the trip from your personal point of view,.docxwoodruffeloisa
The essay should be written from your personal point of view about the trip, explaining your experience and what you learned without just listing historical facts or timelines. It should discuss your impressions of the location, any surprises or disappointments, and any knowledge or wisdom you gained from the trip.
Your dilemma is that you have to make a painful medical decision and.docxwoodruffeloisa
Your dilemma is that you have to make a painful medical decision and
to explain, in writing, who benefits from what you decided, who gets
denied a needed benefit, and why. The document is to be in the form of
an official memorandum that will be kept for the record and could be
potentially read by not only your Peer Review Committee, but also
possibly those involved in charitable fundraising to support hospital
development and others with financial interests in the choice made.
Include in the document the utilitarian ethical philosophy of John
Stuart Mill (The Ethics of Consequences) and ONE OTHER ETHICAL
PHILOSOPHER of your choice and use both of those philosophies to bolster your decision.
We can do John Stuart Mill and Jeremy Bentham for the two utilitarian ethical philosopher. They said: The Principle of Utility from Bentham and Mill expressed in ethical form is this: “We should act in such a way as to maximize the happiness of everyone affected by our actions.” This was a radical idea, because it included no references to religion and had a purely human focus. It was also teleological (learn this new word), because it focused only on the consequences of decisions.
This paper will be at least two double spaced pages but
limited to three pages. Remember both professional written form and
potential audience, as well as tone when writing this sensitive paper.
Your assignment is to make the decision using utilitarian ethics and
then to write it up in the form of a Memorandum for the hospital
records.
The Memorandum should be at least two double-spaced pages with a
maximum of three pages, in memorandum form, ready to become an
official item of record.
Scenario You Decide
One of the great ongoing situations that calls for ethical decision
making is the reality that there is almost always a greater need for
something than there is a supply to meet the need.
For our assignment and scenario, the demand is the life-and-death
situation of the need for transplantable organs and the rather small
and transitory supply. Hard decisions need to be made, and there is
little time to think things through. These are emergency situations.
Transplantable organs become available on short notice--usually
because a donor has died for reasons unrelated to the organ. They need
to be removed and transplanted very quickly because they only remain
fresh for a limited period. Then there is the whole complicated issue
of tissue type matching. There is also an ongoing concern about how
long recipients can wait.
Scenario:
Ok, Lead Surgeon, its time to do what you do the best!
You are the Lead surgeon in a major hospital, and by virtue of your
seniority you are also the key decision maker for transplant cases.
Right now you have three people who are waiting and hoping for a
suitable heart to become available. Your call phone rings suddenly,
and you are notified that a heart has become available- meaning that
you need to make a quick yet sound decision about which patient wil.
your definition of moral reasoning. Then, compare two similarities.docxwoodruffeloisa
your definition of moral reasoning. Then, compare two similarities and two differences in moral reasoning across the two cultures you selected. Finally, describe two culture-specific factors that might lead to these differences and explain how.
and the two cultures that I selected is Muslim and India's
.
Your company is in the process of updating its networks. In preparat.docxwoodruffeloisa
Your company is in the process of updating its networks. In preparation for the upgrade, your CEO has requested that you write a white paper (search term: White paper template) explaining the various telecommunication technologies. Begin by explaining basic telecommunication channel characteristics (minimum 5). Next discuss at least three network types (for example: Local Area Network/LAN). Then differentiate between client/server networks and peer to peer networks. Finally, recommend a network type and identify and describe three types of telecommunications hardware that will be required to set up this network. Conclude by explaining three things the company can do to secure their network.
.
Your company has just announced that a new formal performance evalua.docxwoodruffeloisa
Your company has just announced that a new formal performance evaluation system will be used (effective immediately). One of your supervisor's anniversary date is coming up and the human resources (HR) manager has asked you not only to rate this supervisor but to develop a grading form to use for her and other supervisors.
Assess the leadership, interpersonal skills, and earned values on other areas of concentration you deem necessary to rate the overall performance of any supervisor you have worked with, observed, know of, worked for, been supervised by, or supervised. Include your objective reasoning for eachassigned grade with an explanation of one or more sentences.
For example, on a scale of 1–9 (superior performance), you rate the supervisor as a 4; your explanation might be as follows:
Rarely held department meetings
Poor verbal communication skills
Uses foul language when counseling employees
.
Your CLC team should submit the followingA completed priority.docxwoodruffeloisa
Your CLC team should submit the following:
A completed priority analysis
Determination of which project is to be undertaken first, along with a summary of why the project was chosen, including an explanation of the relationship between the project and the organization’s mission, vision, and objectives
I AM ONLY RESPONSIBLE FOR QUESTION TWO.
Please see attachment for completed project.
.
Your classroom will be made up of diverse children. Research what va.docxwoodruffeloisa
Your classroom will be made up of diverse children. Research what varying cultures are represented in your community and the school/district resources that are available to support families. Also, include additional resources that may not be directly provided by the school or school district.
