Car Wax :: essays research papers

ALL ABOUT CAR WAX A waxed painted surface protects the paint from many contaminants including minor abrasions, along with protection from UV rays and infra-red light. Waxes which supposedly clean and wax in one application compromise both processes. Brazilian Carnauba (car-NOW-ba) wax is wax of choice for automotive paints. Wax provides an invisible barrier to protect the paint. Since carnauba is hydroscopic, meaning that it naturally absorbs water, it expands upon application to a car's painted surface and protects it from the elements. Pure carnauba is impossible to apply in such form -- it is rock-hard. Pure high grade carnauba, when mixed with natural oils in ranges from 25 to 50 percent produce the deepest and richest shine to a painted surface. There are compromises in achieving such a result. Ease of application durability, and speed in getting the job done often require a greater mix of silicones and polymers and less carnauba. Those types of waxes often sacrifice depth of gloss and shine to t he paint. Your needs may be suited by specific products which balance the ease of application, depth of shine, and durability of the end result. With pure waxes with natural oils as the carrying agent, wax will adhere to the paint immediately without white residue or deposits left. Wax is applied in straight strokes in either direction and taken up with a clean terry cloth towel before it dries at the point where it becomes tacky. If wax is applied in high humidity it may streak. It may also streak due to uneven application if you apply the wax in a circular motion. Small areas should be waxed at one time. Constantly rotate the cleaning towel to apply a fresh area of the towel for proper wax removal. Use a foam applicator for the wax application rather than a cloth. The closed cell foam will not absorb wax into the material -- all you want to do is apply a thin film onto the paint for a proper application. Only a microscopic portion of wax adheres to the surface of the paint. Excess wax will only be wiped off and wasted in the process if too much wax is applied at one time. An eight ounce container of wax should enable you to do ten to twenty applications of your car's finish. The Facts Behind Wax For many detailers, nothing finishes off a well-detailed car like a high quality finish wax or polish.

Themes of Blackberry Picking by Seamus Heaney Essays -- essays researc

Blackberry picking by Seamus Heaney is about time, gluttony, limitations of life, and to some extent, the struggles of life. Heaney writes retrospectively about his life, with hindsight, about how he as a child, would go blackberry picking during a particular time of year. Throughout the poem and particularly in the first stanza, Heaney uses a wide range of literary devices such as intense imagery or sensory imagery, exceptionally meaningful metaphors and alliteration. Alliteration is used quite often in the poem. Throughout the whole poem, there is a frequent repetition of â€Å"b† words, such as â€Å"big dark blobs burned†. In the readers mind, this creates a more powerful image of the berries, and gives a strong impression of their shape and colour. There is quite a bit of imagery used in the first stanza, language that appeals to a sense or any combination of the sense. â€Å"Its flesh sweet like a thickened wine†, a glossy purple clot†. Apparently, thickened wine is tasty, so it appeals to the taste and so does the sweetness of the thickened wine. He also describes the blackberries as â€Å"Leave stains upon the tongue†. Throughout the whole poem, there is a constant repetition of the word blood or a metaphor or simile referring to blood. There is also reference to flesh on several occasions to make the berries sound desirable. Blood indicates the juice of the berries and flesh indicates what is within. An example of a metaphor is when Heaney describes the berries as a â€Å"glossy purple clot†. This smart use of an imagery and a metaphor at the same time gives an image of a ripe berry. There is also a smart use of a simile, â€Å"hard as a knot†, for the unripe berries. When Heaney says â€Å"hard as a knot†, it sounds rather short, sugge... ...mongst children, he had a hope in himself that this time it would be different, that this time the berries would not rot, an optimism of a naà ¯ve and inexperienced child. The final part of the poem, yet perhaps the most appealing which sums up what happens each year, is how he would always have faith inside himself the next year that they would not rot. There is a rhyme of the last word of the second last stanza,†rot†, and â€Å"not†. This is the only part of the poem that rhymes, and it is rather smart to end the poem on a rhyming note. In conclusion, Black-berry picking by Seamus Heaney is a fine piece of poetry set alive by metaphors, similes, alliteration, imagery and other literary devices. Heaney’s poem seems to be violent and brutal, and has a lesson to be learnt behind the poem, a message deep but not linked with childhood, linked to the struggles of life.

