A Linguistic Look at Spanish

Ask a linguist what kind of a language Spanish is, and the answer you get may depend on that linguists specialty. To some, Spanish is primarily a language derived from Latin. Another may tell you that Spanish is primarily an SVO language,  whatever that is, while others may refer to it as a fusional language. Spanish is classified as either an Indo-European or Romance language based on  its origins.Spanish is classified as a mostly SVO language because of its commonly used word order.Spanish is classified as somewhat inflectional because of the extensive use of word endings used to indicate attributes such as gender, number, and tense. All these classifications, and others, are important in linguistics, the study of language. As these examples show, linguists can classify languages according to their history, as well as according to the languages structure and according to how words are formed. Here are three common classifications that linguists use and how Spanish fits in with them: Genetic Classification of Spanish The genetic classification of languages is closely related to etymology, the study of the origins of words. Most of the worlds languages can be divided into about a dozen major families (depending on what is considered major) based on their origins. Spanish, like English, is part of the Indo-European family of languages, which includes the languages spoken by around half the worlds population. It includes most of the past and current languages of Europe (the Basque language being a major exception) as well as the traditional languages of Iran, Afghanistan, and the northern part of the Indian subcontinent. Some of the most common Indo-European languages today include French, German, Hindi, Bengali, Swedish, Russian, Italian, Persian, Kurdish and Serbo-Croatian. Among Indo-European languages, Spanish can be further classified as a Romance language, meaning that it is descended from Latin. Other major Romance languages include French, Portuguese, and Italian, all of which have strong similarities in vocabulary and grammar. Classification of Spanish by Word Order One common way of classifying languages is by the order of the basic sentence components, namely the subject, object, and verb. In this regard, Spanish can be thought of as a flexible subject-verb-object or SVO language, as is English. A simple sentence will typically follow that order, as in this example: Juanita lee el libro, where Juanita is the subject, lee (reads) is the verb and el libro (the book) is the object of the verb. It should be noted, however, that this structure is far from the only one possible, so Spanish cant be thought of as a strict SVO language. In Spanish, it is often possible to leave out the subject entirely if it can be understood from the context, and it also is common to change the word order to emphasize a different part of the sentence. Also, when pronouns are used as objects, the SOV order (subject-object-verb) is the norm in Spanish: Juanita lo lee. (Juanita reads it.) Classification of Spanish by Word Formation In terms of how words are formed, languages can be classified in at least three ways: As isolating or analytical, meaning  that words or word roots dont change based on how they are used in a sentence, and that the relationship of words to each other are conveyed primarily by the use of word order or by words known as particles to indicate the relationship among them.As inflectional or fusional, meaning that the forms of the words themselves change to indicate how they relate to the other words in a sentence.As  agglutinating or agglutinative, meaning that words are frequently formed by combining various combinations of morphemes, wordlike units with distinct meanings. Spanish is generally viewed as a somewhat inflectional language, although all three typologies exist to some extent. English is more isolating than Spanish, although English too has inflectional aspects. In Spanish, verbs are nearly always inflected, a process known as conjugation. In particular, each verb has a root (such as habl-)  to which endings are attached to indicate who is performing the action and the time period in which it occurs. Thus, hablà © and hablaron both have the same root, with the endings used to provide more information. By themselves, the verb endings have no meaning. Spanish also uses inflection for adjectives to indicate number and gender. As an example of the isolating aspect of Spanish, most nouns are inflected only to indicate whether they are plural or singular. In contrast, in some languages, such as Russian, a noun can be inflected to indicate, for example, that it is a direct object rather than a subject. Even names of people can be inflected. In Spanish, however, word order and prepositions are typically used to indicate the function of a noun in a sentence. In a sentence such as Pedro ama a Adriana (Pedro loves Adriana), the preposition a is used to indicate which person is the subject and which is the object. (In the English sentence, word order is used to inidicate who loves whom.) An example of an agglutinative aspect of Spanish (and of English) can be seen in its use of various prefixes and suffixes. For example, the difference between hacer (to do) and deshacer (to undo) is in its use of the morpheme (a unit of meaning) des-.

