Dystopian And Utopian Elements Film Studies Essay

Dystopian And Utopian Elements Film Studies Essay With close reference to no more than three postmodern films discuss the dystopian and utopian elements evident in their mise-en-scene. This essay will analyze Ridly Scotts Blade Runner (1982) and Alfonso Cuarons Children of Men (2006) in order to discuss dystopian elements evident in their mise-en-scene. The film begins with a panoramic view of the directors vision of Los Angeles in 2019. The night sky of the cityscape is lit an unnatural reddish hue and broken up by towering black skyscrapers and chimneys out of which sheets of flame erupt. This shot has the effect of immediately setting the scene for a post apocalyptic dystopia with the city being portrayed as demonic in the judeao- Christian tradition. At street level the sense of alienation the protagonist, Deckard, feels is reflected in the ethnic mix of his fellow Los Angelians. Hordes of Orientals throng about him. This sense of cultural alienation is compounded by witnessing Deckard struggling to order food from an oriental s treet vendor who struggles to understand what he is saying. The following scene further affirms this when a police officer arrests Deckard in order to bring him in for an assignment. The officer cant even arrest Deckard in English and the proprietor of the noodle stand has to translate for him. Another way in which the mise-en-scene conveys themes of dystopia in this sequence can be observed in the attire worn by the people in the street around Deckard. An eclectic mix of mismatched, castoff and recycled clothing is evident which seems somewhat contradictory when one considers this is also a society where space travel is normal and there is an abundance of flying cars. Continuing on this theme, the streets of Los Angeles are presented as being thoroughly dank, dirty and are perpetually strewn with refuse. Technologically advanced society where the common people still live in dirty, squalid conditions is a common trope of dystopian SF. Its function is to interrogate contemporary anxi eties regarding late capitalism and its effect on society. The mise-en-scene effectively conveys to the viewer this anxiety surrounding late capitalism and its dystopian undertones in a number of ways. The first and most symbolic way is through the opening shots of the Tyrell Corporation building: a gleaming glass and concrete pyramid reaching so far above street level as to be lit by natural sunlight: everything and everywhere else is dark and wet. Tyrell, Batty ironically observes, is the God of bio-mechanics and bio-mechanics is the citys ruling technology. Andrew Milner This immediately has the effect of emphasising the fact that it is corporate power that has shaped and moulded this apocalyptic vision of Los Angeles. Further examples of mise-en-scene which convey dystopian anxieties pertaining to late capitalism can be found in the repeated shots of enormous neon billboards which advertise various commodities, notably Coca-Cola, the product that perhaps best sums up the multinational corporate power of late capitalism. Additionally, a huge metal airship circles the city. Studded with searchlights, emblazoned with adverts and bellowing advertisements out of loud speakers it appears several times throughout the film. It could be argued that there is something inherently dystopian about such an imposing and intrusive contraption, especially during one scene where it shines its searchlights on Pris and Sebastian through the holes in the roof. Alfonso Cuarons vision of an infertile Britain in 2027 also makes effective use of mise-en-scene to convey dystopian themes. Unlike the corporation dominated future of Blade Runner, the society in which the protagonists inhabit in Children of Men is dystopian in part due to a fascistic, totalitarian British government that controls its subjects through fear and oppression. The sequence when Theo catches the train home from work (3:55) contains several elements of mise-en-scene that convey these dystopian themes. It is apparent that the Government broadcasts propaganda on public transport, in this instance its function being to warn the population about the insidious menace of illegal immigrants: Hes my dentist, shes my housekeeper, hes my cousin, they are illegal immigrants. Hiring, feeding or sheltering illegal immigrants is a crime. This is followed by a reminder to citizens that whilst the rest of the world has apparently collapsed, Only Britain soldiers on. This is command and co ntrol through fear in a classically Orwellian sense of the idea. These recordings bare a strikingly similar resemblance to the ubiquitous propaganda spouting telescreeens of 1984. Further aspects of mise-en-scene with dystopian undertones can also be identified in this scene. The train has metal grills protecting its windows, an ominous signifier of the level of crime in this society. They are quickly proven to be necessary when large group of adolescents pelt the train with rocks as it goes past. Graffiti is also used as a frequent reminder both of the level of antisocial behaviour and also the despair and nihilism that is felt in this society. Daubed on a billboard behind the group of youths is a slogan that reads Last one to die, turn out the lights. After alighting at the station, Theo walks past several armed soldiers and cages full of wailing immigrants. These cages are a sad sign of how this society has become utterly desensitized to human suffering, it is apparent that nobod y pays the people inside them the slightest bit of attention as they walk past. Throughout the film it is evident that although the narrative takes place 21 years after the films release, the technology of this future world has not improved in any significant way. This helps to convey the general trend of atrophy and stagnation that is an important theme in Children of Men. Throughout the narrative there are numerous instances where the mise-en-scene reflects this trend. For example, unlike Blade Runners rather optimistic portrayal of flying cars in 2019, British cars in 2021 appear pretty much identical to contemporary cars. If anything, they actually appear inferior, embodying perhaps a natural culmination of the modern trend for plastic, ugly Japanese manufactured cars that exist today. In certain instances it is apparent that technology has actually regressed. This is evident in the opening sequence where motorized rickshaws can be observed travelling down a street in London. In a further example of how the pace of technological advancement has in effect hal ted, the army and Homeland Security forces appear to use only contemporary weapons and hardware. It appears there have been no improvements in arms technology at all in the 21 years since the films release. For example, in the scene where Theo walks past the cages of immigrants at the tube station, the guards are armed with XM8 assault rifles weapons that were designed for the United States military in the nineties. The only minor exception to this lack of technological advancement can be found in the final battle sequence. Several soldiers in this sequence appear to be wearing some kind of HUD eyepiece device on their helmets, although this technology has been under development for some years and is not in itself particularly revolutionary. The governments control through fear and intimidation is evident in many of the scenes set in London and later in the Bexhill refugee camp. Again returning to the scene where Theo alights from the train, after walking past the cages he passes an army checkpoint complete with sniffer dogs and vehicle mounted heavy machine guns. This is reminiscent of Britain during the height of the terror alerts when Scimitar tanks and road blocks were deployed to defend airports against the threat of suicide bombers. In this sequence the fact that none of the public appears troubled by the sight of all this hardware arrayed against them is a further indication of just how routine this state of alert has become to the British people in 2021. A further example of this theme can be found in the sequence at 11:20 where Theo walks past a tower block that is being raided by security forces. The mise-en-scene in this sequence is inherently dystopian. A line of imposing riot police officers armed with