Good and Evil in Billy Budd Essay Example for Free

Good and Evil in Billy Budd Essay Contrast Between Good and Evil in Billy Bud Since the beginning of time, there has always been a tenacious struggle between good and evil. In a particular famous book, The Bible, the continuous clash between good and evil remains evident throughout the work. In Herman Melvilles novel, Billy Budd, symbolism, characterization, and irony are put to use to develop the dramatic contrast between good and evil. Symbolism is used to directly contrast good and evil. The night before Billys hanging, through the rose-tan of his complexion no pallor could have shown. Billy portrays a very pure Christ-like character before his demise. His white garb, and natural glowing of light makes his death seem symbolic for good. Claggort whos brow was of the sort phrenologically associated with more than average intellect symbolically manipulated Billy Budd as did the wisdom of the serpent manipulate Adam. Evil always tries to antagonize what is good. Therefore, Claggort was Billys antagonist throughout Billy Budd. Also symbolic to the novel is the actual demise of both Claggort and Billy Budd. Claggorts death is very short and appropriate to his navel grade. In contrast, Billys death occurs during the dawn where Billy ascended; and ascending took the full rose of the dawn. Claggorts death completely contrasts with the pure death of Billy Budd. Billys death is portrayed as good, conquering, and symbolic, which directly foils that of Claggorts. Not only using symbolism, Melville also uses characterization to contrast good and evil. Characterization is used to contrast the concepts of good and evil. Billy Budd is like a young horse fresh from the pasture suddenly inhaling a vile whiff from some chemical factory. Billys innocence and purity is exterminated at the hands of his main enemy, John Claggort, much such as Adam presumably might have been ere the urbane Serpent wriggled himself into his company. Claggorts silken jet curls and pallor tinged with a faint shade of amber skin even denote evil. Dark traits are often used to express evil, as light and beauty to express good. In contrast to Claggort, Billy Budds welkin-eyes, blonde hair, and tan complexion ultimately portray good. Besides from the use of characterization and symbolism, Melville uses irony to portray the battle of good versus evil. Irony is used to contrast the concepts of good and evil. Billy, the fighting peacemaker kills John Claggort with a blow quick as the flame from a discharged cannon. It is ironic that Billy, this innocent Christ like character loses his composure and ultimately does something evil. Through out the novel Billy Budd is never aware of Claggorts ill will towards him. Even when warned, Jemmy legs is down on you, Billy still can not grasp the concept that evil can happen to him, so when it does he doesnt know how to react. It is ironic that right before Billys hanging, he shouts God Bless Captain Vere even though Vere was the main advocate in the prosecuting of him. It is overall ironic that evil prevails in this novel. Claggort unfortunately got the last laugh. He is able to adulterate Billys purity and innocence in such a way that even the newspapers consider Billy as the criminal [who] paid the penalty for his crime In the end Claggort is portrayed as this martyr who is killed by this evil, and bad person, Billy Budd. This assumption is a major mistake. To develop the dramatic contrast between good and evil in the novel, Billy Budd, Herman Melville uses symbolism, characterization, and irony. Good and evil are a flip of a coin, and separated by a very thin line. The innocent martyr, Billy crossed this line once in the novel, to cause his downfall. After reading Billy Budd the reader ultimately realizes good and evil with out a problem.