Are College Athletes Really Worth Paying This Question

Are college athletes really worth paying? This question is asked numerous times around the NCAA headquarters and among supporters of college athletics. Colleges are making a great deal of money from sports and many college coaches make just as much as NFL coaches and more than a professor would in a year. Networks like CBS and NBC are increasing revenue with coverage like March Madness, which has a contract worth 10.8 billion dollars through until 2024, as well as college football playoffs. For example, the University of Alabama Head Coach Nick Saban makes 7.1 million a year (Dodd) but it is his players, who are superior student athletes and win national championships year after year. Some people would agree that athletes should be paid,†¦show more content†¦Student athletes are unable to obtain steady income because they are so busy with sporting activities and community service activities and are unable to get a job to support themselves. College athletes cannot pick up a side job that earns over $2,000 per year or accept money from their coach to buy food from any local grocery store. These are issues that make supporters question whether the NCAA is treating college athletes like employees or if they really are student athletes. In a survey organized by the Big 12 Conference, players stated that they feel that juggling athletics and course work during the season is expectedly difficult, but athletes often feel just as overworked in the off-season and the off-season can be more draining than the in-season itself. In a 2010 NCAA survey, more than three-quarters of Division I baseball players reported spending â€Å"as much or more time on athletic activities† during the off-season as during the competitive season. About 70 percent of men’s basketball players reported the same, as did 70 percent of football players. It was a similar picture for the remaining men’s sports.(New). Student athletes may not be able to get a job but a re still treated like employees. Many say that playing sports in college is a privilege and that the athletes should be thankful that colleges allow them to play the sportShow MoreRelatedWhy D1 Athletes Should Be Paid784 Words   |  4 PagesPaper According to the NCAA, student-athletes are students first and athletes second. However over the last decade there have been many questions raised about what the actual definition of what a student-athlete really is. This is because of the millions of dollars generated by institutions that broadcasting and promoting these â€Å"student-first† athletes. The main question that arises from this is should the NCAA and or institutions/ conferences be paying athletes for their services? By looking at theRead MoreArgument for Paying College Athletes1399 Words   |  6 Pages Argument for Paying College Athletes Stephen Elting Mercy College Have you ever heard of a business that made billions of dollars, yet did not pay their employees? Seems pretty remarkable doesn’t it? Well this business is known as the NCAA. According to an article in the New York Times, the NCAA made $770 million from just the three-week Men’s Basketball Tournament, but how much did the athletes who participated in said tournament receiveRead MoreShould College Athletes Get Paid?853 Words   |  4 PagesShould College Athletes Really Get Paid? The question whether â€Å"If college athletes should get paid or not?† has been debated for many years. The debate is brought up every year during the NCAA men’s basketball, March Madness competition, and starts again when football season begins. College athletes do provide entertainment for sports fans, but all the benefits that they do receive should limit them from being paid. The benefits student athletes obtain is free tuition, health coverage, and an openedRead MoreShould College Athletes Be Paid?1079 Words   |  5 PagesCollege sports has become extremely popular over the past few years. With the March Madness tournament held in March and the new College Football Playoff held in January, the NCAA has achieved a great deal of attention and high television ratings. Although colleges make tons of money off of their athletes, college athletes receive plenty of compensation. Paying student athletes would cross the line between professionalism and amateurism and wou ld violate the essence of being a student athlete. StudentRead MoreCollege Athletes Should Remain Student Athletes1195 Words   |  5 PagesCollege Athletes Should Remain Student Athletes If someone plays a college sport he or she is part of the National Collegiate Athletic Association. Meaning that athlete is a student-athlete and an amateur competitor. To remain eligible to compete, all athletes in the NCAA are not allowed to tryout, practice, or compete with a professional team or any professional players. Also cannot have a contract with a professional team. In addition, cannot receive any benefits from an agent or a potentialRead MoreStudent Athletes Are Deserving Of Economic Remuneration1505 Words   |  7 Pagessports included are professional where the athletes are paid. However, two of them--NCAAF and NCAAM--are amateur sports headed by student-athletes who are not paid. When these college sports are on par with professional organizations that are worth billions of dollars, then the amateurism behind the NCAAF and NCAAM is questioned. In fact, the NCAA generates almost a billion dollars annually. Since the athletes in question are amateur student-athletes, p aying them might damage the integrity of the sportsRead Morewhy college athletes should be paid1388 Words   |  6 Pagesï » ¿ Why Collegiate Athletes Should be Paid In our world, people who bring in money with their talents are usually compensated for their efforts. It makes complete sense right? Well for college athletes, they bring in billions of dollars worth of revenue for their school, but do not get compensated for their talents whatsoever. Most people argue that only professional athletes should be paid because it is their profession, but people do not take in account for all the hard work and effort these studentRead MoreShould College Athletes Get Paid?999 Words   |  4 PagesPlaying a college sport today is not just fun anymore. College sports are becoming a business and the athletes are the workers. The money some sports programs make from ticket sales, concessions, and media exposure is tremendous. Students playing sports are the ones people pay money to watch, so do the colleges not pay the athletes since they are the ones that bring in the money. They train year around to make themselves and their team better but what do they se e for all of this hard work and dedicationRead MoreCollege Athletes Should Not Be Paid1592 Words   |  7 PagesThere has been on ongoing discussion between college athletes and the NCAA on whether they should be compensated for the work they do for their selective school. Student athletes deserve to be paid to invest in their needs, and the schools have the money to do so. College Athletes have made the case that they are no longer student athletes, but are on the clock workers. The NCAA accumulates around 11 billion dollars in revenue a year, more money than the NFL, NBA, and MLB. Many writers such as JoeRead MoreIt’s Time to Pay College Athletes Essay1704 Words   |  7 PagesCollege athletes should be paid because of the huge amount of money being made off of the use of their athletic ability. The college basketball and football games that everyone watches on TV is no longer just a game, it is a business. The colleges and arenas hosting such events are not doing it sole ly for the love of sport, they are doing it for the money that will flow generously into their banking accounts. The coaches also, they are not volunteers, they are not there just for their love of the