trunc heons and shields denies access to the public whilst the black-suited Homeland Security forces menace the huddled occupants of the tower with assault rifles before throwing them into cages. It has already been mentioned that part of the reason for the dystopian nature of Children of Mens society is down to the totalitarian government. The mise-en-scene pertaining to the apparatus of their rule reflects this. For example, the faceless, abusive black suited government officials which appear throughout the film are a common motif in dystopian fiction. Also the vehicles the Homeland Security forces use are intimidating and authoritarian. For example, the vehicle that Sid the immigration official drives is a black, heavily armoured 44. It is also kitted out with what appears to be a remote-controlled Gatling gun mounted on the roof which swivels to track Theo as he emerges from the derelict school. All the government vehicles also appear to be equipped with loud-speakers which their occupants use to shout at the civilian population. This serves to further highlight the level of state oppression. The most powerful themes of dystopian governmental oppression are evident in the mise-en-scene during the Bexhill processing sequence. The protagonists are forced aboard a Homeland Security bus and driven past a heavy military presence outside the camps entrance. The camera angle changes to a first person perspective inside the bus looking out of one of the wire mesh covered windows. Somehow the view outside of two black Chinook helicopters flying in the opposite direction over a bleak moor manages to convey the sheer sense of hopelessness and futility of the protagonists situation and appears at the same time uniquely dystopian in nature. The mise-en-scene in the following sequence is perhaps the most useful to analyze in order to identify dystopian themes. The bus stops at a check point and search lights pierce the darkness and illuminate the busses occupants. A soldier with a large dog on a chain boards the bus and drags people off more or less at random if he doesnt like the look of them. From the activity that is visible outside it is easy to deduce that a nybody taken off the bus will be systematically stripped, beaten and shot. This scene seems to be constructed to be reminiscent of the way that Jews were treated upon entering similar camps in World War 2. A Nazi commandant would often stand at the entrance and Jews that he deemed that fit for labour would be sent off to the right whilst the once that werent would be sent off to the left and summarily shot. The Homeland Security soldiers in this scene behave in a similar fashion. The guard departs from the bus with the final remark You people fucking disgust me, uttered in such a way that there can be no doubt about their new status as beings that are less than human. A quote by Slavoj Zizek sums this scene up: And is it not that, in a strictly homologous way, the liberal warriors are so eager to fight the anti-democratic fundamentalism that they will end by flinging away freedom and democracy themselves if only they may fight terror? This is an apt quote, especially when one considers the hooded detainees in cages outside the bus which appear chillingly reminiscent of our contemporary equivalent, Guantanamo Bay, and the politics of fear that surround the Wests War on Terror. 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Physical, Occupational, and Speech Therapies -- Expository Classificat

Physical, Occupational, and Speech Therapies      Ã‚  Ã‚   When many people hear the word "therapy," they think of something that has caused a problem and has to be fixed. In most cases, that is true. Most people think the problem may be an injury that has to be rehabilitated or an extreme mental problem where the person needs serious help. However, therapy does not always deal with injured or mentally troubled people. Three types of therapy that help a wide range of people with their problems are physical, occupational, and speech therapies. Physical therapy is the one that deals mostly with injuries and their rehabilitation. According to the Occupational Outlook Handbook, "Physical therapists provide services that help restore function, improve mobility, relieve pain, and prevent or limit permanent physical disabilities of patients suffering from injuries or disease" (205). Disabling conditions such as lower-back pain, cerebral palsy, arthritis, heart disease, and fractures, as well as physical injuries, are among the cases physical therapists often evaluate and treat. This therapy often includes strength-building exercises. Therapists in this field work on the person's flexibility, endurance, strength, balance, and coordination. Most therapy is done in specializing clinics or hospitals by a licensed physical therapist who has a bachelor's degree ("Physical"). Physical therapy is a fairly new practice of rehabilitation. The treatments were not widely practiced until after World War I when soldiers returned home with injuries that were able to be rehabilitated by this therapy. The profession immediately began to grow and has been popular in the U. S. since that time. The vocation is also expected to c... ...ese treatments and services. These therapies have been very beneficial to an abundance of people over the years. The outlook for therapists in these fields looks good as employment is expected to increase at a rate faster than average through 2008.    Works Cited "Occupational Therapists." Occupational Outlook Handbook. 2000-01 ed. U. S. Department of Labor, Jan. 2000. 202-03. "Physical Therapists." Occupational Outlook Handbook. 2000-01 ed. U. S. Department of Labor, Jan. 2000. 206. The Princeton Review. "Physical Therapist." Review.com. 2000. <http://www.review.com> 26 Oct. 2000. "Speech-Language Pathologists and Audiologists." Encyclopedia of Careers and Vocational Guidance. 10th ed. Vol. 4 Chicago: J. G. Ferguson, 1997. 551. ---. Occupational Outlook Handbook. 2000-01 ed. U. S. Department of Labor, Jan. 2000. 215.

Macbeth :: essays research papers

Through the chronicles of history there have always been heroes. Men and women that stand up and take charge and are moral leaders of countries. Joan of Arc, Napoleon, Genghis Khan and Churchill are only a few examples of people that are remember eternally for what they have done. There are also other leaders that people would like to forget because they are moral cowards killing their subject and causing evil. Stalin, Fidel Castro, and the Character of Macbeth are all examples of this. Macbeth is a moral coward. During the play Macbeth often shows that he is morale coward. For instance, when he is planning Duncan’s murder. Likewise he also shows cowardice by killing Banquo. Lastly he shows how spineless he is when he orders Macduffs family to be murdered. A coward is an individual that is easily scared or has difficulty performing functions because of possible reprocutions. Macbeth shows notable cowardice when planning the murder of Duncan. Macbeth leans from one side to the other because he is fearful of the reprocutions. Macbeth says, “ If {we} should fail';. This shows that he is fearful and too cowardly to act. Lady Macbeth also states, “Are thou afeard to be the same in thine own act';. Again showing how cowardly Macbeth is because he will not act. Likewise Macbeth is a coward because he murders Duncan in the middle of the night and does not give a formal challenge. Instead he pretends to be his friend then kills Duncan while he is sleeping. This is what a coward would do. Likewise Macbeth also shows cowardice by killing Banquo. This shows cowardice on Macbeth’s part because his only true reason for killing him is that he is afraid of Banquo’s royalty of nature. Banquo poses no real threat to Macbeth’s throne and is visibly loyal to him. Still Macbeth fears Banquo because he is a good guy and is very respected. Macbeth is spineless because he even believes that his friend is after him and is a danger to his throne. Macbeth says “our fears in Banquo stick deep, and in his royalty of nature reigns that which would be feared';. Macbeth is pusillanimous to the point that he even believes that his friend posses the greatest opposition for him as king. As well as this Macbeth is also a coward because he himself does not kill Banquo.