Music Analysis Of Bluegrass Music Essay

Music Analysis Of Bluegrass Music Essay Bluegrass is a word which came into being after its adoption by musicians and radio disc-jockeys in the early 1950s. Denoting a form of American country or hillbilly music yet, distinguishing it from other types of similar genres, which were popular throughout the Kentucky and greater Appalachia even before the turn of the century. Due to the demographics of the settlers in the region, bluegrass is a music built on strong southern traditions and was originally played primarily by the white working class. Although it is still somewhat debated, it is generally accepted that Bill Monroe and his Blue Grass Boys played the first of what we now call bluegrass music in 1945. (International Bluegrass Music Association, 2001) The banjo came to the fore as it had not done previously accompanied by multiple vocal parts and a now familiar line-up of bass; mandolin; fiddle and guitar. The argument against, rebukes not the talent of Bill Monroe or his style, but the pre-inception of a less formali sed bluegrass genre. No matter which side of the debate one falls on, Monroe is accredited with the commercialisation and formalisation of the characteristics which differentiates the music from other strains of so-called hillbilly music such as country-western, rockabilly, and other forms of western-swing. (Smith, 1965) Both the immigration of the Scotch-Irish settlers during the latter part of the nineteenth century and subsequent emigration of the second and third generations from the region play distinct roles in the social and economic background of the music itself. Celtic fiddling styles played in the home and songs of heritage were commonplace. Monroe fondly recalls his mother walking through the house singing, and playing the fiddle as she prepared the dinner. His uncle, who he first witnessed at the age of about six years old playing this style of fiddle on the front porch at his family home captured the young Monroes imagination. He got the wonderful Scotch-Irish sound out of it, à ¢Ã¢â€š ¬Ã‚ ¦..and if wed have supper of a night, wed sit around the fireplace and hed play the fiddle. Most musicians of the time allude to fathers, grandfathers, and uncles who fiddled and mothers who played the organ, it seems everyone sang. Mechanically reproduced music and radio was therefore a luxury not many of these impoverished farmers at the time possessed, and although by the early 1900s, some rural settlers may have had experienced the radio, it was not as pervasive as it was to later become. It is for this reason we can refer to these strains as a form of vernacular music. (Rosenberg, 2005) During the late 1930s however, these types of technologies had come to the fore allowing greater access to music and film. The film industry in particular had made singing cowboys a popular trend and this was being reflected in the rise of western swing outfits such as Bob Wills and Bill Boyd. Other influences began to seep into the old time style, as country music began to move closer to the popular music of the era rather than the folk music of its distinct roots. (Rosenberg, 2005) George D. (Judge) Hay, a former news reporter, turned disc jockey with a popular Saturday night show titled The Grand Ole Opry, was adamant within his circle to keep these influences at bay and began to promote his radio show as authentic-hill country music. Urging his musicians to stay true to their roots and keep it close to the ground,(Rosenberg, 2005) he fought for years keeping drums off the Opry stage and very much discouraged the attempts to introduce electric style instruments, instead insisting on the musicians authenticity. It was subsequently the first country music styled show to gain a reputation on a national scale. His hatred of the word hillbilly and refusal to use it on his show gained him a respect from one Bill Monroe who tried out for the show in 1938. Cleo Davis who accompanied Monroe at the audition recalls; Bill and I did à ¢Ã¢â€š ¬Ã‚ ¦.. a duet yodel, fast as white lightening. [And were told] à ¢Ã¢â€š ¬Ã‚ ¦if you ever leave the Opry, itll be because youve fired yourself(Rosenberg, 2005) Two of the immediate differences Monroe and the Blue Grass Boys brought to the Opry, and anything that had gone before were the sheer speed that they performed their songs and the key they performed in. Even slow or medium paced favourites were faster than usual, highlighting the skill that was required to maintain the instrumental dexterity and vocal accuracy if these up-tempo performances were to retain their precision. Along with a speed heretofore unnatural, was the use of unconventional keys. Monroe is accredited with saying; We was the first outfit to ever play in B-flat or B-natural and E. Before that it was all C, D, and G. Fiddle men had a fit. (Rosenberg, 2005) Accompanying these alterations was a slightly unusual musical practice whereby all instruments were tuned a half-step above standard pitch. This elongation and tightening of the strings served a multipurpose, gaining both in volume and achieving a brighter tone which subsequently served to suit the vocals better than it had previously. (Rosenberg, 2005) These musical alterations coincided with arguably the most significant social, political, and cultural movement of the entire century, the Second World War. During this period many economic sectors, including the music and recording industries, were in a state of decline. But despite this lull of music sales, the sale of hillbilly records grew exponentially. (Rosenberg, 1967) The major reasons for this were, a population