A Study And Definition Of Cabaret Drama Essay Free Essays

string(41) " completion of a series of shadow books\." The term ‘cabaret ‘ is derived from the Gallic word for wine basement or tap house, and finally was used to mention to any type of concern that sold alcoholic drinks. However, as historian Lisa Appignanesi explains, popular use ‘conjures up visions of sleazy strip articulations on clammy metropolis streets or cabarets where the extortionate monetary value of cocktails is seldom linked to the meager phase menu ‘ ( 2004: p. 1 ) . We will write a custom essay sample on A Study And Definition Of Cabaret Drama Essay or any similar topic only for you Order Now Cabaret, since its outgrowth in the late 1800s, has been a popular signifier of amusement, peculiarly during times of subjugation. This can be understood by following its early yearss in Paris, up through the German ‘Kabarett‘ , as it was known, in the 1920s and 1930s. The twelvemonth 1881 is frequently thought of as the ‘beginning ‘ of nightclub, for this was the twelvemonth in whichLe Chat Noir( or ‘Black Cat ‘ ) came into being in the Montmartre subdivision of Paris. However, Appignanesi points out that in the mid-fifteenth century in France, the impression of nightclub was already in being ; wine basements were often the venue for unrecorded amusement: ‘The two signifiers of artistic nightclub which were to emerge some centuries later were already at that place in source: nightclub as a meeting topographic point for creative persons where public presentation or improvisation takes topographic point among equals, and nightclub as an confidant, small-scale but intellectually ambitious review ‘ ( 2004: p. 1 ) . The signifier of nightclub that came into being in 1881 had a more rational and artistic ambiance, possibly in portion due to the formation of a literary society known as the ‘Hydropathes‘ . This was a group of creative persons, chiefly authors and poets, who would convene hebdomadal to portion work with one another. Their popularity grew quickly and their Numberss increased. This, harmonizing to Appignanesi, was the start of the true nature of nightclub: ‘It emerged either as a research lab, a testing land for immature creative persons who frequently intentionally advertised themselves as an daring, or as the satirical phase of modernity, a critically brooding mirror of topical events, ethical motives, political relations and civilization ‘ ( 2004: p. 5 ) . II. Gallic Cabaret By the 18th century France, the tradition of offering nutrient and drink had begun to take clasp ; nevertheless, it was non until the 19th century that the impression of ‘cafes-concerts ‘was to the full accepted. Rearick explains that ‘live ‘ vocalizing was highly common during the 1800s and up until the bend of the century ; record players were non common to the multitudes, so unrecorded amusement was the criterion: ‘In streets and courtyards, the fin-de-siecle Gallic on a regular basis listened to itinerant vocalists, as their ascendants had through the centuries ‘ ( Rearick, 1988: p. 46 ) . In the 1880s and 1890s, thesecafes-concertscontinued to proliferate, so that by the bend of the century there were more than 260 constitutions of the type ( Rearick, 1988: p. 46 ) . The music was uninterrupted, with vocal after vocal being performed, frequently to packed audiences. Le Chat Noir As stated above, 1881 is considered a landmark day of the month in cabaret history, as this was the twelvemonth in whichLe Chat Noir( or ‘Black Cat ‘ ) came into being in the Montmartre subdivision of Paris. Harmonizing to Appignanesi, the symbol of the black cat is derived from the work of Edgar Allan Poe, a clear indicant of the strong literary tradition nightclub was associated with. ‘The first cabaretists gave birth to an eclectic cat ‘ , notes Appignanesi. ‘A cat who could sing, declaim, dance, create shadow dramas, write music, wordss, travesty, and above all, perform ‘ ( 2004: p. 9 ) . Le Chat Noir was the inspiration of Roldolphe Salis, besides known as the Baron de la Tour de Naintre. Its initial place was a infinite of two suites, but its popularity increased so quickly that it shortly took topographic point in much more broad and elegant milieus. Salis is credited with holding introduced the piano to the nightclub, an add-on which greatl y enhanced the popularity of nightclubs among the populace. Salis did this despite the being of a authorities legislative act that prohibited music in nightclubs. This neglect for authorization has come to be associated with cabaret life as we have come to believe of it today. Salis ‘ following move was to ask for more and more creative persons and instrumentalists to pass clip at his constitution. He had become acquainted with fellow creative person Emile Goudeau, who was a Hydropath, and it was through Salis ‘ influence that the Hydropathes moved from the Left Bank to Le Chat Noir in Montmartre. Salis was besides known for his self-aggrandisement ; the cabaret shortly began to print a journalalso known asChat Noirin which he wrote: ‘The Chat Noir is the most extraordinary nightclub in the universe. You rub shoulders with the most celebrated work forces of Paris, meeting at that place with aliens from every corner of the universe ‘ (ChatNoir) . In general, the manner of the diary was frequently marked by macabre narratives, non unlike the work of Poe himself. Humorous essays were besides often featured. It besides contained illustrations, and a figure of postings by Toulouse-Lautrec, many of which can be seen on posting reissues from that era. In the 1880s, the primary illustrators of the diary included Adolphe Willette, Caran d’Ache, Theophile-Alexandre Steinlen, Henri Riviere and George Auriol (Chat Noir) . Cheap and easy accessible, the four-page diary rapidly grew in popularity ( Krafft, 2006: par. 2 ) . It was a signifier of look