The Vampire Diaries: The Awakening Chapter Six

September 26 Dear Diary, I'm sorry it's been so long, and I can't really explain why I haven't written-except that there are so many things I feel frightened to talk about, even to you. First, the most terrible thing happened. The day that Bonnie and Meredith and I were at the cemetery, an old man was attacked there, and almost killed. The police still haven't found the person who did it. People think the old man was crazy, because when he woke up he started raving about â€Å"eyes in the dark† and oak trees and things. But I remember what happened t us that night, and I wonder. It scares me. Everyone was scared for a while, and all the kids had to stay inside after dark or go out in groups. But it's been about three weeks now, and no more attacks, so the excitement is dying down. Aunt Judith says it must have been another vagrant that did it. Tyler Smallwood's father even suggested that the old man might have done it to himself-though I would like to see somebody bite himself in the throat. But mostly what I've been busy with is Plan B. As far as it goes, it's been going well. I've gotten severalletters and a bouquet of red roses from â€Å"Jean-Claude† (Meredith's uncle is a florist), and everybody seems to have forgotten that I was ever interested in Stefan. So my social position's secure. Even Caroline hasn't been making any trouble. In fact, I don't know what Caroline is doing these days, and I don't care. I never see her at lunch or after school anymore; she seems to have drawn away from her old crowd completely. There's only one thing I docare about right now. Stefan. Even Bonnie and Meredith don't realize how important he is to me. I'm afraid to tell them; I'm afraid they'll think I'm crazy. At school I wear a mask of calm and control, but on the inside- well, every day it just gets worse. Aunt Judith has started to worry about me. She says I don't eat enough these days, and she's right. I can't seem to concentrate on my classes, or even on anything fun like the Haunted House fund-raiser. I can't concentrate on anything but him. And I don't even understand why. He hasn't spoken to me since that horrible afternoon. But I'll tell you something strange. Last week in history class, I glanced up and caught him looking at me. We were sitting a few seats apart, and he was turned completely sideways in his desk, just looking.For a moment I felt almost frightened, and my heart started pounding, and we just stared at each other -and then he looked away. But since then it's happened twice more, and each time I felt his eyes on me before I saw them. This is the literal truth. I know it's not my imagination. He isn't like any boy I've ever known. He seems so isolated, so lonely. Even though it's his own choice. He's made quite a hit on the football team, but he doesn't hang around with any of the guys, except maybe Matt. Matt's the only one he talks to. He doesn't hang around with any girls, either, thatIcan see, so maybe the narc rumor is doing some good. But it's more like he's avoiding other people than they're avoiding him. He disappears in between classes and after football practice, and I've never once seen him in the cafeteria. He's never invited anybody to his room at the boarding house. He never visits the coffee shop after school . So how can I ever get him someplace where he can't run from me? This is the real problem with Plan B. Bonnie says, â€Å"Why not get stuck in a thunderstorm with him, so you have to huddle together to conserve body warmth?† And Meredith suggested that my car could break down in front of the boarding house. But neither of those ideas is practical,and I'm going insane trying to come up with something better . Every day it's getting worse for me. I feel as if I were a clock or something, winding up tighter and tighter. If I don't find something to do soon, I'll- I was going to say â€Å"die.† The solution came to her quite suddenly and simply. She felt sorry about Matt; she knew he'd been hurt by the Jean-Claude rumor. He'd hardly spoken to her since the story had broken, usually passing her with a quick nod. And when she ran into him one day in an empty hall outside of Creative Writing, he wouldn't meet her eyes. â€Å"Matt-† she began. She wanted to tell him that it wasn't true, that she would never have started seeing another boy without telling him first. She wanted to tell him that she'd never meant to hurt him, and that she felt terrible now. But she didn't know how to begin. Finally, she just blurted out, â€Å"I'm sorry!† and turned to go in to class. â€Å"Elena,† he said, and she turned back. He was looking at her now, at least, his eyes lingering on her lips, her hair. Then he shook his head as if to say the joke was on him. â€Å"Is this French guy for real?† he finally demanded. â€Å"No,† said Elena immediately and without hesitation. â€Å"I made him up,† she added simply, â€Å"to show everybody I wasn't upset about-† She broke off. â€Å"About Stefan. I get it.† Matt nodded, looking both grimmer and somewhat more understanding. â€Å"Look, Elena, thatwas pretty lousy of him. But I don't think he meant it personally. He's that way with everybody-† â€Å"Except you.† â€Å"No. He talks to me, sometimes, but not about anything personal. He never says anything about his family or what he does outside of school. It's like-like there's a wall around him that I can't get through. I don't think he'll ever let anybody get through that wall. Which is a damn shame, because I think that behind it he's miserable.