Sunday, January 26, 2020
Voiced And Voiceless Sounds Of English English Language Essay
Voiced And Voiceless Sounds Of English English Language Essay There are 26 letters in the English alphabet, but there are 39 sounds (15 vowel sounds and 24 consonant sounds) prooduced by these letters. A vowel is a sound where air coming from the lungs is not bloecked by the mouth or throat. All normal English words contain at least one vowel.        The vowels are:        A, E, I, O, U, and sometimes Y.          Y can also behave as aa consonant when it is at the beginning of a word. A consonant is a sound formed by stopping the air flowing through the mouth.        The consonants are:        B, C, D, F, G, H, J, K, L, M, N, P, Q, R, S, T, V, W, X, Y, Z Alll the sounds produced in the English are either voiced or voiceless. Voiced sounds occur when the vocal cords vibrate when the sound is produced. There is no vocal cord vibration when producing voiceless sounds. To test thise, place your finger tips hand on your throat as you say the sounds. When saying the voiced sounds, you should be able to feel a vibration. When saying the voiceless sounds you sound not be able to feel a vibration. Sometimes it is very difficult to feel the difference between a voiced and voiceless sound. Another test may help. Put a piece of paper in front of your mouth when saying the sounds- the paper will should move when saying the unvoiced sounds. All vowels in English are voiced. Some of the consonant sounds are voiced and some are voiceless. Some of the consonanat sounds produced in English are very similar. Many times the difference between them is because one is voiced and the other is voiceless. Two examples are z, which is voiced and s, which is voiceless. See the chart below for a listing of the voiced and voicelless consonants.            Voiced consonants           Voiceless consonant          Sounds                                 Sounds             b                                              p             d                                              t             g                                              k             v                                              f             z                                              s             th                                            th             sz                                            sh             j                                               ch             l                                                h             m             n             ng             r             w             y any consonant sounds come in pairs. For example, P and B are produced in the same place in the mouth with the tongue in the same position. The only difference is that P is an unvoiceds sound (no vibration of the vocal cords) while B is a voiced sound (vocal cords vibrate). Put your hand on your throat as you say the pairs below to feel the difference. Note tht the first pair of consonants in the table (p, b) is produced at the front of the mouth. Each pair shifts further back with the last pair (k, g) being produced at the back of the mouth. The following consonant sounds are represented using the International Phonetic Alphabet(IPA). The words in parentheses represent phonetic transcriptions. we can clearly distinguish (b, d, g) from (p, t, k) spoken by native US/UK English speakers. People can clearly distinguish my (b, d, g) from (p, t, k) too. the only perceivable difference between the two groups is that a puff of air comes out when we say (p, t, k). Certain pairs of consonants can be problematic for some learners. In some cases, the main difference between the pair is whether the consonant is voiced or unvoiced, that is, whether or not the vocal chords vibrate when making this sound. This discovery activity can be used to help learners notice the difference between voiced and unvoiced consonants. Begin by asking learners what noise a bee makes. As they make a buzzing noise, do the same and purt your fingers on your throat, indicating that they should do likeewise. This will allow them to feel the vibrations of the vocal chords that occur with voiced consonant sounds. Ask them if they can feel the vibrations. Then focus on a voiced / unvoiced pair such as s and z. Make the sounds with your fingers on your throaet, indicating that the learners should do the same. You can help learners with this by getting them to make the bee sounds for z, and the sound a snake is supposed to make for s. Ask them when they feel the vocal chords vibrate with s or z? (The answer should be z). Tell them that this is the main difference between the two sounds, and that z is voiced while s is unvoiced. You could then give them a list of words and ask them to categorise the underlined consonant sound into these two categories. With /s/ and /z/, you might choose to include some third person singular verb and plural endings. Inn this list the sound being focused on is the final sound in each case. /s/ /z/ cupss pens speaks reads gets goes puts lives tents cars plants sees baggs hears looks learns stops rise rice rose place plays Learners then use the chart to deside which of the other consonant sounds are voiced and which are unvoiced. In a computer lab, learners could do this in pairs. They listen to a sound and repeat it, with their fingers on their throat to check ifz it is voiced or unvoiced. In class with the IWB, or a computer and a projector, the teacher or a learner could click on sounds while the rest of the class repeat them and categorize them into voiced or unvoiced. As a follow up, you could do a minimal pairs activity using some voiced / unvoiced pairs, focusing on initial consonannt sounds. Display this list or something similar on the board and say a word from each pair. After each word learners have to say voiced or unvoiced, depending on which of the pair they hear. They can then test each other in pairs. Voiced Unvoiced Ben pen do to gone con van fan gin chin zoo Sue This activity has the advantage of establishing the voiced / unvoiced distinction, and a shared gesture that learners and the teacher can use in class to indicate that a sound is voiced or unvoiced, i.e. the fingers on the throat. It also helps learners to become conscious of the muscle movements involved in voicing a consonant. All of this will be useful in future classes if problem arise in the discrimination or production of voiced / unvoiced consonant pairs. what is Voiced? A simple explanation of voiced consonants is that they use the voice. This is easy to test by putting your finger on your throat. If you feel a vibration the consonant is voiced. Here is a list of some voiced consonants. Pronounce each consonant sound (not the letter) and feel the vibration of your vocal chords. b d th (as in then) v l r z j (as in Jane) What is Voiceless? Voiceless consonants do not use the voice. They are percussive and use hard sounds. Once again, you can test if a consonant is voiceless by putting your finger on your throats. You will feel no vibration in your throat, just a short explosion of air as you pronounce. Pronounce each of these consonant sounds and feel NO vibration in your throat. p t k s sh ch th (as in thing) Careful! Some Consonants Voiced, but are Voiceless When consonants are put in groups they can change the voiced or voiceless quality of the consonant that follows. A great example of this is the past simple form of regular verbs. As you know, regular verbs add -ed to the end of the verb in the past simple. play played wash washed live lived etc. These past simple verbs all end in -ed. However, some of the verbs are pronounced with a voiceless t sound and some are pronounced with the voiced d sound. Why? Here are the rules: If -ed is preceded by a voiceless consonant sound (p, k, sh, etc.) -ed sounds as a voiceless t. Remember that the e is silent. If -ed is preceded by a voiced consonant sound (d, b, v, etc.) -ed sounds as a voiced d. Remember that the e is silent. If -ed is preceded by a vowel sound (often ay) -ed sounds as a voiced d because vowels are always voiced. Remember that the e is silent. Exception: If -ed is preceded by t pronounce a voiced -id. In this case, the e is pronounced. This pattern can also be found with plural forms. If the consonant preceding the s is voiced, s will sound as voiced z: chairs machines bags If the consonant preceding the s is voiceless, s will sound as voiceless s: bats parks pipes Connected Speech Finally, when speaking in sentences the ending consonant sounds can change based on the following words. This is often referred to as connected speech. Here is an example of a change from a voiced b in the word club to a voiceless p because of the voiced t of to of the following word: We went to the club to meet some friends. Here is an example of a change from a voiced d past simple verb changed to voiceless t: We played tennis yesterday afternoon. All sounds in the English language have a sound associated with it. The voiced noise that you hear if you say sounds individually, originates from the vibration of the vocal cords and the way in which you shape your tongue and lips and palate to create the consonant. When you use your vocal cords to make a consonant, you are producing a voiced consonant or vowel. But there are a handful of voiceless consonants that are produced without vibrating the vocal cords at all. The noise that you hear, originates somewhere in the mouth or at the lips. It is easier to memorize which consonants are voiceless since there are fewer of them-only nine: /p, t, k, s, sh, ch, h, f, th/ Try to make each of these sounds individually. You should not be voicing at all. The /p/ sound will have its noise made at the lips. The /t/ is made by placing the tongue behind the upper teeth and pushing/stopping air rapidly. The /k/ is made in the back of the throat with the tongue pushing against the palate. Of these sounds (except for /h/) there are partner sounds or minimal pairs that are made exactly the same except voicing is added. Compare the following pairs of sounds: /p/ vs. /b/ /t/ vs. /d/ /k/ vs. /g/ To feel vibration, place your fingers on your larynx, the bony structure of the front part of your neck, and say, ah. Do you feel some vibration? Now make the first sound in each of the above pairs. Again, place your fingers on your larynx. You should not feel vibration. If you feel vibration you are not pronouncing the sound correctly. Only the second sound in each pair should have a vocal cord vibration. When sounds that are voiced are produced without voice, word meaning changes drastically. For example, pill sounds like bill, tan sounds like Dan, Kate sounds like gate. Miscommunications are inevitable! Why is this important? You will need to understand the voicing aspect of final consonants on words to help you understand past tense endings and plurals endings. A voiced sound is one in which the vocal cords vibrate, and a voiceless sound is one in which they do not. Voicing is the difference between pairs of sounds such as [s] and [z] in English. If one places the fingers on the voice box (ie the location of the Adams apple in the upper throat), one can feel a vibration when one pronounces zzzz, but not when one pronounces ssss. (For a more detailed, technical explanation, see modal voice and phonation.) In European languages such as English, vowels and other sonorants (consonants such as m, n, l, and r) are modally voiced. In most European languages, other consonants contrast between voiced and unvoiced sounds such as [s] and [z], though in English many of these are at least partially devoiced in most environments.