that was unfastened to everyone who wanted their voices to be heard. Shadow Theatre: Precursor of Cinema It is frequently thought that the shadow theater at Chat Noir was instrumental in the beginnings of film. Henri Riviere, whose illustrations appeared in the diary, was one of the cardinal figures involved. Zinc figures were silhouetted against a backlit background, and music and sometimes narrative would be included. The ensuing eyeglassess were rather popular and attracted such celebrated people as Claude Debussy, Eric Satie, and Toulouse-Lautrec ( Krafft, 2006: par. 6 ) . Riviere besides collaborated with George Auriol in the completion of a series of shadow books. You read "A Study And Definition Of Cabaret Drama Essay" in category "Essay examples" These were to a great extent decorated in a Nipponese manner that shortly became known as the genreart nouveau.The most celebrated work that came out of this clip, nevertheless, was a volume known asLes Trente-six Vues de la Tour Eiffel,a series of prints, thirty-six in all, of Paris at the clip. The Nipponese influence is really eviden t in this work, peculiarly the work of Hokusai in his word pictures of Mount Fuji ( Krafft, 2006: par. 8 ). The Chat Noir ‘s success was instrumental in doing Montmartre the centre of artistic life in Paris. Although it was non the lone nightclub, it was by far the most celebrated. Other constitutions includedCabaret des Quat’z ‘ Humanistic disciplines,La Lune Rousse,Les Pantins,and the more celebrated Le Mirliton. Le Mirliton is Gallic for ‘reed pipe ‘ , but has the secondary significance of ‘doggerel ‘ . The nightclub was really located in the original place of the Chat Noir, and the creative person most normally associated with it was Aristide Bruant. Bruant was ardently political, and his vocals are full of mentions to the desperation and poorness of victims of societal unfairness. Prisoners, cocottes, and castawaies in general were frequently topics of his work. The wordss were written in the linguistic communication of the streets, and were frequently satirical. Bruant himself was made celebrated in a posting of him that was created by Toulo use-Lautrec. Appignanesi describes his wordss as both acrimonious and hopeful: ‘With his deep affinity for the topics of his vocals, yet without a hint of moralising mawkishness, Bruant exposes the predicament of the lower deepnesss and the demand for alteration ‘ ( 2004: p. 27 ) . His wordss are frequently considered the root of the cabaret chanson tradition. Below are the wordss of a vocal that Bruant composed in 1898 for his election run for the legislative assembly, and one which represents the motives and political subjects that traditionally marked his work: If I were your deputy, Oho! Oho! One can merely seek I would add the word Humanity To the three of our radical call. Alternatively of talking every twenty-four hours For the democracy or the imperium Making addresss that leap into fire, But have nil to state I ‘d defend the mewling baby Of unwed female parents, the hapless old common people Who freeze in the wintry metropolis, They ‘d be every bit warm as a summer ‘s twenty-four hours If I were made deputy In Belleville. ( Bruant, qtd. in Appignanesi, 2004: p. 27 ) We can see in Bruant ‘s wordss the sorts of issues that were relevant and the political ambiance at that clip. It is no surprise that he sings of hungry kids ( ‘mewling babies ‘ ) , unwed female parents, the impoverished, the homeless ‘who freezing in the wintry metropolis ‘ . These were the people who were unaccustomed to holding a voice in society ; nightclub offered them a forum, a manner of self-expression that would hopefully take to the societal reforms that were so urgently needed. Womans in Cabaret Womans were non actively involved in nightclub in these early yearss, but they were non wholly unrepresented. Yvette Guilbert ( 1867-1944 ) was one of the few adult females of this clip period who performed cabaret-type vocals. She got her start in traditional theater in Paris, but shortly moved to Montmartre, which was genuinely the centre of artistic spirit at the clip. Her manner was alone ; she would both talk and sing her wordss, a trait for which she was shortly known as ‘diseuse five de siecle ‘, or end-of-the-century Teller. She appeared chiefly in such locales as the Divan Japonais, the Moulin Rouge, and Les Ambassadeursthough she did non execute in nightclubs themselves. In the early yearss of nightclub, nevertheless, adult females were a rareness: Appignanesi points out that ‘the signifier had to go to Germany and Austria before adult females became an built-in portion of its makeup ‘ ( 2004: p. 29 ) . II. Cabaret in Berlin Cabaret began to distribute in popularity, traveling far beyond the boundaries of Paris and France. It became even more popular all across Europe at the terminal of World War I, where it found a comfy niche in which to boom. Wilhelmine Germany, nevertheless, was non every bit free-spirited as Paris was: ‘A hierarchal construction of authorization prevailed, breeding a battalion of uniformed functionaries, promoting flunkies and political alienation ‘ ( Appignanesi, 2004: p. 36 ) . During this clip period, corruptness was every bit widespread as it was unreliable. In add-on, rigorous censoring made it hard for any sort of art to boom. Artists and authors who expressed thoughts that were considered unacceptableand most thoughts at the clip werewould have their public presentations stopped, their work seized. In some instances, the creative persons themselves would be imprisoned. Around 1900, nevertheless, the ambiance began to alter. Thinkers like Nietzsche began to hold mo re and more influence, and new thoughts and ideas began to go around. Finally, creative persons who had been kept down for so long were eventually free to show themselves. Rootss in Munich At the bend of the century, the metropolis that was known as the centre for the humanistic disciplines in Germany was Munich. This is whereSimplicissimusgot its start and continued to boom. The Schwabing territory was home to a figure of creative persons and performing artists. The terminal of the censoring that had been rampant under the Wilhelminian epoch eventually arrived, and the Weimar Republic had begun. At this point, the old order in Berlin ceased to be, and it shortly became the widely distributed capital of Germany. Otto Julius Bierbaum andDeutsche Chansons In 1900,Deutsche Chansonsmade its introduction. This book, published by Otto Julius Bierbaum, was a aggregation of singable verse forms, including plants by Richard Dehmel, Arno Holz, and Frank Wedekind. Bierbaum was interested in doing art that was available to the people: ‘his purpose was to do art permeate the entireness of life ‘ , notes Appignanesi: ‘Painters today†¦ are doing chairs for people to sit on, non for museums ‘ ( 2004: p. 37 ) . The motion inspired by Bierbaum ‘s efforts to ‘functionalise ‘ poesy is known asJugendstil.This motion had an of import impact on the go oning development of nightclub. From this point on, it would be marked by its willingness to take on popular manners of look: ‘The acceptance of popular signifiers, for whatever motor, cultural or political, was to stay a portion of the nightclub tradition throughout, every bit good as one of the drive forces of modernism ‘ ( Appignanesi, 2004: p. 37 ) . This meeting of signifier and map may non look surprising to society today, but during this period ofJugenstil,it signified a new manner of looking at the universe. With the terminal of censoring that came through the Weimar period, it was an ideal clip and topographic point for nightclub to develop. However, nightclub in Germany would somewhat switch its focal point. It would go more serious. As it developed and became more widespread and progressively popular, it would besides maturate and lose some of the gaiety it was accorded in Paris. Harmonizing to Appignanesi, a figure of factors, happening about at the same clip, contributed to the birth of nightclub in Germany. The hebdomadal magazine,Simplicissimus, was launched in 1896 by Albert Langen, and frequently contained parts from authors who included Thomas Mann and Rainer Maria Rilke. A satirical publication, it included non merely composing, but sketchs every bit good, and was diagrammatically rather advanced and bold. It often took on political issues, such as the 1897 jurisprudence punishing workers who went on work stoppage. AfterDeutsche Chansonsmade its introduction, things began to alter at a rapid gait. It shortly became clear that Berlin accepted nightclub as a meeting topographic point for creative persons and authors. The hub of activity at the bend of the century had been Munich, as stated earlier, peculiarly the Schwabing territory. Appignanesi asserts that this meeting of endowment along with a carnival atmosphere ‘resulted in Munich ‘s bring forthing one of the most fertile and interesting of European nightclubs ‘ ( 2000: p. 42 ) , and one that spread throughout the state during the Weimar old ages. The Eleven Executioners Lex Heinzewas the name given to the rigorous jurisprudence that gave constabularies the power to interfere in artistic affairs in Germany. The constabulary took full advantage of this power, and in a figure of ways. Confiscation of publications such as books or magazines was common. Even public presentation art was affected: parts of a public presentation could be deleted, sometimes full Acts of the Apostless. Furthermore, piquing creative persons or authors could be imprisoned. A group of Secessionist painters,Simplicissimusstaff members, and pupils and histrions from the academic Dramatic Union, formed a protest group, eleven of whom would come to be known as ‘the Eleven Executioners ‘ . What they planned to ‘execute ‘ , harmonizing to Appignanesi, was the really thought of societal lip service itself. She explains that ‘these hangmen of the position quo knew that if they performed publically they would be harassed by censoring, and so they called them selves a nine which played merely to invited invitees, one dark every hebdomad ‘ ( 2004: p. 44 ) . In this manner, they were able to execute without intervention. A sample of their vocals is below: It looms on high that black block We judge heartily and Pierce. Blood ruddy bosom, blood ruddy frock, Our merriment is ever ferocious. Any enemy of the clip Will run into the executioner ‘s axe Any friends of decease and offense, We ‘ll decorate with vocal and rime. ( qtd. in Appignanesi, 2004: p. 44 ) As in the plants of Bruant, subjects of equality and equity were normally found in the vocals performed by the Executioners. They were socially witting and really much aware of the predicament of those society held in small respect: the destitute members of society, those who most needed to be heard but had small opportunity of holding that happen. Among the most celebrated of the Executioners was Frank Wedekind. Wedekind ‘s disfavor of authorization was good established by the clip he joined their ranks. He was known for composing parody and satires that mocked the hypocritical behaviours of those in power. In add-on, he was known to hold a strong phase presence, and would give long, strident public presentations that would electrify audiences both in their dramatic bringing and their hideous content. Below is an illustration of Wedekind ‘s incendiary sarcasms: I have murdered beloved Auntie Alice, My Auntie so old and so frail. Motivated by greed and maliciousness I went directly on the hoarded wealth trail. Her small house was merely huming With bills, with portions and with gold. I heard my Auntie ‘s heavy external respiration But that left me absolutely cold. I merely followed my intuition In the dark I opened her door And stab her without suppression My Auntie sighed and breathed no more. The aureate coins were weighing me down, Her organic structure was heavy as lead, But I dragged Auntie without a scowl Through the garden and into the shed. I have murdered beloved Auntie Alice, My Auntie so old and so frail. I ‘m immature, so immature, yet out of maliciousness They ‘ve sentenced me to life-long gaol. ( qtd. in Appiganesi, 2004: p. 49 ) The rough sarcasm and scratchy daring of this and other ballad-type vocals were one of Wedekind ‘s hallmarks, and it was non long before he extended this into lampoon. Nothing was considered sacred ; he even wrote a lampoon of the national anthem,Deutschland, Deutschland A ; Atilde ; ?ber alles.In this instance, nevertheless, he published the piece under a anonym. In actuality, the span of clip the Eleven Executioners were together as a group was non really long. However, the impact they had was immense. The group had all but disbanded by 1903. Yet, during that clip, they were able to convey their message to all parts of the state, and they were considered instrumental in distributing cabaret itself. They are frequently credited with assisting to popularise the genre and convey it to Vienna, the artistic capital of pre-war Europe. IV. Later Cabaret Christopher Isherwood Christopher Isherwood ‘s plants include two semi-autobiographical novels that are an of import portion of cabaret history:Berlin NarrativesandGoodbye to Berlin.In fact, Bob Fosse ‘s 1972 movieCabaretwas inspired byGoodbye to Berlin. This aggregation of pieces is about life in Berlin during 1930 and 1931, at the beginning of the Nazi rise to power. ‘More than doing monsters, hence, the Berlin novels account for how monsters are made when history itself becomes monstrous ‘ , notes Shuttleworth. ( 2000: p. 160 ) . ‘If the concluding sense of the texts is that the trespass of life by art is black, they are every bit clear that the