† Elena pondered this, fascinated by a view of Stefan she'd never considered before. He always seemed so controlled, so calm and undisturbed. But then, she knew she seemed that way herself to other people. Was it possible that underneath he was as confused and unhappy as she was? It was then that the idea came, and it was ridiculously simple. No complicated schemes, no thunderstorms or cars breaking down. â€Å"Matt,† she said, slowly, â€Å"don't you think it would be a good thing if somebody did get behind that wall? A good thing for Stefan, I mean? Don't you think that would be the best thing that could happen to him?† She looked up at him intensely, willing him to understand. He stared at her a moment, then shut his eyes briefly and shook his head in disbelief. â€Å"Elena,† he said, â€Å"you are incredible. You twist people around your little finger, and I don't think you even know you're doing it. And now you're going to ask me to do something to help you ambush Stefan, and I'm such a dumb sucker I might even agree to do it.† â€Å"You're not dumb, you're a gentleman. And Ido want to ask you a favor, .but only if you think it's right. I don't want to hurt Stefan, and I don't want to hurt you.† â€Å"Don't you?† â€Å"No. I know how that must sound, but it's true. I only want-† She broke off again. How could she explain what she wanted when she didn't even understand it herself? â€Å"You only want everybody and everything revolving around Elena Gilbert,† he said bitterly. â€Å"You only want everything you don't have.† Shocked, she stepped back and looked at him. Her throat swelled, and warmth gathered in her eyes. â€Å"Don't,† he said. â€Å"Elena, don't look like that. I'm sorry.† He sighed. â€Å"All right, what is it I'm supposed to do? Hog-tie him and dump him on your doorstep?† â€Å"No,† said Elena, still trying to make the tears go back where they belonged. â€Å"I only wanted you to get him to come to the Homecoming Dance next week.† Mart's expression was odd. â€Å"You just want him to be at the dance.† Elena nodded. â€Å"All right. I'm pretty sure he'll be there. And, Elena†¦ there really isn't anybody but you I want to take.† â€Å"All right,† said Elena after a moment. â€Å"And, well, thank you.† Matt's expression was still peculiar. â€Å"Don't thank me, Elena. It's nothing†¦ really.† She was puzzling over that when he turned away and walked down the hall. â€Å"Hold still,† said Meredith, giving Elena's hair a reproving twitch. â€Å"I still think,† said Bonnie from the window seat, â€Å"that they were both wonderful.† â€Å"Who?† Elena murmured absently. â€Å"As if you didn't know,† said Bonnie. â€Å"Those two guys of yours who pulled off the last-minute miracle at the game yesterday. When Stefan caught that last pass, I thought I was going to faint. Or throw up.† â€Å"Oh,please ,† said Meredith. â€Å"And Matt-that boy is simply poetry in motion†¦Ã¢â‚¬  â€Å"And neither of them is mine,† Elena said flatly. Under Meredith's expert fingers, her hair was becoming a work of art, a soft mass of twisted gold. And the dress was all right; the iced-violet color brought out the violet in her eyes. But even to herself she looked pale and steely, not softly flushed with excitement but white and determined, like a very young soldier being sent to the front lines. Standing on the football field yesterday when her name was announced as Homecoming Queen, there had been only one thought in her mind. Hecouldn't refuse to dance with her. If he came to the dance at all, he couldn't refuse the Homecoming Queen. And standing in front of the mirror now, she said it to herself again. â€Å"Tonight anyone you want will be yours,† Bonnie was saying soothingly. â€Å"And, listen, when you get rid of Matt, can I take him off and comfort him?† Meredith snorted. â€Å"What's Raymond going to think?† â€Å"Oh,you can comforthim . But, really, Elena, I like Matt. And once you home in on Stefan, your threesome is going to get a little crowded. So†¦Ã¢â‚¬  â€Å"Oh, do whatever you want. Matt deserves some consideration.† He's certainly not getting it from me, Elena thought. She still couldn't exactly believe what she was doing to him. But just now she couldn't afford to second-guess herself; she needed all her strength and concentration. â€Å"There.† Meredith put the last pin in Elena's hair. â€Å"Now look at us, the Homecoming Queen and her court-or part of it, anyway. We're beautiful.† â€Å"Is that the royal ‘we'?† Elena said mockingly, but it was true. They were beautiful. Meredith's dress was a pure sweep of burgundy satin, gathered tight at the waist and pouring into folds from the hips. Her dark hair hung loose down her back. And Bonnie, as she stood up and joined the others in front of the mirror, was like a shimmering party favor in pink taffeta and black sequins. As for herself†¦ Elena scanned her image with an experienced eye and thought again, The dress is all right. The only other phrase that came to mind wascrystallized violets . Her grandmother had kept a little jar of them, real flowers dipped in crystallized sugar and frozen. They went downstairs together, as they had for every dance since the seventh grade-except that before, Caroline had always been with them. Elena realized with faint surprise that she didn't even know who Caroline was going with tonight. Aunt Judith and Robert-soon to be Uncle Robert-were in the living room, along with Margaret in her pajamas. â€Å"Oh, you girls all look lovely,† said Aunt Judith, as fluttery and excited as if she were going to the dance herself. She kissed Elena, and Margaret held up her arms for a hug. â€Å"You're pretty,† she said with four-year-old simplicity. Robert was looking at Elena, too. He blinked, opened his mouth, and closed it again. â€Å"What's the matter, Bob?† â€Å"On.