Saturday, January 18, 2020
Quantitative Critique
The title is specific and concise, it is representative of the research report. From the title the focus of the study is understood including what was studied, who was studied, and where the study took place. It is also accurate and unambiguous. The title also described the study design, therefore the reader was not mislead on the data presented. Researcher credibility Each of the three researchers credentials and affiliations are disclosed on the first page of the article. All of the researchers have credentials in nursing research, however none of them disclosed any information on their expertise in the area of depression, interventions to decrease depressive symptoms, or working with incarcerated women. According to Coughlan, Cronin, & Ryan (2007) â€Å"an authors qualifications and job title can be a useful indicator into the researchers knowledge of the area under investigation and ability to ask the appropriate questions. The first author held a clinical position in the institution, this was not disclosed until further into the article, I feel that this information could have been disclosed sooner in the article. This could possibly hold a conflict of interest, especially if the incarcerated women were familiar with the first author. The first authors clinical position in the prison enhances the study findings as he has worked with the population. However, this could be conflict of interest since he is an employee of the institution. Abstract The abstract is concise and summarizes the whole study. Also read this Critique of Stuff Is Not Salvation It is divided into subsections of background, objectives, methods, results, discussion, and key words. The objective is clearly stated, which is to determine the feasibility of providing a gender-responsive exercise intervention within a correctional facility and observe the effects of the exercise program in respect to levels of depression symptoms, anxiety symptoms, and perceived stress among incarcerated women. The methods are listed and clearly stated which include 3 self-administered instruments which were completed before treatment and during treatment. This section allowed the reader to fully understand how the authors conducted the study. The results section highlighted the findings from the study and makes the reader want to continue reading the article. Even though the sample size was very small. The discussion section reviewed the findings. Introduction/ background and literature review â€Å"The introduction communicates the research problem and its context†(Polit & Beck, p. 63). In this article, a good background description of what the problem is (incarcerated women and mental illness) with supporting evidence is presented. The article provides a thorough description on why this research is important, one reason states is that most treatment modalities are often based on male treatment models or models that have shown success in community-based populations rather than incarcerated populations (Harner, et. al. , p. 390) The review begins with stating evidence on depression, anxiety, and stress within the prison system, especially among women. It also provides a detailed description of Iyengar yoga and health. The section is well organized with good transitions. Several sources were reviewed by the authors in order to establish a need for the study. The literature reviewed by the authors dates from 1996 to 2009, with mainly primary sources and all were relevant to the topic of mental illness, incarcerated women, or Iyengar yoga. The articles reviewed that were not recent gave statistical data and may have been more relevant if the statistics were more recent. All the articles were relevant to the problem and stressed the degree of mental illness in incarcerated women. The article also noted that most research available has examined the effect of yoga and yoga-based exercises on mental health outcomes using a variety of different yoga styles, thus making it difficult to determine what aspect was most beneficial (Harner, et. al. , p. 390). Thus this research study being done fills a gap to the existing knowledge and will hopefully provide better treatment options for incarcerated women with mental illness. The use of direct quotes was minimal throughout the article. The research problem has significance to nursing, however this was not made very clear in the article. Purpose/ Research Question/ Hypothesis The purpose of the study was explicitly stated, â€Å"testing the feasibility of implementing a group format exercise intervention, specifically a 12-week Iyengar yoga intervention, in a woman’s correctional facility†(Harner, et. al. , p. 389). The phenomenon of interest was clearly defined, as was the study population. The articles reviewed showed key evidence to support yoga and decreased levels of depression. The authors clearly described the limitations of the literature review to the reader, there was no published studies that reviewed Iyengar yoga and incarcerated individuals. Theoretical framework. The theoretical framework is based on the gender-responsive framework. It is unclear whether this is a nursing or non-nursing framework as it is not clearly defined. The gender-responsive framework is not clearly explained, thus making it difficult to determine its appropriateness for the study. This is one limitation of the stud y and could be addressed by clearly explaining the gender-responsive framework. Sampling The study population (incarcerated women) using non-probability purposive sampling was clearly stated and defined. The article discussed that this study was part of a larger study and a small sample size was expected. Exclusion criteria was clearly stated. Due to security issues the Department of Corrections generated and approved the list of potential participates before being contacted by the research team. This non-random sample or convenience sample generated 60 women, in which 21 agreed to participate in the intervention. Retention of the sample population was clearly defined in the article with only 6 women completing the 12-week intervention. Due to the security concerns this method of sampling was the best approach. All factors were discussed in regards to the sample size with demographics clearly defined. The sample size is important in quantitative research as a small sample is at risk of being overly representative of small subgroups within the target population (Coughlan, et. al. , 2007). The issue of power was addressed in the limitations section and was noted to be limited for detecting linear trends over time. Ethics Ethical issues were discussed in this article. The authors state that informed consent was obtained in each case, although the method in which consent was obtained was changed prior to the first inmates appointment. The issue of incentive gifts was also addressed and were not used. The inmate did receive a certificate of completion at the end of the 12-week intervention. The research protocol for this study was approved by all institutional review boards including the DOC. The site for the interviews and site for the intervention were described. Privacy of the intervention was not discussed, however for approximately 2 weeks the intervention was relocated to a different location within the institution. The treatment of Iyengar yoga is ethically and politically acceptable. The risks to the inmates were participated in the study were minimized and the benefits maximized. Design. The design was a feasibility study or pilot study. It is based on a experimental method, where there is a manipulated intervention. According to Polit & Beck (2012) â€Å"a pilot study is a small scale version or trial run designed to test the methods to be used in a larger, more rigorous study†. This was an effective design choice to answer the research question and to determine the need for a larger study. This design allowed the authors a chance to remove all the potential flaws before the larger study. There was no random assignment in this study as there was no control group, all participants were included in the yoga intervention. There was a consultant used in the study, but she had experience with medical research and has also conducted yoga-related intervention research with women. This consultants prior experience made her a trained member of the research team. The number of data collection points was appropriate. The participants were assessed on mental health measures of depression using 3 instruments to measure they were recorded at baseline, 4, 8, and 12 weeks. Interviewer bias was removed removed with the use of the 3 self-administered instruments, however the first author was present during the time. The use of open-ended questions was also used and supplemented the quantitative data. This was helpful as participants were able to put their thoughts into words. The intervention of yoga was properly described through various journal articles and was properly implemented. However, one part of the yoga intervention that could have been better implemented was the use of a space that was quite and free of outside interference. The article did address these issues, but didn’t address what could have been done differently. This study analyzed attrition biases by comparing data to subjects who dropped out of the study. Another factor affecting internal validity is that of maturation, the participants mental health factor could have increased or decreased over time. Blinding was not used as all participants knew they were going to participate in the intervention of yoga. Data collection All experimental research must included a method for evaluating the effects of the independent variable on the dependent variable. This study used three instruments that were identified and each was discussed in full detail. The open-ended questions were also described and examples of questions were provided. The instruments used were appropriate for the study as each targeted a different dimension of depression, anxiety, and stress. Each of the previously designed instruments were the most appropriate. The one concern on the data collection method is that the instruments were self-administered at the end of yoga class (weeks 4, 8, and 12). It was stated that some participants felt particularly anxious about the yoga session ending late, which would result in disciplinary action. By making the data collection at the end of the yoga intervention did some participants rush, making their data less accurate. The reliability and validity of each of the 3 instruments used in the study were discussed and each showed consistency in measuring the specific outcomes. The operational definition is congruent for the variables being studied (depression symptoms, anxiety symptoms, and perceived stress at baseline). There is no concern for subjectivity as each participant individually fills out the 3 instruments that are being used in the study. Data analysis When percentages were reported in the study, the overall numbers (n) was also reported. The research question was appropriately analyzed and broken down into the 3 instruments used to measure mental health. The varying sample sizes are noted through the tables and were clearly defined in the article as participants dropped out of the study. There was no room for type I and II errors, as the data analysis was straight-forward. There was no chance for different interpretations on the part of the researcher. A p-value was used as one statistical methods used and it represented an overall linear decrease over time, however the article suggests that a nonlinear model may be more appropriate. The p-value was an appropriate test to run, however it doesn’t tell weather the findings are important or applicable. The regression analysis was an appropriate test in answering the research question. This was appropriate because in simple regression one dependent variable (depression, anxiety, and stress) can be compared to the independent variable (weeks when instruments administered). However, there were not a lot of statistical tests run on the data, this could be due to the fact that there was no control group to compare the data with. The least square means method and the mixed model parameters were used to treat the data. The article also charted out the descriptive statistics for mental health measures over time. This was a helpful chart as it laid out the data collected in an easy to read format. All data collected due to the small sample size and limited power, comparisons were made and hypothesis were generated to be tested in the larger study (Harner, et. al. , p. 392). A one-sided Fisher’s exact test was used and p-values were less than . 