shift, incorporating a migration of southern workers to northern cities, and a mass growth in the popularity of the genre within the armed forces, where many were exposed to these strains for the first time. Military service resulted in long standing members having to leave their post for the war effort. This resulted in an array of performers playing different roles for the following war years. Retaining his slot on the Grand Ole Opry, and gaining his own tent show, Monroe continued to perform with a roulette wheel of differing musicians, yet still managed to contin uously be the most sought-after performer on the circuit. It is about this time that the real elements of bluegrass started to form with the addition of extra musical elements, and it was at this stage Robert Russell (later to be renamed Chubby Wise) joined the fray. A co-composer of Orange Blossom Special a song which Monroe and his boys had covered on many an occasion had heard of Howdy Forresters depart, leaving the band without a fiddle player. Having approached Monroe backstage he joined the Opry tour. Although the musician roulette continued for a time with instruments such as the jug, accordion and harmonica making appearances, the seeds that would comprise the latter sound were beginning sprout. (Rosenberg, 2005) In 1945, debatably the most influential member was auditioned for the line-up. A young banjo player named Earl Scruggs made an impact with a song titled Dear Old Dixie, showcasing his ability to do things you could hardly believe, with Monroe reportedly saying hire him, get him whatever it costs(Rosenberg, 2005). For the first time the band had a banjo player who was not a comedian, but instead had the ability to play solos on songs where all previous players could not. Lester Flatt, a mandolinist and tenor singer was also taken aboard at this time, returning to his guitar and singing lead vocals to accommodate the Blue Grass Boys. Much of the music was actually too fast for Flatt to keep rhythm on the guitar, but he remedied this by using a guitar run at the end of phrases. The run began as an F# on the lower sixth string and ended with an open G. Runs of this type were common in previous country guitar styles, but became so synonymous with Flatt and bluegrass music that it is still referred to as the Lester Flatt G-run.(Malone and McCulloh, 1975) Both were extremely popular with fans, with Scruggs solos demanding encores from the boy from North Carolina who makes the banjo talk (Malone and McCulloh, 1975) Scruggs used a three finger picking style adapted from other north Carolina banjo players such as Wade Mainers two-finger style. His solos on the Opry from 1945-48 resulted in almost instantaneous star status as a country music instrumentalist. Monroes Blue Grass Boys now consisted of a mandolin; played by Monroe himself, a guitar; a banjo; a fiddle and a bass, a construct that is now the presently accepted make-up of the traditional bluegrass band. The sound they produced together had evolved substantially from the days Bill and his brother Charles Monroe entertained locally in Kentucky, and yet, with the early guidance of Judge Hay in Bills career, managed to keep true to the roots of the music. Scruggs and Flatt left the Blue Grass boys line-up late in 1948, due to the strain of being on the road. They still played together however forming the Foggy Mountain Boys. While in this line-up they decided to include the resophonic guitar, (or Dobro) in their band and as a result it is often included in some bluegrass bands today.(International Bluegrass Music Association, 2003) By this time there were other groups mimicking the style set by their outfit, most notably The Stanley Brothers. Monroe had replaced Scruggs with a play er similar to Scruggs own banjo style, and after setting the precedent it became the norm to describe a good banjo player as playing just like Earl Scruggs. (Malone and McCulloh, 1975) Robert Cantwell describes the relative speed in which bluegrass music permeated the psyche as he recalls an appearance from the Eller Brothers in 1980. They began with an old song entitled On and On, but could not remember where it had originated or who had written the piece. It was the work of one Bill Monroe and had apparently been inducted, along with those songs brought across the Atlantic, into the realms of tradition at the tender age of twenty-seven. A tradition according to Cantwell, that was violently foreshortened by radio (2003) The durability of bluegrass has proven this apparent presumption correct however, as the genre grows not only in the Americas but internationally, owing much of its success to the adaptability of the music through other genres, and the capacity to reach wider audiences through the growing medium of technology. The 1960s saw the birth of a new concept, the bluegrass festival. As bands seemed to be competing for the same audience, it was more product ive for all parties involved to put them on the same bill, appearing at festivals around America. These festivals are now internationally common with attendances growing annually. (International Bluegrass Music Association, 2003) Monroes most famous contribution Blue Moon of Kentucky has transcended multiple genres and been re-recorded by artists such as Patsy Kline, Elvis Presley, Rory Gallagher, Johnny Cash, Ray Charles and Paul McCartney among others. Scruggs and Flatt as mentioned continued recording, and wrote songs that appeared on the soundtracks of the cult movie Bonnie and Clyde and the Beverly Hillbillies television show. Bluegrass was once again shot to the forefront of consciousness when Eric Weissberg traded