† He looked at Aunt Judith, seeming embarrassed. â€Å"Well, actually, it just occurred to me that Elena is a form of the name Helen. And for some reason I was thinking of Helen of Troy.† â€Å"Beautiful and doomed,† said Bonnie happily. â€Å"Well, yes,† said Robert, not looking happy at all. Elena said nothing. The doorbell rang. Matt was on the step, in his familiar blue sports coat. With him were Ed Goff, Meredith's date, and Raymond Hernandez, Bonnie's. Elena looked for Stefan. â€Å"He's probably already there,† said Matt, interpreting her glance. â€Å"Listen, Elena-† But whatever he had been about to say was cut off in the chatter from the other couples. Bonnie and Raymond went with them in Matt's car, and kept up a constant stream of witticisms all the way to the school. Music drifted out the open doors of the auditorium. As Elena stepped out of the car, a curious certainty rushed over her. Something was going to happen, she realized, looking at the square bulk of the school building. The peaceful low gear of the last few weeks was about to slip into high. I'm ready, she thought. And hoped it was true. Inside, it was a kaleidoscope of color and activity. She and Matt were mobbed the instant they came in, and compliments rained down on both of them. Elena's dress†¦ her hair†¦ her flowers. Matt was a legend in the making: another Joe Montana, a sure bet for an athletic scholarship. In the dizzying whirl that should have been life and breath to her, Elena kept searching for one dark head. Tyler Smallwood was breathing heavily on her, smelling of punch and Brut and Doublemint gum. His date was looking murderous. Elena ignored him in the hopes that he would go away. Mr. Tanner passed by with a soggy paper cup, looking as if his collar was strangling him. Sue Carson, the other senior homecoming princess, breezed up and cooed over the violet dress. Bonnie was already out on the dance floor, shimmering under the lights. But nowhere did Elena see Stefan. One more whiff of Doublemint and she was going to be sick. She nudged Matt and they escaped to the refreshment table, where Coach Lyman launched into a critique of the game. Couples and groups came up to them, spending a few minutes and then retreating to make room for the next in line. Just as if we reallywere royalty, thought Elena wildly. She glanced sideways to see if Matt shared her amusement, but he was looking fixedly off to his left. She followed his gaze. And there, half concealed behind a cluster of football players, was the dark head she'd been looking for. Unmistakable, even in this dim light. A thrill went through her, more of pain than anything else. â€Å"Now what?† said Matt, his jaw set. â€Å"The hog-tying?† â€Å"No. I'm going to ask him to dance, that's all. I'll wait until we've danced first, if you want.† He shook his head, and she set out toward Stefan through the crowd. Piece by piece, Elena registered information about him as she approached. His black blazer was of a subtly different cut than the other boys', more elegant, and he wore a white cashmere sweater under it. He stood quite still, not fidgeting, a little apart from the groups around him. And, although she could see him only in profile, she could see he wasn't wearing his glasses. He took them off for football, of course, but she'd never seen him close up without them. It made her feel giddy and excited, as if this were a masquerade and the unmasking time had come. She focused on his shoulder, the line of his jaw, and then he was turning toward her. In that instant, Elena was aware that she was beautiful. It wasn't just the dress, or the way her hair was done. She was beautiful in herself: slender, imperial, a thing made of silk and inner fire. She saw his lips part slightly, reflexively, and then she looked up into his eyes. â€Å"Hello.† Was that her own voice, so quiet and self-assured? His eyes were green. Green as oak leaves in summer. â€Å"Are you having a good time?† she said. I am now . He didn't say it, but she knew it was what he was thinking; she could see it in the way he stared at her. She had never been so sure of her power. Except that actually he didn't look as if he were having a good time; he looked stricken, in pain, as if he couldn't take one more minute of this. The band was starting up, a slow dance. He was still staring at her, drinking her in. Those green eyes darkening, going black with desire. She had the sudden feeling that he might jerk her to him and kiss her hard, without ever saying a word. â€Å"Would you like to dance?† she said softly. I'm playing with fire, with something I don't understand, she thought suddenly. And in that instant she realized that she was frightened. Her heart began to pound violently. It was as if those green eyes spoke to some part of her that was buried deep beneath the surface-and that part was screaming â€Å"danger† at her. Some instinct older than civilization was telling her to run, to flee. She never moved. The same force that was terrifying her was holding her there. This is out of control, she thought suddenly. Whatever was happening here was beyond her understanding, was nothing normal or sane. But there was no stopping it now, and even while frightened she was reveling in it. It was the most intense moment she'd ever experienced with a boy, but nothing at all was happening. He was just gazing at her, as if hypnotized, and she was gazing back, while the energy shimmered between them like heat lightning. She saw his eyes go darker, defeated, and felt the wild leap of her own heart as he slowly stretched out one hand. And then it all shattered. â€Å"Why, Elena, how sweet you look,† said a voice, and Elena's vision was dazzled with gold. It was Caroline, her auburn hair rich and glossy, her skin tanned to a perfect bronze. She was wearing a dress of pure gold lame that showed an incredibly daring amount of that perfect skin. She slipped one bare arm through Stefan's and smiled lazily up at him. They were stunning together, like a couple of international models slumming at a high school dance, far more glamorous and sophisticated than anyone else in the room. â€Å"And that little dress is so pretty ,† continued Caroline, while Elena's mind kept on running on automatic. That casually possessive arm linked with Stefan's told her everything: where Caroline had been at lunch these past weeks, what she had been up to all this time. â€Å"I told Stefan we simply had to stop by for a moment, but we're not going to stay long. So you don't mind if I keep him to myself for the dances, do you?