Write a 500-750-word plan for community culture that will support families in the school/district. Include information about the varying cultures in the community.
Identify how selected resources can provide positive support for families. This assignment can be presented as a brochure or document; be creative.
.
Your business plan must include the following1.Introduction o.docxwoodruffeloisa
Your business plan must include the following:
1.
Introduction of the proposed business;
2.
Description and explanation of the type of business entity that is best for your business;
3.
Description of the specific steps needed to be followed to successfully and legally start the business;
4.
A draft of a valid contract with a vendor, supplier, customer, etc. that illustrates all elements of a contract and takes into consideration some of the topics discussed in the contract chapters;
5.
Possible ethical considerations for your business, including any social responsibility plans or attitudes that your business will embrace;
6.
Description of a possible disagreement that could be encountered among the partners or investors and shareholders; and
7.
Illustration of the various ways the disagreement could be resolved (referring back to the formal documents, such as the articles of incorporation or the partnership agreement).
This paper must be 1,500–2,100 words, double-spaced, Times New Roman font or similar, and include at least 3 citations/sources in current APA format.
.
Your assignment is to write a formal response to this work. By caref.docxwoodruffeloisa
Your assignment is to write a formal response to this work. By carefully describing subject matter, medium, form, and context, you should be able to arrive at a thoughtful well -defended interpretation of the piece. (1) Describe it . Thoroughly. If it is representational, what is the subject matter depicted? If it is non -representational, say so. What does it look like? What is the medium? Have we studied/do you know anything about the process that resulted in the work? What size is it? Is it a 2 -dimensional or 3 -dimensional piece? Which formal elements stand out to you? What are the colors being used? Be as descriptive as possible. (2) Contextualize it . What is the title? What is the name of the artist who created it? Do you know anything about the artist? Is there a statement giving you more information? In which year was it made? Where is it being displayed as you are looking at it? How is it being displayed? Are there other works by the same artist there to give you more context? Can you compare and contrast it to other works you’ve seen elsewhere or studied ? (3) Interpret it. Based on your description, what do you think the artist was trying to say? It may be difficult to separate this interpretation from the descriptive process and it is okay if the two aspects are interwoven. (4) Respond to it. Though I am not interested in merely hearing whether or not you like the piece, I also want you to meaningful respond to the work. As art -critic Peter Scheldahl proposes, a question more valuable to ask yourself can be, “If I were someone who did like this piece, why would I like it?” Who is its intended audience and are you among that audience? Why did you choose this particular piece? What does it make you think about? Why do you think that the artist made the choices that she or he did? Do you agree with all of those choices? Is the artist’s intention clear/well -executed? How do you feel about the way in which the work is being displayed? Would it be more suitably exhibited somewhere else or alongside different work? This part of the paper may contain judgments, but at this point they will be well founded. Never make a proclamation without continuing the sentence with the because… Your response should be a minimum of one and a half double -spaced pages, 12 point font. If you are thorough in your description, you should find that you easily exceed this length.
Name of this Artwork: The Black Ring
.
Your assignment is to write about the ethical theory HedonismYour.docxwoodruffeloisa
This assignment asks students to write a graduate-level critical review summarizing the ethical theory of hedonism and how it relates to ethical and unethical behavior in the criminal justice system, supported with additional research. Students must discuss how hedonism, which focuses on pleasure as the ultimate good, is applied to criminal justice practices and decision making.
Your assignment is to write a short position paper (1 to 2 pages dou.docxwoodruffeloisa
Your assignment is to write a short position paper (1 to 2 pages double spaced, or roughly 250-500 words) answering ONE of the following two questions:
(1) How much appropriation do you think is justifiable in creating new works of art which draw on previously existing source material? As case studies, consider Nina Paley’s use of Annette Hanshaw’s music in
Sita Sings the Blues
and Shepard Fairey’s adaptation of an Associated Press news photograph for his 2008 Barack Obama “Hope” campaign poster. In each case, do you feel the artist was right or wrong in the way they used the material? Were the corporate entities involved right or wrong to claim their copyrights gave them the power to suppress these works?
-OR-
(2) When an artist freely adapts material that is strongly associated with a culture other than his or her own, does that artist have a special responsibility to avoid offending some members of that culture? Would the same standards apply to an artist from within the culture? As a case study, consider Nina Paley’s contemporary retelling of the Ramayana epic in
Sita Sings the Blues
. Some Hindus condemned the film while other Hindus applauded it. When, if ever, should an artist compromise his or her vision in deference to interest groups claiming offense?
Whichever question you choose, you may argue pro or con or somewhere in between, but whatever side you are on, you should avoid emotional rants and baseless charges. Summarize each side’s position, and use specific evidence and sound reasoning to support your case. Your writing will be assessed according to the amount of time and thought you put into the work, the persuasiveness of your reasoning, and the clarity of your writing. You may refer to outside sources if properly cited, but do not copy from websites or other authors; use your own words. As always, grammar, spelling, and style count; be sure to proofread your paper for any mistakes.