20 for associations between drop-out and race, education, and current musculoskeletal problems (Harner, et. l. , p. 395). This was the correct test to be used because it tested the significance of differences in proportions (Polit, & Beck, p. 421). Results The results were cohesively presented and well organized using many tables and graphs that clearly outlined the findings of the study. The purpose of the study was referenced at the beginning of the results sectio n making it clear was was being presented. The research questions were answered and statistical evidence was provided to show outcomes measures. Statistical significance was found for depression, but not for anxiety or stress. Statistical significance assists the researcher in ruling out one important threat to validity, which is that the result could be due to chance rather than to real difference in the population (Coughlan, et. al. , p. 662). The small sample size could have been a factor in this findings. Descriptive statistics were presented, then inferential statistics were discussed including a discussion on participant dropout. A figure was created to show the assessment of dropout according to baseline mental health status, this figure was a little busy and quite difficult to read. A bar chart may have been more useful to depict this data. A post hoc power analysis was also performed. This was done so the researchers could determine whether the yoga intervention was significantly more effective than no intervention. While reading the results section of the article the descriptive results were presented last. I feel as though another header could have been added to include the logistics of the study and then proceed into the reults. Discussion In the discussion section, all of the findings from the study are discussed within the original framework. The discussion section was broken down into three sections feasibility, efficacy, and limitations. The section extended beyond the results section and addressed some unanticipated events that came up during the study and how the intervention was able to continue despite these events. The problem of retention of participants was brought up and with suggestions on how to minimize these dropouts in further studies. Researchers referred back to literature cited in the literature review. The limitations are addressed concisely and are appropriate for this feasibility study. The researches addressed the fact that a control group was not used due to security reasons, I feel that this could have been addressed earlier in the paper to assist the reader in fully understanding the statistical data. Implications/ recommendations Specific recommendations for research are discussed at the conclusion of the article. The researchers defined numerous areas of improvement for future studies. Barriers to the study were also addressed. The researchers addressed that this was the first attempt in addressing a gender-responsive Iyengar yoga program to improve confidence and reduce the stress of incarcerated women (Harner, et. l. , p. 398). Recommendations were made for future studies and ways in which to improve future interventions to benefit health outcomes of incarcerated populations. Overall evaluation It was quite interesting to see how the yoga intervention affected the incarcerated women in regards to depression, anxiety, and stress. The researchers selected an i mportant problem and one that could have strong effects in our state or federal prison system for women. Critical thinking and reflection were evident in that the researchers at one time had to change the study location due to extenuating circumstances. The research study expanded knowledge on the effects of the Iyengar yoga intervention on incarcerated women and opened the door for future studies to be performed. The limitations were unavoidable and expected as this was a feasibility study to determine the need for a larger study. The results leave a small amount of confidence that the yoga intervention decreased the level of depression, anxiety, and stress among incarcerated women. However, a larger study involving numerous women’s correctional institutions that included both a control and experimental group may yield more confidence. This study inspired the need for further research. This article is worthy of publication as it lays a ground work for future research. I would be proud to have my name on this research as it is groundbreaking and hopefully will create a better tool to treat mental illness in our correctional facilities than psychotropic medications alone. The finding are relevant and accessible to practicing nurses in correctional facilities. This may pave a way for nurses in these types of facilities to create interventions that help with a wide array of health problems.
Thursday, January 9, 2020
Essay Samples Adult Going to College - an in Depth Anaylsis on What Works and What Doesnt
Essay Samples Adult Going to College - an in Depth Anaylsis on What Works and What Doesn't The Battle Over Essay Samples Adult Going to College and How to Win It Don't forget to make abstract claims concrete, or so the reader knows just what you mean. Being part of a great educational institution can be rather costly. The student understood why he wished to visit this college. Teachers in college for the large part don't really care whether you're in class. Here's the last installment on How best To Answer Why This College. If people don't wish to get injured ever, then they need to not play because, frankly, injuries are predicted to occur in any sport and it's simply ridiculous to anticipate an organization to cover injuries which were acquired in a sport that was optional. It is not always straightforward and, plenty of times, I make mistakes. Not everybody can afford superior education, which explains why some individuals choose to join the institution's scholarship program. On another note, people must experience challenges and points of failures. The unfair facet of the concept of paying college athletes is the simple fact that they're already provided with total ride scholarships, maybe major scholarships. It would be like the athletes are becoming paid double the sum of money and other student has the power to and that wouldn't be fair. They indicate that a student will be in a position to adapt to the independence that is necessary in college classes, will cause their own lives and actions. Using the exclamation mark provides the sentence that Eureka moment. Typically, there's a test each week or two. Though there are more tests, the work isn't as hard. There are, in addition, a ton more tests in high school. Up in Arms About Essay Samples Adult Going to College? I look at my mother and I can observe how it is able to be problematic for a man or woman to get so many responsibilities, like taking care of the home and a family, and need to go to college at the exact same moment. A church life has always being a sign ificant part my day-to-day life. Being in college might be a tiny struggle for some. The huge pothole on Elm Street that my mother was able to hit each day on the best way to school would be filled-in. New Questions About Essay Samples Adult Going to College It's very valuable to take writing apart to be able to see just the way that it accomplishes its objectives. This section will examine two essays from the examples which were collected above so we are able to pull them apart and inquire into the criteria that result in an excellent college application essay. Make sure in any academic paperwork which you do, never forget the value of coherence, essay analysis of ideas, and finally, creativity. This is a superb revision. Possessing a crystal clear and structured plan is the foundation for any fantastic bit of writing, and a college essay is not any different. If you aren't in class they wish to understand why. A brief sentence is utilized to make the emotional resolution of the admission essay. The general format of your essay, for example, font size and margins, will solely rely on the instructions offered to you. The very first step to any essay writing is to choose a subject of interest. This section includes two examples of fantastic college essays. Bridget's essay is extremely strong, but there continue to be a couple little things that could be made better. All wonderful personal essays contain this vital element. Writing skills in college isn't restricted to essays. You don't need to possess the ideal writing skills to be able to be creative and compose an effective essay. College life includes writing essays and application letters whether you're in the subject of company or literature. Professor Mitchell obtained a grant to have a category of students to Belgium as a way to study the EU. Stephen connects his previous experience to his present maturity through self-knowledge. In addition to its growing cultural and ethnic diversity, State University is turning into a master at developing a niche for each student. Details of Essay Samples Adult Going to College Occasionally it's helpful to observe how others were able to get over the difficult first-line hump. Alluding from the filmmaking scenario, life is likewise an experience of a movie, in most situations, folks become unaware of what it is that they do. It isn't easy to generate a choice such as deciding to go to college when you're in your 40s. I have always enjoyed riding in cars. The Hidden Treasure of Essay Samples Adult Going to College Interesting movies often have characters which do not understand the situations they are in. The author starts with a rather comprehensive story of an event or description of an individual or place. Stephen uses extremely thorough language to develop a visual scene that genuinely makes this experience come to life.