banjo phrases with Steve Mandels guitar in the film Deliverance, and audiences were once again reintroduced to bluegrass as the soundtrack for one of the Coen brothers cinematic ventures O Brother, Where art Thou? went triple platinum. (International Bluegrass Music Association, 2003) Bluegrass is still providing additives, foundations and inspiration in artists today, as Bà ©la Fleck (possibly the most recognisable banjo player worldwide presently), describes his most powerful memory on first hearing the music during an interview for the popular American network PBS: My most powerful memory was hearing Earl Scruggsà ¢Ã¢â€š ¬Ã‚ ¦.as a five or six year old. That sound just blew me away, shook my head up. (PBS, 2001) Fleck has attained international fame for his ingenuity with his own band the Flecktones and for his fusion of a fast paced picking style with the jazz and blues undertones of the Dave Matthews Band, an outfit he makes regular appearances with. Once again keeping bluegrass firmly in the minds of the masses. The three audio files chosen represent three differing aspects of the bluegrass genre; The original bluegrass sound, the rise of the genres popularity through the prismatic scope of media, and its gradual evolution as these strains enevitably are influenced by other facors. The first, played by Bill Monroe and the Bluegrass boys is a recording from 1946 entitled Rocky Top. It showcases the finger-picking style of banjo thoroughly referenced throughout this essay, while emphasising the vocal layers and dexterity by using choral harmonics. The lyrics themselves reference Rocky Top Tennessee a domesticated hometown scence which much of the country bluegrass music was concerned with, the norm generally being a migration or a return to homelands. The second track was chosen for a number of purposes. Sang by Alison Krauss an extreemely successful country/bluegrass singer with accompaniment by Union Station, it is entitled Man of Constant Sorrow originally performed by the Soggy Bottomed Boys. My reasoning for choosing Krauss version is simple, she transcends genres. Recently dueting with Robert Plant the famed Led Zeppelin front man, she epitomises the durability and versatility bluegrass has sustained in revealing itself to new audiences. It is also featured prominently in the Coen Brothers classic film O, Brother where Art Thou?, reinforcing the previous point and illustrating the gains achieved through differing aspects of the media. The final track is from the aforementioned Bela Fleck, performing with the self explanotory New Grass Revival. The song itself called Steam Powered Aeroplane conveys a movement away from a homeland setting and can be constrewed as having migratory conontations, but more immediately, there is a movement towards the new. Containing the same basic principles, Scruggs-style picking and Flatts G-runs are evident. Vocals are also sung in different parts giving a layered effect, yet held secondary to the lead banjo and a commanding base line seems to keep the overwhelming speed in check. But there is a distinct modern feel as the instuments are very slightly amplified. In more recent years Fleck establishes the Flecktones and keeping this style joins a group containing a drumguitar infusing African beats with blues licks. (See The Flecktones: Next)

Philosophy of Spiritual Gifts :: Christian Spiritual Gifts

The area of Spiritual gifts is one which holds great interest for me. The thought that the different areas of effectiveness and skills are from God is interesting. I grew up with the teaching that we had God given abilities but never equated these with "spiritual gifts". They were just skill that we had been born with. I felt that our genetics and social conditioning had as much to do with these "gifts" as the Holy spirit did. Since there are non-Christians who exhibit these same abilities and gifts and when I was not a Christian I still had the desire to encourage others (encouragement is my spiritual gift). So I guess that I just never thought of these as spiritual gifts. I have been wondering for a few years now about what my spiritual gifts are. Although I have been intrigued by them, I was unsure of the method to use to discover them. The truth is, the thought that I did not know never really concerned me. The lack of understanding my spiritual gifts did not keep me from ministering. In a way I guess that they were already evident to me. The only thing I was missing was the "Christian" terminology for them. I would still be content not to know what the spiritual gifts I have are, but the elective I took gave me the opportunity to explore and discover the spiritual gifts I possess. My involvement in the discovering of my spiritual gifts is purely by God's design, so I assume that the time is right for me to be aware of them. The class module has been informative and interesting, and has revealed to me the gifts that God has blessed me with. The biggest concern I have regarding knowledge of our spiritual gifts is the temptation to misuse them and to a smaller degree to let ourselves be constricted in what we do in our spiritual lives because the task may lie outside of our "gifts". The thought that people use this as an excuse is disappointing to me. That tells me that they do not have a full understanding of who our God is. To limit oneself to the spiritual gifts that are evident is in a sense limiting God. When We become Christians is purely because of what God has worked in us. Throughout the life of the believer the continuing work of the Spirit is evident in our lives, or should be if the believer's relationship with God is healthy.