.
Your assignment is to report on a cultural experience visit you .docxwoodruffeloisa
Your assignment is to report on a "cultural experience" visit you make during this term. The experience should be done in person. (If this is impossible, contact the instructor to arrange for an alternative assignment.) You may not report on a cultural experience from prior to this class. After the visit, write a 500-800 word report about the visit and what you learned.
You should attend or visit one of the following.
a museum or display of art, culture, or technology
a sculpture garden
a significant or notable architectural site (if there is explanatory material there to help you understand it)
a music concert
a street art festival
a play, poetry reading or other spoken word performance
a dance performance
an important or notable historical site (if there is explanatory material there to help you understand it)
a religious service, ceremony or ritual for a religion very different from yours, if you practice (for instance, if you are Christian, you may not go to another Christian denomination's service)
other displays or performances
may
be acceptable.
Check with your instructor for approval beforehand.
After your
cultural experience visit,
write a report that includes the following information. (Please number the sections of your report to match):
Name and location of the museum, site, or event. If there is on-line information about the site or performance, include a link.
Type of museum, site or event. For example, is it a portrait museum, a poetry slam, an outdoor Shakespeare festival performance? If you attended a performance, name the performer or the piece. Be specific about
what
you attended,
when
, and
where
.
Briefly describe the general setting.
Describe
one or more parts or aspects
of the experience—for example, a particular work of art, cultural artifact, song, dance section, scene in a play, costumes or lighting, one particular actor or vocalist—that you found especially interesting. Explain what impressed you, and why. Your reaction can be positive or negative, as long as you offer an explanation for your reactions.
Identify and use at least two things you've learned in class to that you can connect to your experience. For example, if you visit a museum, you might point out the architectural style, discuss an artist you've learned about in the course, tie in your experience with a class discussion, make use of a concept presented in a class assignment. We've learned how visual arts and musical arts ( hearing are and can be different as you get a differen experence from it), also we have learned that different experiences bring different meaning and different ways of seeing things.
Include photos or links to images on a web page to help convey the information.
How did the experience engage your feelings or emotions, if at all? What does this tell you about human culture
Reflect on the relevance--if any--of your experience to your everyday life.
.
Your assignment is to create a Visual Timeline” of 12 to 15 images..docxwoodruffeloisa
You are assigned to create a visual timeline of 12-15 images that chronologically illustrates the growth of American art from pre-Columbian cultures to modern art of the 1950s. You should select artists such as Jacob Lawrence, Georgia O'Keeffe, Andrew Wyeth, George Bellows, or Elizabeth Catlett that best represent America's artistic heritage. Provide a brief introduction explaining your selection process and labeling each image with the artist, title, dimensions, medium, and date.
Your annotated bibliography will list a minimum of six items. .docxwoodruffeloisa
Your annotated bibliography will list a minimum of
six items
.
Four
of them must be from credible, academic, peer-reviewed sources that you find as you do research for the final essay.
The remaining two
sources must be credible, but they can come from sources other than academic journals if you wish. When you write, use standard MLA typographic and citation format, and then extend each Works Cited entry with a summary of the major arguments in the essay you have read. Each summary must contain
a minimum of 100 words
.
If desired, append a list of “Works Consulted” for sources used that are
not
peer-reviewed.
Basic MLA Style Format for an Annotated Bibliography
Format your page and list of citations in the same way you would a normal Works Cited page, then add your annotation at the end of it.
Title your bibliography “Works Cited” at the top of the page. Center it, but do not put it in bold face type.
Put entries in alphabetical order, not the order in which they have been assigned.
Use hanging indents
, as shown below. That is, the first line of the citation starts at the left margin. Subsequent lines are indented 5 spaces.
As with every other part of an MLA formatted essay, the bibliography is
double spaced
throughout.
The
annotation is a continuation of the citation
. Do not drop down to the next line to start the annotation.
The
right margin is the normal right margin
of your document.
There is a right way and a wrong way to write up these entries.
Don’t “report”
the arguments the author makes or tell readers the order in which those arguments are presented and count all of that reporting and listing as “summary” or annotation. Instead, restate in your own words the claims made by the writer in his/her essay.
Wrong way to do it
: "Marotti introduces his argument in the first section of the essay; then he moves on to talk about Petrarchan conventions. He ends the essay by talking about the political ramifications of Shakespeare's sonnets."
Right way to do it:
"Marotti’s argument here is that the sonnet genre must be understood in three ways: by examining the text itself, by examining the text in relation to others of its kind, and by exploring the social/historical environment in which it was published and circulated . . ."
Sample Annotations
NOTE:
These entries provide models of both format and content. They summarize—rather than “report”—the essay described.
Marotti, Arthur F. ""Love is Not Love": Elizabethan Sonnet Sequences and the Social Order."