Wednesday, January 1, 2020
Operational Definition.Pdf - 1875 Words
Designing a Study Operational Definitions The following chapter is excerpted from Designing HIV/AIDS Intervention Studies: An Operations Research Handbook, Andrew Fisher and James Foreit, 2002, Washington, DC: Population Council. (More on OR Handbook) CHAPTER 6 OPERATIONAL DEFINITIONS A fter formulating the study objectives and hypotheses and describing fully the study intervention, the next step in the research process is to define operationally the key variables and terms of the study. Operational definitions serve two essential purposes: (1) They establish the rules and procedures the research investigator will use to measure the key variables of the study, and (2) they provide unambiguous meaning to terms that otherwise might be†¦show more content†¦According to the operational rules established, a person cannot be placed in the category â€Å"High Knowledge†and at the same time be placed in the â€Å"Medium,†â€Å"Low,†or â€Å"No†category. The categories are also totally inclusive. There are only four categories. There is no fifth, sixth, or seventh category that a respondent might fit into. 40 DESIGNING HIV/AIDS INTERVENTION STUDIES In some instances, you may not want to be quite so specific in defining the categories of a variable before data collection. Sometimes it is preferable to determine the category â€Å"cutting points†of a variable after data have been collected and the response distribution for the variable has been examined. As a general rule, it is best to have approximately an equal number of respondents in each category. Thus, in the example above, each of the four categories of the variableâ€â€knowledge about HIV/AIDS transmissionâ€â€should have approximately 25 percent of the respondents in the study population. If it is necessary to examine the response distribution of a variable before the procedures for establishing categories can be determined, then in the operational definition section of a study proposal the category names can be specified, but you should include a note indicating that each category will consist of approximately equal numbers of respondents. All variables must have at least two or more categories, or they are not
Tuesday, December 24, 2019
1776 by David Mccullough Book Summary Essay - 707 Words
Book Review on: 1776 by David McCullough The Non-Fiction Historical Book 1776 By David McCullough is a historically accurate and in depth view of The American Revolution; starting from The Battle of Bunker Hill, Boston, Brooklyn, New York, Fort Washington, and ending its Analysis at the Battle of Trenton in 1776. There are many fascinating features, trends, themes, and characteristics used in 1776 that make the book a fluent and enjoyable read. Also the book gives a very detailed and informative account of the battles and military life from the Battle of Boston to the Battle of Trenton. Finally the author, David McCullough, of the book as many other works and experiences that tell the reader why and how 1776 is such a credible source†¦show more content†¦The literary element such as features, trends, themes, and characteristics were a part of the book that help make the book a wonderful teaching. 1776 started off in Britain, giving a background of King George III and the s tart of the war. Then the book moved to the Siege of Boston in America. In the siege of Boston an account of both militaries moves and living routines were given leading up to the Continental Army taking Dorchester Heights. This forced the British to evacuate because Washington had sent for cannons and on Dorchester heights was close enough for deadly fire on Boston. From Boston, Washington left a small group, but the rest of his troops moved to New York; which was the British’s next target. At New York the battle of Brooklyn was disastrous for the Continental Army. Afterwards the British moved ships into the Hudson and unleashed the remainder of Washington’s troops who had yet to retreat. When they fled to New Jersey the Continental Army was once again bested. Soon after a brutal loss at Fort Washington was inflicted. Thousands of troops were captured because there were too many in the fort to defend effectively when they had to fallback. Finally Washington made a br illiant strike in the Battle Trenton that gave the Continental Army the momentum it so dearly needed. David McCullough is a well experienced Author with titles such as John Adams, Truman, The Johnstown Flood, The Great Bridge, The Path between the Seas,Show MoreRelatedAnalysis Of The Book 1776 By David Mccullough1816 Words  | 8 Pages1776 by David McCullough Book Review 1776, a non-fiction historical book, is written by two-time Pulitzer Prize winner David McCullough. The book revolves around the American Revolution, hence the title 1776, and it accurately shows the course of actions that have taken place in that year. 1776 is displays how America became an independent nation and what the individuals during that time had to go through to gain access to freedom and liberty. The Continental Congress approved the Declaration of
Monday, December 16, 2019
Succubus Dreams CHAPTER 3 Free Essays
After a good night’s sleep, I went to work the next morning, feeling a bit more optimistic about life. I decided Tawny had probably already scored last night, and Niphon was on his way to the airport. Plus, I’d get to see Seth soon since he had made my place of employment, Emerald City Books Caf? ¦, his writing headquarters. We will write a custom essay sample on Succubus Dreams CHAPTER 3 or any similar topic only for you Order Now Yes, it wouldn’t be such a bad day. Due to my ex-manager’s complicated pregnancy, I’d recently inherited her position. This had left my old assistant-manager position vacant, and we’d ended up hiring Maddie Sato who just happened to be the sister of Doug Sato – the other assistant manager. It had been a stunning display of favoritism, and Doug had thrown a fit, complaining how we’d just lowered his coolness rating by ten points. As it was, Maddie already lived with him. She’d come to visit after his recent hospitalization and never really left. She had a second job as a freelance writer at a feminist magazine, and working at Emerald City gave her a more stable source of income. I liked Maddie. She was smart and capable and had a twisted sense of humor that spoke to mine. She worked well with customers and was always very polite in a professional capacity. For example, she could get caught up talking with Seth about ‘writerly’ topics and function beautifully. But, when it came to friendlier and more interpersonal stuff, her social skills were a bit lacking. After a particularly analytical writing discussion, Seth had once made an off-hand comment about her childhood, and she’d frozen up. Seeing him with someone even more socially awkward than he was had been amusing, but mostly I’d felt disappointed at her relapse. I’d made good progress in getting her to come out of her shell and knew how fun she could be. I wanted everyone else to see it too. Today I found her upstairs in the caf? ¦, sitting at the table Seth had staked out with his laptop. It apparently wasn’t a writerly day because Doug sat with them. He and Maddie appeared to be in some sort of heated argument. Seth sat between them, looking like he desperately wanted to be somewhere else. Catching my eye, he gave me a pleading look. I purposely slid a chair up beside him, forcing Doug to scoot his own chair over. No one knew Seth and I were dating, and the Sato siblings were so caught up in the discussion they didn’t think anything of the chair placement. â€Å"What’s going on?†I asked. â€Å"It had better involve the fate of the store to be detaining the entire management team.†The holidays were nearly upon us, and business was insane lately. Maddie had the grace to look embarrassed, suddenly remembering her duties. She opened her mouth to speak, but Doug interrupted her. â€Å"My illustrious sister’s an insensitive bitch.†Maddie rolled her eyes. â€Å"He has some crazy ideas about Beth.†I sighed. â€Å"Look, if this is about the time Beth wore leg warmers here – â€Å" â€Å"Don’t remind me of that,†grumbled Doug. â€Å"My illustrious brother has this crazy idea that Beth just broke up with someone,†explained Maddie. Both looked at me as though they expected me to set this matter straight. Puzzled, I glanced back and forth between them. â€Å"Why’s that crazy?