separation of art from life is impossible, and that the thought of an ingenuous universe, claiming genuineness or objectiveness, is a psychotic belief dangerous in itself ‘ ( Shuttleworth, 2000: p. 160 ) . Cabaret in Film:Cabaret The movieCabaret,directed by Bob Fosse, was released in 1972. Immediately popular, the movie shortly became a authoritative. In it, one can acquire an thought of what nightclub was like in 1932 Berlin.Cabaretwas inspired by Christopher Isherwood ‘sGoodbye to Berlin, a aggregation of pieces, some of which are autobiographical, approximately life in Berlin during 1930 and 1931, at the beginning of the Nazi rise to power. The pieces are valuable as a description of a important period in German and universe history, and the consequence the altering political tide had on the universe of nightclub. ‘Isherwood ‘s portrayal of the Berlin demimonde and of the morally belly-up center categories has by and large been taken to uncover a cultural status, or allow us state a widespread province of head, which somehow explainsand possibly even foretoldwhat was to go on in Europe and the universe at big during the following 15 old ages ‘ ( Bucknell, 2000: p. 13 ) . The narrative opens up with the Kit Kat Klub, in Berlin. It is set in the late 20s, before the subjugation of Hitler had settled in. The Kit Kat Klub was an existent nightclub in Berlin during the 1930s. This is the common bond that links American Sally Bowles with several other colourful characters who are representative of society of the clip. Among them was a affluent German politician, a British instructor, and of class, the all-knowing Master of Ceremonies. Enormously celebrated, the movie is still considered a authoritative, and is frequently seen as a metaphor for the suicide that was subsequently to follow as fascism engulfed Germany. Cabaret in Film: The Blue Angel The Blue Angel,starring Marlene Dietrich, is another classic in which the Weimar cabaret manner is considered to be accurately depicted. It is slackly based onProfessor Unrath,the novel by Heinrich Mann. Dietrich, who was comparatively unknown at the clip, played Lola-Lola, the star of the Blue Angel, a character known for her bold, audacious gender. Professor Immanuel Rath is a headmaster, known for his deficiency of a sense of temper and his Puritan attack to life. Upon detecting that some of his pupils have been patronizing The Blue Angel, he decides to demo up at the nightclub himself, trusting to catch pupils in the act. His visit opens up a new universe to himthe animal, free, loose universe of cabaret lifeand after trying this, it is clear that he will ne’er be the same. V. Conclusion By following the development of the nightclub genre, from its early yearss in Paris, up through the German ‘Kabarett‘ , as it was known, in the 1920s and 1930s, one can see how it became steadfastly entrenched as a vehicle for the oppressed. The twelvemonth 1881 is frequently thought of as the landmark day of the month for the start of nightclub, for this was the twelvemonth in whichLe Chat Noircame into being in Paris. However, as has been pointed out, the impression of nightclub was already in being ; wine basements were often the venue for unrecorded amusement as far back as the 15th century. Cabaret shortly became known as a meeting topographic point for creative persons, authors, and performing artists ; it game them a common assemblage topographic point in which chumminess was established, thoughts were shared, and history was made. The signifier of nightclub that came into being in 1881 had a more rational and artistic ambiance, influenced greatly by the literary group ofHydropathes. It spread, as we have seen, throughout Europe ; with the terminal of the censoring that had been rampant under the Wilhelminian epoch, nightclub settled in Berlin, a place in which it flourished and matured. As the genre developed, it became more widely accepted every bit good as progressively popular ; it besides matured and lost some of the gaiety it was known for in Paris. Historically, nightclub has been the voice of freedom. It has represented advancement and been both a vehicle for self-expression and an instrument of alteration. Throughout history, we have seen that catastrophes will happen, events over which we have no controlwe besides have seen that we have, and will, rally from them. To that terminal, we have art. But if, as Appignanesi points out, ‘the creative person ‘s metaphorical gun is no peculiarly powerful arm, it can still incite displacements of consciousness ‘ ( 2004: p. 251 ) . Art can remind us that there is another manner of making things, a fresh world that we can keep onto and trust for. But ‘art ‘ has non ever been known for its handiness. Cabaret is, in that sense, the art of the people, a oasis that has historically attracted those for whom society holds in small respect: the impoverished, the fringy, the less fortunatethose who most needed to be heard but have small opportunity of holding that h appen. Mentions Appignanesi, Lisa. 2004.The Cabaret.New Haven and London: Yale University Press. Berg, James, and Freeman, Chris, eds. 2000.The Isherwood Century: Essaies on the Life and Work of Christopher Isherwood.London: University of Wisconsin Press. Bucknell, Katherine. 2000. ‘Who Is Christopher Isherwood? ‘ In Berg, James, and Freeman, Chris, eds. ,The Isherwood Century: Essaies on the Life and Work of Christopher Isherwood.London: University of Wisconsin Press, pp. 13-30.Chat Noir. n.d. Retrieved electronically on August 25, 2006, from hypertext transfer protocol: //www.nyu.edu/greyart/exhibits/counter/html/body_chatnoir.html Jackson, Jeffrey. 2000. ‘Music-Halls and the Assimilation of Jazz in 1920s Paris ‘ . Journal of Popular Culture.Fall 2000, Vol. 34, Issue 2, pp. 69-82. Krafft, Scott. 2006. ‘Shadow Theatre of Montmartre ‘ . From the Charles Deering McCormick Library of Particular Collections. Retrieved electronically on August 25, 2006, from hypertext transfer protocol: //www.library.northwestern.edu/librarybriefings/archives/000830.html Rearick, Charles. 1988. ‘Song and Society in Turn-of-the-Century France ‘ .Journal of Social History.Fall 1988, Vol. 22, Issue 1, pp. 45-63. Simmons, Sherwin. 2000. ‘Ernst Kirchner ‘s Streetwalkers: Art, Luxury, and Immorality in Berlin, 1913-1916 ‘ .The Art Bulletin,March 2000. Shuttleworth, Antony. 2000. ‘In a Populous City: Isherwood in the Thirties ‘ . In Berg, James, and Freeman, Chris, eds. ,The Isherwood Century: Essaies on the Life and Work of Christopher Isherwood.London: University of Wisconsin Press, pp. 150-161. How to cite A Study And Definition Of Cabaret Drama Essay, Essay examples

Metallica Invades Amherst! free essay sample