ELH
2(1982): 396-428. Marotti’s argument here is that the sonnet genre must be understood in three ways: by examining the text itself, by examining the text in relation to others of its kind, and by exploring the social/historical environment in which it was published and circulated. Using those criteria, he argues that we should understand sonnet sequences as more than just a collected string of Petrarchan love poems. The 16
th
century sequences suddenly fell out o.
Your business plan must include the following1.Introduction of .docxwoodruffeloisa
Your business plan must include the following:
1. Introduction of the proposed business;
2. Description and explanation of the type of business entity that is best for your business;
3. Description of the specific steps needed to be followed to successfully and legally start the business;
4. A draft of a valid contract with a vendor, supplier, customer, etc. that illustrates all elements of a contract and takes into consideration some of the topics discussed in the contract chapters;
5. Possible ethical considerations for your business, including any social responsibility plans or attitudes that your business will embrace;
6. Description of a possible disagreement that could be encountered among the partners or investors and shareholders; and
7. Illustration of the various ways the disagreement could be resolved (referring back to the formal documents, such as the articles of incorporation or the partnership agreement).
This paper must be 1,500–2,100 words, double-spaced, Times New Roman font or similar, and include at least 3 citations/sources in current APA format.
.
you wrote an analysis on a piece of literature. In this task, you wi.docxwoodruffeloisa
you wrote an analysis on a piece of literature. In this task, you will write an analysis (
suggested length of 3–5 pages
) of one work from the disciplines of visual art or music. Choose
one
work from the list below:
Classical Period
Art:
• Exekias,
Achilles and Ajax Playing a Dice Game
(Athenian black-figure amphora), ca. 540−530 BCE
• Praxiteles,
The Aphrodite of Cnidus (Knidos)
c. 350 BCE
• Alexandros of Antioch,
Venus de Milo
, between 130−100 BCE
• Apollodorus of Damascus,
Trajan’s Column
, c. 107 CE
• After Leochares,
Apollo Belvedere
, c. 120 CE
• Agesander, Athenodorus, and Polydorus of Rhodes,
The Laocoön Group
, Late 2nd Century
Renaissance
Art:
• Leonardo da Vinci,
Annunciation
, c. 1472
• Titian,
Bacchus and Ariadne
, c,1520
• Hans Holbein the Younger,
The Ambassadors
, 1533
• Marcus Gheeraerts the Younger,
Queen Elizabeth I (Ditchley Portrait)
, c. 1592
Music:
• Josquin des Prez, Mille Regretz (French Chanson), c. 1521
• Giovanni Pierluigi da Palestrina,
Sicut Cervus
(motet), c. 1581
• Thomas Morley,
Now is the Month of Maying
, 1595
• John Farmer,
Fair Phyllis
(English Madrigal) 1599
NeoClassical (Art) / Classical (Music)
Art:
• Antonio Canova,
Psyche Revived by Cupid’s Kiss
, c. 1777
• Jacques Louis David,
The Death of Socrates
, 1787
• Sir John Soane,
Bank of England
, 1788–1833
• Ingres,
La Grande Odalisque
, 1814
Music:
• W.A. Mozart, Piano Concerto No. 20 in D Minor, K. 466 – “Romanze” (second movement), 1785
• W.A. Mozart, Overture to
The Marriage of Figaro
K. 492, 1786
• Franz Joseph Haydn, Symphony No. 94 in G Major (
Surprise
), 1792
• Ludwig van Beethoven, Symphony No. 5 in C Minor, Op. 67,”Allegro con brio” (first movement), 1804–1808
Romanticism
Art:
• Henry Fuseli,
The Nightmare
, 1781
• John Constable,
The Hay Wain
, 1821
• Eugene Delacroix,
The Death of Sardanapalus
, 1827
• J.M.W. Turner,
Slave Ship
, 1840
Music:
• Franz Schubert,
Erlking
D.328 (Lied), 1815
• Hector Berlioz,
Dream of the Witches’ Sabbath
from
Symphonie fantastique
, 1830
• Clara Schumann,
4 pieces fugitives
, Op.15, 1853
• Bedrich Smetana,
The Moldau from Má Vlast
, 1874
Realism
Art:
• Gustave Courbet,
The Stone Breakers
, 1849
• Rosa Bonheur,
The Horse Fair
, 1852-1855
• James Whistler,
Arrangement in Grey and Black, No.1: Portrait of the Artist's Mother
, 1871
• Édouard Manet,
A Bar at the Folies-Bergère
, 1882
Music:
• Stephen Foster,
Old Folks at Home
,1851
• John Philip Sousa,
The Stars and Stripes Forever
, 1896-97
• Giacomo Puccini,
Madama Butterfly
, 1904
• Julia Ward Howe,
The Battle Hymn of the Republic
, 1862
Use the link near the bottom of this page to access direct links to the works listed above.