†â€Å"Because she has a cold,†said Maddie. â€Å"She said she has a cold. That’s why she’s sniffling.†â€Å"She’s pretending to have a cold,†cried Doug. â€Å"What kind of sick and twisted world is this when an asshole like me is the one to notice heartache in the masses? For God’s sake, her eyes are all red.†â€Å"Cold,†Maddie repeated firmly. She considered. â€Å"Or maybe allergies.†â€Å"In December?†The two of them bickered on. Beside me, Seth fought – and failed – to keep a straight face. I studied the way his lips curved into a smile, liking their shape and recalling how they felt. I turned my attention back to the siblings, enjoying the show. Finally, after about five more minutes, I remembered I was an authority figure and not a slacker employee. â€Å"Why is this a big deal?†I asked. â€Å"Because she’s wrong,†Doug said. â€Å"I’m just trying to prove that.†Maddie sighed. â€Å"You’re like a twelve-year-old.†â€Å"Am not.†He jabbed her in the arm. â€Å"Okay, enough.†I pointed to Doug. â€Å"You, register.†I pointed to Maddie. â€Å"You, my office.†â€Å"Ooh†¦you’re in trouble,†Doug told her. â€Å"I’m going to show her how to process orders,†I growled. Maddie’s eyes gleamed with anticipation, dimples appearing in her round cheeks. She ate up new tasks. â€Å"Female favoritism,†said Doug. â€Å"You like her better than me, don’t you? It’s okay. You can tell me. I can take it.†â€Å"Go. Both of you. I’ll be down in a sec.†I looked at Seth when they were gone. â€Å"This is why I don’t have children,†I told him. That wasn’t true, of course. Not true at all. Children simply weren’t in the cards for succubi. â€Å"Although†¦I think Doug’s actually right,†I mused. â€Å"As crazy as that is. I saw Beth on my way in.†Seth smiled. â€Å"Maddie’s a good writer and super smart, but she’s kind of oblivious to other people.†I gave him a wry look. â€Å"I thought that was true about all writers.†â€Å"Some are worse than others.†â€Å"Shocking. You rode in a car with her for, what, four hours? What’d you guys talk about?†â€Å"Writing.†I sighed. â€Å"I wish she’d relax around people other than Doug and me. She’s hilarious. She came up with the idea to Silly String Doug’s car after he said Betty Friedan was PMSing when she wrote The Feminine Mystique.†â€Å"I’m not sure I’d describe that as ‘hilarious’ so much as ‘scary.’ Besides, that was your idea,†he reminded me. â€Å"You two are dangerous. Your whole soul-stealing act seems kind of softcore compared to the stuff you and Maddie concoct.†I grinned. It was true. I hadn’t really hung out with a lot of women in the last century or so and was discovering I’d been missing out. â€Å"You have no idea. Social awkwardness or not, she’s the best thing that’s happened to me in a while.†â€Å"Oh?†â€Å"Well, present company excluded of course.†â€Å"Sure. Whatever you say.†â€Å"Hey.†I almost grabbed his hand, then remembered we were in public. â€Å"There’s no competition. You’re a better cook. And a better kisser.†â€Å"I didn’t realize you’d tried her out.†â€Å"Well, you know how much I like writers.†My smile slipped a little as my mind switched subjects. I’d been thinking about my energy loss all morning, particularly since I’d probably be seeking my hit tonight or tomorrow. Jerome had blown the matter off, but like usual, I couldn’t let it go. I decided then that I’d go visit my friend Erik Lancaster, Seattle’s local mortal source of occult knowledge. He seemed to know more than my cronies half the time. I extended the invitation to Seth, and he agreed to come with me. I was glad. I had often thought it might do him some good to talk to another human who regularly dealt with the supernatural. This was as good of a time as any. Seth met me at my place after work, and we microwaved a quick dinner before heading out. As we walked down the stairs of my building, he teased me about Maddie again. â€Å"You guys were working in the office a while. Sure you weren’t making out?†â€Å"Not too much,†I assured him. He laughed and caught hold of my hand. I jerked him toward me. Our lips met in a kiss, and as the warmth of his body stirred mine, I had no doubts about what the best thing in my life was. After a few sweet moments, we followed the drill and separated, our reluctance making the disentanglement a bit awkward in execution. â€Å"Yeah,†I told him. â€Å"She’s definitely not as good a kisser as – â€Å" I cut myself off, grimacing as I felt Niphon coming toward us. His immortal aura felt slimy and musky. I stepped farther away from Seth and glared down the sidewalk at the approaching imp. Seeing me, he waved a hand in greeting. â€Å"Excuse me a moment,†I muttered. I skipped down the steps and blocked Niphon from getting within earshot of Seth. â€Å"What do you want?†â€Å"Attitude, attitude, Letha,†he tsked. â€Å"Succubi should be charming and cordial at all times.†He peered beyond me. â€Å"Is that the human boyfriend? Can I meet him?†â€Å"You can go the fuck away. You’re supposed to be keeping an eye on Tawny.†â€Å"I have been,†he said cheerfully. â€Å"That’s why I came to see you. I followed her last night. She was quite confident in her abilities but had some difficulty arranging an assignation in the end. Poor thing. It seems she may take longer than suspected in getting established. Fortunately, I’ll stay with her until the end.†His mocking concern dug into me, just as he’d intended. â€Å"Is that all you came to tell me? Because I’m leaving now. I’ve got to be somewhere.†â€Å"Of course, of course,†he simpered. He gestured vaguely in Seth’s direction. â€Å"I didn’t mean to interrupt your heated moment, even if it looked like it was about to cool down.†A sudden look of realization crossed his face. â€Å"You don’t sleep with him, do you? You’ve got some sort of noble sense of duty about absorbing his life. That poor, poor man.†Niphon laughed. â€Å"Oh, Letha. You are one of the most fascinating creatures I’ve ever come across.†I turned my back on him and stormed up to Seth. â€Å"Come on, we’re leaving.†â€Å"Who was that?†he asked as we walked away. â€Å"He’s an imp. And an asshole.†Even almost a block away, I could still just barely catch Niphon’s taunting laughter. I tried to ignore it as Seth and I walked to his car. Listening to my friends tease me about Seth was annoying enough. From Niphon, it was unbearable. Fortunately, I calmed down by the time Seth and I got on the road. I instead focused on seeing Erik and hopefully getting my mystery solved. Erik ran a store up in Lake City called Arcana, Ltd. Unfortunately placed in a strip mall, it nonetheless possessed a warm, cozy feel. Dim lighting shed a tranquil air, and the bubbling of small fountains mingled with the soft sounds of a CD player emitting harp music. Books, jewelry, candles, and statuary cluttered up every inch of free space. The sweet scent of nag champa hung in the air. â€Å"Neat,†said Seth, peering around as we entered. Erik glanced up from where he was kneeling behind a stack of books. He’d grown a mustache since last I saw him, and I liked the way the gray hair stood out against his dark brown skin. A gentle smile bloomed on his face. â€Å"Miss Kincaid, what an unexpected pleasure. And you have a friend.†He rose and walked to us, extending his hand toward Seth. â€Å"Erik, this is Seth Mortensen. Seth, Erik.†They shook. â€Å"A pleasure, Mr. Mortensen. You keep good company.†â€Å"Yes,†said Seth, smiling in return. â€Å"I do.†â€Å"If we’re lucky,†I said silkily, â€Å"Erik will have time for tea. He only serves decaf, so that should make you happy.†â€Å"Of course I have time,†said Erik. â€Å"I doubt there’s any man who doesn’t have time for you, Miss Kincaid.†I shot Seth a teasing look when Erik left to put the tea on. â€Å"Ah, now there’s someone who appreciates me. You wouldn’t see him shirking me for a book.†â€Å"If memory serves, you worship those books. Besides, how else am I supposed to keep you in the lifestyle you’re accustomed to?†â€Å"If memory serves, I paid the last time we went out.†â€Å"Well, yeah. I was just letting you play liberated so that you and Maddie wouldn’t go vandalize my car.†When our tea party commenced around Erik’s small corner table, I was surprised to hear Seth engage Erik in conversation on what it meant to be a mortal among immortals. Seth wasn’t usually so forthcoming, and I wondered just how much immortal weirdness troubled him. â€Å"It puts my sense of time awry,†remarked Erik. â€Å"I see people like Miss Kincaid who stay young and beautiful forever. It makes me feel as though no time has passed. Then I look at myself and see the new wrinkles. I feel the aches in my bones. I realize I will be left behind†¦they will go on and continue to shape the world without me.