Metallica, kings of the road and stage, hit the Mullins Center at UMass, Amherst(MA) on February 15th with enough energy and heat to engulf the Mullins in flames of complete aggression and power. The show was scheduled to begin promptly at 8: 00 p.m. but was delayed about 45 minutes. However, making the wait a more pleasant one, the Metallic-hungry followers were treated to a 25-minute documentary on the band with some candid peeks, live footage from backstage on the three huge monitors set up so that everyone could see as well as those ever-so-lucky front row viewers! Finally, James, Jason, Lars, and Kirk appeared and the entire horde of fans went crazy as Metallica pounded into Enter Sandman, the first release from their latest album, Metallica, which has been on the charts for over 75 weeks now. Following Sandman were three Metallica classics, Creeping Death, Harvester of Sorrow, and Sanitarium. With each song, the band seemed to pump even more of their relentless energy into thei r fans. We will write a custom essay sample on Metallica Invades Amherst! or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page It was loud, nasty, and incredible! Bassist, Jason Newsted, was superb. Showing off his newly-shaven (and practically bald) head, he performed a phenomenal solo. Looking at the monitor for a close-up of his bass mastery, I stood in complete awe as I watched his fingers play that instrument, his soul, like no other bassist I have ever seen before. He played with such passion and skill that clearly explained the reason for his new title of Best Bassist of 92 in RIP magazines annual readers poll. Newsted brought a unique power to the stage, one of style and class. Bandmates James, Lars, and Kirk, too, were extremely fired up and impassioned, seeming to bring the entire sea of beholders to a higher plateau where a person could forget about the pains and sufferings of reality and for three truly magical hours, escape to that world of fantasy where ones hopes and dreams could become real and alive. Even though I knew very few at the show, but there was a sense of unity among us. As fans, we were all united in the love of this music, this chaos, and this energy. Metallica brought us altogether to share in the glory of rock and most important, have a damn good time! As fists thrust into the air and every voice chanted the words to Seek and Destroy, the energy built up even more and with each song, the crowd grew even crazier. It was a steadily climbing roller coaster ride of adrenaline where the volume and strength seeped into us uncontrollably. It was delightfully frightening and unstoppable, making the blood in my veins pound in thrashing sync wi th the pulsating vibe I had been eagerly awaiting for months. Unbelievable lighting and pyrotechnics added to the solid-rock, exploding metal making it easy to see why Metallica was pronounced Best Live Act in the 1992 RIP magazine readers poll. Metallica is a very close group. They work together and are sincerely devoted to their music and message. After performing their last song, Battery, I thought about that. Metallica would not be here today if they had not ridden those tremendous waves of life together on their difficult rise to the top. They are a truly inspiring group of guys who clearly fit the definitions of perseverance and dedication who simply enjoy bringing happiness to others through their talents. I am proud to say that I am a die-hard Metallica fan and thank them with all my heart for that spectacular evening of February 15th that will never be forgotten. n

Sampling and Households free essay sample

Senturia et al. (1994) describe a survey taken to study how many children have access to guns in their households. Questionnaires were distributed to all parents who attended selected clinics in the Chicago area during a one-week period for well or sick child visits. Suppose that the quantity of interest is percentage of the households with guns. Describe why this is a cluster sample. What is the psu? The ssu? Is it a one-stage or two-stage cluster sample? How would you estimate the percentage of households with guns, and the standard error of your estimate? What is the sampling population for this study? Do you think this sampling procedure results in a representative sample of households with children? Why, or why not? Solution: This is a cluster sample because all the elements within the clusters are selected. (Example: All parents who attended selected clinics in the Chicago). The primary sampling unit (psu): Clinics in the Chicago. We will write a custom essay sample on Sampling and Households or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page The secondary sampling unit (ssu): Households with guns (parents who attended selected clinics in the Chicago area during a one-week period for well or sick child visits). This is a two stage cluster sample because subsample only some of the element within a sampled cluster. We can estimate the percentage of households with guns based on the information available but in this study, the information is not available. We can assume in the case of selecting clinics, the sample size is 10 and the population size is 100, and those are the parameters that define the probability, 10/100. For households, calculation of the percentage is slightly different because we do not know, in advance of the study, how many households are to be selected in each sample clinic. We are simply instructed to select 1 in 5 of all of them, so that if there is a total of 100 in Clinic A and 75 in Clinic B, we would select 20 and 15 respectively. Still, the percentage of selecting a household is 1/5, irrespective, of the population size or the sample size (20/100 = 1/5 but so does 15/75). By the formula, we simply estimate( t) ? unb= N/n ? t_i. When the population value is known, we can know the sampling error and we use this error for the purpose of our statistical test. The standard error of a percentage is always pq/n. Standard error (( t) ? unb) = Nv((1-n/N) (S^2 t)/n) . The sampling population for this study is households with guns in the Chicago. Yes, this sampling procedure results in a representative sample of households with children because where there is sub-sampling within the clusters chosen at the first stage, the term multistage sampling will applies. The population is regarded as being composed of a number of first stage or primary sampling units (PSUs) each of them being made up of a number of second stage units in each selected PSU and so the procedure continues down to the final sampling unit, with the sampling ideally being random at each stage. Using cluster samples ensures fieldwork is materially simplified and made cheaper. That is, cluster sampling tends to offer greater reliability for a given cost rather than greater reliability for a given sample size. With respect to statistical efficiency, larger numbers of small clusters is better. All other things being equal than a small number of large clusters.

