Paul Hindemith Sonata For Flute And Piano Film Studies Essay

Paul Hindemith Sonata For Flute And Piano Film Studies Essay J.S.Bach: Sonata in G minor, for flute and obbligato harpsichord. In a famous remark about J.S.Bach, Beethoven said he should be named Sea instead of Bach, because of his infinite, inexhaustible wealth in tone combinations and harmonies. These virtues are also deployed in his flute sonatas, each with a unique melodic contour and character. Bach was often criticized for being abstruse and redundantly complex, but he was able to prove through his work that he was, and would remain, a great pioneer. The special importance of his chamber music, in which he demonstrated a deep knowledge of the typical idioms and performing techniques of each instrument, was recognized at a very early age. Bach is generally described as a rather austere personality, but that may be the result of a lack of information complementing his character, deemed unfitting for archival storage. The first use of the transverse flute in Bachs works was in Cantata no 137a, performed in 1722, in Cà ¶then for the birthday of Prince Leopold, with whom Bach maintained very good relations. Many significant works, such as the first book of the well-tempered Clavier, cello suites and probably some of the flute sonatas (they are dated between 1720 and 1741), were also composed during the time he spent there, exploiting the qualities and extended experience attained at the Weimar court. It was a period when the transverse flute, technically more advanced, began gaining ground against its rival, the recorder, and when J.Quantz started making it widely famous. The flutists of that era seemed to manifest a particular dexterity, equivalent to that, required not only in the flute sonatas, but also in other flute parts of many of the composers works, such as the cantatas and passions. In one of Bachs biographies, published in 1802, by Forkel, the latter states that the flute sonatas even in our days†¦would be heard by connoisseurs with pleasure. This particular work raises a controversial issue about its paternity. Bachs authority regarding the piece started to become questioned during the third decade of the 20th century. Scholars expressed certainty that Bachs son, Carl Phillip Emmanuel, is the composer of this sonata (the dominant consensus today), but until today, no assumption has been unquestionably proved and no explanation has been given as to why an aspiring composer like C.P.Emanuel would attribute this work to his father without any plausible reason. A recent study, by Keiichi Kubota, speculates that the g minor sonata is the result of a collaborative work between Bach and his son (the latter ascribing authority to his father). The sonata is played today by both violinists and flutists, as it is believed that the piece may have been written initially for violin, as supported in many published articles. Its form is that of the Italian concerto, lively-slow-lively, which reminds the listener of the significant influence of Vivaldi and Italian music to Bach. G.Faurà ©: Fantaisie pour flute et piano, op. 79 Flute has always been associated with France, a relation that is firmly built upon the particular interest of French composers and performers in this technically developed instrument, especially around the turn of the 19th century. Paris stood in the forefront of musical processes at the time, and served as an incubator for new composers and performers, who formed the new trends. Gabriel Faurà ©, a composer, organist, pianist, choirmaster and teacher, is one of the most important French figures of the turn of the 20th century, characterized by Debussy as the master of charms. He was fortunate enough to be a student and later friend of Saint-Saà «ns, at the Ecole Niedermeyer, where he was sent, after his father realized the unique talent of his son. His style, multi-faceted and resourceful, continued to evolve until the composers death, in 1924. For that reason, putting labels on Faurà ©s music can never be precise. His artistic hallmark is regarded as the bridge between Romanticism and Modernism and at the time of his death the second Viennese School was beginning to emerge. He was always self-critical (to the extent of discarding some of his already composed work) and pursued unremitting productiveness. His harmonic and melodic creativeness paved the road for new musical trends and made his style an inextricable element of future teaching of harmony and composition. Faurà © composed the Fantaisie for flute and piano, in 1898, upon a commission from his friend and colleague, P.Taffanel, who was a professor at the Conservatoire of Paris, and to whom the piece is dedicated (later Faurà © would be appointed director of the Conservatoire). This piece was to be used for the annual introductory exams (Concours). Faurà ©, being among the first composers to be commissioned for the morceau de concours, confessed to Saint-Saà «ns in a letter, that this piece constituted a real challenge for him. He sent it to Taffanel asking him to amend any parts that were not appropriate for the flute. Faurà © incorporated the Andante of the Fantaisie to his incidental music, performed in London for the Maeterlinks play, Pellà ©as et Mà ©lisande. This piece, which is dedicated to Taffanel, sets out to explore