Climate Change Essay

To put it in its simplest terms, climate change refers to the long term change in the earth’s temperature, particularly an increase in the average atmospheric temperature (Dictionary.com). Although there are some natural causes for climate change, most scientists are in agreement that humans are at least in part responsible for some of the effects we have already seen and must therefore take corrective action immediately to slow the process before it is too late and irreversible catastrophic damage has been done. The consequences of climate change, also known as global warming include extreme weather instances such as extensive drought, severe hurricanes and tornadoes, increased wild fires and melting of the polar caps (dosomething.org). In addition, there are hotter, longer lasting heat waves causing added health issues and even death, especially to the already frail elderly or those who are already sick and may be more easily susceptible to health risks (dosomething.org). Si nce 1870, sea levels have risen by about eight inches globally. Coral reefs are in danger due to the warmer water temperatures and higher sea levels. The coral reefs are lacking the sun they need to thrive and are becoming diseased. Here in the United States, temperatures have risen by two degrees over the last 50 years and precipitation is up by 5% (dosometing.org). According to Motherjones.com, the 2000’s was the hottest decade on record in the US and 2012 was the hottest year ever. With the rise of sea levels, comes the loss of land across the world. Globally the average land loss is eight inches. What that means to America is we are shrinking. Those in danger are people who live closest to the shoreline. It varies storm by storm, but those living closest to the shoreline during each mega storm, such as Hurricane Sandy, are in critical danger of losing not only their personal property and their lives but the actual earth beneath their feet. Everything could all be swept away by the wind and sea. There are currently almost five million A mericans living within four feet of the ocean at high tide. It is expected that over the next century, sea levels will rise by anywhere from one to four feet (Motherjones.com). Climate change affects rainfall as well and it can be devastating. A warmer planet means the air can hold more water vapor. That means when it rains it pours. The United States has seen record precipitation and flooding â€Å"significantly above average†Ã‚  (Motherjones.com), especially since 1991. The Northeast alone has seen a 71% increase in precipitation since 1958 (Motherjones.com). Nowhere has climate change left its mark more so than in Alaska. Due to melting glaciers no longer insulating the land, arctic storms are battering the now unshielded coastline that used to be protected by the now steadily melting glaciers. Additionally, 80% of the state has permafrost beneath its surface and as it thaws, the ground is literally giving way causing damage to roads and infrastructure. Currently, Alaska is spending about $10 million annually in repairs due to permafrost thawing and is projecting $5.6 to 7.6 billion for infrastructure repairs by 2080 (Motherjones.com). Extreme heat waves are becoming commonplace. Texas had one of the â€Å"hottest and driest summers on record† (Motherjones.com) in 2011 reaching over 100 degrees for 40 days in a row. It’s projected that if we continue on the same path, we could have a â€Å"once every 20 years extreme heat day† every two to three years by the year 2100 (Motherjones.com). In addition, we are feeling some of the driest conditions we’ve experienced in some 800 years. This has resulted in a loss to agriculture of as much as $10 billion in Texas and Oklahoma in 2011 & 2012 (Motherjones.com). Because we have more heat and drought, we have the potential for more wildfires. We have had record setting wildfires in both 2007 and 2011. And to make matters worse, these very wildfires, as dangerous and deadly as they are also add to the climate change problem. Wildfires actually release more carbon from the ground and only make the climate problem even worse. According to Mothorjones.com, â€Å"a single large fire in 2007 released as much carbon to the atmosphere as had been absorbed by the entire circumpolar Arctic tundra during the previous quarter century,† (Motherjones.com). There are some natural causes of climate change that we can do nothing about, but we have fast tracked global warming since the start of the industrial revolution. While volcanoes and solar patterns certainly are a small contributor to climate change, humans make a much greater impact. Due to deforestation and the massive amounts of fossil fuels consumed, there is more carbon dioxide in the atmosphere today than at any point in the last 800,000 years (Dosomething.com). Carbon dioxide is widely believed to be the most harmful of all greenhouse gasses. The US alone emits approximately 6 billion tons of carbon dioxide every year; 40% of which comes from power plants. As early as the 1700’s, we began emitting  more and more greenhouse gasses, mainly carbon dioxide by using coal, oil and gas to run our cars, trucks and factories (Dosomething.com). It is the increasing use of fossil fuel along with deforestation that is keeping greenhouse gasses closer to the earth not allowing it to escape the atmosphere thereby raising the earth’s temperature (Dosomething.com). We can’t fix this problem overnight, but the solution begins with us. The NRDC, National Resources Defense Council suggests a five step plan to insure a longer lasting planet for our children and we must begin today. 1. Set Limits on Global Pollution 2. Invest in Green Jobs and Clean Energy 3. Drive Smarter Cars 4. Create Green Homes and Buildings 5. Build Better Communities and Transportation Networks Some of these steps are already in place. Take for instance the Clean Air Act which established emissions and fuel economy standards for all cars. For power plants and factories, the impact could be as great as 560 million tons of carbon per year by 2026 under the Act. This is estimated to avoid anywhere from $25-60 billion in health costs (NRDC.com). Another great option is electric cars. They save on carbon emissions because they do not require gas to run. They are also cheaper to run for that very same reason. Case in point: Paul Scott from Santa Monica, CA bought an all-electric version of the Toyota Rav4 in 2002. It runs purely on sunlight and he charges the battery with the solar panels he heats his home with so essentially it costs him nothing to run. He hasn’t been to a gas station in 12 years (NRDC.com). If you can’t afford a new electric vehicle, at least you should be driving a high-mileage vehicle to cut down on emissions. Drive only what you need. We must cut down our dependence on oil and thereby reduce our consumption of fossil fuel. We can invest in retrofitting our homes; install energy star appliances, insulation and seal leaks where cool and warm air is escaping. This can save hundreds to over a thousand dollars annually