Your 8 Biggest Job Search Fears and How to Conquer Them

Your 8 Biggest Job Search Fears and How to Conquer Them You absolutely hate your job. Or perhaps you’re between jobs- or even just starting out. The first rule of job hunting is this: you’ll never find a job unless you start. But putting yourself out there can be hard, and the fear is often real. Here are a few of the most common job hunting fears and how you can overcome them. 1. Confirming Your Worst Feelings About YourselfIf you’re not really searching, then you can tell yourself that if you only put your back into it, you would find a job no problem. Actually searching means facing rejection.  But you can’t get a yes without putting yourself out there. And what’s the worst that can happen? You’ll get a â€Å"no,† maybe a resounding one. So what? Then you’ll brush yourself on and move on to the next one.2. Risking EmbarrassmentYou don’t really want to broadcast to your friends and contacts that you’re looking for work. It makes you feel like a failure. Take comfort , instead, on the fact that literally everyone has not had a job at some point in their lives, and has been rejected from one.3. The Grass Not Being GreenerYou hate your current job. But what if you go through all the stress of finding a new one and getting established in a new company- and it turns out that job is just as bad? The best way to handle this is to make sure to enter the interview with a good set of questions for the employer- about workplace culture, job responsibilities, etc. This will help you make sure you’re not going to be just as miserable in a new place.4. Selling YourselfYou feel a little like a used car salesman on the job market- Dressing up in outfits you don’t usually wear and having to pedal yourself like wares for sale. Just remember: you’ll find the best job for you when you put the best version of yourself forward, not a fake version. Try to be honest and still make a fine first impression, and you shouldn’t feel too uncomfor table with the process.5. Asking for HelpNo one is an island. And this, by the way, is the whole point of networking. You built up a robust group of colleagues and contacts- now go work them. If this makes you too uncomfortable, just imagine how you would feel being approached by someone in your network for advice or help. Generous, right? Happy to help out if you can! Now treat yourself as nicely as you would treat your contacts.6. Not Measuring UpWhether you’re most afraid of imperfection, or of being un-or-under-qualified, and/or a little out of your league, relax. First of all: nobody’s perfect. Second of all: if your resume and experience match the requirements in the job posting, then you are exactly in your league. Now take a deep breath and go after what you want.7. Time DrainMaybe you’re afraid that job searching will take up every last ounce of free time you have and make you even more miserable. It is a time consuming process, but it doesn’t ha ve to eat up your life. Try scheduling little job search sessions for yourself, with lists of goals and tasks. Then leave it for the day. Little by little, you’ll get the work done.8. You Won’t Stand Out from the CrowdWhile it’s true that the market has become much more saturated of late, that doesn’t mean there aren’t easy ways to distinguish yourself among a list of candidates. Try making sure to go the extra mile- write the handwritten thank you note, do the extra research, ask the better question. If you focus on proving you’re the best one for the job, you’ll be set up quite well to show your unique strengths.

Relationship between Academia and Practice Essay

Relationship between Academia and Practice - Essay Example In a clear scenario, it is supposed that a person needs academic training in Medicine to be a doctor; whereas another person needs training in Education to be a teacher. However though, the issue of whether or not people explicitly apply the knowledge they acquire in school to their occupation is a debate that will continue for good. The same phenomenon exists with the conduct of research. A lot of people argue that a person does not need personal experience or academic knowhow to conduct research in a particular area of operation. To others though, without personal experience and academic qualification, it is not possible to undertake a research in a said area of practice. This essay seeks to examine these two points of view. Do you have to have personal experience of a specific area of practice in order to be able to conduct research into it? According to the Cambridge Dictionaries Online (2003), a research is â€Å"a detailed study of a subject, especially in order to discover (n ew) information or reach a (new) understanding.† From this definition, it can be established that research is conducted purposely to come out with or identify new area of knowledge. To this effect, it can be said that there would not be the need for a research if the researcher embarking the research is sure of what the result of the research would be. This therefore makes it logically right to argue that research is in itself an act of learning as learning also concerns itself with the acquisition of new ideas (Boateng, 2001). For this reason, it is possible to conduct research in a specific area of practice even in the absence of personal experience. This is because we all start learning specific concepts without any person experiences in the said concept. However though, the need to have some level of personal experience in the area of research only gives the researcher additional benefits though it does not serve as prerequisite condition to enable one undertake a research in a particular area. With personal experience and having learnt about a specific area of practice, the researcher is put in a position to easily understand occurrences in the field of research. Personal experience in the conduct of research also makes the handling, analysis and use of data collected very easy, meaningful and useful. Do you have to fully understand the theory of research in order to conduct research in a business environment? It has been said earlier that research is in itself an act of learning and so as we all start learning without any foreknowledge of the concepts to be taught but we most of the time end up excelling in the courses we started learning about. However, there can be a school of thought that would argue that one also needs to know how to learn because successful learning can take place. Going by the latter argument, it can be said that if one does not have total understanding of the theory of research, conducting research in the business environmen t would be a fiasco especially as the business environment has been identified to be very volatile. It must be noted that business research involves a lot of technical calculations and manipulation of figures, which require only people with background. As noted by Jenlink (2009), â€Å"There is a blurring of boundaries in the knowledge-practice and inquiry-practice relationships that define both the learning to lead and the practice of leading in the educational setting.† Therefore, the absence of a full understanding of the theory of research (as an academia) would make research in the business environment (as practice) extremely challenging. Does research that is designed by practitioners, with little or no influence of academic theory incorporated, of any value in assisting practitioners