flutes full potential, by extending to all three registers, covering all of the Romantic instruments range. The performer is required to demonstrate wealth and diversity in his expression and sound, in his effort to trace the unfolding melody. Observation of the piano part reveals the prominence of the instrument in Faurà ©s mentality. It is perceived not merely as an accompanying instrument, but rather as an equal partner, contributing to the melodic and rhythmic development of the piece. Together with the flute they make use of an extensive expressional quiver, alternating staccatos with long legato phrases, as after a sicilienne-like introduction, an increasing complexity in the instruments parts is combined with sudden dynamic changes. Fantasia also exists in an orchestral version. This was realized later, after the composer death, by Louis Aubert, in 1957, at the request of the prominent French flutist, Jean Pierre Rampal. Paul Hindemith sonata for flute and piano (1936) In Hindemiths opera Mathis der Mahler, Grà ¼newald, a painter, realizes that he should never have betrayed his art for the sake of political activism. Hindemith though, never betrayed his versatile artistic personality and established a prominent career both as a performer and composer, demonstrating a manifold expressiveness. He aspired to create a new mentality in music, but not as an end in itself. The term Gebrauchsmusik (functional music) refers to his notion for music, which should be created to serve a purpose, because the days of composing only for the sake of composing were perhaps gone forever. By drawing on multiple styles and forms he explored all aspects of resourcefulness and complexity. His activity was not restricted only to the production of music, but he also took up a dynamic role as a tutor which is colligated with his series of simple works for children and amateurs. His theoretical treatise Unterweisung im Tonsatz, sets the basis for a new approach towards harmony and melodic shaping and the views expressed would influence the next generations of composers. Hindemith lived in an era of political turmoil and his revolutionary style could not have evaded Nazis attention, who deemed his music as Gà ¶bbels put it pure noise-making. Although Hindemith was naive enough to ignore (at the beginning at least) the Nazi threat, his sonata for flute and piano, composed in 1936, has incorporated this aspect, yielding a work that alludes to this sinister political environment and asserting the composers belief that an artist cannot remain untouched by the human suffering around him. The flute sonata was composed at a time of an increasing awareness by Hindemith of the looming danger and the subsequent need to flee his country. His emotional disposition is adumbrated in the second movement which conveys a suffering through its recitativo-like melody of the flute. One cannot fail to notice the fine irony emanating from the sonatas strict rhythmic form which dissolves into a childish-like melody, projecting the image of a child imitating a soldiers march. Hindemith, tried to capture the vanity of human arrogance in conjunction with the suffering and desperation. The flutist is required to render a wide palette of colors and emotions, from triumphant marches to bleak moments of agony and melancholy, by extending to the full range of the instrument. The piano has an emancipated part in the sonata and continuously moves in a contrapuntal way against the flute, hence sometimes its preferred with its lid open. The boundaries between minor and major chords and atonal parts become blurred, much as the boundaries between life and death at the time of the composition, the death which Hindemith eluded only by chance in multiple occasions.

Analysis of Obesity in the UK

Analysis of Obesity in the UK Obesity in England:  Reason Consequences Generally, the objective of this statistics report is to evaluate the obesity in England. 1.0 Abstract The main purpose of this report, is to identify the statistics analytical report regarding ‘Obesity in England’ that is specifically based on the physical activity and the lifestyles of people in England. In addition to the objective of this report, is to highlight the fact that peoples physical activities and lifestyles are changing year by year. Additionally, this report will analyse the obesity statistics of the population in England. The report will then discuss about the physical activity of the population relating to obesity in England. In order to ease the understanding of the reader, historical tables and pie charts will be included in this report which can also help readers to make comparisons between the obesity rate, physical activities and lifestyle statistics. 2.0 Introduction Figure 1 represents the calculation formula of BMI with different units of measurements. The unit of ‘masses in BMI can be applied by using Kilograms (kg), Pounds (lbs), or Stones (st). However, the SI units for BMI is still remain on kilograms. (Figure 1) Obesity can be defined as an individual who is overweight with a significant degree of body fat and fatty acid (NHS, 2012). In the past twenty five years, the occurrence of obesity in England, was measured and studies found that the statistical records, had doubled the figures from the past years (Publich Health England, 2014). There are several reasons that could cause obesity to happen. The two main factors influencing obesity are, due to lack of physical activities and lifestyles. Obesity is undoubtedly harmful for an individuals health. An individual who face obesity, may encounter some severe health issues such as diabetes, strokes, heart disease and even some common cancer such as breast cancer or colon cancer (NHS, 2012). The question is, how can one determine whether an individual is considered obese or not? An individual’s weight can be measured in various ways and measurement to determine the severity of overweight. However, according to the United Kingdom’s National Health Service (NHS), the method that is widely practice for body weighting is the body mass index (BMI). By using the calculations in (Figure 1), individuals can acknowledge whether he/she is overweight or obese. BMI overweight severity is separated into a few categories. For instances, individuals with BMI range of 25-29 would be considered as overweight, while individuals who falls in the second category with BMI between 30 and 40, would be considered as obese, followed by people who has his/her BMI over 40, would be considered as unhealthy obesity (NHS, 2012). This report will provide essential statistics data to give a bigger picture of obesity in England for readers. The statistics will be supported with graphs, tables and pie charts that will be included as well to demonstrate a better illustration of the comparison between the variables. Last but not least, by the end of the report, readers will understand the potential reason of obesity in terms of physical activities and consequences of obesity. 3.0 Methodology The information that was used in this report, were collected through various types of sources such as online journals, articles, internet and books. These sources were done using secondary data. In addition, several reliable websites and annual reports of official institutions were used to interpret and analyse the data and was converted into information to discuss this statistics report. The websites that were used in this report consists of Guardian, Telegraph, and National Health Service (NHS). Furthermore, regarding to the obesity’s data and information, the data were mainly obtained from the reports published by NHS in order to improve the creditability and reliability of this report. In short, the information, data and materials in this report are extremely genuine, trustworthy and reliable. 4.0 Findings 4.1 Statistics of obesity in England by age group (2002 to 2012) (Graph 1) Source: Hospital Episode Statistics (HES), Health Social Care Information Centre (2014). According to (Graph 1) above, the graph specifically shows the statistics of obesity in England from year 2002 to 2013 according to age groups from the age of 16. The statistics showed that the obesity’s population in England, is trending up from 2002 to 2013 for all age group (16 to 74 and over). In 2002, there was a record of 29,237 people facing obesity while in 2003 the obesity rate had significantly increased to 33,546 people which calculated 14.74% change. During that moment, the population of obesity in England rose rapidly from year 2004 to 2009 with 21.45%, 27.68%, 29.20%, 20.39%, 27.28% and 38.90% increase respectively. In population, the numbers of people suffering from obesity, had gone up dramatically from 40,741 to 142,219 people. By comparing to year 2009, the percentage change of the obesity’s population had reached its peak which is 48.91% in 2010. There was a record of 211,783 individual which are obese from the age of 16 to 74 and over. Additionally, the statistics of people facing obesity in England climbed up to 266,666 with a 25.91% change comparing to year 2010. Last but not least, the total population of obesity in England in year 2012, had reached up to 292,404 people. However, this increase had accounted to only 9.65% change in population of obesity. In the bigger picture, the population for obesity in England had been escalated from year 2002 to 2013 with an increase of massive 900%. 4.2 Obesity between men and women in England (Year 2002-2012) (Graph 2) Source: Hospital Episode Statistics (HES), Health Social Care Information Centre (2014). As you can see, (Graph 2) represents the obesity’s population between the men and women in England. The graph shows a significant uptrend formed with the recorded statistics of obesity’s population. Other than that, you can see the difference between the obese men and women. The difference between the men and women that are obese, showed that both genders were increasing year by year. In 2002, the number of women who suffered from obesity (17,169 people) were 5,100 people higher than the number of obese men (12,068 people). Furthermore, in 2007, the number of obese women (48,829 people) had a 16,749 people of difference compared to the obese men which was tripled the result of year 2002. Nevertheless, the most significant data recorded was in year 2012. The population of women being obese (192,795 people), was approximately twice as many as the population of obese men (99,579 people). In result, we can conclude that regarding to England’s obesity’s population, the number of women who suffered from obesity are higher than men. According to the research, lack of physical activity were the cause of obesity. 5.0 Physical activity Physical activity is known to bring healthy benefits to individuals and it is proved that this will reduce incidence of many chronic conditions such as obesity (HSCIC, 2012). However, individuals that are lack of physical activity may suffer from obesity. 5.1 Physical activity guidelines MPA (minutes/week) VPA (minutes/week) Active 150 10 Some activity 60-149 30-74 Low activity (Overweight) 30-59 15-29 Inactive (Obese) MPA: Moderate intensity Physical Activity VPA: Vigorous intensity Physical Activity (Figure 2) Source: Hospital Episode Statistics (HES), Health Social Care Information Centre (2014). HSCIC (2012) had set up a standard for physical activity guidelines as shown in (Figure 2). The activities are divided into four categories to determine whether an individual is active or inactive. Individuals must meet the requirements of at least either MPA or VPA or both in order to fall into that category. 5.2 Self-reported physical activity of men and women (Chart 1) (Chart 2) Source: Hospital Episode Statistics (HES), Health Social Care Information Centre (2014). HSCIC (2012) stated that individuals must have at least 30 MPA in order to get rid of obesity. Low activity and inactive individual will be considered as overweight and obese. Chart 1 and Chart 2 are the pie charts that represent the self-reported physical activity data that HSCIC (2012) collected. According to both of the figures, the percentage of active individuals in terms of physical activity of men (67%) is obviously more than the women (55%) by a difference of 12%. Relatively, 26% of women in year 2012 are inactive regarding to their physical activity. Furthermore, the percentage of low activity of women is slightly (2%) higher than men. In contrast, the inactive population of men in their physical activity was just 19% which is 7% lower than the women. In comparison, the percentages of inactive women are higher than inactive men whereas the percentages of active men are higher than the women. In short, since the individuals that fall in the ‘low activity’ and ‘inactive’ category, are considered to be overweight and obese. Therefore, referring to (Figure 3), we can conclude that physical activity is be one of the main reasons that caused obesity and it also showed why the population of obese women was more than men since year 2002 until 2012. 6.0 Comparative rates of adults’ obesity in 2010 (Graph 3) Source: National Obesity Observatory, International Comparisons of Obesity Prevalence, available at: www.noo.org.uk/NOO_about_obesity/international/ Graph 3 shows latest data of comparative rates of adults obesity in year 2010. As we can see, the countrys highest obesity prevalence is the United States (35.70%). This is followed by Mexico, Scotland and New Zealand coming in second, third and fourth place accordingly with the obesity prevalence of 30%, 28.20% and 26.50% respectively. England’s obesity prevalence is 26.10% which is considered high by comparing to countries such as Australia (24.60%), Northern Ireland (23%), Luxembourg (22.50%) and Slovak Republic (16.90%). Last but not least, Japan and Korea have the least obesity prevalence by comparing to other countries in the graph shown; they have a percentage of 3.90% and 3.80% relatively. Ultimately, this graph shows that the obesity level of England which is considered severe. 6.1 Map of excess weight of England Map 1 shows the percentage of adults that are involved in obesity from different regions of England. Guardian (2014) stated that it has an average of 64% adults bringing obese in England by considering all the regions. (Map 1) 7.0 Cost of Obesity The cost of obesity, consists of human cost and National Health Service (NHS) cost. This session will discuss about both the cost for obesity. Figure 2 shows the relative risk of women and men in terms of the diseases caused by obesity. The table consist of diseases that may cause hypertension, stroke and cancer. It can be seen that the relative figures of women, is higher by comparing to the men especially in the Type 2 Diabetes which is two times more of the probability. Type 2 Diabetes can cause serious life shortening that will affect the mortality of human being (NAO, 2011). 7.1 Human Cost of obesity Disease Relative risk Women Relative risk men Type 2 Diabetes 12.7 5.2 Hypertension 4.2 2.6 Myocardial Infarction 3.2 1.5 Cancer of the Colon 2.7 3 Angina 1.8 1.8 Gall Bladder Diseases 1.8 1.8 Ovarian Cancer 1.7 Osteoarthritis 1.4 1.9 Stroke 1.3 1.3 (Figure 2) Source: National Audit Office estimates based on literature review 7.2 NHS Cost of Obesity (Graph 4) Source: National Audit Office estimates (2012) Graph 4 shows the approximate obesity cost in 2012. It is estimated a spending of  £457m on obesity cost, is considered as a burden to the England’s economy. NAO (2012) estimated that the obesity cost for year 2015, will increase dramatically up to  £6.3 billion and up to  £9.7 billion by year 2050. The reason behind the cost of obesity will be significant high, is because of the indirect cost of lost output in economy. NAO (2001) stated that the economy will be in recession due to the sickness or death of the England’s workforce caused by obesity. Therefore, the consequences of obesity must not be ignored but must be taken into serious considerations. 8.0 Conclusion In short, the statistics of this report identified some important details regarding obesity in England. It is important to understand how the impact of obesity and the growth of population can cause the increase of people with obesity to be two times more in the past 25 years. Furthermore, the trend for obesity in all different age groups, showed an increase in England from year 2002-2013. The differences between the genders as well, will show the reasons to why there is an increase in obesity in relations to physical activities because of the activeness of men, inactiveness of women and vice versa. Importantly, this report stated the consequences of obesity which is severe illnesses that causes death with related risk statistics about men and women. Lastly, the report showed the comparison between other countries related to obesity, the percentage of obesity in the regions of England, followed by the human and NHS cost of obesity. 9.0 Recommendations As aforementioned, the level of obesity in England is getting more and more significant year by year. Government should conduct more campaign to fight obesity as it will provide more information about importance of physical activity in life to individuals or families. In addition, government should continue to subsidise NHS for the ‘Health Check programme’ in order to prevent and avoid severe disease such as heart disease, stroke, and cancer. Besides, government should not just focus on physical activity; they must focus on other reason that causes obesity as well, such as diet and lifestyle. Government could implement some political strategy to fight obesity, such as increase the taxation of fat-food in order to stop people from buying the unhealthy product. Last but not least, government could also increase the advertising of healthy campaign and advertisement of disadvantages of obesity to encourage people to get rid of obesity. 10.0 References: Boseley, S. (2014). The Guardian: Almost two-thirds of adults in England classed as overweight by health body. [Online] Available at: http://www.theguardian.com/society/2014/feb/04/two-thirds-adults-overweight-england-public-health [Last Accessed 28th March 2014]. National Health Service. (2014). Obesity: Introduction. [Online] Available at: http://www.nhs.uk/conditions/Obesity/Pages/Introduction.aspx [Accessed 27th March 2014]. Public Health England. (2014). Trends in Obesity Prevalence. [Online] Available at: http://www.noo.org.uk/NOO_about_obesity/trends [Accessed 20th March 2014]. Figure 1: Source :http://healthy-living.knoji.com/does-your-bmi-really-matter/ HSCIC. (2014). Statistics on Obesity, Physical Activity and Diet: England 2014. [Online] Available at: http://www.hscic.gov.uk/catalogue/PUB13648/Obes-phys-acti-diet-eng-2014-rep.pdf [Accessed 20th March 2014]. HSCIC. (2012). Physical activity in Adults. [Online] Available at: http://www.hscic.gov.uk/catalogue/PUB13218/HSE2012-Ch2-Phys-act-adults.pdf [Accessed 24th March 2014]. NAO. (2012). An Update on the Government’s Approach to Tackling Obesity. [Online] Available at: http://www.nao.org.uk/wp-content/uploads/2012/07/tackling_obesity_update.pdf [Accessed 24th March 2014]. HSCIC. (2012). Chapter 7: Health Outcomes. [Online] Available at: http://www.hscic.gov.uk/searchcatalogue?productid=13887returnid=3945 [Accessed 24th March 2014]. NAO. (2001). Tackling Obesity in England. [Online] Available at: http://www.nao.org.uk/wp-content/uploads/2001/02/0001220.pdf [Accessed 28th March 2014]. Public Health England. (2013). Social Care and Obesity: A Discussion Paper. [Online] Available at: http://www.local.gov.uk/documents/10180/11463/Social+care+and+obesity+-+a+discussion+paper+-+file+1/3fc07c39-27b4-4534-a81b-93aa6b8426af [Accessed 29th March 2014]. HSCIC. (2012). Statistics on Obesity, Physical Activity and Diet: England, 2012. [Online] Available at: http://www.hscic.gov.uk/catalogue/PUB05131/obes-phys-acti-diet-eng-2012-rep.pdf [Accessed 20th March 2014]. HSCIC. (2013). Statistics on Obesity, Physical Activity and Diet: England, 2013. [Online] Available at: http://www.bhfactive.org.uk/userfiles/Documents/obes-phys-acti-diet-eng-2013-rep.pdf [Accessed 20th March 2014].

Country Lovers vs. The Gold Cadillac Essays -- English Literature

Country Lovers vs. The Gold Cadillac ==================================== Both of the two stories, Country Lovers and The Gold Cadillac reveal racism. It is not a particularly hidden message. But the two of them approach it from slightly different angles. Country Lovers shows that the story is based around racism in the first paragraph: [the black children are] "beginning to call their old playmates missus and baasie - little master". Within the Gold Cadillac, the racism is a little better concealed. We don't know that the main family are black for sure, until line 166, after Wilbert (the father) has said he is going to go down to Mississippi and Mr. Pondexter say "Not much those folks hate more'n to see a northern Negro coming down there in a fine car". We are however given little hints, such as 'Lois' speech and the very large, spread out family. It is when we find out that the family in The Gold Cadillac is black that we find that the story is about racism. We find out the reason for Wilbert having bought the Cadillac, and it was because he "liked it" and "it ...

Utopia :: essays research papers

Behold, after above six Months Warning, I cannot learn that my Book hath produced one single Effect according to mine Intentions: ... And, it must be owned that seven Months were a sufficient Time to correct every Vice and Folly to which Yahoos are subject, if their Natures had been capable of the least Disposition to Virtue or Wisdom: (Letter;3) That he had good Reasons to think you were a Big-Endian in your heart; and as Treason begins in the Heart, before it appears in Overt-Acts, so he accused you as a Traytor on that Account, and therefore insisted you should be put to death. (I:7;22) He knew no reason why those who entertained opinions prejudicial to the public should be obliged to change, and should not be obliged to conceal them. And as it was tyranny in any government to require the first, so it was weakness not to enforce the second; for a man may be allowed to keep poisons in his closet, but not to send them about for cordials. (II:6;15) 1. Author: Jonathan Swift Titles of some other works by the same author: Tale of a Tub, The Battle of the Books 2. Title: Gulliver's Travels Books (I & II) Explain the Title: The book tells about the travels of Gulliver. 3. Date of publication: 1977 4.Edition:Everyman First published: 1726 5. Genre: Four satirical stories in prose. 6. Themes: A satire, in the first book he satirizes the English politics, which are symbolized by the inhabitants of Lilliput. In the second book Gulliver symbolizes the English people. He tells the king of Brobdingnag about the Daily life in England. The King tells him as follows: ' By what I have gathered from your own relation ... I cannot but conclude the bulk of your natives to be the most pernicious race of little odious vermin that nature ever suffered to crawl upon the surface of earth'. 7. List of main characters and description of them: - Lemuel Gulliver: a married man, who has studied medicines and works as a ship surgeon. He likes to travel a lot because he is very interested in other country's and their cultures. 8. Narrative Technique: Narrative prose. 9. a) Time lapse: Liliput à ±1 year Brobdingnag à ±2 years b)In what period is the story situated? 18th century. 10. Style:Language is quite difficult, old-English. 11. Stray notes:none 12. What is your own opinion of the work? I found the book quite difficult,but I liked the satirical aspect of the stories. 13. Short summary: On his first voyage Gulliver is shipwrecked. He comes in Lilliput, a land were all the people are twelf times as short as

Margaret (peggy) Timberlake Eaton Essays -- essays research papers

Margaret (Peggy) O’Neal (who preffered to be called Margaret) was born in 1799 in Washington DC. She was the daughter of William O’Neal, who owned a thriving boarding house and tavern called the Franklin House in that same town. It was frequented by senators, congressmen, and all politicians. She was the oldest of six children, growing up in the midst of our nation’s emerging political scene. She was always a favorite of the visitors to the Franklin House. She was sent to one of the best schools in Washington DC, where she studied English and French grammar, needlework and music. She also had quite a talent for dance, and was sent to private lessons, becoming a very good dancer. At the age of twelve, she danced for the First Lady Dolley Madison. Visitors of the Franklin House also commented on her piano playing skills. During Margaret’s teenage years, there were many rumors circulating about her romances. The stories included one of a suitor who swallowed poison after she refused to return his affections, one of her being briefly linked to the son of President Jefferson’s treasury secretary, and one of her botched elopement to a young aide of General Winfield Scott. As the story goes, she accidentally kicked over a flowerpot during her climb down from a bedroom window, which woke her father, who promptly dragged her back inside. When Jackson first met Margaret at the age of 24, he took an immediate liking to her. The tavern had been recommended to him by his close friend John Henry Eaton, who would later marry Miss O’Neal and cause quite a scandal. Jackson’s wife, when meeting Margaret a year later, was equally taken with her. Margaret married a navy purser named John Bowie Timberlake. They had three children together, one whom died while still an infant. When John was gone at sea, John Eaton entered the picture again, escorting Margaret on drives and to parties. The rumors flew around town of Margaret and Eaton’s supposed affair, and of her husband’s drunkenness. The people around town were all saying that the reason Timberlake kept sailing was to avoid his wife’s obvious philandering. Timberlake was soon reassigned to the Mediterranean squadron. The Mediterranean was very hot and contained few friendly ports in those days, making it a less than pleasant assignment. Timberlake died while in the Mediterranean, the official cause was pulmonary disease. ... .... It was common protocol that if two members of the cabinet resigned, the rest would do so out of courtesy in order to allow the president to reorganize his cabinet. With some resistance, all of the cabinet members resigned, allowing Jackson to rename the members and hopefully end the affair once and for all. The newspapers attributed the cabinet’s fall the Margaret Eaton, and everyone thought that Jackson had doomed any hope for reelection. Jackson was reelected, with Van Buren as a running mate. He quickly sent Eaton to the Florida territory, where he became governor. Two years later, Jackson appointed Eaton as the United States minister to Spain. Margaret and John thoroughly enjoyed their lives in Spain for a period of four years. John Eaton died in 1856, leaving Margaret a small fortune. She lived in Washington DC with her two daughters, both of whom married into high society. It seemed as though Margaret finally had the societal life and respect she had always wanted. She changed all of that when, at the age of 59, she married her granddaughter’s 19 year old dance tutor, Antonio Buchignani. A mere five years later, he ran off to Italy with her money and her granddaughter.

Cellular Phones: A Reliable Source In Society Today Essay

In today’s society it is hard to find someone who does not own a cell phone. It is almost like cell phones appeared over night, since we used to see nothing but rich guys in the 80’s carrying around large, chunky mobile phones to now where we have a variety assortment of smaller cell phones that we can choose from. Now a days, cell phones are used in just about every aspect of life, from work, to school, to emergencies, to browsing the web to get information, to playing games or just plain talking with a loved one, we use our cell phones. Some families have even gone strictly cellular and do not own a separate home phone. This is how popular cellular phones have become. Can one say that it is a form of technology that has enhanced our society? One would say â€Å"yes† it is. Just a few years ago, pagers were the thing to have, now with the advance technology of cellular phones, who needs pagers anymore? It has come to the point that now you will see a 10 year old with a cellular phone. Many parents feel better if their child has a phone to where they can reach them at any given point. However, is this really necessary? I mean, when I was 10, if I was not at home with my mom, I was either in school or over a relative’s house, nonetheless, my mother knew where I was at all times. This is just one example of how cell phones have become heavily relied upon in society. Let us explore how useful cellular phones have become and how we as a society rely upon their use each and every day. To begin let us go back into history of how cellular phones came about. According to Jamie Brown at Yahoo! Yahoo! Voices. Contributor Network, Cell Phone History: Technology and Innovation Over the Years. (January 12, 2009). Retrieved from: http://voices. yahoo. com/cell-phone-history-technology-innovation-over-2414208. html. â€Å"The very first cell phone was developed in April 1973 by Dr. Martin Cooper, a manager at Motorola, and a group of fellow inventors. Cooper called his competitor on the cell phone he had just invented. The technology was called AMPS (Advanced Mobile Phone Service). It took ten more years for the first analog cell phone to be developed for commercial use by a company called Ameritech. As I have done my research on the use of cellular phones today, I have come to find that much of society have many uses for the cellular phones. Many own a Smartphone and some may be like me and still own a basic phone. Nonetheless, just to own a cellular phone is a plus, and you are looked at strange if you say you do not own one. As I was reading an article on CNN Tech, by Amy Gahran, October 22, 2010, she referred to her â€Å"aha! † moment when she realized how the significant cellular phones were back in spring of 2009. She told the story of when she was on the bus sitting across from an elderly gentlemen who looked homeless. When all of a sudden a cell phone rang, and the man reached into his pocket and pulled out a flip phone and commenced to having a conversation, confirming an appointment to get off the streets. Now just looking at this, I realized that there are many people out there who may not have a place live, actually living in shelters, but they will have a cell phone. When I asked my husband Michael how prevalent are cell phones in shelters (because he used to be in one through the Salvation Army back in 2010), he stated: â€Å"yes there were plenty of people in there who had cell phones, they had to have a way for people to get in contact with them. And you have to realize, there are so many government programs that issue out free cell phones, anyone could have one. † Now based on that fact alone, I realized that our society, really could not function properly without the use of cellular devices. Since their inception, technology has evolved to where we basically need the use of cellular devices, just to get by in our day to day lives. Thinking back when I was younger and wished I had a way to get in contact with my mom, about when to pick me up from school. Only way I could reach out to her was to call the house, not realizing if she was not at home she would not receive my message. Oh boy, how I wished we had the luxury of small mobile cellular devices back then, instead, we had the big bag mobile devices, that only those who could afford it carried them around. After further research, there are many who believe that cellular phones have been a very much needed and great asset to our society. According to Foram Mehta, on an article done on Buzzle website titled: How Cell Phones are Changing Our Society. They do break it down on how society has been using cellular devices and for what reasons.

Carol Ann Duffy Notes

The poem closes with reminders of oppression, control and confinement. Possibility that was once limitless for the dolphins now has ‘limits' imposed upon it that will become impossible to bear. The realisation will probably hasten the creatures' death, signalling that there is as much at stake from a psychological perspective as there is from the physical circumstances. Stifling of natural impulse and behaviour can have fatal consequences. The ‘plastic toy' is a further reminder of the indignity visited on this majestic creature of the ocean. The phrase until the whistle blows is potentially ambiguous. In one level it simply refers to the controlling device used by the keeper but on another the poet might be reminding us that this sort of cruelty will continue until somebody exposes it for what it is. Duffy does effectively ‘blow the whistle' on such practices. The final line, with its reference to ‘our mind', neatly links the plural possessive pronoun with the singular noun ‘mind' indicating a collective voice for a species. The tense change to ‘we will' draws attention to the contrast between what the dolphins had, what they have now and can expect in the future. As a result, the dolphins assume an almost mythic status in that they appeal to archetypal impulses in us and in nature; they are not just the creatures who form part of it. ‘The Dolphins' may just as easily be read as a poem about human disillusion, betrayal and loss of direction as it is about animals. As an interpreter of experience it offers us a new language into which we would do well to translate ourselves. Foreign Duffy's preoccupation with language is dealt with here form the perspective of its cultural significance as much as its ability to say anything. To the immigrant, the country to which he or she has moved out of economic necessity will always be ‘foreign' but the indigenous population will regard them as foreigners. The fact that living in a foreign culture is something that is not easy to get used to is emphasised in the opening line of the poem. Despite living in a city for ‘twenty years' it remains ‘strange'. The immigrant is aware of his or her own ‘foreign accent' as it sounds to others. The strain of thinking in one language and having to translate into the speech of another cannot always be sustained and this is sensitively pointed out through the physical detail in the final stanza: ‘And in the delicatessen, from time to time, the coins / in your palm will not translate. ‘ The breakdown in communication in an everyday, exposed transactional situation is intensified through the words ‘Inarticulate' and ‘point'. Duffy's empathic feeling for such people is further expressed in her presentation of other actions such as ‘writing home', a way of maintaining contact with others of the same culture. The ‘local dialect' in the immigrant's ‘head' is coupled with the memory of his or her mother singing. These are details with which any sympathetic person might identify and throw into sharp relief the actual experience of seeing racist graffiti ‘sprayed in red' (line 12). Duffy's use of the simile, ‘Red like blood' to describe the paint is effective because of its monosyllabic directness of observation. It also resonates with a famous and terrible speech given by the Conservative politician Enoch Powell who, on 20th April 1968 warned that increased immigration into Britain would result in a ‘river of blood'. There is, then, a stark contrast between the uses of language as a sign system of cultural inclusion (stanza 2) and its deliberate use as a weapon of racial exclusion (stanza 3). The ‘hate name' of the racists is sprayed on a ‘brick wall' the harshness and unyielding nature of which is symbolic of the mentality of those who do such things. The unfamiliar, snowy weather and artificial ‘neon lights' create the impression for the immigrant that the country moved to is ‘coming to bits'. This image of fragmentation is, though, not entirely imaginary as he or she has a life splintered from all that is familiar and constantly experiences a sense of alienation. The italicised words at the close of the poem give voice to the immigrant but this only gives away a difficulty with English. The unfinished verbs, ‘Me not know' and ‘It like they only†¦' are drawn attention to by Duffy in order that the reader may ponder what it would be like to face the same language problem. The final words of the poem, ‘Imagine that' remind us of the opening and there is quite a clear impression that Duffy is adopting an undisguised didactic stance. As a skilled and empowered user of the English language herself she is drawing attention to the lot of those who are marginalised because of their deficiency in its use. Head of English The poet is introduced to the class by the Head of English who has very fixed views about what poetry should be. As in ‘Comprehensive', the school in question is a multi-ethnic institution. It is significant that the teacher should be dismissing the live woman poet because she does not conform to the Keatsean ideal in the teacher's mind. She is not dead and she is not male. How anyone with ‘English second language' is expected to relate to dead white English men is clearly a challenge laid down in the poem. The five six line stanzas are indicative of a controlled, contained environment, the institution and the teacher are reflected in this. Duffy does not choose to use rhyme throughout (as the teacher predicted) but reserves some obvious rhymes for the teacher to use. This is a very subtle use of a poetic technique to satirise someone who is complaining about its absence from modern poetry. So, simultaneously, Duffy is using a poetic technique to show that the teacher is wrong about it being absent from modern verse whilst showing that the rhyme, being obvious, is the sort needed by the teacher. The reference to Rudyard Kipling (1865-1936) is significant for a number of reasons. His poems do rhyme very regularly, and a number of them are redolent of British imperialism and nationalism in the Victorian period. This is actually grossly offensive in a multicultural context. ‘Winds of change' is a wittily ambiguous phrase since it refers to the words of Harold Macmillan, British Prime Minister 1957-63 speaking of political events such as the civil war in the Congo following the granting of independence from Belgium. It also tells us that the teacher is referring to flatulence, as well as reinforcing her own entrenched views. Duffy is ironically drawing attention to the fact that Calliope, ‘the Muse' and source of afflatus, breath of inspiration for poets is interrupted by an unwelcome allusion to noxious gases. The control possible in adopting a persona in the dramatic monologue is clear. Single word sentences, a hallmark of Duffy's verse, work very well in capturing the terse, rude attitude of the teacher. ‘Still. ‘ (stanza 2); ‘Right. ‘ (stanza 4); and ‘Well. Really. ‘ (stanza 5) show that she is singularly unimpressed by what she has heard. Here, it is what is implied by Duffy's economical use of language that is so effective in building an impression of what this woman is like. The idea of someone being in charge of an English Department who cannot see that it is she who actually has the ‘outside' view is worrying. The fact that she devotes a whole lesson to assonance also indicates the deadly boring teaching methods she employs. She obviously teaches technique out of context in the same way that she cannot accept modern poetry as belonging to a literary tradition. Like any poor English teacher she views tradition as something strictly to do with an unreachable past. It is striking that it is the silent space between the fifth and sixth stanzas that the poet has been allowed to read. Despite having encouraged pupils to ask questions ‘after all we're paying forty pounds', the teacher's response to the poet's reading is telling as she instructs the class to ‘run along'. The reader wonders just what ‘insight' the teacher has actually gained. Also, her pupils are unlikely to derive much from her teaching. More worrying, though, are the entrenched attitudes of a person who should not be in charge of the most expansive of subjects studied at school.