† Elena was strangely calm now, her mind a humming blank. She said no, of course she didn't mind, and watched Caroline move away, a symphony in auburn and gold. Stefan went with her. There was a circle of faces around Elena; she turned from them and came up against Matt. â€Å"You knew he was coming with her.† â€Å"I knew she wanted him to. She's been following him around at lunchtime and after school, and kind of forcing herself on him. But†¦Ã¢â‚¬  â€Å"I see.† Still held in that queer, artificial calm, she scanned the crowd and saw Bonnie coming toward her, and Meredith leaving her table. They'd seen, then. Probably everyone had. Without a word to Matt, she moved toward them, heading instinctively for the girls' rest room. It was packed with bodies, and Meredith and Bonnie kept their remarks bright and casual while looking at her with concern. â€Å"Did you see that dress?† said Bonnie, squeezing Elena's fingers secretly. â€Å"The front must be held on with superglue. And what's she going to wear to the next dance? Cellophane?† â€Å"Handiwrap,† said Meredith. She added in a low voice, â€Å"Are you okay?† â€Å"Yes.† Elena could see in the mirror that her eyes were too bright and that there was one spot of color burning on each cheek. She smoothed her hair and turned away. The room emptied, leaving them in privacy. Bonnie was fiddling nervously with the sequined bow at her waist now. â€Å"Maybe it isn't such a bad thing after all,† she said quietly. â€Å"I mean, you haven't thought about anything else but him in weeks. Nearly a month. And so maybe it's just for the best, and you can move on to other things now, instead of†¦ well, chasing him.† Et tu, Brute? thought Elena. â€Å"Thank you so much for your support,† she said aloud. â€Å"Now, Elena, don't be like that,† Meredith put in. â€Å"She isn't trying to hurt you, she just thinks-† â€Å"And I suppose you think so, too? Well, that's fine. I'll just go out and find myself some other things to move on to. Like some other best friends.† She left them both staring after her. Outside, she threw herself into the whirl of color and music. She was brighter than she had ever been at any dance before. She danced with everyone, laughing too loudly, flirting with every boy in her path. They were calling her to come up and be crowned. She stood on the stage, looking down on the butterfly-bright figures below. Someone gave her flowers; someone put a rhinestone tiara on her head. There was clapping. It all passed as if in a dream. She flirted with Tyler because he was closest when she came off the stage. Then she remembered what he and Dick had done to Stefan, and she broke off one of the roses from her bouquet and gave it to him. Matt was looking on from the sidelines, his mouth tight. Tyler's forgotten date was almost in tears. She could smell alcohol along with the mint on Tyler's breath now, and his face was red. His friends were around her, a shouting, laughing crowd, and she saw Dick pour something from a brown paper bag into his glass of punch. She'd never been with this group before. They welcomed her, admiring her, the boys vying for her attention. Jokes flew back and forth, and Elena laughed even when they didn't make sense. Tyler's arm circled her waist, and she just laughed harder. Out of the corner of her eye she saw Matt shake his head and walk away. The girls were getting shrill, the boys rowdy. Tyler was nuzzling moistly at her neck. â€Å"I've got an idea,† he announced to the group, hugging Elena more tightly to him. â€Å"Let's go someplace more fun.† Somebody shouted, â€Å"Like where, Tyler? Your dad's house?† Tyler was grinning, a big, boozy, reckless grin. â€Å"No, I mean someplace where we can leave our mark. Like the cemetery.† The girls squealed. The boys elbowed each other and faked punches. Tyler's date was still standing outside the circle. â€Å"Tyler, that's crazy,† she said, her voice high and thin. â€Å"You know what happened to that old man. I won't go there.† â€Å"Great, then, you stay here.† Tyler fished keys out of his pocket and waved them at the rest of the crowd. â€Å"Whoisn't afraid?† he said. â€Å"Hey, I'm up for it,† said Dick, and there was a chorus of approval. â€Å"Me, too,† said Elena, clear and defiant. She smiled up at Tyler, and he practically swung her off her feet. And then she and Tyler were leading a noisy, roughhousing group out into the parking lot, where they were all piling into cars. And then Tyler was putting the top of his convertible down and she was climbing in, with Dick and a girl named Vickie Bennett squashing into the back seat. â€Å"Elena!† somebody shouted, far away, from the lighted doorway at the school. â€Å"Drive,† she said to Tyler, taking off her tiara, and the engine growled to life. They burned rubber out of the parking lot, and the cool night wind blew into Elena's face.