Once you have selected and viewed the work, you will create a paragraph of descriptive writing with your personal observati.
You work for a small community hospital that has recently updated it.docxwoodruffeloisa
You have been asked to analyze the efficiency, security, and privacy of your hospital's recently updated electronic health record system and provide a 5-7 page executive summary report to the COO. The report should examine the emergence of health technology and EHRs since HIPAA, analyze current trends in health records and charting as they relate to advances in technology, and assess how modern patient record systems can support operations through privacy, quality care, cost administration, and records access and retention.
🔥🔥🔥🔥🔥🔥🔥🔥🔥
إضغ بين إيديكم من أقوى الملازم التي صممتها
ملزمة تشريح الجهاز الهيكلي (نظري 3)
💀💀💀💀💀💀💀💀💀💀
تتميز هذهِ الملزمة بعِدة مُميزات :
1- مُترجمة ترجمة تُناسب جميع المستويات
2- تحتوي على 78 رسم توضيحي لكل كلمة موجودة بالملزمة (لكل كلمة !!!!)
#فهم_ماكو_درخ
3- دقة الكتابة والصور عالية جداً جداً جداً
4- هُنالك بعض المعلومات تم توضيحها بشكل تفصيلي جداً (تُعتبر لدى الطالب أو الطالبة بإنها معلومات مُبهمة ومع ذلك تم توضيح هذهِ المعلومات المُبهمة بشكل تفصيلي جداً
5- الملزمة تشرح نفسها ب نفسها بس تكلك تعال اقراني
6- تحتوي الملزمة في اول سلايد على خارطة تتضمن جميع تفرُعات معلومات الجهاز الهيكلي المذكورة في هذهِ الملزمة
واخيراً هذهِ الملزمة حلالٌ عليكم وإتمنى منكم إن تدعولي بالخير والصحة والعافية فقط
كل التوفيق زملائي وزميلاتي ، زميلكم محمد الذهبي 💊💊
🔥🔥🔥🔥🔥🔥🔥🔥🔥
Temple of Asclepius in Thrace. Excavation resultsKrassimira Luka
The temple and the sanctuary around were dedicated to Asklepios Zmidrenus. This name has been known since 1875 when an inscription dedicated to him was discovered in Rome. The inscription is dated in 227 AD and was left by soldiers originating from the city of Philippopolis (modern Plovdiv).
A Visual Guide to 1 Samuel | A Tale of Two HeartsSteve Thomason
These slides walk through the story of 1 Samuel. Samuel is the last judge of Israel. The people reject God and want a king. Saul is anointed as the first king, but he is not a good king. David, the shepherd boy is anointed and Saul is envious of him. David shows honor while Saul continues to self destruct.
CapTechTalks Webinar Slides June 2024 Donovan Wright.pptxCapitolTechU
Slides from a Capitol Technology University webinar held June 20, 2024. The webinar featured Dr. Donovan Wright, presenting on the Department of Defense Digital Transformation.
Gender and Mental Health - Counselling and Family Therapy Applications and In...PsychoTech Services
A proprietary approach developed by bringing together the best of learning theories from Psychology, design principles from the world of visualization, and pedagogical methods from over a decade of training experience, that enables you to: Learn better, faster!
Level 3 NCEA - NZ: A Nation In the Making 1872 - 1900 SML.pptHenry Hollis
The History of NZ 1870-1900.
Making of a Nation.
From the NZ Wars to Liberals,
Richard Seddon, George Grey,
Social Laboratory, New Zealand,
Confiscations, Kotahitanga, Kingitanga, Parliament, Suffrage, Repudiation, Economic Change, Agriculture, Gold Mining, Timber, Flax, Sheep, Dairying,
Andreas Schleicher presents PISA 2022 Volume III - Creative Thinking - 18 Jun...EduSkills OECD
Andreas Schleicher, Director of Education and Skills at the OECD presents at the launch of PISA 2022 Volume III - Creative Minds, Creative Schools on 18 June 2024.
How to Manage Reception Report in Odoo 17Celine George
A business may deal with both sales and purchases occasionally. They buy things from vendors and then sell them to their customers. Such dealings can be confusing at times. Because multiple clients may inquire about the same product at the same time, after purchasing those products, customers must be assigned to them. Odoo has a tool called Reception Report that can be used to complete this assignment. By enabling this, a reception report comes automatically after confirming a receipt, from which we can assign products to orders.
You will compare the themes of a political cartoon to the themes o.docx
1. You will compare the themes of a political cartoon to the
themes of Orwell’s essay “Shooting an Elephant.”