to the homeowner but if just one in five American homes were retrofitted to save energy, we could avoid the need to build 13 mid-sized power plants every year. On a national level, we could cut as much carbon pollution as taking half a million cars off the road if every  house in America were energy efficient (NRDC.com). There are folks who believe global warming is a fallacy or work of fiction; people who think that because of the recent cold weather that we experienced in the Winter of 2013 and 2014, the Polar Vortex for example that global warmi ng cannot possible be real. These are people who have done no research or who do not have any facts. That very cold trend was a result of climate change (Climtecentral.org). There are also those that will cite â€Å"facts and myths† and counter with their own version of beliefs. They simply do not want to believe what is so vastly evident in research. Robert M. Carter, a research professor has written a myth v. fact document (globalresearch.ca) disputing the facts. Everyone is entitled to their opinion; that’s what makes our country so great. Based on my research, it is my belief that humans are in fact greatly responsible for the increase in climate change. Global warming is probably the wrong terminology and it makes perfect sense that it has been updated to climate change however there are still skeptics. There probably will always be nonbelievers. But I feel the data is undisputable. It is up to us to make the necessary changes before it is too late. We must make changes or we could face dire consequences. There are so many ways each individual can make small changes. Every one of us must do our part and we must begin today! Your new America (observed temperature changes over the last 22 years). National Climate Assessment. Source: Motherjones.com, National Climate Assessment Reference List 1. Multiple sources. (date unavail.). 11 Facts About Global Warming. www.DoSomething.Org. Retrieved from https://www.dosomething.org/facts/11-facts-about-global-warming 2. Carter, Robert N. (2009, Dec. 9). www.Globalresearch.org. Global Warming: Ten Facts and 10 Myths on Climate Change. Retrieved from http://www.globalresearch.ca/copenhagen-and-global-warming-ten-facts-and-ten-myths-on-climate-change/16467 3. Mooney, Chris. (2014, May 6).

The Indigo Spell Chapter Twenty-Four

I FELT PRETTY BAD about burning down my teacher's house. Ms. Terwilliger, for obvious reasons, seemed to think that was the least of her problems. She wasn't sure if her insurance would cover the damage, but her company was pretty speedy in sending someone out to investigate the cause. We were still waiting to hear their verdict on coverage, but one thing they didn't report finding was any sign of human remains. Part of me was relieved that I hadn't actually killed anyone. Another part of me feared we hadn't seen the last of Alicia. What silly comparison had Adrian made? The Moriarty to your Holmes. I had to imagine that being hit in the face with razor blades and then left in a burning building would make anyone hold a grudge. A little investigation eventually turned up Veronica at a Los Angeles hospital, checked in as Jane Doe. Visiting her comatose sister became the greatest of Ms. Terwilliger's priorities, and she harbored hopes of possibly finding a way to undo the spell. Despite how busy she now was, my teacher still managed to urge me to meet her coven, and I agreed for a few different reasons. One was that it was kind of impossible for me to act like I didn't want to wield magic anymore. The other reason was that I didn't plan on being around. I was still resolved to go with Marcus to Mexico, and the week flew by. Winter finals were a breeze, and before I knew it, it was Friday, the day before our trip to Mexico. I took a risk by telling my friends goodbye. The safest thing would've been to disappear without a trace, but I trusted them all – even Angeline – to keep my secret and feign ignorance once the Alchemists discovered they had a runaway. I told Trey as well. No matter what had gone down between us, he was still my friend, and I would miss him. As the day wore on, the dorm grew quieter and quieter – aside from unending Christmas music playing in the lobby. Not wanting to exclude other religions, Mrs. Weathers had also set out a menorah and â€Å"Happy Kwanzaa† banner. Tomorrow was officially the last day before everyone had to be out, and a number of people had already left for winter break. I'd finished my own packing, which was light. I didn't want to be burdened down with excess luggage since I really had no idea what to expect in Mexico. I still had two people I needed to say goodbye to: Adrian and Jill. I'd avoided them both for very different reasons, but time was running out. I knew Jill was just a flight of stairs away, but Adrian was more difficult. We'd been in touch a couple times after the fire, simply to sort out some details, but he'd soon gone silent. No calls, no texts, no dreams. Maybe I should've been glad. Maybe I should've welcomed the chance to leave without any painful goodbyes . . . but I couldn't. My chest ached with the thought of not seeing him again. Even though he was the reason I was leaving, I still felt like I needed some closure. It's not about closure, Sydney. You want to see him. You need to see him. And that's exactly why you have to leave. Finally, I took the plunge and called him. It took me so long to work up the nerve that I could hardly believe it when he didn't answer. I resisted the urge to immediately try again. No. I could wait. There would still be time tomorrow, and surely . . . surely he wasn't avoiding me? I decided to hold off on talking to Jill until the next day. Telling her goodbye was just as difficult – and not just because of what she saw through the bond. I knew she'd think I was abandoning her. In truth, if I stayed and ended up with Adrian, I'd possibly be caught and never be able to help her at all. At least if I was away and free, I could try to help her from the outside. I hoped she'd understand. Waiting on her gave me the opportunity to take care of an unwelcome errand: returning Malachi Wolfe's gun. I'd never gone to his home without Adrian, and even though I knew I had nothing to fear from Wolfe, there was still something a little unsettling about going to the compound alone. To my complete and utter astonishment, Wolfe let me into the house when I arrived. All was quiet. â€Å"Where are the dogs?† I asked. â€Å"At training,† he said. â€Å"I have a friend who's an expert dog trainer, and he's giving them some stealth lessons. He used to work for a local K-9 unit.† I didn't think it was in the Chihuahua genetic code to ever be stealthy. I kept that to myself and instead stared around in amazement at Wolfe's kitchen. I'd expected something like a ship's galley. Instead, I found an astonishingly cheery room, with blue-checkered wallpaper and a squirrel cookie jar. If someone had asked me to describe the most unlikely Wolfe kitchen out there, it would've looked something like this. No – wait. On the refrigerator, he had some magnets that looked like ninja throwing stars. That, at least, was in character. Adrian's going to flip out when I tell him. Then I remembered I might not see Adrian for a very long time. That realization killed whatever amusement I'd just felt. â€Å"So what do you need?