†He sighed, more with bemusement than sadness. â€Å"I wish I could see what will happen next.†â€Å"Yes,†Seth said, surprising me. His eyes looked dark and solemn. â€Å"I know what you mean.†I glanced over at him, seeing something I’d never noticed before. I knew he must think about the future and his own death – all mortals did – but only now did I realize how much he really thought about those things. Looking at both men, I remembered they would eventually die, and it made something in my chest grow cold. For the space of a heartbeat, I could almost see Seth as wrinkled and gray-haired as Erik. â€Å"Morbid much, you guys?†I asked, trying to affect a blas? ¦ air. â€Å"I didn’t come here to bring everyone down. I’ve got to pick Erik’s brain.†â€Å"Pick away,†he said. â€Å"Well†¦you know how I need, uh, life and energy to survive, right?†An idiotic statement. Of course he knew. â€Å"Yesterday morning, I woke up, and my entire stash was gone.†Erik considered. â€Å"That’s normal, isn’t it? It fades over time.†â€Å"Not this quickly. Especially since†¦Ã¢â‚¬ I stopped, suddenly realizing having Seth here might not have been so wise after all. â€Å"I, um, had just gotten a refill the night before.†Both men kept neutral expressions. â€Å"And you did nothing out of the ordinary?†â€Å"No, Jerome thinks it was mental stress.†I shrugged. â€Å"I don’t think I was that stressed. I dreamed†¦a weird dream†¦but nothing stressful.†â€Å"Dreams are powerful,†Erik said. â€Å"And sometimes stress can take more out of us than we realize. Unfortunately, I know little about dreams, but†¦Ã¢â‚¬ He frowned, and his gaze suddenly turned inward. â€Å"But what?†â€Å"I know someone who might be able to help. Someone who specializes in dreams.†â€Å"Who?†This sounded promising. Erik took a long time in answering. When he spoke, he seemed unhappy to give up the words. â€Å"Someone who might as well be signed and sealed to your side. His name’s Dante Moriarty.†I snickered. â€Å"That can’t be his real name.†â€Å"It’s not, though I’m sure some of your imp and demon friends would know him by any name. He’s a con artist†¦among other things. Considers himself a magician too.†â€Å"I deal with corrupt people all the time,†I pointed out. â€Å"Doesn’t bother me much.†â€Å"True,†agreed Erik. He still looked troubled, which I found puzzling. Although not evil himself, he interacted with me and others of my ilk on a regular basis without blinking. I wondered what it was about one human that would bother him so much. â€Å"I’ll get you his contact information.†He sought out Dante’s card, and I browsed around the store while Seth used the bathroom in the back. The old storekeeper handed me the card when he found it. â€Å"I like Mr. Mortensen a great deal.†â€Å"Yeah. So do I.†â€Å"I know. I can tell.†I looked up from a display of bracelets, waiting for more. â€Å"You talk and move around each other in a way you’re probably not even aware of. It’s like how lovers usually interact†¦but it’s something more too. You have a continual sense of each other, I think, even when not together. There’s a burning in the air between you.†I didn’t know what to say to that. It sounded nice – but a little intimidating too. â€Å"I’ve never met another of your kind who’s exactly like you, Miss Kincaid.†He hesitated, his normally wise-and-competent expression flickering into uncertainty. It was a rare look for him. â€Å"I don’t know how this will turn out.†Seth emerged then, picking up that he’d interrupted something. He glanced between the two of us, and I rested a reassuring hand on his arm. â€Å"You about ready to go?†â€Å"Sure.†I scanned the rest of the jewelry counter, only half-noticing the contents. Suddenly, I did a double-take and leaned over one of the cases. â€Å"Erik, where do you find this stuff?†He and Seth looked over my shoulder. â€Å"Ah, yes,†said Erik. â€Å"The Byzantine rings. By the same artist who made your ankh necklace.†â€Å"Your artist has a real knack for historical detail. They look just like the originals.†He walked around the counter and lifted out the tray with the rings. I picked one up. It was an ordinary gold band. Rather than any sort of mounted gem on top, it bore a smooth and flat disc, almost the size of a dime. Greek letters were engraved into the metal. â€Å"What do they mean?†asked Seth. I tried to explain the long-lost custom. â€Å"It’s a benediction. Like a prayer for the couple. This would have been a wedding ring.†I examined another depicting Christ and the Virgin; still another showed a tiny man and woman facing each other. â€Å"I used to have a ring almost like this,†I said softly, turning it over in my hands. Neither man said anything, and I finally returned it to its tray. On the way home, Seth gently asked, â€Å"What happened to your ring?†I stared out the window. â€Å"It’s not important.†â€Å"Tell me.†I didn’t respond, and he didn’t ask me again. When we got back to my place, I saw no sign of Vincent and figured he was out investigating with Charlie’s Angels. Newspapers were scattered across my kitchen table; he apparently liked to keep up on current events. Morbid events, at that. One of the headlines was a story I’d heard the other day about a crazy man who’d killed his wife after having a vision of seeing her with another man. Mortals did creepy things sometimes. Okay, a lot of the time. Seth sat on my couch and leaned forward, hands clasped together. I’d sensed his mood shift when I wouldn’t answer in the car. â€Å"Thetis†¦Ã¢â‚¬ â€Å"You want to know about the ring.†â€Å"The ring doesn’t matter so much. It’s just†¦well, I’ve seen you get like this. Something bugs you, something you remember. But you won’t talk to me about it. There are days I feel like you don’t tell me anything.†I sat down next to him, avoiding eye contact in a way he often did. â€Å"I tell you plenty.†â€Å"Not about your past.†â€Å"I have a lot of past, and I talk about it all the time.†â€Å"Yeah†¦I guess.†He absentmindedly stroked my arm. â€Å"But you don’t talk about your mortal past. Before you were a succubus.†â€Å"So? Does it make a difference? You’re with me now. You know the kind of person I am now.†â€Å"I do. And I love that person. And I want to know what’s important to you. What made you who you are. I want to know what hurts you so that I can help.†â€Å"You don’t need to know that to know who I am. My human past doesn’t enter in to anything,†I said stiffly. â€Å"I can’t believe that.†Again, I didn’t answer. â€Å"I don’t know anything about that part of your life,†he continued. â€Å"I don’t know your real name. What you really look like. Where you grew up. I don’t even know how old you are.†â€Å"Hey, it’s not just me. You have plenty of things you don’t talk about,†I pointed out, trying to deflect the attention. â€Å"What do you want to know?†â€Å"Well†¦Ã¢â‚¬ I groped for something I didn’t know much about. â€Å"You never talk about your dad. How he died.†Seth answered immediately, without hesitation. â€Å"Not much to tell. Cancer. I was thirteen. According to a therapist Mom made us see, I withdrew into a world of fantasy to cope.†I leaned my head against his shoulder, knowing he’d expound on anything I wanted to know – in a subdued, Seth sort of way. It was ironic considering his normal conversational reticence, but that was how he operated. He believed relationships had to have an open exchange of honesty and baring of souls. I supposed he was right, but there were too many dark parts of my soul I didn’t want to share. Parts I was afraid would scare him off. I knew Seth well enough to realize he wouldn’t push this issue anymore tonight, but I could also sense his hurt and disappointment. He didn’t ask me these questions to upset me; he did it out of sincere affection. That didn’t make it easier, unfortunately, and I fought my anxiety and long-buried pain to try to offer him something. Anything. Anything to show I was making an effort in this relationship. My original face and name were dead to me, obsolete reminders of the woman I’d left behind, never mind Niphon’s insistence on calling me Letha. Seth would never know those things. We sat together for a long time while I decided what I could give up. Finally, with the words sticking in my mouth, I said, â€Å"I grew up in Cyprus.†The air grew tense as we both waited for more. â€Å"In the early fifth century. I don’t know exactly what year I was born. We didn’t really keep track of those things.