Shooting an Elephant
Author: George Orwell
In Moulmein, in lower Burma, I was hated by large numbers of
people—the only time in my life that I have been important
enough for this to happen to me. I was sub-divisional police
officer of the town, and in an aimless, petty kind of way anti-
European feeling was very bitter. No one had the guts to raise a
riot, but if a European woman went through the bazaars alone
somebody would probably spit betel juice over her dress. As a
police officer I was an obvious target and was baited whenever
it seemed safe to do so. When a nimble Burman tripped me up
on the football field and the referee (another Burman) looked
the other way, the crowd yelled with hideous laughter. This
happened more than once. In the end the sneering yellow faces
of young men that met me everywhere, the insults hooted after
me when I was at a safe distance, got badly on my nerves. The
young Buddhist priests were the worst of all. There were several
thousands of them in the town and none of them seemed to have
anything to do except stand on street corners and jeer at
Europeans.
All this was perplexing and upsetting. For at that time I had
already made up my mind that imperialism was an evil thing
and the sooner I chucked up my job and got out of it the better.
Theoretically—and secretly, of course—I was all for the
Burmese and all against their oppressors, the British. As for the
job I was doing, I hated it more bitterly than I can perhaps make
clear. In a job like that you see the dirty work of Empire at
close quarters. The wretched prisoners huddling in the stinking
cages of the lock-ups, the grey, cowed faces of the long-term
convicts, the scarred buttocks of the men who had been Bogged
with bamboos—all these oppressed me with an intolerable sense
2. of guilt. But I could get nothing into perspective. I was young
and ill-educated and I had had to think out my problems in the
utter silence that is imposed on every Englishman in the East. I
did not even know that the British Empire is dying, still less did
I know that it is a great deal better than the younger empires
that are going to supplant it. All I knew was that I was stuck
between my hatred of the empire I served and my rage against
the evil-spirited little beasts who tried to make my job
impossible. With one part of my mind I thought of the British
Raj as an unbreakable tyranny, as something clamped down, in
saecula saeculorum, upon the will of prostrate peoples; with
another part I thought that the greatest joy in the world would
be to drive a bayonet into a Buddhist priest's guts. Feelings like
these are the normal by-products of imperialism; ask any Anglo-
Indian official, if you can catch him off duty.
One day something happened which in a roundabout way was
enlightening. It was a tiny incident in itself, but it gave me a
better glimpse than I had had before of the real nature of
imperialism—the real motives for which despotic governments
act. Early one morning the sub-inspector at a police station the
other end of the town rang me up on the phone and said that an
elephant was ravaging the bazaar. Would I please come and do
something about it? I did not know what I could do, but I
wanted to see what was happening and I got on to a pony and
started out. I took my rifle, an old .44 Winchester and much too
small to kill an elephant, but I thought the noise might be useful
in terrorem. Various Burmans stopped me on the way and told
me about the elephant's doings. It was not, of course, a wild
elephant, but a tame one which had gone "must." It had been
chained up, as tame elephants always are when their attack of
"must" is due, but on the previous night it had broken its chain
and escaped. Its mahout, the only person who could manage it
when it was in that state, had set out in pursuit, but had taken
the wrong direction and was now twelve hours' journey away,
and in the morning the elephant had suddenly reappeared in the
town. The Burmese population had no weapons and were quite
3. helpless against it. It had already destroyed somebody's bamboo
hut, killed a cow and raided some fruit-stalls and devoured the
stock; also it had met the municipal rubbish van and, when the
driver jumped out and took to his heels, had turned the van over
and inflicted violences upon it.
The Burmese sub-inspector and some Indian constables were
waiting for me in the quarter where the elephant had been seen.
It was a very poor quarter, a labyrinth of squalid bamboo huts,
thatched with palmleaf, winding all over a steep hillside. I
remember that it was a cloudy, stuffy morning at the beginning
of the rains. We began questioning the people as to where the
elephant had gone and, as usual, failed to get any definite
information. That is invariably the case in the East; a story
always sounds clear enough at a distance, but the nearer you get
to the scene of events the vaguer it becomes. Some of the
people said that the elephant had gone in one direction, some
said that he had gone in another, some professed not even to
have heard of any elephant. I had almost made up my mind that
the whole story was a pack of lies, when we heard yells a little
distance away. There was a loud, scandalized cry of "Go away,
child! Go away this instant!" and an old woman with a switch in
her hand came round the corner of a hut, violently shooing away
a crowd of naked children. Some more women followed,
clicking their tongues and exclaiming; evidently there was
something that the children ought not to have seen. I rounded
the hut and saw a man's dead body sprawling in the mud. He
was an Indian, a black Dravidian coolie, almost naked, and he
could not have been dead many minutes. The people said that
the elephant had come suddenly upon him round the corner of
the hut, caught him with its trunk, put its foot on his back and
ground him into the earth. This was the rainy season and the
ground was soft, and his face had scored a trench a foot deep
and a couple of yards long. He was lying on his belly with arms
crucified and head sharply twisted to one side. His face was
coated with mud, the eyes wide open, the teeth bared and
grinning with an expression of unendurable agony. (Never tell
4. me, by the way, that the dead look peaceful. Most of the corpses
I have seen looked devilish.) The friction of the great beast's
foot had stripped the skin from his back as neatly as one skins a
rabbit. As soon as I saw the dead man I sent an orderly to a
friend's house nearby to borrow an elephant rifle. I had already
sent back the pony, not wanting it to go mad with fright and
throw me if it smelt the elephant.