Gospel :: essays research papers fc

  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Gospel   Ã‚  Ã‚  Ã‚  Ã‚  Gospel is defined as the good news. In the New Testament times, gospel did not attribute to a book or manuscript, but to a proclamation or message. It was normally referred to as a proclamation of the good news. The good news usually consisted of a victory in battle or other news for the Romans. It also had an effect on the Hebrews by proclaiming the good news to them, especially of Israel’s victory over God’s victory. More broadly, it can proclaim all of God’s glorious acts over Israel.   Ã‚  Ã‚  Ã‚  Ã‚  Jesus’ followers used â€Å"gospel† to describe the good news to the people, with extra effort that the good news involved what God did in Jesus. However, some are not sure whether Jesus used gospels to spread his proclamation. Paul described the center of his gospel as Jesus’ suffering, death, and resurrection.   Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Marks gospel opens with, â€Å"The beginning of the gospel of Jesus Christ.† He writes that all the good news through God will be put through Jesus Christ for all the nations to hear. His good word is put through human encounter for the real life to interact with and learn. It also involves that God is the almighty who makes Jesus the king over the real world. Matt and Luke do not begin their gospels the same way that Mark does, but they all share the same ideas. Matt shows Jesus proclaiming the kingdom’s gospel and Luke describes activity through verbal use. The use of messages separates the gospel according to John from the others.   Ã‚  Ã‚  Ã‚  Ã‚  The life of gospels beyond the canonical is a puzzling question. Very few uncanonical works are called gospels. However, gospel has been used to refer to uncanonical works independently of their self-identification. It may be better to keep two different categories because of the complications. One should be â€Å"Jesus material† and the other should be called â€Å"gospels†. This would make the distinctions much easier because makes the material easier to categorize.   Ã‚  Ã‚  Ã‚  Ã‚  The origin of a gospel genre arises from many early Christian writings both inside and outside of the standard known as the canon. Gospel is not used in the idea of the New Testament, and Matthew, Mark, Luke, and John did not put together part of the original writings. The idea of writings being referred as gospels probably came about in the 2d century and was established by the 4th century.   Ã‚  Ã‚  Ã‚  Ã‚  Most of the writings outside of the canon were called gospels. Gospel :: essays research papers fc   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Gospel   Ã‚  Ã‚  Ã‚  Ã‚  Gospel is defined as the good news. In the New Testament times, gospel did not attribute to a book or manuscript, but to a proclamation or message. It was normally referred to as a proclamation of the good news. The good news usually consisted of a victory in battle or other news for the Romans. It also had an effect on the Hebrews by proclaiming the good news to them, especially of Israel’s victory over God’s victory. More broadly, it can proclaim all of God’s glorious acts over Israel.   Ã‚  Ã‚  Ã‚  Ã‚  Jesus’ followers used â€Å"gospel† to describe the good news to the people, with extra effort that the good news involved what God did in Jesus. However, some are not sure whether Jesus used gospels to spread his proclamation. Paul described the center of his gospel as Jesus’ suffering, death, and resurrection.   Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Marks gospel opens with, â€Å"The beginning of the gospel of Jesus Christ.† He writes that all the good news through God will be put through Jesus Christ for all the nations to hear. His good word is put through human encounter for the real life to interact with and learn. It also involves that God is the almighty who makes Jesus the king over the real world. Matt and Luke do not begin their gospels the same way that Mark does, but they all share the same ideas. Matt shows Jesus proclaiming the kingdom’s gospel and Luke describes activity through verbal use. The use of messages separates the gospel according to John from the others.   Ã‚  Ã‚  Ã‚  Ã‚  The life of gospels beyond the canonical is a puzzling question. Very few uncanonical works are called gospels. However, gospel has been used to refer to uncanonical works independently of their self-identification. It may be better to keep two different categories because of the complications. One should be â€Å"Jesus material† and the other should be called â€Å"gospels†. This would make the distinctions much easier because makes the material easier to categorize.   Ã‚  Ã‚  Ã‚  Ã‚  The origin of a gospel genre arises from many early Christian writings both inside and outside of the standard known as the canon. Gospel is not used in the idea of the New Testament, and Matthew, Mark, Luke, and John did not put together part of the original writings. The idea of writings being referred as gospels probably came about in the 2d century and was established by the 4th century.   Ã‚  Ã‚  Ã‚  Ã‚  Most of the writings outside of the canon were called gospels.