One Flew over the Cuckoo’s Nest Final Scene Essay

In the final scene of One Flew Over the Cuckoo’s Nest, Chief Bromden is the main character. The only two characters in this scene are Bromden and McMurphy, and even though McMurphy would be considered the main character of the entire film, Bromden is the main character of this scene because he has the strongest desire. In fact, in this one scene, Bromden has many desires that to him, are life or death. Initially, after hearing rumours of McMurphy’s escape, when McMurphy returns to his bed, Bromden thinks that he has returned in order to escape with him. At this point, Bromden’s desire is simply to escape the ward. He then realizes that McMurphy has not returned to escape, but that he has actually been lobotomized. When he sees this, he smothers McMurphy to death, knowing that McMurphy would not want to live like this, or have the others see him in this state. At this point in the scene, Bromden’s desire is to protect McMurphy’s pride. Once he fulfills this, he returns to his initial desire, as well as what used to be McMurphy’s desire to escape. He achieves this by using McMurphy’s escape plan; lifting the impossibly heavy hydrotherapy console and throwing it through the window. In doing this, Bromden not only achieves his own desire, but also completes the goal that McMurphy was unable to complete. Throughout the movie, Chief Bromden’s status quo is that he is inactive and lacks opinions and feelings. All of the other patients at the hospital think he is â€Å"deaf and dumb†. McMurphy is the only one to later discover that Bromden is neither deaf, nor mute. Before the tension in the final scene takes place, Bromden seems too passive and nonchalant to escape on his own, and he definitely seems much too harmless to murder anyone. In this scene, Bromden is forced to change when he sees that McMurphy has been lobotomized. His respect for McMurphy, and despair that he has been lobotomized and is no longer the powerful leader he used to be initiates the change in Bromden. Wanting McMurphy to die with honour, and having others remember him the way he was, Bromden finds the power to smother McMurphy to death. After McMurphy is dead, Bromden still has the initial desire of escaping. Before, he had been waiting for McMurphy to escape with him, because McMurphy was more intrepid and gallant than Bromden, and would be able to lead him. Now that McMurphy is unable to escape with him, Bromden is forced to find the courage to escape on his own. In this scene, the stakes are very high for Bromden. If he does not escape, he will have to live miserably in the mental institution for the rest of his life. The stakes are raised when he discovers that McMurphy has been lobotomized. Now, he takes on the responsibility to do what he knew McMurphy would want him to do- not allow him to live and be seen as a lobotomized vegetable. If Bromden does not succeed in killing McMurphy, Bromden will feel like he has let down and humiliated McMurphy. Once Bromden has smothered McMurphy, the stakes are once again raised as now not only does he have to escape because he doesn’t want to live in the hospital for the rest of his life, but he also has to leave because he has just murdered McMurphy, even though he did so out of respect. If he does not escape right away, he most likely will get in trouble for the murder of McMurphy (and probably get lobotomized himself) , he will have to spend his life in the miserable existence of the institution, and he will not have fulfilled McMurphy’s and his own desire to escape. The main conflict that takes place in this scene is the fact that Bromden has such a strong desire to escape with McMurphy, but when McMurphy is no longer able to escape, it becomes much more difficult to Bromden. The audience fears that upon discovering that McMurphy has been lobotomized, he will not be assertive enough to escape on his own. Until it is confirmed that McMurphy has been lobotomized, the audi ence hopes that the two of them will successfully escape together, but when it becomes clear that this will not happen, the audience wonders how Bromden will deal with this. He resolves the conflict by finding the courage to escape on his own. Another conflict in this scene is the fact that McMurphy, who is the most outspoken and powerful patient in the ward has been lobotomized. The fact that he basically no longer has a mind of his own not only gets in the way of Bromden’s desire, but will also destroy any optimism and faith that any of the other patients have. This is also a conflict for Bromden because he knows that McMurphy would be miserable if the old him were to see the lobotomized him, and Bromden does not want McMurphy to be shamed. Bromden deals with this conflict by killing McMurphy, that way none of the other patients will see him in this state, and McMurphy will not have to live this way for any longer. The main twist in this scene comes when McMurphy returns. Bromden is relieved because he thinks that McMurphy has returned to escape with him, but instead he has been lobotomized and no longer has any desire to escape. This comes as a shock to both Bromden, because it is the opposite of what he has expected, and also to the audience, because seeing McMurphy in the state of being lobotomized completely contrasts the character of McMurphy that the audience has come to know. The technique of juxtaposition makes this twist extremely effective. McMurphy is a character who is always active, energetic, powerful, and lively. He prides himself on his non-alignment, so the audience knows that to McMurphy, receiving a lobotomy is the worst thing that could possibly happen to him. Another technique used to make this twist so powerful is the uncertainty of both Bromden and the audience. First, when the other patients talk about how McMurphy has escaped, both Bromden and the audience believe that this plausibly occurred. When McMurphy is seen returning, acting lifeless, by now we know how manipulative and calculating McMurphy is, so the audience is unsure of whether McMurphy has actually been lobotomized, or if he is just pretending to be obedient so he can return, and then escape. We do not know for sure that McMurphy has actually been lobotomized until Bromden discovers the scars on his head. This provides a real shock because up until now, both Bromden and the audience was pretty sure that McMurphy was just faking it and the two of them would end up escaping together. A secondary twist in this scene is when Bromden suffocates McMurphy. Although Bromden did this with the best intention for McMurphy, it is still surprising to the audience, because no one could’ve pictured Bromden killing anyone, especially McMurphy who he has so much respect for. As mentioned above, Bromden has many strong desires throughout this scene. His main desire is to escape the ward. His secondary desire is to make sure that McMurphy dies with honour and does not have to live being the opposite of the lively, outspoken person he once was. He fulfills both of these desires, and even though he is unable to escape with McMurphy, which was his original intention, he still is able to escape on his own, and free himself from the mental institution. McMurphy, on the other hand, does not have much desire in this scene. Throughout the film, McMurphy has more desire than any other character; he wants to be in charge, he doesn’t want to do work, he wants to help and lead the other patients in the ward, he is a hedonist, who wants to please himself, and ultimately, his main desire is to escape. Despite all of this, by the last scene, he has been lobotomized, and therefore all of his desire has been drained. He is now a vegetable, who is unable to and has no will to escape with Bromden. His lack of desire makes Bromden’s desire even stronger, because McMurphy was the most passionate patient of them all, but now he is basically brain dead. This ignites Bromden’s desire to put an end to McMurphy’s now meaningless life, and it further motivates his desire to escape the hospital, because he sees how it is able to drain even the most passionate and spirited person.