The orderly came back in a few minutes with a rifle and five
cartridges, and meanwhile some Burmans had arrived and told
us that the elephant was in the paddy fields below, only a few
hundred yards away. As I started forward practically the whole
population of the quarter flocked out of the houses and followed
me. They had seen the rifle and were all shouting excitedly that
I was going to shoot the elephant. They had not shown much
interest in the elephant when he was merely ravaging their
homes, but it was different now that he was going to be shot. It
was a bit of fun to them, as it would be to an English crowd;
besides they wanted the meat. It made me vaguely uneasy. I had
no intention of shooting the elephant—I had merely sent for the
rifle to defend myself if necessary—and it is always unnerving
to have a crowd following you. I marched down the hill, looking
and feeling a fool, with the rifle over my shoulder and an ever-
growing army of people jostling at my heels. At the bottom,
when you got away from the huts, there was a metalled road and
beyond that a miry waste of paddy fields a thousand yards
across, not yet ploughed but soggy from the first rains and
dotted with coarse grass. The elephant was standing eight yards
from the road, his left side towards us. He took not the slightest
notice of the crowd's approach. He was tearing up bunches of
grass, beating them against his knees to clean them and stuffing
them into his mouth.
I had halted on the road. As soon as I saw the elephant I knew
with perfect certainty that I ought not to shoot him. It is a
serious matter to shoot a working elephant—it is comparable to
destroying a huge and costly piece of machinery—and obviously
one ought not to do it if it can possibly be avoided. And at that
5. distance, peacefully eating, the elephant looked no more
dangerous than a cow. I thought then and I think now that his
attack of "must" was already passing off; in which case he
would merely wander harmlessly about until the mahout came
back and caught him. Moreover, I did not in the least want to
shoot him. I decided that I would watch him for a little while to
make sure that he did not turn savage again, and then go home.
But at that moment I glanced round at the crowd that had
followed me. It was an immense crowd, two thousand at the
least and growing every minute. It blocked the road for a long
distance on either side. I looked at the sea of yellow faces above
the garish clothes-faces all happy and excited over this bit of
fun, all certain that the elephant was going to be shot. They
were watching me as they would watch a conjurer about to
perform a trick. They did not like me, but with the magical rifle
in my hands I was momentarily worth watching. And suddenly I
realized that I should have to shoot the elephant after all. The
people expected it of me and I had got to do it; I could feel their
two thousand wills pressing me forward, irresistibly. And it was
at this moment, as I stood there with the rifle in my hands, that
I first grasped the hollowness, the futility of the white man's
dominion in the East. Here was I, the white man with his gun,
standing in front of the unarmed native crowd—seemingly the
leading actor of the piece; but in reality I was only an absurd
puppet pushed to and fro by the will of those yellow faces
behind. I perceived in this moment that when the white man
turns tyrant it is his own freedom that he destroys. He becomes
a sort of hollow, posing dummy, the conventionalized figure of
a sahib. For it is the condition of his rule that he shall spend his
life in trying to impress the "natives," and so in every crisis he
has got to do what the "natives" expect of him. He wears a
mask, and his face grows to fit it. I had got to shoot the
elephant. I had committed myself to doing it when I sent for the
rifle. A sahib has got to act like a sahib; he has got to appear
resolute, to know his own mind and do definite things. To come
all that way, rifle in hand, with two thousand people marching
6. at my heels, and then to trail feebly away, having done
nothing—no, that was impossible. The crowd would laugh at
me. And my whole life, every white man's life in the East, was
one long struggle not to be laughed at.
But I did not want to shoot the elephant. I watched him beating
his bunch of grass against his knees, with that preoccupied
grandmotherly air that elephants have. It seemed to me that it
would be murder to shoot him. At that age I was not squeamish
about killing animals, but I had never shot an elephant and
never wanted to. (Somehow it always seems worse to kill a
large animal.) Besides, there was the beast's owner to be
considered. Alive, the elephant was worth at least a hundred
pounds; dead, he would only be worth the value of his tusks,
five pounds, possibly. But I had got to act quickly. I turned to
some experienced-looking Burmans who had been there when
we arrived, and asked them how the elephant had been
behaving. They all said the same thing: he took no notice of you
if you left him alone, but he might charge if you went too close
to him.
It was perfectly clear to me what I ought to do. I ought to walk
up to within, say, twenty-five yards of the elephant and test his
behavior. If he charged, I could shoot; if he took no notice of
me, it would be safe to leave him until the mahout came back.