† asked Wolfe. Peering at him, I suddenly had a strange feeling the eye patch really was on a different eye from last time. I should've paid more attention. â€Å"Another gun?† I returned to the task at hand. â€Å"No, sir. I didn't even need the first one, but thanks for lending it to me.† I removed it from the bag and handed it to him. He gave the gun a once-over and then set it inside a drawer. â€Å"Fixed your problem? You can still hang on to it if you want.† â€Å"I'm leaving the country. Bringing it over the border might cause me some trouble.† â€Å"Fair enough,† he said. He grabbed the cookie jar and took off the lid, leaning it toward me. An amazing scent drifted out. â€Å"Want one? I just made them.† I was really regretting not being able to tell Adrian about this. â€Å"No thanks, sir. I've had more than enough sugar these last few weeks.† I felt like I should have a frequent customer card for Pies and Stuff. â€Å"I thought you looked better. Not all skin and bones anymore.† He nodded in approval, which felt really weird and slightly creepy. â€Å"So where are you two kids going?† â€Å"Mexi – oh, Adrian's not going with me. I'm going with someone else.† â€Å"Really?† He slid the squirrel back across the counter. â€Å"I'm surprised. I always figured when you two left here, you went home and had your own private ‘training sessions.'† I felt myself turning bright red. â€Å"No! It's not like – I mean, we're just friends, sir.† â€Å"I had a friend like that once. Silver Tooth Sally.† He got that faraway expression that always came on when he had an anecdote to share. â€Å"I'm sorry, did you say – â€Å" â€Å"Never met a woman like Sally,† he interrupted. â€Å"We fought our way across Switzerland together, always watching each other's backs. We finally got out alive – just barely – and she wanted to come back to the States and settle down. Not me. I had dreams, you see. I was a young man then, drawn to danger and glory. I left her and went off to live with an Orcadian shaman. It took two years and a lot of vision quests to realize my mistake, but when I got back, I couldn't find her. When I close my eye at night, I can still see that tooth sparkle like a star. It haunts me, girl. It haunts me.† I frowned. â€Å"I don't think the Orcadians have vision quests, sir. Or shamans.† Wolfe leaned forward and shook a finger at me, his eye wide. â€Å"Learn from my mistakes, girl. Don't go to the Orkneys. You don't need some mystical vision to see what's in front of you, you hear me?† I gulped. â€Å"Yes, sir.† I hurried out after that, thinking that being in a different country from Malachi Wolfe might be a good thing. The next morning, I prepared to tell Jill goodbye, but she beat me to it and showed up at my door. It was the first time we'd truly spoken since the morning after that last dream with Adrian. She walked into my room and frowned when she saw the suitcase. â€Å"You're really going?† â€Å"Yes. And I'm sure you know why.† She crossed her arms and looked me straight in the eye, without any of the reservation she'd shown last time. I had trouble holding that stare. â€Å"Sydney, don't leave Adrian because of me.† â€Å"It's more complicated than that,† I said automatically. â€Å"It's really not,† she said. â€Å"From everything I've seen and heard, you're just afraid. You've always controlled every detail of your life. When you couldn't – like with the Alchemists – you found a way to seize back that control.† â€Å"There's nothing wrong with wanting control,† I snapped. â€Å"Except that we can't always have it, and sometimes that's a good thing. A great thing, even,† she added. â€Å"And that's how it is with Adrian. No matter how hard you try, you aren't going to be able to control your feelings for him. You can't help loving him, and so you're running away. I'm just an excuse.† Who was she to lecture me like this? â€Å"You think I'm lying about how awkward it is for you to see everything that happens between us? Every intimate detail is on display. I can't do that. I can't live like that.† â€Å"Adrian's learned to.† â€Å"Well, he's had to.† â€Å"Exactly.† Some of her fierceness mellowed. â€Å"Sydney, he brought me back from the dead. It's the greatest thing anyone can or will do for me. I can't pay him back, but I can let him live his life the way he wants to. I don't expect him to shelter me because of the bond, and I'm not going to judge him – or you. Someday, he and I will learn to block each other.† â€Å"Someday,† I reiterated. â€Å"Yes. And until then, we do the best we can. All you're doing by leaving is making three people miserable.† â€Å"Three?† I frowned. â€Å"I'm helping you.† â€Å"Do you really think I'm happy when he's miserable? Do you think I like the darkness that crawls over him?† When I said nothing, she pushed forward. â€Å"Look, I don't have the same physical reaction to you that he does, but when he's with you, he's so full of joy . . . it radiates through to me, and it's one of the greatest experiences I've ever had. I've never been in love like you guys are.† â€Å"I'm not – † I couldn't say it, and she gave me a knowing look. I tried a different tactic. â€Å"Staying here is dangerous, especially with him. The Alchemists might find out about everything – him, my tattoo, Ms. Terwilliger, and God knows what else.† â€Å"And if they don't find out, look at what you get. Adrian. The rest of us. Magic. The chance to uncover their secrets. I know you love this life. Why would you give it up? You're too smart to get caught. We'll help you. Do you really think Marcus and his Merry Men can do that much fighting when they're always on the run?† I shook my head. â€Å"They're like me. They understand me.† She was obstinate. â€Å"They aren't like you at all. They talk. You act.† It was so surprising to see her like this, so confident and so much wiser than her years. It was also a little irritating. If she was so wise, why couldn't she understand how much was at stake? â€Å"Jill, staying is a big risk – in all ways.† â€Å"Of course it is!† she exclaimed, her eyes flashing with anger. â€Å"Any life worth living is going to have risks. If you go to Mexico, you'll regret it – and I think you know that.† My phone rang, cutting off my next response. It was Eddie. He rarely called, and panic seized me. â€Å"What's wrong?† I demanded. He sounded mystified. â€Å"I wouldn't say anything's wrong . . . just surprising. Is Jill with you? You guys should really come down. We're outside† He hung up, and I was left totally confused. â€Å"What's up?† asked Jill. â€Å"Something surprising, apparently.† She and I went down to the lobby, with no more mention of Adrian. When we stepped outside, we found Eddie and Angeline pointedly avoiding eye contact with each other. Standing near them was a tall, good-looking guy with neatly trimmed black hair and bright blue eyes. He wore a stern, serious expression and was scanning the area. â€Å"He's a dhampir,† Jill murmured to me. His eyes locked onto us at our approach, and that fierce look relaxed. â€Å"Jill, Sydney,† said Eddie. â€Å"This is Neil Raymond. He's going to be joining us here.† Neil swept Jill a bow so low, it was a wonder he didn't hit the ground. â€Å"Princess Jillian,† he said in a deep voice. â€Å"It's an honor to serve you, and I'll do so to the best of my abilities, even if it means sacrificing my own life.† Jill took a step back, her eyes wide as she took him in. â€Å"Th-thank you.† Eddie looked back and forth between them, a small frown appearing on his face. â€Å"Neil's been sent as backup. I guess you filed some complaint about Jill not having enough protection?† That was to me, and unless I was mistaken, there was an accusatory note in his voice. â€Å"No – I. Oh. I guess I kind of did.† When I'd been trying to do damage control with Stanton, one of my grievances had been that I never felt Jill was safe. I guess this was Stanton's response. It was surprising, just as Eddie had said, but more eyes on her couldn't hurt. From the way she was sizing Neil up, she certainly didn't seem to mind either. I shook his hand. â€Å"Nice to have you around, Neil. Are they passing you off as another cousin?† â€Å"Just a new student,† he said. That was probably just as well. Our â€Å"family† was in danger of taking over Amberwood. I would've liked to learn a little more about him, but my time was up. Marcus was picking me up soon to go to the train station, seeing as Latte had been declared totaled. I guess that was a different sort of closure, albeit a sad kind. I told them all goodbye as I left to get my suitcase, acting as though I just had to run an errand. Eddie, Angeline, and Jill knew the truth, and I could see the hurt and regret in their eyes – especially Jill. I prayed they'd be okay without me. When I came back downstairs, I found Jill was the only one still there. â€Å"I forgot to give you this,† she said, handing over a small envelope. My name was on the outside, and I recognized the writing. â€Å"I've been trying to get a hold of him and thought he might be avoiding me. This is his goodbye, huh?† I felt disappointed that I wouldn't be able to see Adrian in person one last time. Maybe a letter was better than nothing, but I wished I could have left with those beautiful eyes fresh in my mind. â€Å"Is he . . . is he really upset?† I couldn't stand the thought of him hurting. â€Å"Read the letter,† she said mysteriously. â€Å"And remember, Sydney. This isn't about me. This is about you guys. You can control everything else, but not this. Let go, and accept how you feel.† We left on that note, and I went outside to sit on the curb and wait for Marcus. I stared at the envelope, looking at the way Adrian had written my name. Three times I nearly opened it . . . but chickened out each time. Finally, I saw Marcus drive in, and the envelope disappeared into my purse. As soon as he picked me up, he began talking excitedly about the big plans ahead. I barely heard. All I kept thinking about was Adrian and how empty my life was going to seem without him. Marcus and I were meeting Wade and Amelia at the train station, but I couldn't picture any of them understanding me like Adrian – even if they were human and shared the same background. None of them would have his dry wit or uncanny insight. And simmering beneath all those emotions were the more heated memories . . . the way we'd kissed, the way it had felt to be wrapped up in him. . . . â€Å"Sydney? Are you even paying attention?† I blinked and glanced over at Marcus. I think it was another of those moments where he couldn't believe someone wasn't hanging on to his every word. â€Å"Sorry,† I said. â€Å"My mind's somewhere else.† He grinned. â€Å"Well, shift it to beaches and margaritas because your life's about to change.† It was always beaches and margaritas with him. â€Å"You left out the part about us sealing the tattoo. Unless your tattooist is also a bartender.† â€Å"There you go again, funny and beautiful.† He laughed. â€Å"We're going to have a great time.† â€Å"How long will we be down there?† â€Å"Well, we'll take care of the tattoos first. That's the most important thing.† I was relieved to see him taking that seriously. â€Å"Then we'll lie low, enjoy the sights for a few weeks. After that, we'll come back and follow some leads on other dissatisfied Alchemists.† â€Å"And then you'll repeat the process?† I asked. In the rear-view mirror, I could see the Palm Springs skyline disappearing as we drove north. I felt a pang of longing in my chest. â€Å"Get others to retrieve critical information and then free them?† â€Å"Exactly.† We drove in silence for another minute as I processed his words. â€Å"Marcus, what do you do with that information you gather? I mean, what are you going to do about Master Jameson?† â€Å"Keep finding more evidence,† he said promptly. â€Å"This is the biggest lead we've ever had. Now we can really push forward in finding out more.† â€Å"It's more than a lead. Why not leak it to the Moroi?† â€Å"The Alchemists would deny it. Besides, we don't want to be hasty.† â€Å"So what if they do deny it?† I demanded. â€Å"At least the Moroi will have a heads-up.† He glanced over at me with a look that reminded me of a parent trying to be patient with a child. Ahead of us, I saw a sign for the train station. â€Å"Sydney, I know you're eager, but trust me. This is the way we've always done things.† â€Å"I don't know that it's the right way, though.† â€Å"You have a lot of ideas for someone who just joined up.† He chuckled. I wished he'd stop doing that. â€Å"Just wait, and then you'll understand.† I didn't like his condescending attitude. â€Å"I think I already understand. And you know what? I don't think you guys do anything. I mean, you've uncovered some amazing information . . . but then what? You keep waiting. You run away and skulk around. How is this really helping? Your intentions are good . . . but that's all they are.† I could almost hear Jill's voice: They talk. You act. Ironically, Marcus was speechless. â€Å"You could do so much,† I continued. â€Å"When I first found out about you, you seemed to hold all the potential in the world. Technically, you still do. But it's being wasted.† He pulled into the train station's parking lot, still looking utterly stunned. â€Å"Where the hell is this coming from?† he asked at last. â€Å"Me,† I said. â€Å"Because I'm not like you guys. I can't do nothing. I can't run away. And . . . I can't go with you.† It felt good to say that . . . and it also felt right. All week, my brain had been telling me the right thing to do was to walk away before things with Adrian and the Alchemists blew up. And yes, that probably was the smart thing. My heart had never entirely been on board, but I'd tried to ignore it. It wasn't until I'd listened to both Jill and Marcus that I realized just this once, my brain might have to opt for the less logical solution. I had to give Marcus credit. He actually looked concerned and wasn't just put out at not getting his way. â€Å"Sydney I know how attached you are to this place and these people, but it's not safe for you here. It's not safe for you anywhere, not as long as the Alchemists are watching. Not as long as your tattoo is vulnerable.† â€Å"Someone told me any life worth living has risks,† I said, unable to hide a smile. I never thought I'd be quoting Jill. Marcus slammed his fist against the dashboard. â€Å"That's sentimental bullshit! It sounds good in theory, but the reality is completely different.† â€Å"What kind of reality could you have created if you'd stayed with the Alchemists?† I asked. â€Å"How much could you have uncovered?† â€Å"Nothing if I was caught,† he said flatly. â€Å"And no matter how useless you think we are, I've freed dozens of Alchemists. I've helped Clarence and other Moroi.† â€Å"You aren't useless, Marcus. You do good work, but we're just not on the same path, that's all. I'm staying and doing things my way. Isn't that what you said when we first met? Helping the Moroi on our own terms? These are mine.† â€Å"You're wasting your time!† â€Å"It's my time to waste,† I said. Adrian had said exactly the same thing to me on the flight to the wedding, when I'd told him he couldn't keep loving me. I felt bad for Marcus. I really did, especially since he'd truly been counting on me to come with him. He caught hold of my hand. â€Å"Sydney, please don't do this,† he begged. â€Å"No matter how confident you feel, no matter how careful you think you are, things will spiral out of control.† â€Å"They already have,† I said, opening the passenger door. â€Å"And I'm going to stop fighting them. Thank you for everything, Marcus. I mean it.† â€Å"Wait, Sydney,† he called. â€Å"Just tell me one thing.† I glanced back and waited. â€Å"Where did this come from? When you called me to tell me you were coming, you said you'd realized it was the smart thing to do. What made you change your mind?† I gave him a smile that I hoped was as dazzling as one of his. â€Å"I realized I'm in love.† Marcus, startled, looked around as though he expected to see my objet d'amour in the car with us. â€Å"And you just realized that? Did you just have some sort of vision?† â€Å"Didn't need to,† I said, thinking of Wolfe's ill-fated trip to the Orkneys. â€Å"It's always been right in front of me.†

Lyric

Originally a lyric signified a song sung to the accompaniment of a lyre. Thus lyric still carries the sense of a poem written to be set to music. A lyric Is a common short poem uttered by a single speaker who is expressing his state of mind very often in solitude. In dramatic lyric the speaker is represented as addressing another person in a specific situation like the poem Connotation by John Done. The genre comprehends a great variety of utterances from say the Dramatic Monologues of Browning complex evolution of feeling in the long elegy and the meditative ode.The recess of observation, thought, memory and feelings may be organized in a variety of ways in deferent lyrical expressions. Lyric is a poem in which the poet writes about his thoughts and feelings. The basic type Is the song, but we use the term to cover all poems that present the poet's Immediate response to life, Including sonnets odes and elegies. Lyric poem deals with a range of experiences such as love, death, nature or religion or some domestic, social or political issue *Abstract Poem: It is a term used by Dame Edith Stilwell for verse that depends chiefly upon its auditory values for Its meaning.Such poetry Is analogous to abstract painting In which the arrangement of colors and shapes is significant though no physical objects are represented. Words are employed with little regard for their usual connotations, but rather for their aural effectiveness in a pattern of full and approximate rhymes and in the manipulation of rhythm. Stillwell own poems In the collection called Facade exemplify the type: These lines from her â€Å"Hornpipe† where, we hear, the dumb Sky rhinoceros-glum Watched the courses of the breakers' rocking-horses and with Glacis Lady Venus on he settee of the horsehair sea! Ambiguity: In ordinary usage the term ambiguity means a vague or equivocal expression. Since William Meson published his Seven types of Ambiguity (1930) the term has widely been used to refer to a poetic device: the use of a single word or expression to signify two or more distinct references, or to express two or more diverse attitudes or feelings. Multiple meaning and popularization are alternative terms for the use of language. Egg: in the play Antonym and Cleopatra when Shakespeare makes Cleopatra say â€Å"Come thou mortal wretch.. He implies a double edge to the word â€Å"mortal. Here it Implies both that the asp Is â€Å"fatal† or â€Å"death- dealing† and at the same time It Is Itself subject to death. *oddball: The popular ballad also called the folk ballad is the song, transmitted orally which tells a story. Ballads are thus the narrative species of folk songs, which originate and are communicated orally among illiterate or partly literate people. In all probability the original version of a ballad is composed by a single author, but he or she Is unknown; and each singer who learns and repeats an oral ballad is apt to introduce changes in OTOH the t ext and the tune, it exists in many variant forms.Typically the popular ballad is dramatic, condensed and impersonal: the narrator begins with the climax and tells the story tersely by means of action and dialogues, sometimes by means of dialogue alone and tells It without self-reference or the expression of personal attitudes or feelings. The most common stanza form called the ballad stanza- is a 1 OFF lines rhyme. Egg: this ballad from â€Å"Sir Patrick Spend† The King sits in Dumpling town, Drinking the blued-red wine: â€Å"O what will I get a GUID sailor, To sail this ship of mine? *Fabian verse: Consists of unrushed iambic (v pentameter (five iambic verse) hence the term â€Å"blank. † Of all the English metrical forms it is closest to the natural rhythms of English speech and at the same time flexible and adaptive to diverse levels of poetic discourse and hence has been more frequently and widely used than any other type of versification. Shakespeare made wide use of the blank verse in his famous soliloquies. *Aegis: It denotes any poem written in elegiac meter (alternating hexameter and pentameter lines).The term was used, however, to refer to the subject matter of change and loss. In the late sixteenth and seventeenth centuries the elegies were love poems that related to the sense of elegy as lament in that many of them emphasizes mutability and loss. It is in the latter part of the seventeenth century that the term elegy began to be limited to its most common present usage; a formal and sustained lament in verse on the death of a particular person usually ending in consolation. Examples are: W.H Addend's In Memory of W B Yeats', Alfred Lord Tennyson In Memoriam. The dirge is also a versified expression of grief on the occasion of a particular person's death but differs from the elegy in that it is short and is less formal and is meant as a text to be sung. An important variant of the elegy is the pastoral elegy which represents both th e poet and the one he mourns as shepherds. Million's Lucidly is a fine example of pastoral elegy. *Free Verse: It is also called â€Å"open form† or by the French term verse libber.Like traditional verse it is printed in short lines instead of with the continuity of prose. However it differs from regular erase in that its rhythmic pattern is not organized into a regular metrical form?that is into feet, or recurrent units of weak and strong stressed syllables. Most free verse also has irregular line lengths, and either lacks rhyme or else is used only sporadically. The King James translation of the Biblical Psalms and Song of Solomon are examples of free verse.The following section from Longboats Hughes' free verse poem â€Å"Mother to Son† Well, son, I'll tell you: Life for me anti been no crystal stair. It's had tacks in it, And splinters, ND boards torn up, And places with no carpet on the floor? Bare. *Sonnet: Sonnet is a lyric poem of fourteen iambic pentameter lin es linked by an intricate rhyme scheme. The Italian or Patriarchal sonnet falls into two main parts: an octave and a sestets. The octave is of eight lines rhyming baobab, this is followed by a asset a six line stanza rhyming CDC.The octave presents the theme in the first quatrain and develops it in the second. The sestets dwells on it and brings it to a logical conclusion in the final trace. The Patriarchal form was later used for a variety of subjects by English poets like Milton, Wordsmith Christina Rosette and so on. The the English sonnet or the Shakespearean sonnet after its greatest practitioner. This sonnet falls into three quatrains and a concluding couplet with a rhyme scheme ABA CDC beef egg. These sonnets usually deal hopes of love and themes like pangs of separation.One notable variant of this form is the Spenserian sonnet in which Spencer linked each quatrain to the next by a continuing rhyme: ABA Bcc CDC e. The English form often repeats with variation a statement in e ach of the three quatrains, however in either of the case the final couplet usually imposes a final epigrammatic turn to the whole theme. *Epic: It is a long verse narrative on a serious subject, told in a formal and elevated style, and centered on a heroic or quasi- divine figure on whose actions depend the fate of a whole tribe, a nation or as in John Million's Paradise Lost the human race.The epic was ranked by Aristotle as second only to tragedy and by many Renaissance critics as the highest of all genres. Literary epics are highly conventional compositions and usually share the following features. 1 . The hero is a figure of great national or even cosmic importance. In ‘Iliad he is the Greek warrior Achilles, who is the son of the sea nymph Thesis and Virgin's Names is the son of the goddess Aphrodite. 2. The setting of the poem is ample in scale and could be the whole world or even vaster. . The actions involve superhuman deeds in battle, such as Achilles' feats in the T rojan War or the long arduous wanderings of Odysseus on his way back to his homeland. 4. An the great actions Gods and other supernatural beings take an interest and an active part. 5. An epic poem is a ceremonial performance and is narrated in a ceremonial style which is deliberately assistance from the ordinary speech and rendered in a language in keeping with the grandeur of the heroic subject.The epic conventions like beginning with an invocation to the muse to guide the narrator in the great undertaking are also very often observed. The term epic is also applied by extension, to narratives which differ in many aspects from this model but manifest the epic grandeur and spirit in the scale scope and the profound human importance of their subject. Herman Melville Mob Dick, Leo Tolstoy War and Peace both serve as examples of what is called epic ration. *Ode: A long lyric poem that is serious in subject and treatment elevated in style and elaborate in its stanza structure.The protot ype of an ode was established by the Greek poet Poniard whose odes were modeled on the songs by the chorus in Greek drama. The complex stanzas of an ode were patterned in sets of three: moving in dance rhythm to the left is chanted the strophe; moving to the right is chanted the antiheroes then standing still at the centre is the epode. The regular Pandemic ode in English is written in the Pandemic form with the strophe and intentions written in one stanza pattern and all the epode in a different stanza pattern.The Pandemic odes were written in necromantic style; that is they were written to praise and glorify someone. The Pandemic odes were written to celebrate and glorify the victorious athletes in the Olympic Games. The English odes true to its Greek prototype were songs that were written in praise of someone or something. They were written to eulogies something that aroused the poet's sensibility. Keats' Ode on a Grecian Urn is a eulogy to the beauty etched on an Urn that the po et sees.

Change Management Plans for Secure IT Systems (CSOs role in approving Essay

Change Management Plans for Secure IT Systems (CSOs role in approving changes) - Essay Example This includes the issue of online business transaction where IT and network are key components in ensuring efficient and effective transactions. Teams on network operations are trying to make improvements to the quality of the IT quality for the reason of meeting customer needs. These organizations and industries, therefore, to achieve the improvements have examined the processes in the areas of change management that the network changes are a source of downtime (Peters, 2000). These management changes need to be done due to various reasons. These reasons include; The change management in this sector ensures that there are efficient and prompt standardized ways and procedures in handling of all changes. It also leads to recording of configuration items and the changes to service assets in the management system. There is also support for business goals and wants due to the authorized changes, and business risk is reduced. Then the changes are managed to reduce the exposure of risk, reduce the impact of interruption and enhance successfulness of the management changes (Jacques, 2005). Management change provides required information and provides guidance on different size and kinds of organizations and changes that are either simple or complex changes for each lifecycle stage. It also shows the major and minor changes and the different levels of funding and budget to enhance effective change. The change management ensures that the business changing customers’ requirements are met by maximizing the value, minimizing the incidents, interruption, maximizing, and improving the network. It ensures the IT and businesses want requests are met, and there is a large room for information technology. There is management change in modifying, adding or removal of authorized service to meet the effective demands. This need for change erupts due to various reasons aimed at effectiveness. These