Media Violence Not Good for Children Essay

The effects of media violence on children have been studied for over thirty years, with researchers repeatedly finding correlations between aggressive/violent behavior and the viewing of media violence. These education and psychology researchers began asserting years ago that a cause-and-effect relationship existed, i.e., viewing media violence was one of the causative factors in aggressive behavior in children. We often use the phrase that â€Å"children are impressionable.† We mean that children do not see the world through the same filter of experience that adults do. Children see things more literally. They do not yet possess the sophisticated sensibilities to distinguish fiction from reality. It matters a great deal, therefore, how much TV children watch and what they view. Young children often mimic what they see. Parents and caretakers observe this regularly. If children see people punching and kicking, they may act out that same behavior. Older children develop, through years of watching, sub-conscious mental plans of how they will react in conflict situations. For years they have seen conflicts resolved by violence, and they sub-consciously develop the same reaction plan. When confronted with a conflict, the tendency is to react the way they have seen countless others react—in a combative, aggressive or violent manner. Researchers call this developing a â€Å"cognitive script.† Through television, video games, and movies, children and teens view countless acts of violence, brutality, and terror as part of entertainment. They become conditioned to associating violence with entertainment. This is the classical conditioning. First-person shooter video games develop our children’s skills in operating weapons. The games reward marksmanship, and further reinforce the association of killing with entertainment. In the past, the heroes of movie and television shows were usually people who strictly followed the law. Now, heroes are often people who take the law into their own hands, who see an injustice or evil and seek to rectify it personally, sometimes brutally, regardless of the consequences. Such portrayals signal to a child society’s approval of that behavior. Lacking the judgment that comes with age, a child who feels he has been dealt with unfairly may copy that behavior, with disastrous consequences

Paterson Job Grading System

What Is the Paterson Job Grading System? By T. GAVAZA The Paterson grading system is used to evaluate aspects of jobs. The Paterson grading system is an analytical method of job evaluation, used predominantly in South Africa. It analyzes decision-making in job task performance or job descriptions, and sorts jobs into six groups that are graded and grouped into two to three sub-grades–such as stress factors, individual tolerance, length of job and number of job responsibilities–that correspond to organizational levels. The six grades, also called bands, define pay scales. Identification 1.According to â€Å"Classification of Jobs into Levels of Work: Four Reliability Studies,† at the University of Zimbabwe, the Paterson system places job decision-making into six groups or bands–policy making, programming, interpretive, routine, automatic and defined. These groups correspond to the following organizational levels–top management, senior management, mid dle management, junior management and skilled positions, semi-skilled positions and unskilled positions. Features 2. Comprised of grades A through F, Paterson's grading system is listed below with an explanation of the corresponding graded decision making.An upper grade reflects a job requiring coordination or supervision, and a lower grade reflects non-coordinating jobs. A- Prescribed or defined decisions. Jobs are performed with limited training for grade A, and employees, such as unskilled workers, decide when and how fast to execute tasks. B, lower- Automatic or operative decisions B, upper- Coordinating, automatic decisions. Theory or systems knowledge for grade B is not required, though employees, such as semi-skilled workers, can decide where and when to perform operations. C, lower- Routine decisionsC, upper- Coordinating, routine decisions Theory and/or systems knowledge for grade C is required, and employees, such as skilled workers or supervisory personnel, decide what ha s to be done–through knowledge and experience–for deterministic outcomes . D, lower- Interpretive decisions D, upper- Coordinating, interpretive decisions Grade D involves middle management's ability to optimize resources through decision-making about processes and procedures with planning programs or budgets one year ahead. E, lower- Programming decisions E, upper- Coordinating, programming decisionsGrade E consists of senior management's cross-functional coordination–coordinating many departments–and strategic policy decisions made by top management, with plans made five years in advance. F, lower- Policy decisions F, upper- Coordinating, policy decisions Grade F consists of top management, such as a board or CEO who manages organizational scope and goals. Comparison to Castellion's Grading System 3. Paterson's grading system is more reliable than Castellion's grading system, based on a reliability study at the University of Zimbabwe. More students made errors in re-grading 18 jobs

Aristotle vs. Plato Essay

one of the most influential minds in doctrine including political theory is besides known as the legendary Greek philosopher. logician. scientist. and pupil of Plato. Aristotle studied in Plato’s Academy in Athens. Plato being the pupil of Socrates and besides known as the male parent of political theory helped educate and determine the head of immature Aristotle who so became known as the first political scientist. It was the diverse ambiance in which Aristotle was raised. along with his instruction and so his many travels that gave him the deepness of being able to see and see the good and the mistakes in the universe. Aristotle saw doctrine within the physical universe. He believed that our truths came from physically interrupting down systems and analyzing them to understand them. He had experience with travelling and seeing different universe governments. Aristotle believed one had to interrupt things down through empirical observation and scientifically. Therefore deriving his rubric of political scientist who used scientific methods to analyse and reason his beliefs. ideas. and sentiments. Aristotle believed that one must believe critically and rationally utilizing inductive ground and an empiricist attack. Aristotle studied over 100 governments and analyzed which 1s were the strongest. how they functioned. and which best served the people. He concluded that the best type of authorities government was that of one with a strong in-between category to equilibrate the upper and lower categories to make the most stable and merely society. He believed that this government would be a combination of facets from a civil order ( an elected authorities that has the bulk of the common people’s best involvement ) . nobility ( regulation by the rich but with the people’s involvement in head ) . and monarchy ( a individual swayer if there is the possible that that metropolis has a qualified swayer as such which Aristotle admits is rare and can easy turn into dictatorship ) . Aristotle felt that most people did non hold adequate intelligence or power to manage running the authorities so it is best to set those in power who do. In his work. The Politics. Aristotle is explains that a metropolis is made up of many people. many persons who possess different positions and values. It is the diverse group of the metropolis that makes it a metropolis. If a metropolis were to go more and more a unit so it would lose its singularity in sentiments and do up and get the better of the full definition of a metropolis. Aristotle believes that people are entitled to their ain ideas. sentiments. and ownership. He states in his work ( Politics. page 40-41 ) that is non in the nature of a metropolis to be a unit. Aristotle believes that metropoliss are made up different parts and different entities that work together as a whole. They do non work as one but instead work together. Aristotle provinces that utmost fusion of a metropolis is non a good thing. Aristotle states that â€Å"The metropolis exists for the interest of a good life† . significance that a metropolis is at that place to map as an mercantile establishment to run into the demands of each of its citizens. Each citizen has his ain demand to be met. Aristotle realizes that what makes one individual happy may non do the other happy. â€Å"It is obvious that a metropolis which goes on going more and more of a unit will finally discontinue to be a metropolis at all. A metropolis. by its nature. is some kind of plurality† ( Aristotle. p. 39 ) . Aristotle is reasoning that if a metropolis becomes more and more incorporate so merely one voice is heard and it will so miss the really alone constituents of different voices. maps. and positions that made it a metropolis in the first topographic point. Aristotle believed that a metropoliss intent was to heighten plurality. a diversified metropolis that comes together to map. Known as the first political philosopher. Plato saw all physical things to be illusional. to be â€Å"a shadow of reality† ( Simile of a Cave ) and he stated that worlds are falsely led by their senses. Because of this. harmonizing to Plato- merely a society lead by Philosophers is a merely society ( Republic 473-475 ) . Plato believes that philosophers are the lone 1s to seek out absolute truth and justness and will hence be more educated and more inclined to do the best determinations for the group. At the same clip Plato thought that every individual had the possible to obtain ground. truth. and cognition by â€Å"stepping out of the cave and seeing the â€Å"light† . Plato believed that if people were educated decently so they would do good determinations. He believed people’s basic nature to be good. Whereas Aristotle tended to more of a realist and knew that some people did non hold it in them to â€Å"reason† or to â€Å"see the light† . In his book. The Republic. Plato discusses his belief in making a metropolis like utopia where there are no categories and everyone portions everything including adult females. kids and belongings. Plato’s positions are a bit unrealistic because he seems to non take into consideration human nature. Worlds are of course competitory and with clip would go more individualistic. Plato would non hold with Aristotle’s transition that a metropolis that grows into a unit will finally discontinue to be a metropolis. Plato on the reverse would province that the more of a unit the metropolis becomes. the more of Utopia it will be with everyone in common idea and understanding. common ownership of land. animate beings. and adult females. Plato’s ideal metropolis was that of a Utopian that would be governed by philosophers. He desired a perfect society with no jobs where people were happy. His society would dwell of three categories: swayers. aides and labourers. The swayers would be the philosopher male monarchs. would ever govern the province. The aides ( warriors ) would support the province and the labourers would be responsible for material production of goods needed by the province. Plato believed that the philosopher male monarchs should run the province being that they are the wisest and best possible campaigners. Plato was wholly molded by his instructor Socrates. taking on all of his ideas and doctrines whereas Plato’s pupil Aristotle took on many of his ain decisions and ideas many times beliing Plato’s. Plato was more of a dreamer while Aristotle was more of a realist. Where Plato sought out the â€Å"Utopia ideal situation† . Aristotle sought out how to break the current state of affairs. Another difference about Aristotle and Plato’s attack is that Plato is more focussed on the flawlessness of the universe and how people come to cognize about this. While Aristotle focal points more on the observations in nature and he knows non everything in nature is perfect. Aristotle. unlike Plato. was non focussed or concerned about the thought of a perfect society ; alternatively he wanted to better upon the 1 that he was portion of during his being. He believed that society should endeavor to use the best system it can achieve. He felt that Utopia was unrealistic and pointless. It would be best that society was at its highest possible and you can merely better upon the bing one. Therefore the integrity of a metropolis would decrease the individualism and different constituents that unambiguously make up a metropolis. therefore in the terminal the devastation of the really significance and map of what a metropolis ought to be.