†He exhaled. I hadn’t realized he’d been holding his breath. Slowly, carefully, he put an arm around me and pressed his lips against my hair. â€Å"Thank you.†I buried my face against his shoulder, not knowing what I hid from. I’d barely given him anything – just a couple of pieces of trivia. Nonetheless, yielding that tiny bit from a place in me I wanted to hide from was powerful. I felt exposed and vulnerable without fully understanding why. Seth gently stroked my hair. â€Å"Is the ring from around that time?†he asked. I nodded against him. â€Å"It’d be worth a lot then, I suppose.†â€Å"I lost it,†I whispered. He must have picked up on the anguish in my voice. He held me tighter. â€Å"I’m sorry.†We stayed together a while longer that night, but I knew he wanted to go home and work at his own place. Unable to deny him, I shooed him away, though I had a feeling that he would have stayed if I’d asked it. Once he was gone, I went into my bedroom and closed the door. Kneeling in front of my open closet, I pulled out box after box, setting them haphazardly around the room. My organization lacked something – like, say, organization – and it took me a while to sift through the clutter of junk. Finally, I produced a shoebox covered in dust. Lifting the lid, I felt my breath catch. Old, brown letters lay stacked with a few photographs. A heavy gold cross on a fraying string lay among the papers, along with other small treasures. I carefully hunted around until I found what I wanted: a bronze ring, green with age. I held it in my hands, still able to discern the engraved couple atop the mounted disc. It was a cruder job but still very similar to Erik’s modern renditions. I ran my fingertips along the ring’s edges without knowing what I did. I even tried it on, but it didn’t fit. It had been made for larger fingers than I had now. I refused to shape-shift to the right size. I kept the ring out for a few more minutes, thinking of Seth and Cyprus and all sorts of things. Finally, unable to stand the ache within me, I put the ring back into its box and buried it once more in the closet. How to cite Succubus Dreams CHAPTER 3, Essay examples
Sunday, December 8, 2019
Hamlet Knows Exactly Where He Is Going Essay Example For Students
Hamlet Knows Exactly Where He Is Going Essay Hamlet Knows Exactly Where He is GoingMadness fascinated William Shakespeares contemporaries, perhaps in part because it was still not entirely clear how or when madness as a disease was to be distinguished from demonic possession or spiritual ecstasy. Mad characters were a staple of William Shakespeares stage and such figures were particularly associated with revenge plays. Hamlets distraction, then, is notable in part because it is feigned. In Hamlet is the exploration and implicit criticism of a particular state of mind or consciousness. Shakespeare uses a series of encounters to reveal the complex state of the human mind. Critics who find the cause of Hamlets delay in his internal meditations typically view the prince as a man of great moral integrity who is forced to commit an act which goes against his deepest principles. On numerous occasions, the prince tries to make sense of his moral dilemma through personal meditations. Seems, madam! nay, is; I know not seems.Tis not alone my inky cloak, good mother,Nor customary suits of solemn black,Nor windy suspiration of forced breath,No, nor the fruitful river in the eye,Nor the dejected behaviour of the visage,Together with all forms, moods, shows of grief,That can denote me truly: these, indeed, seem,For they are actions that a man might play: (I ii 130-38)How is an audience to believe a character who immediately says what he is to be truly mad? Insanity in present-day terms is often noted by denying ones state of mind and self. Yet, Hamlet acknowledges himself constantly and recognizes who and what he is and is doing. Hamlet reveals himself in the most unaffected sense, as an actor upon the stage, and as an actor within the play. The prince speaks in terms of playing, pretending. He even accuses others of not playing their roles well enough, therefore not playing whatever character each character has assumed well enough, there is a kind of confession in your looks, which your modesties have not craft enough to colour (II ii 282-285). If Hamlet considers his life as a play (as he well might) then there is nothing to say that he is continuously acting a part, even the part of the madman. He is essentially costumed in grief. His actions cannot represent the workings of his mind nor demonstrate what he feels. Later, Hamlet reminds the audience that he is an actor in both senses, and a poor one at that. If Hamlet the pretender were really talented, would there be any question as to his sanity? His O, what a rogue and peasant slave am I!? (II ii) soliloquy finds the tragic prince suffering for a character who hasnt been well played, and he compares himself to the impassioned Player of the visiting troupe. If this were not sufficient and immediate evidence of sanity, Hamlet informs Horatio and the others that I perchance hereafter shall think meet to put an antic disposition on. (I v 171-72) The Prince of Denmark is revealing his plan, one of pretentious madness, suggested by Horatio himself ;What if it tempt you toward the flood, my lord,Or to the dreaded summit of the cliffThat beetles oer his base into the sea,And there assume some other horrible form,Which might deprive your sovereignty of reason,And draw you into madness? (I iv 68-72)Horatio could well be the spark of Hamlets scheme for artificial madness. Seeing the ghost privately against Horatios advisement gives him a greater argument for insanity. Even though he has told Horatio and the guards that he will play the madman, Hamlets first manipulation begins here, with those who know the design for deception. Therefore, both the audience and his fellow actors have been produced to the character as just that- a character, an actor, a deceiver. Hamlet.my uncle-father and aunt-mother Guildenstern.In what, my dear lord?Hamlet.I am but mad north-noth-west: when thewind is southerly I know a hawk from a hand-The Fine Line Between Genius and InsanityA procrastinator? Who does me this, ha? (II ii 585) Hamlet is the farthest thing from a procrastinator. Waiting is not procrastinating. Hamlet is by contrast a worthy schemer, one who is circumspect and prudent. Hamlet does not want to rush into something whose consequences for being wrong and rash could be more than he could abide. His contemplation of the immortal soul and Hell are evidence enough that the Prince of Denmark does not wish to abide in eternal hell for answering his fathers call for retribution. This becomes evident when he chooses not to kill Claudius when he is at prayer, when he speaks of Gods aversion to suicide, or when he considers his mothers feelings for Claudius. His conscience is of great importance to him, though he does accuse his conscience of making him a coward. Hamlet is not afraid of exacting revenge, just of the consequences of being personally responsible for their deaths. His regard for collected, rational revenge is important to him. Claudius himself summarizes Hamlets attitude;My words fly up, my thoughts remain below:Words without thoughts never to heaven go. (III iii 96-7)Hamlet is a man of observation. He studies people, tents them to the quick (II ii 608), and bases his decisions and his actions on the things he learns. Concern for conscience and a taste for precaution suggests clarity and utmost rationality, not a mind consumed with disease. Critics have argued that Hamlet is a man of inaction, which is not entirely the case. How better to ruin your enemies than to devise schemes of self-destruction? Revenge would taste sweeter if Hamlet didnt have to lay a single finger against those whom he is to dispatch. His conscience then would ultimately be clean in a religious sense- his soul would be free to go to Heaven. Hamlet knows all too well that the supposd ghost of his murdered father could only be a devil tempting him as he notes in Act II Scene ii. Inaction, then, is Hamlets method of acting. By observing, he allows a natural flow of events to occur. Ingenuously, Hamlets timely remarks often influence the course of events in his favour, yet he cannot be considered a guilty party of the events that occur: responsible, but not guilty. Hamlets