But also I knew that I was going to do no such thing. I was a
poor shot with a rifle and the ground was soft mud into which
one would sink at every step. If the elephant charged and I
missed him, I should have about as much chance as a toad under
a steam-roller. But even then I was not thinking particularly of
my own skin, only of the watchful yellow faces behind. For at
that moment, with the crowd watching me, I was not afraid in
the ordinary sense, as I would have been if I had been alone. A
white man mustn't be frightened in front of "natives"; and so, in
general, he isn't frightened. The sole thought in my mind was
that if anything went wrong those two thousand Burmans would
see me pursued, caught, trampled on and reduced to a grinning
corpse like that Indian up the hill. And if that happened it was
7. quite probable that some of them would laugh. That would
never do.
There was only one alternative. I shoved the cartridges into the
magazine and lay down on the road to get a better aim. The
crowd grew very still, and a deep, low, happy sigh, as of people
who see the theatre curtain go up at last, breathed from
innumerable throats. They were going to have their bit of fun
after all. The rifle was a beautiful German thing with cross-hair
sights. I did not then know that in shooting an elephant one
would shoot to cut an imaginary bar running from ear-hole to
ear-hole. I ought, therefore, as the elephant was sideways on, to
have aimed straight at his ear-hole, actually I aimed several
inches in front of this, thinking the brain would be further
forward.
When I pulled the trigger I did not hear the bang or feel the
kick—one never does when a shot goes home—but I heard the
devilish roar of glee that went up from the crowd. In that
instant, in too short a time, one would have thought, even for
the bullet to get there, a mysterious, terrible change had come
over the elephant. He neither stirred nor fell, but every line of
his body had altered. He looked suddenly stricken, shrunken,
immensely old, as though the frightful impact of the bullet had
paralysed him without knocking him down. At last, after what
seemed a long time—it might have been five seconds, I dare
say—he sagged flabbily to his knees. His mouth slobbered. An
enormous senility seemed to have settled upon him. One could
have imagined him thousands of years old. I fired again into the
same spot. At the second shot he did not collapse but climbed
with desperate slowness to his feet and stood weakly upright,
with legs sagging and head drooping. I fired a third time. That
was the shot that did for him. You could see the agony of it jolt
his whole body and knock the last remnant of strength from his
legs. But in falling he seemed for a moment to rise, for as his
hind legs collapsed beneath him he seemed to tower upward like
a huge rock toppling, his trunk reaching skyward like a tree. He
trumpeted, for the first and only time. And then down he came,
8. his belly towards me, with a crash that seemed to shake the
ground even where I lay.
I got up. The Burmans were already racing past me across the
mud. It was obvious that the elephant would never rise again,
but he was not dead. He was breathing very rhythmically with
long rattling gasps, his great mound of a side painfully rising
and falling. His mouth was wide open—I could see far down
into caverns of pale pink throat. I waited a long time for him to
die, but his breathing did not weaken. Finally I fired my two
remaining shots into the spot where I thought his heart must be.
The thick blood welled out of him like red velvet, but still he
did not die. His body did not even jerk when the shots hit him,
the tortured breathing continued without a pause. He was dying,
very slowly and in great agony, but in some world remote from
me where not even a bullet could damage him further. I felt that
I had got to put an end to that dreadful noise. It seemed dreadful
to see the great beast Lying there, powerless to move and yet
powerless to die, and not even to be able to finish him. I sent
back for my small rifle and poured shot after shot into his heart
and down his throat. They seemed to make no impression. The
tortured gasps continued as steadily as the ticking of a clock.
In the end I could not stand it any longer and went away. I
heard later that it took him half an hour to die. Burmans were
bringing dahs and baskets even before I left, and I was told they
had stripped his body almost to the bones by the afternoon.
Afterwards, of course, there were endless discussions about the
shooting of the elephant. The owner was furious, but he was
only an Indian and could do nothing. Besides, legally I had done
the right thing, for a mad elephant has to be killed, like a mad
dog, if its owner fails to control it. Among the Europeans
opinion was divided. The older men said I was right, the
younger men said it was a damn shame to shoot an elephant for
killing a coolie, because an elephant was worth more than any
damn Coringhee coolie. And afterwards I was very glad that the
coolie had been killed; it put me legally in the right and it gave
me a sufficient pretext for shooting the elephant. I often
9. wondered whether any of the others grasped that I had done it
solely to avoid looking a fool.
THE END
Part 1:
Select one image and write at least three observations to
support each decoding category. Write your observations in
complete sentences, using proper spelling, grammar,
capitalization, and punctuation.
Indicate Your Selection:
Choice A or Choice B: __________
Public Domain
Public Domain
Action:
Characters/Personas:
Expressions/Body Language:
Text/Titles/Direct Statements:
10. Summary/Themes:
Part 2:
In the left column, record at least three observations for each
category for “Shooting and Elephant.” Then, in the right
column, compare these observations to the political cartoon you
decoded in Step 1.
“Shooting an Elephant”
Comparison to Political Cartoon
Action:
Characters/Personas:
Expressions/Body Language:
Text/Titles/Direct Statements: