Why Search Engines and Databases Produce Different Types of Results

Living in the Information Age (SOS-110-OL) Writing Assignment 2 The difference between what evaluative and assessment information is provided by an Internet search using Google. com and a search using EBSCO’s Academic Search Premier Database is extremely different. I started my searches by open two different internet windows, Google on one and EBSCO on another. My Google search and EBSCO search was â€Å"articles on privacy and security on the internet†. The top result from Google was ftc. gov. This page had a list of three different microsites, two did not have any articles and the other one did. The article I found was on Malware. When I evaluate this article from the techniques from the Berkeley site, it does not rate well. It has no author and it does not cite any sources. The one plus it does have is that it is from a . gov site. Even though it does not rate well I do trust this site. The reason why I trust the site is because in the fifth step of the evaluation process, listen to your gut reaction. Think about why the page was created, the intentions of its author. My gut reaction tells me the information is coming from a government cite so I trust it. The purpose of this article was to inform and educate, there were no other intentions other than to inform and educate. My top result from EBSCO was an article from Communications of the ACM called Privacy and Security as Simple as Possible, But Not More So. The authors of this article are very creditable and qualified on the topic. This article was published to inform, give facts and some opinion. The article’s sources are document with footnotes throughout. Overall, this is a credible and useful source of information. It as creditable authors and all of the information was backed up with creditable sources. Like I said earlier the difference between what evaluative and assessment information is provided by an Internet search using Google. com and a search using EBSCO’s Academic Search Premier Database is extremely different. Search engines locate web pages that contain the keywords that the users entered. They also can find articles but it can be difficult to narrow down results. Like the search I just completed â€Å"articles on privacy and security on the internet† the search engines finds web pages not articles, so most of the information that came back from the search did not really pertain to what I was looking for. The database search on the other hand searched for actual articles that pertained to the subject that I was looking for, it is more organized and easier to access. Database much like the internet have massive amounts of data in which they can pull information but databases mainly will pull their articles from newspapers, magazines, journals and electronic reference sources so it is a more creditable source. Internet search engines and database searches can both provide good sources of information when doing searches. I found that the database search was more organize and had more information that pertained to my subject.

Why Romeo’s Mood Change When He Realises Mercution Is Dying

Romeo’s mood changes when he realizes that Mercutio is dying as he suddenly becomes regretful ‘that an hour hath (Tybalt) been my kinsman’ and decides that ‘others must end’ over ‘this black day’s fate’, whereas at the beginning of the scene he is very calm and peaceful and tells Tybalt ‘I love thee’ and that the reason he does excuses the need to react aggressively toward the ‘greeting’ Tybalt gives him calling him ‘villain’ as his hate can have ‘no better term’.Romeo is made ‘effeminate’ by Juliet’s love and so his love ‘excuses the appertaining rage’ so he doesn’t harm the Capulet, ‘whose name I (he) tenders as dearly as’ his own as he is married to Juliet. When Mercutio and Tybalt are fighting he still continues to try to keep the peace, and tells Benvolio to help ‘beat down their weapons’ which links to the fig ht in Act 1 Scene 1 where Benvolio draws his sword to prevent the fighting, showing how they aren’t opposed to force to protect people they care about.When he realises Mercutio is dying he sheds his peace keeping attitude and actively participates in the fight as either him, Tybalt ‘or both’ must go with ‘Mercutio’s soul’ ‘to keep him company’. This also contrasts with the love expressed for Tybalt earlier, as he acts more masculine instead of being ‘effeminate’ as Juliet ‘hath soften’d valour’s steel’and fights to maintain his family’s honour and also avenge the death of his ‘very friend’, which shows two sides to Romeo; one being the courtly lover who is in love with Juliet and the other being an Italian hot-blooded male.

Art, Science and Technology ( A Cabinet of Curiosities ) Essay

Art, Science and Technology ( A Cabinet of Curiosities ) - Essay Example This can be found in the Weisman Art Museum on the East Bank. While the title of this piece is Silent Music, it looks to me like a bookshelf with different shapes in each cell. Five of the objects I chose for my cabinet of curiosities may be grouped under the heading of â€Å"modernizing the traditional.† This is a suitable heading because these objects are based on traditional human tools which have played a specific function in human development. These objects have been modernized to portray a superfluous modern aesthetic which is entirely unnecessary for the object to function. The black hat, found in the Goldstein Museum has the same traditional function of all hats: it covers the head for warmth and protection. What makes this piece unique is the height, texture and shape. While a stocking cap would perform the same function as this beaver hat, this piece could be worn as a representation of social status, wealth or culture. Muslim males wear hats similar to this called Songkoks to social functions like weddings or funerals. New World fur traders may have worn these hats as evidence of their trade. The cultural significance of the Songkok or Fr ench beaver pelt overshadow the traditional role of other hats. The Eyeglass Sketches also have a traditional function which has been styled and designed. These glasses retain their function as medical devices that help humans see, but the superfluous aesthetic which makes a wearer look like Buddy Holly is a modern addition. Silent Music VII completely loses its function as a series of shelves because of the decorative contents of each box. The shapes which each shelf contains function provide an aesthetic touch which renders the actual shelves useless. The X-Ray tube is also robbed of its functionality because it exists outside of a medical center. It is not plugged in and it is not in the hands of medical professionals or physicists. Even though the tube is

The Movie Dances With Wolves Review Example | Topics and Well Written Essays - 500 words

The Dances With Wolves - Movie Review Example This paper tells that the theme of loneliness is evident when Dunbar reaches Dakota. In the company of Timmons (Robert Pastoreli), Dunbar realizes that the place has been abandoned. After releasing the wagon driver, Dunbar stays in the new station for over a month with a wolf and a horse as his only companion. Every human being needs some sense of belonging. Dunbar lives in seclusion for the first month in his new camp. His only friends and family are the two animals, a wolf, and a horse. However, socializing with animals cannot fill the void that has been created by the absence of fellow human around Dunbar’s life.  No wonder he feels for the lifestyle of the Sioux. Incidences of gift giving portray familial ties of tribal life and humanity of Lakota people. Gift exchange can be witnessed when Lieutenant Dunbar prepares coffee for Lakota band that checks on him at the fort. When the warriors leave Dunbar’s camp, they are all carrying new coffee cups, which Dunbar pro bably gave them.  When the leader of the Sioux group, Kicking Bird issues Lieutenant Dunbar with buffalo skin, a strong familial bond is portrayed. A reflection emerges of how natives lived and their traditions. Dunbar seeks human love-a missing link in his life. He falls in love with the white lady and becomes a revered figure in the Sioux community identified with the name â€Å"Dances With Wolves†. The Sioux sail against traditional stereotypes with characters such as Tantoo Cardinal exhibiting no sign of caricature.  The Sioux are wise and noble whereas the adversary tribes are the Pawnees. They are hospitable. Despite Lieutenant Dunbar being on a rival camp, they accept him as one of their own giving him a new name â€Å"Dances With Wolves†. Christianity demands that people should accommodate one another and spread love rather than hatred. It is amazing that â€Å"Stands With A Fist†, a white lady who has lived among the Sioux since childhood found a ho me and a family in people who would otherwise want so much to exterminate her life. As it emerges, it is clear that the culture of the Sioux Indians is portrayed in a manner that is similar to the Christian life. The Sioux are caring for people.

Building Environmental Assessment Method (BEAM) Assignment

Building Environmental Assessment Method (BEAM) - Assignment Example Methods by which to benchmark and enhance execution becomes the deliberate plan that grew in association with, and received by the business, at a level that makes it one of the main plans on the planet; and a driver for and implies by which to maintain solid, effective, and environment neighborly living up to expectations or living environment. Beam grasps a scope of good practices in arranging, outline, development, administration, operation, and upkeep of structures. It is adjusted to neighborhood regulations, measures and codes of practice. The beam models practices in arranging and outline. Model practices in administration, operation, and support. Practices in development and dispatching, praiseworthy best practices in meeting lawful necessities. A solid building needs to influence the soundness of its client or the earth. Pillar underlines indoor natural quality and comforts as key execution markers, with the legitimate thought of the neighborhood, provincial and worldwide ecological effects (Chung & Burnett, 1999). The BEAM plan is interesting in the way that it: Grasps an extensive variety of maintainability issues; Covers the entire life execution of structures; evaluates new structures just upon culmination, and guaranteeing real execution; Chooses BEAM Assessors arbitrarily for the venture confirmation; and Embraces administration, operation and support practices to guarantee an abnormal state of building execution (Chung & Burnett, 1999). The beam upgrades the nature of structures in Hong Kong that animate interest for structures that are more feasible. It gives an acknowledgment for enhanced execution and minimizing false claims; Give a far-reaching arrangement of execution benchmarks that can be sought after by designers and proprietors; Lessen the natural effect of structures for the entire time of the life cycle, and guarantee that ecological contemplations as incorporated for the comfortable outline and arranging stages.

The Proctor & Gamble Company Executive Financial Summary Research Paper

The Proctor & Gamble Company Executive Financial Summary - Research Paper Example The net sales for P&G remained at $79,029 million in the year 2009 whereas its net sales in 2008 were a bit high amounting to $81,748 million. The net sales for the year 2007 remained at $74,832 million. The net income for P&G remained at $13,436 million in the year 2009 whereas its net income in 2008 remained a bit low amounting to $12,075 million. For the year 2007, the net income for the year remained at $10,340 million. Cash generated by Operating Activities for P&G remained at $14,919 million in the year 2009 whereas its Cash generated by Operating Activities in 2008 remained a bit high amounting to $15,008 million. For the year 2007, Cash generated by Operating Activities for the year remained at $13,410 million. Cash used in Investing Activities for P&G remained at $(2,353) million in the year 2009 whereas its Cash used in Investing Activities in 2008 remained a bit high amounting to $(2,549) million. For the year 2007, Cash used in Investing Activities for the year remained at $(2,483) million. Cash generated by Financing Activities for P&G remained at $(10,814) million in the year 2009 whereas its Cash generated by Financing Activities in 2008 remained a bit high amounting to $(14,844) million. For the year 2007, Cash generated by Financing Activities for the year remained at $(12,453) million. P&G - A Company History - 1837-Today. (2012). P&G - A Company History - 1837-Today. Retrieved October 14, 2012, from P&G - A Company History - 1837-Today:

History of bahrain Essay Example | Topics and Well Written Essays - 1250 words

History of bahrain - Essay Example Bahrain’s Economy With a 19.36 billion dollar GDP, and a real time GDP growth rate of 2.9%, Bahrain’s major natural resources include; oil, aluminum, textiles, natural gas, fish and pearls. Financial services are responsible for nearly 25% of the GDP, with government services holding firm with 14.8%. Oil and gas and manufacturing are lagging behind them with 13.1% and 12.4% respectively. Acknowledged as the first Gulf state to discover oil in 1931, their reserves are expected to last over a decade. Revenues from the state’s oil and natural gas capabilities account for an estimated 10% of the GDP. In addition, revenues from oil have been used to fund health and educational projects and accounts for an estimated 60% of the country’s exports. Bahrain is no stranger to economical successes since it was the important center linking trade routes between Mesopotamia and the Indus Valley as early as 5,000 years ago. As reported by the US Department of State, in ke eping with its financial sector which is their largest GDP contributor, Bahrain holds a reputable regional and international financial business center that operates both on and offshore. Undoubtedly, Bahrain is a leader in its field with over 370 banking units offshore. In addition, regulations are being implemented to ascertain the title leading financial center in the Arab world. With reference to literature consulted it can be concluded that Bahrain has experienced a blossoming economy driven by its abundance of natural resources. Politics in Bahrain As mentioned before, Bahrain has been the subject to multiple ruling powers prior to their independence from the United Kingdom and a Constitutional Hereditary monarchy type of government. Bahrain was first ruled by Persia in the 4th century A.D, after which the Arabs took control until 1541, when the Portuguese invaded them. Then Persia regained control of these islands in 1602. By 1783 Shaikh Isa bin Hamad Al Khalifa took over and the al-Khalifas remained the ruling family until today. By 1820 Bahrain became a British protectorate. With reference to the US Department of State, Shaikh Hamad bin Isa Al Khalifa acceded to the throne in March 1999, after the death of his father Shaikh Isa bin Hamad Al Khalifa, Bahrain's ruler since 1961-10 years prior to their independence. Shaikh Hamad channeled a democratic reform to transform Bahrain from a hereditary emirate to a constitutional monarchy shortly after he took the throne. His actions were publicly endorsed by his people. Bahrain was pronounced a constitutional monarchy on February 14, 2002. Now operating under a constitutional monarchy, it has an executive appointed by the King of Bahrain and a bicameral legislature with the Chamber of Deputies elected by universal suffrage, and the Shura Council which is also appointed directly by the King. Like many other countries, Bahrain has had their fair share of political unrest, which started as far back as 1994 and st ill continues today. Particularly this year, it can be said that Bahraini protestors were influenced by events in Egypt and Tunisia. Euronews.net reported that reasons for this political unrest are; a new constitution, the release of all political prisoners, an enquiry into torture allegations, freedom of speech and an independent justice system. Social Life 1.1 Education The Bahraini Government introduced a free

Diabetes is a Public Health Epidemic Research Paper

Diabetes is a Public Health Epidemic - Research Paper Example In this paper, we will also discuss the role that the government should play in order to reduce the health concerns related to Diabetes. We will argue in this paper that diabetes is a public health epidemic that needs to be addressed on a governmental level. There are governmental programs and legislations that should be passed to help reduce the prevalence of Diabetes in the younger population. Also many other public and private measures should be taken to reduce health concerns related to Diabetes especially in younger generation. Diabetes in Youth and its types Medical practitioners have shown their deep interest in the study of diabetes in youth despite the fact that the probability of children (under the age of twenty) getting this disease is very low. According to the survey of Diabetes Prevention and Control Program (DPCP), there were around 18.2 million cases of diabetes in the United States in 2002 (Steno Diabetes research group, 120-134). Out of these, 206,000 were in peopl e under the age of 20. Though this may seem very low as compared to the total number of cases of diabetes, it has become more prevalent in youth. Unhealthy eating habits and lack of physical exercise are major reasons why many of the children today are overweight and obese, and are at a higher risk of developing this disease. Generally there are three types of diabetes out which two of them affect the children most. They are discusses below in detail. Type 1 Diabetes Type 1 diabetes is also known as juvenile-onset diabetes. It is a type of diabetes in which body’s immune system destroys the insulin-producing cells in the pancreas. The insulin is a chemical produced in the pancreas that converts food into energy. The body cannot function without insulin. To carry out the daily routine functions, it is important that our body constantly produces insulin. Type 1 diabetes generally strikes the children at a very young age and it is usually passed genetically. Type 1 diabetes pati ents require insulin for their survival. There are many ways through which the patients can in-take insulin such as syringes, insulin pumps and injectable pens. The symptoms of Type 1 diabetes are loss of weight, constant feeling of hunger, increase in urine and thirst, blurred vision and exhaustion. Type 2 Diabetes Type 2 Diabetes, also known as adult onsets, is the most common type of diabetes. It is usually diagnosed in people who are above the ages of 35. The primary cause of type 2 diabetes is basically a critical medical condition called insulin resistance (Blonde and Lawrence, 123-150). Insulin resistance means that the body is able to produce insulin in the pancreas but is unable to work effectively. Approximately 85 to 90 percent of the diabetic people have type 2 diabetes. One thing that is very important to mention is that the type 2 diabetes is associated with heart disease and if not treated appropriately, the situation can become worst. Therefore it is necessary that t he patient should take proper diet, walk, and exercise so as to maintain the normal diabetic level. It is important to mention here that both types of diabetes are independent of age. They may affect a person at any age so it is important that certain precautionary measures are taken to avoid both types of diabetes. Relationship between childhood obesity and childhood diabetes Over the past few years childhood

Response to the Movie Gallipoli Essay Example for Free

Response to the Movie Gallipoli Essay One of the interesting things about Australia’s history is that the nation was originally a colony of Great Britain. Over time they slowly acquired their independence without war or any kind of revolution, which is rare when looking through the past of many countries like the United States, Brazil and many other places. Although this might be seen as a good thing, the lack of a battle caused the nation’s identity to be pretty much nonexistent the following years after they were already considered their own nation. The movie Gallipoli illustrates how the World War I was important in helping Australia find their identity and create a sense of patriotism. Australian moviemaking had its highs and lows through the Twentieth Century. After the 1970’s, a new age of Australian films started to flow from the country and â€Å"historical films became the most visible internationally† (Bordwell 628). Gallipoli was a film made in 1981 by Peter Weir. The movie not only tells the story of two young men from Australia going to the war, but at also attempts to portray the Australian identity that many Australians had sought for many years. One of these identities is the mateship where today Australia is known. We can see that in the movie just by following the two main characters through their journey. Frank and Archy meet and suddenly they are best friends. Together, they move forward in the story and help each other to achieve common goals. When Frank joins the light horse because he finally reunites with Archy, his other â€Å"mates† get upset and do not approve of the fact that they are losing a friend. When they are reunited in the war zone, they are happy that they are together again. This goes on to display the whole idea of war and patriotism. The movie is also very clear when trying to show the several landscapes that Australia has to offer. We see the city, where the shots are not so wide so all the buildings are closer together giving an overcrowded feeling while in contrast we see the countryside where the viewer sees vast deserts. Right at the beginning where Archy is betting to race with one of the character, we see the desert and how it stretches for miles and miles, while racing he still goes through trees and a stream exposing the diversity one can find in Australia. There are also shots of mountains, those shots are very wide and portray the grandiosity of the country. We also see the relationship of Australians and the Indians represented by Archy’s friend from his hometown. In the movie we also see how joining the British to go to the war was a way of supporting Australia, reinforcing their patriotism and defending their country. One of the character says that the reason they area going to join the British in Turkey, is because â€Å"if we don’t stop them there, they will end up here† (Gallipoli 1981). The young men going to the war were happy that they were able to fight for the country. After they arrive at the beach in Gallipoli, we see them having fun, even though they are at a war zone and their lives are on the line. When they finally get to fight, we hear them shouting that they are doing this for Australia. Towards the end of the movie we see pride and dignity contrasting with and the suffering of being at the war. World War I was important in helping Australian creating their identity. The movie Gallipoli not only explores how the World War I was responsible in creating the Australian identity but also explore other national that today are a representation of that country, like of example the idea of mateship that today is worldwide know to be part of the Australian culture. The viewer also sees the richness of the Australian landscape like the cities, the countryside, and the nature with mountains, deserts, forests and rivers. The movie also shows how the war was important in enforcing their patriotism for their country by showing the young men going to war as happy as they can be, proud that they are able to fight for their country. It is ironic to see how Australia had a pacific independence however they were only able to find their identity after they went to fight in a war.

An analysis of Laurence Sternes The Life and Opinions of Tristram Shandy, Gentleman Essay Example for Free

An analysis of Laurence Sternes The Life and Opinions of Tristram Shandy, Gentleman Essay In this essay my aim is to demonstrate how the author parodies the different narrative techniques, how he uses the time-shift device, how he introduces the relationship between the narrator and the reader, how he addresses the reader and how he makes use of the hobby-horses. For an introduction I would like to mention some aspects of the novel and its reception. Sterne is best known for his novel The Life and Opinions of Tristram Shandy, Gentleman, for which he became famous not only in England, but throughout Europe as well. Sterne wrote Tristram Shandy between 1759 and 1767. It was published in nine volumes, the first two appearing in 1760, and seven others following over the next ten years. According to a literary webpage it was not always thought as a masterpiece by other writers such as Samuel Johnson who said in a critique from 1776 that nothing odd will do long. Tristram Shandy did not last; but in opposition to that European critics such as Voltaire and later Goethe praised the book, clearly superior. (www.sparknotes.com/lit/sterne). The novel may have been for Sterne and his contemporaries an excitingly new form, but Sterne manages to bring home to the reader what a novel could not do as well as what it could. (Ricks,15). According to Andrew Sanders this novel is: the one that is freest of insistent linearity, the one that makes the most daring bid to escape from the models established by the epic or by history. It glances back to the anecdotal learning of Burtons The Anatomy of Melancholy, to the bawdy ebullience of Rabelais, and to the experimental games of Swift and the Scriblerians, but it is ultimately an unprecedented, and still unrivalled, experiment with form. (Sanders, 317). In this novel, Sterne broadens the possibilities of the novel form, and yet unlike most novels, it is concerned explicitly with reminding us that there are things which you cannot expect a novel to do. The greatness of Sterne is that, with humour, and sensitivity, he insists all the time that novels cannot save us. (Ricks, 13) To begin my analysis, first I would like to look at how Sterne parodies the different narrative techniques. According to Jeffrey Williams the novel demonstrates an extraordinary form in novelistic sense due to the fact that the narrative of Tristrams autobiography and the history of the Shandy family are incomplete and intermitted. The arrangement of the plot is quite exceptional concerning the conventional plot forms because it is disorganised and has a non- linear schema. (Williams, 1032) An essayist, namely Viktor Shklovsky, gives the answer to that unique form that the disorder is intentional; the work possesses its own poetics. (Shklovsky, 66) Following the previous statement from Jeffrey Williams, the narrated events are often interrupted by Tristram who calls for the importance of narration. He explains that Tristram Shandy is an embedded narration, which means that the interrupted parts and comments make a linear narrative. The main character is the narrator, Tristram Shandy, who tries to acquire the best he can when recounting the history of the Shandy family from 1695 till 1711. (Williams, 1033) As Shklovsky puts it, Tristram Shandy is the most typical of novels because it so overtly inscribes its own narrative, its own act of narrating. (Shklovsky, 66). To continue with this theme, the time of narrating is worth mentioning. In an essay by Jeffrey Williams, Genette Gà ¯Ã‚ ¿Ã‚ ½rard distinguishes four types of narration according to temporal position and places this novel into the simultaneous form, meaning narrative in the present contemporaneous with the action. (Williams, 1036) From this explanation it turns out that Tristram Shandy, as part of Tristrams autobiography, is a narration in the past. The other basic device Sterne uses is the time-shift technique which brakes whatever action may seem to be developing (Shklovsky, 67) To illustrate what Shklovsky means by the time-shift device, he takes an example from the book. In the first volume, Sterne tells us about the interruption of a sexual act (in which Tristram was begot) by Mrs Shandys question. The anecdote is figured out as the following: Tristrams father sleeps with his wife only on the first Sunday of each month; the same evening he winds up the clock in order to get out of the way at one time all family concernments, and be no more plagued and pestered with them the rest of the month. As a conclusion, an irresistible association of ideas became established in his wifes mind; as soon as she heard the clock being wound up, a totally different matter came to her mind, and the other way around. That is the reason for her question, Pray, my dear, []have you not forgot to wind up the clock? (Shklovsky, 67; also qtd by TS. , 35) and the interruption of Tristrams fathers activity.. (Shklovsky, 67). He pointed out in his essay that this anecdote is presented into the book through different steps. The initial step is the comment about the irresponsibility of parents, then the mothers question without a reason for its significance. The reader may think that the question interrupted what the father was saying but this is only Sternes trick which aims at our misconception: - Did ever woman, since the creation of the world, interrupt a man with such a silly question? (T.S.; 36 also qtd. by Shklovsky). This device determines the novel from the beginning. Shklovsky states that Sterne mentions the purpose only after the actions, which is his constant device. Following the time-shift technique, another device Shklovsky presents is the usage of sewing together the novel from different short stories. Sterne seems to manipulate and expose the novels very structure: formal devices and structural relations made perceptible by violating their ordinary employment, which make up the very content of the novel. Sterne permitted actions to take place simultaneously, but he parodied the development of the subplot and the intrusion into it of new material. The description of Tristram Shandys birth is the material developed in the first part, occupying many pages, almost none of which are devoted to the account of the birth itself. What is developed, in the main, is the heros conversation with Uncle Toby. (Shklovsky, 68-69) ____ I wonder whats all that noise, and running backwards and forwards for, above stairs, quoth my father, addressing himself, after an hour and a halfs silence, to my uncle Toby, ___ who you must know, was sitting on the opposite side of the fire, smoking his social pipe all the time, in mute contemplation of a new pair of black-push-breeches which he had got on;___ What can they be doing, brother?____ quoth my father, we can scarce hear ourselves talk. I think, replied my uncle Toby, taking his pipe from his mouth, and striking the head of it two or three times upon the nail of his left thumb, as he began his sentence,____ I think, says he: ____ But to enter rightly into my uncle Tobys sentiments upon this matter, you must be made to enter a little into his character, the outlines of which I shall just give you, and then the dialogue between him and my father will go on as well again. (TS., 87; also qtd. by Shklovsky, 69) As the former example demonstrates, the technique of intrusion is used by Sterne constantly, and it is obvious in his funny remembrance of Uncle Toby. He not only recognizes the hyperbolic elaborations of his development, but plays with that development. This method is for Sterne the canon. (Shklovsky, 70). The next topic relating to the novel is how the relationship of the narrator and the reader is presented. For this matter, I will use an Internet source, namely an essay by Aimed Ben-hellal. According to Aimed Ben-hellal, in the beginning of the novel Tristram Shandy declares that Writing, when properly managed, (as you may be sure I think mine is) is but a different name for a conversation () (T.S., 127, also qtd. by Ben-hellal). This statement will determine his writing all the way through the book. Tristrams speech defines the continuous dialogue between narrator and reader. In the above example the reader is addressed in an informal and communicative way. Tristram tries to lure the reader from the beginning of the novel and tries to get as much of his attention as he can, which means that the reader is brought on the stage to become the true character of the book (Ben-hellal, 1). In the opening chapter of the book, Tristram addresses the reader as the following: ___ Believe me good folks, this is not so inconsiderable a thing as many of you may think it () (T.S, 36, also qtd. by Ben-hellal). In this quotation, the narrator attempts to catch the attention of his reader to point out his understanding of the sad circumstances of his destiny. The heros life and his adventures are presented to the reader in order to get to know him. The narrator manages to establish the first contact. The appellation good folks is usually indicative of the distance which initially separates the actor from his spectators. (Ben-hellal, 2). Three chapters later this distance lessens: I know there are readers in the world, as well as many other good people in it, who are readers at all, __ who find themselves ill at ease, unless they are let into the whole secret from first to last, of every thing which concerns you. ( T.S, 37, also qtd. by Ben-hellal, 2). Ben-hellal states that Tristram invites different kinds of people, occasional readers or literature addicts to try to deal with the unfolding of the narrative. Tristrams story begins ab Ovo (from the egg), in defiance of the Homeric epic tradition that begins stories in the middle of things and then allows the background to unfold along with the action. The alternative, seemingly, would be to begin with the beginning; Tristram takes the possibility to an almost ludicrous extreme by beginning from his conception rather than his birth. (www.sparknotes.com/lit/sterne) Tristram tries to select the kind of readers that will best understand him due to the fact that a novel crucially depends on a reader. (Ben-hellal, 2) The following quotation clearly illustrates that: To such readers, however, as do not choose to go so far back into these things, I can give no better advice, than that they skip over the remaining part of this Chapter; for I declare before hand, tis wrote only for the curious and the inquisitive. (T.S, 38; also qtd. by Ben-hellal,2) As Ben-hellal pointed out in chapter six, volume one, the narrator and a reader become much closer to one another. In the novel this intimacy referred to as you, Sir, or my dear friend and companion. The personal pronouns, I, and you, emphasize the informality of the conversation. As you proceed further with me, the slight acquaintance which is now beginning betwixt us, will grow into familiarity; and that, unless one of us is in fault, will terminate in friendship.() then nothing which has touched me will be thought trifling in its nature, or tedious in its telling (T.S, 41, also qtd. by Ben-hellal, 3). This chapter turns out to be the beginning of intimacy and sociability. The narrators main concern is to be friendly with the reader, and to sympathise with the unfortunate hero. (Ben-hellal, 3) Tristrams frequent addresses to the reader draw us into the novel. From Tristrams perspective, we are asked to be open-minded, and to follow his lead in an experimental kind of literary adventure. The gap between Tristram -the- author and Sterne-the-author, however, invites us not only to participate with Tristram, but also to assess his character and his narrative. (www.sparknotes.com/lit/sterne) A quotation quoted by Ben-hellal illustrates the number and frequency of apostrophes, which indicates that Tristrams relationship with his readership become quite intimate. Tristram addresses the reader approximately three hundred and fifty times during the course of the book as My Lord, Jenny, Madam, your worship, Julia, your reverences, gentry,(). It is as though the reader has invaded the book and Tristams confidence in a single statement rest on determining the unknown readership. (Ben-hellal,3) This considered, we might safely infer that the concept of readership is significantly manipulated in Tristram Shandy. Tristrams behaviour differs according to changes in the identity of his imaginary reader. From chapter six on, the type of reader identities becomes wider and more varied. ( Ben-hellal, 3). The following passage will best illustrate how the narrator addresses the reader: Your son! __ your dear son, ___ from whose sweet temper you have so much to expect. ___Your Billy, Sir! ___ would you, for the world, have called him Judas? ___ Would you, my dear Sir, he would say, laying his hand upon your breast, with the genteelest address () ___Would you, Sir, if a Jew of a godfather had proposed the name for your child, and offered you his purse along with it, would you have consented to such a desecration of him? (TS, 78; also qtd. By Ben-hellal, 4). Pleading in favour of his fathers theory about the influence of names on the destiny of new-born children, Tristram addresses the reader in the liveliest manner. Exclamation and question marks punctuate the whole passage to convey an impression of lively exchanges. As he tries to demonstrate the validity of Walter Shandys viewpoint, Tristram humorously implicates the reader and the readers son Billy. To make his point the narrator stages a tailor-made reader (and his son), for the space of a single representation and asks him if he would have accepted to christen his hypothetical son with the name of Judas (Ben-hellal, 4). The most comical dialogues in the novel are when the imaginary female reader is addressed by Tristram. ___How could you, Madam, be so inattentive in reading the last chapter? I told you in it, That my mother was not a papist. ___ Papist! You told me no such thing, Sir. Madam, I beg leave to repeat it over again, That I told you as plain, at least, as words, by direct inference, could tell you such a thing. ___ Then, Sir, I must have missd a page.___ No Madam, __ you have not missd a word. Then I was asleep, Sir.__ My pride, Madam, cannot allow you that refuge.___ Then I declare, I know nothing about the matter.___ That, Madam, is the very fault I lay to your charge; and as a punishment for it, I do insist upon it, that you immediately turn back, that is, as soon as you get to the next full stop, and read the whole chapter over again (TS, 82; also qtd. By Ben-hellal, 4). According to Ben-hellal, the female reader is introduced because the narrator wants to discipline her and the reason lies in the act of reading. Punctuation is again present, showing the concept of conversation. Reading through the quotation, Tristram resembles as an authoritarian narrator, who instructs the Madam what to do and how to do things. The narrator accuses her of not reading attentively. (Ben Hellal, 5) In Chapter twenty, Tristram says: I wish the male-reader has not passed by many a one, as quaint and curious as this one, in which the female-reader has been detected. I wish it may have its effects; __ and that all good people, both male and female, from her example, may be thought to think as well as read. (TS, 84) In the above quotation, the narrator tries to highlight the importance of thinking and reading. He points out the example of the Madam to others, in order to learn from it. The last topic I would like to touch upon is how the reader is associated with the idea of the hobby-horse. There is nothing inherently sinister about these hobby-horses; most people have them, and Tristram confesses readily to having a few of his own. (www.sparknotes.com/lit/sterne) In an article about the idea of the hobby-horse, the writer, namely Helen Ostovich, deals with the reader-relationship between the narrator and a female reader, Madam. Tristram usually treats Sir ___ his male reader ___with casual indifference, and showers his mighty or fashionable readers , whether secular or clerical __ your worships and your reverences __ with genial contempt. He lumps the male readers together with other good, unlearned folks in his conception of the collective reader as recalcitrant hobby-horse. (Ostovich, 156) The female reader represents a special kind of hobby-horse to Tristram. Madam is in comparison with the Spanish horse, Rosinante. She is, like Rosinante, the HEROs horse a horse of chaste deportment, which may have given grounds for a contrary opinion () __ And let me tell you, Madam, there is a great deal of very good chastity in the world, in behalf of which you could not say more of your life. (TS, 47-48; also qtd. by Ostovich, 156) According to Ostovich, this quotation suggests that the horses physical appearance and the riders imagination are related. Man and hobby-horse are, in Tristrams opinion, are similar to body and soul: long journeys and much friction create electric charges between the two that redefine both, so that ultimately a clear description of the nature of the one may form a pretty exact notion of the genius and character of the other. (T.S, 99; also qtd. by Ostovich, 156) By getting on a horse and riding it well means a good experience. This happens in the case of the writer; if he writes with pleasure, the reader will bear him so the experience provides its own answers. (Ostovich, 156) To conclude my analysis of Tristram Shandy, one can say that this novel is not a conventional one due to its most noticeable characteristics; its time-scheme and its discursive style. Works Cited 1. Ostovich, Helen. Reader as Hobby-Horse in Tristram Shandy. In: New, Melvyn, ed. Tristram Shandy. (Contemporary Critical Essays). London: Macmillan Education Ltd, 1992. 2. Sanders, Andrew. The Short Oxford History of English Literature. Oxford: Oxford UP Second Ed., 1994. pp. 317-318. 3. Shklovsky, Viktor. A Parodying Novel: Sternes Tristram Shandy. In: O Teorii Prozy. Moscow, 1929. 4. Sterne, Laurence. The Life and Opinions of Tristram Shandy, Gentleman. London: Penguin Group., 1967. 5. Williams, Jeffrey. Narrative of Narrative. (Tristram Shandy). Modern Language Notes. 105(1990): pp. 1032 1045. 6. www.sparknotes.com/lit/sterne 7. www.univ-mlv.fr/bibliotheque/presses/travaux/travaux2/benhellal.htm

Nuclear power for future energy supplies

Nuclear power for future energy supplies Should Nuclear Power Be Developed For Future Energy Supplies? Introduction I am writing this essay to debate the idea of having nuclear power developed for future use by us. This takes on a major issue and covers many aspects of our nations energy use both in present and for the future. When we think about nuclear power we do not automatically think of it as a non renewable energy source. This is because it is not part of the fossils fuels; coal, oil and gas, which we all know will not last us as reliable energy sources for much longer. However, nuclear power is a non renewable energy source and has many dedicated power stations located around the UK. Nuclear energy is considered an important fuel to produce energy as it currently provides 28% of this countrys needs, compared to the feeble 1% of renewable energy used. How Is Nuclear Energy Made? Nuclear energy is obtained by processes of nuclear fission and fusion. In nuclear fission the energy is released by splitting the atom sending a neutron blasting through the nucleus, this makes other neutrons fly off at high speeds setting up a chain reaction. Nuclear fusion is the opposite by which the nuclei of two or more atoms fuse together, in the process mass is lost and this is then converted into energy. Production of energy takes place inside a nuclear reactor which consists of a core surrounded by a thick concrete shield, steam pipes, turbines and a final (electricity) generator. After the mining of the ore (this is mainly uranium or plutonium ore) has been done the pure uranium is turned into uranium dioxide which is made into pellets. Several of these pellets are placed inside fuel rods. Usually there are about 90,000 fuel rods placed in the core of a reactor. Nuclear fission takes place inside the core by which the isotope splits using the atoms in the uranium dioxide from the pellets. The immense heat produced by this is carried away by fluid circulating through the reactor core. Once the fluid becomes heated it is used to produce steam, this steam drives the turbines which in turn rotate the main electricity generators to produce clean, reliable electricity. During this process there is a massive amount of radiation and so this is why the core is surrounded by a thick concrete shield to absorb this radiation. Arguments For Using And Developing Nuclear Power To satisfy our general needs of heating our water, heating our homes, cooking our food, powering our appliances and lighting our rooms, we need to retrieve energy from the many many methods available to us. One of these choices is nuclear energy. There are very good reasons why it should be considered and developed further, to be used in the future. Firstly, by comparing it to the other non renewable energy sources (coal, oil and natural gas), nuclear power is a very clean energy as it does not produce any of the greenhouse gases such as carbon dioxide, which lead to the greenhouse effect or global warming. This problem is significant for the disintegration of the ozone layer when fossil fuels are burnt to release energy. Plus using this form of energy can save the reserves we have left of some of the precious fossils fuels like oil, which is said to run out within the next 50 years. Because nuclear power already supplies 28% of the UKs energy, it is also much more reliable at present than many of the renewable options we have available such as wind, solar and wave. A very important point and something that must be considered is that there can be huge amount of energy produced from just a small amount of nuclear element. Just one kilogram of uranium can produce as much energy as 3,000,000 kilograms of coal. Many people also feel that the ‘dumping of waste is a major issue. It is a concerning factor, but when looking at the real statistics, the nuclear power industry produces 2,000 tonnes of nuclear waste every year in the United States, whereas the coal fired power plants are producing a staggering 100,000,000 tonnes of ash and sludge which is blown into the atmosphere being breathed in by us plus contributing to global warming. Finally, with the nuclear energy economy being one of the safest in the world, producing the cheapest energy, development in the future can provide thousands of jobs and other opportunities of stable employment for many people. Arguments Against Using And Developing Nuclear Power As well as the very well argued points agreeing with the future use of nuclear energy, there is opposition to this expansion. There are many people and often groups that raise concerns about the safety of nuclear power. Nuclear waste that is produced from the nuclear power stations emits a very high amount of dangerous radiation that can stay radioactive for up to 25,000 years so it must be disposed of very carefully. Any accident is extremely dangerous and can kill any life in the surrounding area immediately. A case study that shows the extreme risk of development of nuclear power and what can happen if an accident occurs is the 1986 incident in Chernobyl, Russia. Here a nuclear reactor exploded killing 31 people, and around 140,000 people were evacuated as quickly as possible. This area around the explosion was contaminated by radiation and this will remain for a long period of time. The clouds of radioactive material that were also released by the explosion spread, reaching even as far as Sweden. The wind that blew from Chernobyl also came across to Britain and caused acid and other toxic rain that ruined farmland, making the soil radioactive. Farmers are still having problems in parts of Wales because of the radiation that has spread as a result of an accident at a nuclear power plant. Rather than looking at nuclear energys dangers, it also has a few faults. One of these are that a big part of the energy that is created must be blown away because it cannot be used. Nuclear power is also unable to adjust to a lower power production for night. These are faults which not only can cause problems but also inconvenience. Back to the issue of the nuclear waste, focusing away from its safety concerns, and more about where it can be disposed of without causing major problems. As it does stay radioactive for a very long time it must be discarded carefully. The pollution of this waste can cause serious effects on both people and the environment. An example of pollution has been in the Irish sea which was dreadfully polluted by the nuclear waste from the power plant at Sellafield in Cumbria. This fuel should ideally be stored in a safe environment either underground or in special concrete surrounded stainless steel liquid tanks. Another concern that is brought up with nuclear power is the potential for nuclear weapons to be developed. In these weapons would be uncontrolled nuclear fission where even if just a small amount of unstable uranium or plutonium is used, a bomb would explode. If more countries turned to the development of nuclear energy we could be at risk of production of these weapons by countries such those in the Middle East and terrorist groups, some believe it may even lead to a possible nuclear war in the future. Conclusion Looking at all of the arguments for and against the issue of whether nuclear power should be developed for future energy supplies, they are all valid reason that should be taken into account. As for my personal response, I feel that nuclear energy should not be developed as the building of more power plants could cause harmful effects, especially if accidents occur. I feel that the chance of accidents taking place are far more likely if this source of energy is developed. This can lead to the deaths of many lives due to the sheer amount of radiation. Plus looking at the locations of nuclear power plants in the UK, they are mainly in remote areas, for obvious reasons, and also near the sea. More of these can lead to their expansion in more populated areas putting many lives in danger. I also feel that instead of turning to another non renewable energy from fossil fuels, it is far better to invest and research into the development of renewable sources which will give us clean, cheap energy in the future. By looking at changing the technology for these alternatives now, we can help plan for the future. However, if the nuclear industry was developed then when reserves of uranium and plutonium ran out we would once again be searching for other ways. So overall I feel that nuclear energy, although cheap and reliable, is not the best option to be developed for future use, not just in this country but around the world.

Communism vs Fascism Essay -- Communism Essays

The definition of communism is â€Å" a system of government in which the state plans and controls the economy and a single, often authoritarian party holds power, claiming to make progress toward a higher social order in which all goods are equally shared by the people.† The definition of fascism is â€Å"A system of government marked by centralization of authority under a dictator, stringent socioeconomic controls, suppression of the opposition through terror and censorship, and typically a policy of belligerent nationalism and racism.† Communism and Fascism are both forms of Totalitarianism, which is when the ruler has complete power over everyone. There is a fine line between the differences of Communism and Fascism, however these next three articles prove that there is a line and there is no gray space. People are either one side or the other, there is no in between, the goals and secular leading may be the same but the inner workings differ by a lot, Krupskaya, M ussolini, and Hitler explain the differences in their following articles.   Ã‚  Ã‚  Ã‚  Ã‚  Krupskaya’s was a communist and her article What a Communist Ought to be Like describes the standards, mind set, back ground, and just an overall idea of what communists are like. She sum’s up her article at the end of the paper which gives the main idea of what the whole article is on â€Å" Thus, in order to be a communist: (1) it is necessary to know what is bad about the capitalist system, where social development is h...

That Was Then This Is Now :: essays research papers

That Was Then This is Now   Ã‚  Ã‚  Ã‚  Ã‚  This book is about two greasers named Bryon and Mark. Mark whose parents died when he was a young age went to live with Bryon. This book is in first person, and takes place behind the eyes of Bryon. The book first starts out by introducing the other characters in the novel: Charlie, a bartender who allows Mark and Bryon to come in to his bar, but wont let them buy booze. M&M a small longhaired child who always seems to be munching on M&Ms, and he lends Bryon and Mark money all the time. After their rendezvous with M&M the boys visit their mother in the hospital, and while their Bryon meets Cathy who is M&Ms sister who just came back from medical school. After a conversation, Bryon invites Cathy to go on a date with him, and Cathy accepts. Soon Bryon talks Mark into double dating with him, then he proceeds to borrow Charlie’s car. The next night Angela, who is Bryon’s ex sends someone to attack him, and who ends up attacking Mark. Mark is sent to the hospitable, but recovers in a day or two. The story then resumes with Bryon continuing to date Cathy, and Mark seems to become more and more jealous. One night Mark, Bryon, Cathy, and M&M decide to drive up and down the Ribbon to get M&M cheered up because his dad was ridiculing him for his long hair. The Ribbon is a long stretch of road that teens hang out. While driving along M&M gets out and walks away with a group of other long haired children, but because you cant stop on the ribbon on a green light all they could do is watch him go away. For the next few days Cathy and Bryon are searching the Ribbon while Mark mysteriously brings in large sums of money to pay for his mothers hospitable bill. Bryon notices this, but never asked Mark where he is getting the money. The next day Mark says he might know where M&M is. Mark discloses a hippy hangout, and that is where Mark goes, but without Cathy. Bryon finds that M&M had been there, but was not around that day. The next day Bryon an d Cathy go to the hangout and find M&M, and he was really bad.

Essential Aspects of Communication Displayed Through Film Essay

Abstract In interpersonal communication, there are several variables that create a dialogue between two or more people. From the film Hitch, directed by Andy Tennant, the four main variables of interpersonal communication used are perception, nonverbal communication, certain aspects of relational development, and culture. All of these variables play a role in the film to create the relationships and communication that occur in the film. Some of the communication portrayed in the film Hitch is nonverbal between the various characters. Two main relationships develop throughout the film; these relationships are between characters, Hitch and Sara, Albert and Allegra. Culture shapes the way people are and how they choose their relationship partners, which is an essential point displayed in Hitch. The study of how perception plays a role in life is shown in this film by how people view others by their appearance, and nonverbal cues. Relational development is also shown throughout the film to displa y how relationships in the film begin to develop into lifelong bonds. Essential Aspects of Communication Displayed Through Film Introduction Life is a melting pot. It is filled with pieces from here and there, but in the end comes together as a whole collaboration. Our way of making life is through communication. Communication is a collaboration of verbal dialogue, as well as nonverbal cues. These items are essential to our communication, but the way in which they are interpreted depends on how one perceives it, which is dependent upon their culture. The 2005 film Hitch, displays prime examples of communication through relationships nudged by Alex Hitchens. Alex is â€Å"Hitch,† a professional matchmaker as one might say, whose job is to make unlikely interactions happen between two unlikely people. Through this tactic, he is able to bring together people who are right for one another, but who would never had met would it not have been for his intervention. Hitch, directed by Andy Tennant, uses nonverbal communication, perception, culture, and aspects of relational development to explore the way in which people dia logue, and the relationships that grow due to this communication. Perception The film Hitch, is filled with many aspects of interpersonal communication, one of them being perception. Perception is how we see others, interpret their dialogue, actions, etc. In this film, Albert is not noticed by his hopeful love interest, Allegra. Hitch believes that in order for Albert to be noticed by this beautiful woman, he must change the way he conducts himself, and the way Allegra perceives him. First, Hitch tries to help Albert gain a sense of self-esteem, in order for Allegra to notice him as a strong, outgoing, and successful man, rather than the shy and timid person he is. What Hitch wants his clients to experience a change in their â€Å"self-concept.† Alder (2012) describes self-concept as, â€Å"The relatively stable set of perceptions each individual holds on herself or himself † (G-11). Also stated in the text, â€Å"Children who have a low opinion of themselves are more likely to see themselves as victims of bullying, both in their classrooms and in cyberspace. The way we think and feel about ourselves strongly influences how we interpret others’ behavior (p. 119)†. Perhaps Albert had such a low sense of self-esteem that he truly believed women did not notice nor have an interest in him, when perhaps this belief could have been created due to his own sense of his self-concept. An early example of perception occurs when, early in the film, Sara is speaking with her friend Casey about the man she recently went on a date with. She says, â€Å"He was affectionate and sweet, and told me all of these affectionate things like how he can’t taste food and he wants three kids†¦ I never seen anyone get dressed so fast!† This is an example of how gender roles play an extremely important role in perception. According to Adler (2012), â€Å"†¦masculine males tend to see their interpersonal relationships as opportunities to win something. Feminine females typically see their interpersonal relationships as opportunities to be nurturing, to express their feelings and emotions† (p. 120). In this instance, Vance, the man involved, wa s not looking to commit to a relationship like Casey. She truly believed that since Vance was so kind and sweet, she would be able to open up to him as well, whereas he was only interested in a one-night stand. This moment is very pivotal,, as Casey and Sara believe because of this interaction, Hitch’s goal is to teach men how to â€Å"bed† women. Further on in the film, Sara uncovers the fact that her new love interest is in fact the infamous Hitch. When reacting to this discovery, Sara makes a snap judgment, which according to Webster Dictionary is â€Å"A judgment formed on the instant without deliberation.† She makes this kind of judgment in how she reacts to the fact that Hitch’s profession is supposedly teaching men how to â€Å"bed† women. Essentially, Sara ends the relationship, as well as contact between she and Hitch, without hearing Hitch’s side of the story. Snap judgments occur almost instantaneously, whether it is a first impression, or judgment relating to a situation where someone has self-disclosed information about themselves or others. Allegra as well tends to make these quick judgments, especially when she learns that Albert had been consulting with Hitch. She immediately assumes everything she fell in love with in him was just a marketing ploy of sorts, sold by a matchmaker. Making snap judgments can often lead to stereotyping the other person involved within the communication. Stereotyping is a subset of snap judgments, and is defined by Adler (2012) as â€Å"†¦exaggerated beliefs associated with a categorization system† (p.125). Sara takes part in stereotyping when she assumes all of Hitch’s clients, and Hitch himself are like Vance, the one-night-stand. Based on the information she has perceived, it would not be a stretch for her to make that particular judgment. If Sara had possessed the chance to meet Albert by this time, she would realize that not all of Hitch’s clients are as egotistical and narcissistic as Vance. At the same time, Albert is defying the stereotype of the normal â€Å"Hitch client† and wins Allegra over with his natural qualities, rather than the ones his matchmaker Hitch instructed him to have. Much of the communication Albert wins Allegra over with is nonverbal, especially due to the fact that he often stumbles over his words. Nonverbal Communication Hitch, begins with the statistic that, â€Å"60% of all human communication is nonverbal, body language, and 30% is your tone. This means that 90% of what you’re saying ain’t coming out of your mouth.† (Tennant, 2005). According to the Twelfth Edition of Interplay: The Process of Interpersonal Communication, nonverbal communication is any message that is expressed through nonlinguistic methods (p. 177). Nonverbal communication shares just as much importance as verbal communication, if not more, in that through these messages people share their true feelings and responses to the world around them. Unlike verbal communication, nonverbal communication is often unconscious and continuous, meaning that it is likely uncontrollable. Before a response is spoken, before the response is even heard, one is already nonverbally communicating. Nonverbal messages arise in numerous forms, from the way one moves his/her body, to the way one dresses and even speaks. Nonverbal messages support many functions. They can be used to repeat the verbal message that was just spoken. Similarly, they can be used to substitute for the verbal messages. For example, instead of saying yes one could nod. These cues and gestures are called emblems, which are nonverbal behaviors, which can be directly translated into words or phrases (A. Cordova, November 14, 2012). Nonverbal communication can either complement or contradict the verbal message. In complementing the message, the nonverbal communication not only adds to the message, but reinforces it. Messages may be contradictory when a person says one thing but really means another nonverbally. Nonverbal behaviors can also accent, emphasize, or draw attention to or away from a verbal message. Lastly, nonverbal communication can be used to control and regulate the flow of conversation, as well as start and end interactions (A. Cordova, November 14, 2012). The opening scene of Hitch, summarizes many of the ways that nonverbal communication plays a major role in everyday lives. This movie combined with Alex â€Å"Hitch† Hitchens, addresses how nonverbal communication is important in communication, especially with women, in the formation and enhancing of relationships. For example, Hitch points out that women often say verbally things that they really don’t mean: â€Å"This is a really bad time for me,† â€Å"I just need some space,† â€Å"I’m really into my career right now,† etc. (Tennant, 2005). Even though women say things like this, they may mean something entirely different. Hitch speaks of how sometimes women don’t know what they want until they see it. This is the part where nonverbal communication comes into play for men. In the very first scene, a woman’s dog rushes out of her hands and out of an elevator, only to be â€Å"saved† by the admiring man who hired Hitch, who in turn orchestrated the whole thing. The woman who lost her dog had presumably never met or spoken to the man who rescued her dog. Even though the woman had never verbally communicated with this man, she was extremely relieved, grateful, and impressed when she saw him defend her dog in the middle of the street. Without saying a single word, the man was able to improve his romantic chances with this woman greatly. The dog-rescue scene exemplifies the power of nonverbal communication. The majority of communication is nonverbal, thus Hitch emphasizes the importance of this aspect of communication. The simple action this man performs of rescuing the dog, communicates a great amount about his personality; he is able to show that he is caring and nurturing. While he doesn’t need to explicitly tell her, â€Å"Hi. I am a kind and thoughtful person. Are you interested?† she is able to infer his personality from his nonverbal way of communicating. Note the man’s tone when he returns the dog: his nurturing tone reassures her that everything is alright, as well as the fact that he brave and kind. One key aspect of nonverbal communication is paralanguage. Paralanguage is how a statement is spoken, which includes tone, pitch, emphasis, pronunciation, and rate. This man’s use of paralanguage allows him to portray his personality without having to explicitly tell the woman about himself and his traits. Further along in the movie, Hitch goes to meet up with a new client who is in need of desperate help from the â€Å"love doctor.† His name is Albert Brennaman and he was hopelessly and irrevocably in love with Allegra Cole. During this scene, Hitch observes Albert from afar to get a sense of what kind of guy he is. Albert is sitting on stairs eating and in a matter of seconds he manages to spill mustard on his slacks. He then goes on to pouring soda on a napkin and trying to remove the stain, only to end up accidentally kicking over his soda and ruining his whole lunch. Hitch is meanwhile still observing Albert. From Albert’s nonverbal communication portrayed in this scene, Hitch assumes that Albert is clumsy and doesn’t really have a clue. Although Albert was not trying to convey a message through his actions, he most certainly did. There are three types of nonverbal communication the Albert portrayed in this scene. Firstly, he was using kinesis. Kinesis is a ty pe of nonverbal communication that involves the body. Body orientation, eye contact, and posture are all examples of kinesis. Secondly, he nonverbally communicates through his physical characteristics: attire, groomed facial hair, glasses, etc. Lastly, he communicates through his personal environment (A. Cardova, November 14, 2012). Albert shows territoriality, because although that area on the stairs is public property he still in a sense claims the space as his own. Looking at how he kept that environment for that particular scene gives insight into how he may keep his home and or office space. His area on the stairs, after a parade of accidents ended up looking butchered and a hot mess (Tennant, 2005). From these cues Hitch can conclude that this man needs his professional help as a love coach, but also maybe as a life coach. Nonverbal communication truly comes alive in the next scene of the movie, where Hitch is at a local bar admiring his future love interest, Sara Melas. In this scene, Hitch speaks to the bartender, who informs him about Sara’s normal bar habits. She drinks a dirty martini, which is odd because she usually gets a beer. Hitch determines that she must have had a tough week and a beer just wasn’t going to do the trick. As the scene plays out, he ends up pretending to be Sara’s significant other in order to get rid of another admiring contender. He then continues to engage in conversation with her and begins listing out all the nonverbal signals she is giving. Hitch says, â€Å"†¦you’re sending all the right signals: no earrings, heels under two inches, your hair is pulled back, you’re wearing reading glasses with no book, and drinking a grey goose martini†¦ and if that wasn’t clear enough there’s always the f–k off that you’ve got stamped on your forehead.† (Tennant, 2005). All of these are examples of communicating nonverbally through kinesis, body language, and physical characteristics. Nonverbal communication exists throughout the entirety of the film, but to catch and understand how it affects the development of the relationships, one must pay close attention. Relationship Development Two main relationships develop throughout the film Hitch. These relationships include characters, Albert and Allegra, and Hitch and Sara. Hitch and Sara’s relationship begins to develop from the first time they speak with one another in a bar. This interaction is part of the â€Å"coming together† part of Mark L. Knapp’s â€Å"Stages of Relationship Development† Model. This part of the model includes the initiating process, experimenting process, intensifying process, integrating process, and the bonding process. Hitch walking over to Sara in the bar and initiating a conversation is an example of the initiation process. This process is shown when one shows that they are interested in another and make them feel valued and worth one’s time. Once an individual initiates conversation in the model, the interaction progresses to the experimenting stage. When people try to find something in common between both, creating small talk and getting to know each other, they are interacting within the experimenting stage. Hitch and Sara converse in this way at the bar, but it occurs again when Hitch reaches Sara at her work through a walkie-talkie to ask her on a date for the upcoming Saturday. This stunt he pulls shows Sara his personality and creativity. The intensifying stage in Sara and Hitch’s relationship occurs on their first date. Hitch believes he is already in love with her, and knows there is something special about their relationship. In the intensifying stage, people who are beginning to be a dating couple often move into the stage by spending more time together, going on more dates, and sometimes even saying â€Å"I love you† to each other. While Hitch and Sara are on their first date, they make plans to go on a second date, which is part of the intensifying stage. They continue going on dates during this section of the film and keep spending more and more time together. They then consider themselves an official couple after this stage, and enter into the integrating stage of Knapp’s model. During this stage, the couple begins to define themselves as one to others, and begin to make future plans involving one another. The bonding stage goes coherently with the integrating stage because the couple uses gestures in public to display that they are in a relationship. These gestures include, holding hands, public display of affection, and walking side-by-side sharing each other’s company. Once Hitch and Sara’s relationship progresses, they display public affection everywhere they go. In the film, Hitch is seen kissing Sara goodbye before she left for work, which is an example of the bonding stage of Mark Knapp’s Relationship Development Model. The final stage of the Relationship Development Model seen the relationship between Hitch and Sara is shown through the words â€Å"I love you† said to each other at the end of the film. This is a smooth continuation of all of the previous stages of the model because in order to get to their current stage of relationship where they feel so deeply about one another, they had to go through all of the previous stages. The relationship between characters Albert and Allegra occurs differently than the relationship between Hitch and Sara. Albert is a financial consultant for Allegra, a famous celebrity. The concept of complementarity plays a big role in their relationship. Complementarity is displayed when the well-known idea that opposites attract, comes true, and two people find what they hope for in a relationship through the other’s differences. By Albert just being a typical financial consultant and Allegra being a famous celebrity, society did not expect that this would ever be a compatible union. Allegra describes Albert as sweet, charming, and not like all other men, while Albert describes Allegra as the girl of his dreams, his angel, and the lady he would die for and cannot live without. By the two having these similar feelings regarding each other, a connection is made in the way they feel about one another. Through this, they are both able to find reward through their growing relationship. Similarity is found within a developing relationship when two people have similar interests and goals. Rewards in a relationship are defined by the exchange theory. According to the Twelfth Edition of Interplay: The Process of Interpersonal Communication, the exchange theory is defined as the way â€Å"we often seek out people who can give us rewards that are greater than or equal to the cost we encounter in dealing with them† (p.283). In this case, Albert finds Allegra’s personality charming, and feels that she would be a good match for him if she would only pay attention to him. Allegra pays attention to Albert because she knows that he is not like the other men she has previously dated. She finds a sense of security from Albert because she can trust him to love her alone, unlike any of the other men she has dated. In the conclusion of the film, Albert and Allegra get married, which is proof for the bonding and integrating stages of Mark Knapp’s relationship development model. The way in which these relationships are developed is unique to them, and is greatly influenced by their cultures. Culture Merriam-Webster defines culture as, †Ã¢â‚¬ ¦the characteristic features of everyday existence (as diversions or a way of life) shared by people in a place or time.† Culture is something that is universal in nature, but is unique to every group of people. It is something that makes us as people of the world similar, and drastically different. Hitch looks at culture from a few different perspectives, one being from a familial stance, and the other relating to culture. Culture from a familial perspective deals with the dynamics of a family and how it is run. We are given small glimpses of families throughout Hitch, and for the most part, the culture seems to lean towards an individualistic culture. An individualistic culture is one that Adler (2012) would describe as a group of people who â€Å"†¦view their primary responsibility as helping themselves† (p. 38). People involved in an individualistic culture are very focused on the individual, and their needs in or der to further themselves in the world. A collectivistic culture is a type of culture that differs from this in that Adler (2012) speaks of as cultures that â€Å"feel loyalties and obligations to an in-group: one’s extended family, community, or even organization one works for† (p. 38). In Hitch, one of the more prominent characters Sara Melas, describes to Alex Hitchens an incident with her sister. By the way Sara speaks of her sister, Alex is able to figure out that she is speaking of her younger sister, due to the tone in her voice, and the phrasing she is using. Sara’s sister was involved in a near-death experience, and she explains how deeply impactful this experience was and how it has shaped how she lives. She cares very deeply for her younger sister and experiences intense pain and protectiveness when something negative happens. In this way, it seems that Sara is part of a larger collectivistic culture, due to the protectiveness and intense care she shows for her family. In the film, her life is mainly individualistic, but does indeed carry strong undertones of a collectivistic culture. Culture greatly deals with family and how one was raised, but it also heavily impacts individual relationships and how people interact within these connections. Cultures go about relationships and dating in drastically different ways. In some countries, couples are part of an arranged marriage, in other countries, the courting process is very formal, while in others, such as the one in Hitch, the relationship process is rather casual. Alex Hitchens works to bring couples together who wouldn’t normally be interested in one another, so perhaps one could label this as pairing a person from an in-group, with a person from an out-group. An in-group is a group where we find ourselves being able to identify with its members, whereas an out-group is a grouping of people with whom we would often label as different than us. In Hitch, the characters all deal with a great amount of power distance, which according to Adler (2012) is â€Å"†¦the degree to which members of a society accept an unequal distribution of power† (p. 39). The odd pairings Hitchens is able to bring together, often possess a higher degree of power distance. For example, Allegra and Albert, two people who no one ever thought could be together due to the extreme differences in their day to day lives and culture, were able to be together because the amount of power distance they saw in their relationships was minimal compared to what the outside world saw. The culture of New York deals with dating in a much more casual and open fashion. The thought that women are always looking for someone to be with, even if they say they’re not looking is extremely stressed. This shows aspects of an individualistic culture, due to the fact that the focus of life is greatly on oneself and the furthering of one’s life. Hitch displays many examples of culture weaved into normal, everyday life, both positive and negative. Conclusion The relationships that come together throughout Hitch, are wholly dependent upon communication. Their union is built upon a foundation of communication, both verbal and nonverbal, which is perceived in certain ways, and influenced by culture. The verbal communication is brought through spoken dialogue between people. Nonverbal communication is shown through body language and nonverbal cues, and as seen previously, makes up 60% of communication. Perception of verbal and nonverbal communication is pivotal, due to the fact that it is dependent upon the individual and how they understand something to be. Lastly, culture ties all of these aspects together, because it is due to the culture in which one is raised and the world in which they live in that they understand and interpret life. Hitch is a prime example of these aspects of communication because it brings together many of the important pieces of communication in a way that is easily relatable and understandable to the common person . References Adler, R. B., Rosenfeld, L. B., & Proctor II, R. R. (2012). Twelfth edition of interplay: the process of interpersonal communication. Oxford, New York: Oxford University Press, Inc. Cardova A., (November 14, 2012) Nonverbal Communication. Interpersonal Communications. Lecture conducted from Oregon State University, Corvallis, OR. Dictionary and Thesaurus – Merriam-Webster Online. (2012). Merriam-Webster. Retrieved 11/20/2012 from http://www.merriam-webster.com/ Tennant, A. (Director). Lassiter, J., Smith, W., Zee, T. (Producers). (2005). Hitch [Motion Picture] United States: Columbia Pictures

Reflection Paper on a Beautiful Mind

A Beautiful Mind is a story based on the life of the famous mathematician John Forbes Nash, Jr. His contributions to mathematics are outstanding. When he was an undergraduate, he proved Brouwer's fixed point theorem. He then broke one of Riemann's most perplexing mathematical problems and became famous for the Nash Solution. Game Theory from then on, Nash provided breakthrough after breakthrough in mathematics. In 1958 John Forbes Nash was described as being ‘the most promising young mathematician in the world'. John solved problems in mathematics that many mathematicians deemed not solvable. On the threshold of such a promising and outstanding career, he then went on to suffer through three decades of a devastating form of paranoid schizophrenia. He lost his teaching professions and his job. He refused all medical treatment and spent years in and out of delusional states. Remarkably, in 1994 John won the Nobel Prize in Economic Science for his work on Game Theory, he was only 21 when he wrote his paper. The story of John Forbes Nash Jr. is definitely connected with Logic, as he is a mathematician. In his breaking of many perplexing mathematical problems, he used logic. And in producing his famous Game theory, logical systems were used. Among the important properties that logical systems can have: ?Consistency, which means that no theorem of the system contradicts another. ?Validity, which means that the system's rules of proof will never allow a false inference from true premises. A logical system has the property of soundness when the logical system has the property of validity and only uses premises that prove true (or, in the case of axioms, are true by definition). ?Completeness, which means that if a theorem is true, it can be proven. Soundness, which means that the premises are true and the argument is valid. In one of the scenes in the movie, where Nash was in a bar with friends, the use of logic was very evident. While Nash and his friends all have their eyes on the same Blonde woman, you begin to sense his ‘genius moment'. He surprises his colleagues with the question that if we all want the same woman, nobody wins, if we all go afte r her friends, nobody wins, and thus there must be a solution to ensure that everyone wins. With that, Nash writes a formula on a napkin, rushes out of the bar and works feverishly on his new theory. The scene shows the art of logic, which examines three acts of the reason: simple apprehension, judgment and reasoning. Simple Apprehension is the grasp of a concept. A concept is also called an idea, a species, an intelligible form, and a mental word. A concept has an extension, which is the group of things included under the concept. A singular concept is the concept of one individual, for example, your concept of President Abraham Lincoln. A universal concept extends to a whole class of things. The more features (or notes) included in a universal concept, the narrower its extension. A transcendental concept is one that applies to anything that exists, for example being, thing, unit, distinct, good, true, beautiful. A concept by itself is not true or false, just as a single word is not true or false. A concept is a sign of a thing, just as a spoken word is a sign of a concept, and through the concept the spoken word is a sign of the thing. A concept is not merely a sensation stored in the mind, but is an immaterial act of understanding. A Judgment is expressed in a complete sentence or proposition. Judgments are either attributive, when we say â€Å"A is B†, where A is a subject and B is a predicate, or existential, as when we say â€Å"A exists†. Affirmation or affirmative judgment is called composition, because we are putting two concepts together. Negation is called division, because we are taking two concepts apart. A judgment is either true or false. Reasoning involves three terms or concepts, and two judgments. The major term is the broadest, the minor term is the narrowest, and the middle term is between the two, included in the meaning of the major term, and including in it the meaning of the minor term. An example is given in the table below (The Structure of a Syllogism). Major PremiseEvery man is mortal. Mortal = major term Minor PremiseKenji is a man. Man = middle term ConclusionKenji is mortal. Kenji = minor term A syllogism is the verbal expression of an act of reasoning. In a syllogism or perfect argumentation, where one thing is given, another thing necessarily follows. Other forms of argumentation give lesser degrees of certainty. A perfect syllogism employes deduction, which is reasoning that starts from general truths, and then applies them in a particular instance.

Is Humanity Suicidal? Essay

I do not think that humanity is suicidal, we just sometimes fail to realize the long-term effects that certain actions have on our environment. I completely agree with E.O. Wilson when he said, â€Å"We are smart enough and have time enough to avoid all environmental catastrophes of civilization-threatening dimensions.† Basically what he is saying is that we have the time and capability to prevent an environmental catastrophe, but the time to act is now. We as a society need to change our thought process in which â€Å"the mind works comfortably backward and forward for a few years, spanning a period not exceeding one or two generations† (Smith 3). We need to start thinking ahead and consider four to five generations ahead of us rather than two or three. The only way to achieve this is by spreading awareness. We need to start convincing people that changes must be made now in order to sustain our environment. People may not listen at first, but they will if enough people start to discuss it and it gains momentum. For instance, I can remember when the topic of electric cars first came up in the media about ten years or so ago. Back then, people laughed at the idea of an electric car, but now hybrids and non-gasoline powered vehicles have become a norm in today’s eco-friendly society. That is just one example, but there are many others in which society doesn’t take things seriously at first, but then comes to realize that maybe there is a problem and we should do something about it. All we can hope for is that we as a society address these problems sooner rather than later.

Foundation and Empire Acknowledgments

The date was August 1, 1941. World War II had been raging for two years. France had fallen, the Battle of Britain had been fought, and the Soviet Union had just been invaded by Nazi Germany. The bombing of Pearl Harbor was four months in the future. But on that day, with Europe in flames, and the evil shadow of Adolf Hitler apparently falling over all the world, what was chiefly on my mind was a meeting toward which I was hastening. I was 21 years old, a graduate student in chemistry at Columbia University, and I had been writing science fiction professionally for three years. In that time, I had sold five stories to John Campbell, editor of Astounding, and the fifth story, â€Å"Nightfall,† was about to appear in the September 1941 issue of the magazine. I had an appointment to see Mr. Campbell to tell him the plot of a new story I was planning to write, and the catch was that I had no plot in mind, not the trace of one. I therefore tried a device I sometimes use. I opened a book at random and set up free association, beginning with whatever I first saw. The book I had with me was a collection of the Gilbert and Sullivan plays. I happened to open it to the picture of the Fairy Queen of lolanthe throwing herself at the feet of Private Willis. I thought of soldiers, of military empires, of the Roman Empire – of a Galactic Empire – aha! Why shouldn't I write of the fall of the Galactic Empire and of the return of feudalism, written from the viewpoint of someone in the secure days of the Second Galactic Empire? After all, I had read Gibbon's Decline and Fall of the Roman Empire not once, but twice. I was bubbling over by the time I got to Campbell's, and my enthusiasm must have been catching for Campbell blazed up as I had never seen him do. In the course of an hour we built up the notion of a vast series of connected stories that were to deal in intricate detail with the thousand-year period between the First and Second Galactic Empires. This was to be illuminated by the science of psychohistory, which Campbell and I thrashed out between us. On August 11, 1941, therefore, I began the story of that interregnum and called it â€Å"Foundation.† In it, I described how the psychohistorian, Hari Seldon, established a pair of Foundations at opposite ends of the Universe under such circumstances as to make sure that the forces of history would bring about the second Empire after one thousand years instead of the thirty thousand that would be required otherwise. The story was submitted on September 8 and, to make sure that Campbell really meant what he said about a series, I ended â€Å"Foundation† on a cliff-hanger. Thus, it seemed to me, he would be forced to buy a second story. However, when I started the second story (on October 24), I found that I had outsmarted myself. I quickly wrote myself into an impasse, and the Foundation series would have died an ignominious death had I not had a conversation with Fred Pohl on November 2 (on the Brooklyn Bridge, as it happened). I don't remember what Fred actually said, but, whatever it was, it pulled me out of the hole. â€Å"Foundation† appeared in the May 1942 issue of Astounding and the succeeding story, â€Å"Bridle and Saddle,† in the June 1942 issue. After that there was only the routine trouble of writing the stories. Through the remainder of the decade, John Campbell kept my nose to the grindstone and made sure he got additional Foundation stories. â€Å"The Big and the Little† was in the August 1944 Astounding, â€Å"The Wedge† in the October 1944 issue, and â€Å"Dead Hand† in the April 1945 issue. (These stories were written while I was working at the Navy Yard in Philadelphia.) On January 26, 1945, I began â€Å"The Mule,† my personal favorite among the Foundation stories, and the longest yet, for it was 50,000 words. It was printed as a two-part serial (the very first serial I was ever responsible for) in the November and December 1945 issues. By the time the second part appeared I was in the army. After I got out of the army, I wrote â€Å"Now You See It-† which appeared in the January 1948 issue. By this time, though, I had grown tired of the Foundation stories so I tried to end them by setting up, and solving, the mystery of the location of the Second Foundation. Campbell would have none of that, however. He forced me to change the ending, and made me promise I would do one more Foundation story. Well, Campbell was the kind of editor who could not be denied, so I wrote one more Foundation story, vowing to myself that it would be the last. I called it â€Å"-And Now You Don't,† and it appeared as a three-part serial in the November 1949, December 1949, and January 1950 issues of Astounding. By then, I was on the biochemistry faculty of Boston University School of Medicine, my first book had just been published, and I was determined to move on to new things. I had spent eight years on the Foundation, written nine stories with a total of about 220,000 words. My total earnings for the series came to $3,641 and that seemed enough. The Foundation was over and done with, as far as I was concerned. In 1950, however, hardcover science fiction was just coming into existence. I had no objection to earning a little more money by having the Foundation series reprinted in book form. I offered the series to Doubleday (which had already published a science-fiction novel by me, and which had contracted for another) and to Little-Brown, but both rejected it. In that year, though, a small publishing firm, Gnome Press, was beginning to be active, and it was prepared to do the Foundation series as three books. The publisher of Gnome felt, however, that the series began too abruptly. He persuaded me to write a small Foundation story, one that would serve as an introductory section to the first book (so that the first part of the Foundation series was the last written). In 1951, the Gnome Press edition of Foundation was published, containing the introduction and the first four stories of the series. In 1952, Foundation and Empire appeared, with the fifth and sixth stories; and in 1953, Second Foundation appeared, with the seventh and eighth stories. The three books together came to be called The Foundation Trilogy. The mere fact of the existence of the Trilogy pleased me, but Gnome Press did not have the financial clout or the publishing knowhow to get the books distributed properly, so that few copies were sold and fewer still paid me royalties. (Nowadays, copies of first editions of those Gnome Press books sell at $50 a copy and up-but I still get no royalties from them.) Ace Books did put out paperback editions of Foundation and of Foundation and Empire, but they changed the titles, and used cut versions. Any money that was involved was paid to Gnome Press and I didn't see much of that. In the first decade of the existence of The Foundation Trilogy it may have earned something like $1500 total. And yet there was some foreign interest. In early 1961, Timothy Seldes, who was then my editor at Doubleday, told me that Doubleday had received a request for the Portuguese rights for the Foundation series and, since they weren't Doubleday books, he was passing them on to me. I sighed and said, â€Å"The heck with it, Tim. I don't get royalties on those books.† Seldes was horrified, and instantly set about getting the books away from Gnome Press so that Doubleday could publish them instead. He paid no attention to my loudly expressed fears that Doubleday â€Å"would lose its shirt on them.† In August 1961 an agreement was reached and the Foundation books became Doubleday property. What's more, Avon Books, which had published a paperback version of Second Foundation, set about obtaining the rights to all three from Doubleday, and put out nice editions. From that moment on, the Foundation books took off and began to earn increasing royalties. They have sold well and steadily, both in hardcover and softcover, for two decades so far. Increasingly, the letters I received from the readers spoke of them in high praise. They received more attention than all my other books put together. Doubleday also published an omnibus volume, The Foundation Trilogy, for its Science Fiction Book Club. That omnibus volume has been continuously featured by the Book Club for over twenty years. Matters reached a climax in 1966. The fans organizing the World Science Fiction Convention for that year (to be held in Cleveland) decided to award a Hugo for the best all-time series, where the series, to qualify, had to consist of at least three connected novels. It was the first time such a category had been set up, nor has it been repeated since. The Foundation series was nominated, and I felt that was going to have to be glory enough for me, since I was sure that Tolkien's â€Å"Lord of the Rings† would win. It didn't. The Foundation series won, and the Hugo I received for it has been sitting on my bookcase in the livingroom ever since. In among all this litany of success, both in money and in fame, there was one annoying side-effect. Readers couldn't help but notice that the books of the Foundation series covered only three hundred-plus years of the thousand-year hiatus between Empires. That meant the Foundation series â€Å"wasn't finished.† I got innumerable letters from readers who asked me to finish it, from others who demanded I finish it, and still others who threatened dire vengeance if I didn't finish it. Worse yet, various editors at Doubleday over the years have pointed out that it might be wise to finish it. It was flattering, of course, but irritating as well. Years had passed, then decades. Back in the 1940s, I had been in a Foundation-writing mood. Now I wasn't. Starting in the late 1950s, I had been in a more and more nonfiction-writing mood. That didn't mean I was writing no fiction at all. In the 1960s and 1970s, in fact, I wrote two science-fiction novels and a mystery novel, to say nothing of well over a hundred short stories – but about eighty percent of what I wrote was nonfiction. One of the most indefatigable nags in the matter of finishing the Foundation series was my good friend, the great science-fiction writer, Lester del Rey. He was constantly telling me I ought to finish the series and was just as constantly suggesting plot devices. He even told Larry Ashmead, then my editor at Doubleday, that if I refused to write more Foundation stories, he, Lester, would be willing to take on the task. When Ashmead mentioned this to me in 1973, I began another Foundation novel out of sheer desperation. I called it â€Å"Lightning Rod† and managed to write fourteen pages before other tasks called me away. The fourteen pages were put away and additional years passed. In January 1977, Cathleen Jordan, then my editor at Doubleday, suggested I do â€Å"an important book – a Foundation novel, perhaps.† I said, â€Å"I'd rather do an autobiography,† and I did – 640,000 words of it. In January 1981, Doubleday apparently lost its temper. At least, Hugh O'Neill, then my editor there, said, â€Å"Betty Prashker wants to see you,† and marched me into her office. She was then one of the senior editors, and a sweet and gentle person. She wasted no time. â€Å"Isaac,† she said, â€Å"you are going to write a novel for us and you are going to sign a contract to that effect.† â€Å"Betty,† I said, â€Å"I am already working on a big science book for Doubleday and I have to revise the Biographical Encyclopedia for Doubleday and -â€Å" â€Å"It can all wait,† she said. â€Å"You are going to sign a contract to do a novel. What's more, we're going to give you a $50,000 advance.† That was a stunner. I don't like large advances. They put me under too great an obligation. My average advance is something like $3,000. Why not? It's all out of royalties. I said, â€Å"That's way too much money, Betty.† â€Å"No, it isn't,† she said. â€Å"Doubleday will lose its shirt,† I said. â€Å"You keep telling us that all the time. It won't.† I said, desperately, â€Å"All right. Have the contract read that I don't get any money until I notify you in writing that I have begun the novel.† â€Å"Are you crazy?† she said. â€Å"You'll never start if that clause is in the contract. You get $25,000 on signing the contract, and $25,000 on delivering a completed manuscript.† â€Å"But suppose the novel is no good.† â€Å"Now you're being silly,† she said, and she ended the conversation. That night, Pat LoBrutto, the science-fiction editor at Doubleday called to express his pleasure. â€Å"And remember,† he said, â€Å"that when we say ‘novel' we mean ‘science-fiction novel,' not anything else. And when we say ‘science-fiction novel,' we mean ‘Foundation novel' and not anything else.† On February 5, 1981, I signed the contract, and within the week, the Doubleday accounting system cranked out the check for $25,000. I moaned that I was not my own master anymore and Hugh O'Neill said, cheerfully, â€Å"That's right, and from now on, we're going to call every other week and say, ‘Where's the manuscript?'† (But they didn't. They left me strictly alone, and never even asked for a progress report.) Nearly four months passed while I took care of a vast number of things I had to do, but about the end of May, I picked up my own copy of The Foundation Trilogy and began reading. I had to. For one thing, I hadn't read the Trilogy in thirty years and while I remembered the general plot, I did not remember the details. Besides, before beginning a new Foundation novel I had to immerse myself in the style and atmosphere of the series. I read it with mounting uneasiness. I kept waiting for something to happen, and nothing ever did. All three volumes, all the nearly quarter of a million words, consisted of thoughts and of conversations. No action. No physical suspense. What was all the fuss about, then? Why did everyone want more of that stuff? – To be sure, I couldn't help but notice that I was turning the pages eagerly, and that I was upset when I finished the book, and that I wanted more, but I was the author, for goodness' sake. You couldn't go by me. I was on the edge of deciding it was all a terrible mistake and of insisting on giving back the money, when (quite by accident, I swear) I came across some sentences by science-fiction writer and critic, James Gunn, who, in connection with the Foundation series, said, â€Å"Action and romance have little to do with the success of the Trilogy – virtually all the action takes place offstage, and the romance is almost invisible – but the stories provide a detective-story fascination with the permutations and reversals of ideas.† Oh, well, if what was needed were â€Å"permutations and reversals of ideas,† then that I could supply. Panic receded, and on June 10, 1981, I dug out the fourteen pages I had written more than eight years before and reread them. They sounded good to me. I didn't remember where I had been headed back then, but I had worked out what seemed to me to be a good ending now, and, starting page 15 on that day, I proceeded to work toward the new ending. I found, to my infinite relief, that I had no trouble getting back into a â€Å"Foundation-mood,† and, fresh from my rereading, I had Foundation history at my finger-tips. There were differences, to be sure: 1) The original stories were written for a science-fiction magazine and were from 7,000 to 50,000 words long, and no more. Consequently, each book in the trilogy had at least two stories and lacked unity. I intended to make the new book a single story. 2) I had a particularly good chance for development since Hugh said, â€Å"Let the book find its own length, Isaac. We don't mind a long book.† So I planned on 140,000 words, which was nearly three times the length of â€Å"The Mule,† and this gave me plenty of elbow-room, and I could add all sorts of little touches. 3) The Foundation series had been written at a time when our knowledge of astronomy was primitive compared with what it is today. I could take advantage of that and at least mention black holes, for instance. I could also take advantage of electronic computers, which had not been invented until I was half through with the series. The novel progressed steadily, and on January 17, 1982, I began final copy. I brought the manuscript to Hugh O'Neill in batches, and the poor fellow went half-crazy since he insisted on reading it in this broken fashion. On March 25, 1982, I brought in the last bit, and the very next day got the second half of the advance. I had kept â€Å"Lightning Rod† as my working title all the way through, but Hugh finally said, â€Å"Is there any way of putting ‘Foundation' into the title, Isaac?† I suggested Foundations at Bay, therefore, and that may be the title that will actually be used 1. You will have noticed that I have said nothing about the plot of the new Foundation novel. Well, naturally. I would rather you buy and read the book. And yet there is one thing I have to confess to you. I generally manage to tie up all the loose ends into one neat little bow-knot at the end of my stories, no matter how complicated the plot might be. In this case, however, I noticed that when I was all done, one glaring little item remained unresolved. I am hoping no one else notices it because it clearly points the way to the continuation of the series. It is even possible that I inadvertently gave this away for at the end of the novel, I wrote: â€Å"The End (for now).† I very much fear that if the novel proves successful, Doubleday will be at my throat again, as Campbell used to be in the old days. And yet what can I do but hope that the novel is very successful indeed. What a quandary!