wait and see attitude allows his peers to realize his madness (however false), considered traitors like Ophelia, Rozencrantz and Guildenstern to be unmasked, and Gertrudes realizati on of her own guilty part of the rotten game in Denmark. Is Hamlet intelligent? Beyond the shadow of a doubt, bordering on the lines of absolute brilliance. Who else could manipulate the closest people in his life as if they were chess pieces on a board? It is not a dull person who could recognize his friends and family as the greatest betrayers of his life and to recognize carefully hidden lies. Rosencrantz and Guildenstern, long time friends of Hamlet, are almost instantly pegged as Claudius spies. The Prince of Denmark feels them out, talking of Denmark and waits for their response, which is too innocent for Hamlets liking. Hamlets shrewdness allows him to see his friends (and his enemies) for what they are, and to catch them in their lies;sent for; and there is a kind of confession in your queen havelooks, which your modesties have not craft enough to colour: I know the good king andsent for you. (II ii 282-286)Hamlet has the mental capacity and the acting capability to set his enemies on completely the wrong trail, to divert them from the real truth. Hamlet comments that he is too much in the sun (I ii 67), is being observed in the wrong fashion. If he knows that he is being watched, then he must make his observers believe the wrong thing about them. Doing thus, he draws out his enemies and the truth. His mind has the capacity to think quickly, to mince words, exchange cutting wits with his enemies, fool them, lead them, and ultimately destroy them. When Hamlet discovers Ophelias infidelity (or rather, loyalty to her father and brother as opposed to him), he uses her as an ultimate means to convincing the others of his madness. If she, the woman he loves (and for the sake of this argument, he does love her), is to be used and abused so poorly, then Hamlet must truly be mad. Ophelia is the first step to convincing Polonius Hamlet is mad;I will be brief: your noble son is mad: (II ii 91)Ophelia, additionally, is a threat to Hamlet. She, if anyone, must be c onvinced of his madness to convince others of it. Prince Hamlet can then be accused of cruelty and cold calculation/manipulation, but not of madness. Ultimately, Hamlets brilliant manipulation of people (to be discussed further) destroys them without laying complete guilt upon himself. How are we to believe that Shakespeare intended the audience to feel pity for a mind to which we were meant to bow?That I, the son of a dear father murderd,Prompted to my revenge by heaven and hell,Must, like a whore, unpack my heart with words (II ii 593-596)Of any Shakespearean character, Hamlet speaks the most. What he says versus what he does are two entirely different actions. Critics have often believed Hamlets tendancy to verbosity to be a sign of his procrastination, of his constant deliberation and inordinate thinking. As discussed, Hamlet does not procrastinate. His wordiness is a method of tantalizing those who listen, even when he seemingly speaks alone. It cannot be assumed that Hamlet is ever alone (there is always an audience). His soliloquies are moments to remind himself of the plan, to rework the plan, or to evaluate his performance. Or, they are to plant information and accentuate or affirm his mania. Hamlet is aware that he is constantly being watched, or he would not have made that brilliant move with his To be or not to be speech. How better to convince those watching that you are mad if you speak of mad things even when you are alone (or are supposed to think you are alone)? Does Hamlet want to die? Not exactly. He says to Polonius (which should have been the first clue that his to be or not to be soliloquy was a setup);You cannot, sir, take from me any thing that Iwill more willingly part withal. except my life,except my life, except my life. (II ii 217-19)He is duplicitous when he contemplates suicide, though is startlingly honest when he ponders the afterlife and the immortal soul. It is often difficult to know when Hamlet speaks the truth, or exactly w hom he is manipulating at any given moment. It cannot simply be assumed that his moments alone are the most honest, for Hamlet seeks to fool all audiences. His occasional falling out of character from time to time, in and out of his affected madness, can be attributed to his emotional stake in the games he plays. Even the most intelligent of people are often cracked by stress, and Hamlet is no exception, giving credibility to his sanity. Bottle nosed dolphins EssayOphelias madness is derived completely from Hamlets baiting. Not an unintelligent woman, Ophelia does discover the cause for Hamlets feigned insanity. However, this knowledge is apparently too much for her weak mind, and she is driven to madness and eventually suicide. If youll excuse the lack of formality, Two down, the royal family and Laertes left to go.The final scene is where and when Hamlets schemes combine to fulfill his revenge. Claudius is wary of Hamlet, whose madness he is not entirely convinced. We begin to see cracks in Hamlets performance after Ophelias death. Hamlet grapples with Laertes in Ophelias grave, and speaks in verse. Throughout the entire play, there are limited occasions when Hamlet speaks in verse. His mad character has always spoken in prose, and this shift and emotional outburst definitely opens Claudius eyes to Hamlets ruse. Claudius already fears the revelation of his deed, which is why he sent Rozencrantz and Guildenstern t o England with Hamlet: for his murder. That failed, and Ophelias realization of Claudius guilt, make the king a little uneasy. Hamlet has to be dispatched. Yet Hamlet is always a step or two ahead of the rest of the players. Anticipating a plot, Hamlet does not drink of the poisoned cup and allows his mother to drink. Gertrude, suspecting the wine is poisoned and drinking it against Claudius advisement, then has committed some sort of suicide. Hamlet allows her to drink, relieving her of her misery and guilt. With Gertrudes death, Claudius realizes his own game is falling apart, yet he is not yet exposed. Hamlet must suspect the poisoned sword Laertes wields, or would not have struck Laertes with a mortal blow. Additionally, Hamlet allows himself to be wounded by the same poisoned sword. Struck with a pang of conscience, a dying Laertes confesses the treacherous plan concocted by Claudius (as Hamlet knew he would), thus exposing Claudius crimes (as the queen dies off to the side). H amlet then is a free man to take his revenge on Claudius. Heres the rationale: Hamlet is a murdered man (even though he knew the foil was poisoned therefore planning his own murder). Yet while he still has breath in his lungs, he can kill the sinning king in clear conscience, knowing Claudius will go to Hell by the touch of his own poison and for the gravity of his past crimes. Hamlet will go to Heaven, having avenged his father by killing all those sorely affected by or involved in the murder, and not having laid a hand against all but one. Hamlet is also, technically, a murdered man, giving him another free pass into Heaven. It couldnt have been executed more brilliantly unless it were planned by a sane man. Why would Hamlet allow himself to die if he performs his fathers revenge? It all boils down to the responsible but not guilty attitude Hamlet toys with throughout the game he plays. Hamlets responsibility for the death of his family, the woman he loved and her family are thing s he cannot live with. Yet as discussed, Hamlet is unwilling to be responsible for his own death. This is why he had to plan his own murder, or rather, manipulate someone else into killing him. He could have allowed Rozencrantz and Guildenstern to have killed him earlier, as a maniacally depressed and insane man would have permitted, yet Hamlet was keen enough to know that it wasnt yet time to die. Though an emotional character, Hamlets mind is almost continuously collected and exceptionally sane. As a character, he has fulfilled his raison detre and therefore cannot exist beyond the limitations he has created for himself. Hamlet lives and dies as a sane, brilliant, scheming character whose capacity for acting, manipulation, and character assessment are beyond compare. Bibliography:Shakespeare, William. Hamlet. Oxford Edition.
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