Financial Analysis Essay -- essays research papers

Financial Accounting MidTerm I.  Ã‚  Ã‚  Ã‚  Ã‚  Debit vs. Credit A.  Ã‚  Ã‚  Ã‚  Ã‚  Debit Debit = left side of T-account On the Balance Sheet a debit indicates: 1.  Ã‚  Ã‚  Ã‚  Ã‚  An increase in an asset 2.  Ã‚  Ã‚  Ã‚  Ã‚  A decrease in a liability 3.  Ã‚  Ã‚  Ã‚  Ã‚  A decrease in shareholders’ equity item B.  Ã‚  Ã‚  Ã‚  Ã‚  Credit Credit = Right side of T-account On the Balance Sheet a credit indicates: 1.  Ã‚  Ã‚  Ã‚  Ã‚  A decrease in an asset 2.  Ã‚  Ã‚  Ã‚  Ã‚  An increase in a liability 3.  Ã‚  Ã‚  Ã‚  Ã‚  An increase in shareholders’ equity item ** HINT** - Identify two components of each transaction: 1.) what did you get; 2.) where did it come from. The debit is what you got, and the credit is the source of the item you received. For instance, let’s imagine that you purchase a computer with your credit card. Since the computer is what you received it’s going to result in a debit to the asset account for your computer. The credit will be applied to the credit card liability account for the same amount. II.  Ã‚  Ã‚  Ã‚  Ã‚  What accounts Increase/Decrease with debits and credits   Ã‚  Ã‚  Ã‚  Ã‚  Account Type  Ã‚  Ã‚  Ã‚  Ã‚  Debit   Ã‚  Ã‚  Ã‚  Ã‚  Credit Balance Sheet  Ã‚  Ã‚  Ã‚  Ã‚  Assets   Ã‚  Ã‚  Ã‚  Ã‚  Increase  Ã‚  Ã‚  Ã‚  Ã‚  Decrease Balance Sheet  Ã‚  Ã‚  Ã‚  Ã‚  Liabilities  Ã‚  Ã‚  Ã‚  Ã‚  Decrease  Ã‚  Ã‚  Ã‚  Ã‚  Increase Balance Sheet  Ã‚  Ã‚  Ã‚  Ã‚  Owner’s Equity  Ã‚  Ã‚  Ã‚  Ã‚  Decrease  Ã‚  Ã‚  Ã‚  Ã‚  Increase Income Statement  Ã‚  Ã‚  Ã‚  Ã‚  Revenue  Ã‚  Ã‚  Ã‚  Ã‚  Decrease  Ã‚  Ã‚  Ã‚  Ã‚  Increase Income Statement  Ã‚  Ã‚  Ã‚  Ã‚  Cost of goods sold  Ã‚  Ã‚  Ã‚  Ã‚  Increase  Ã‚  Ã‚  Ã‚  Ã‚  Decrease Income Statement  Ã‚  Ã‚  Ã‚  Ã‚  Expenses  Ã‚  Ã‚  Ã‚  Ã‚  Increase  Ã‚  Ã‚  Ã‚  Ã‚  Decrease III.  Ã‚  Ã‚  Ã‚  Ã‚  Typical Accounts A.  Ã‚  Ã‚  Ã‚  Ã‚  Assets Cash  Ã‚  Ã‚  Ã‚  Ã‚  Marketable Securities Accounts receivable   Ã‚  Ã‚  Ã‚  Ã‚  Notes receivable Interest Receivable  Ã‚  &nb... ...ccounts decrease cash and appear with negative signs. 2) Step 2: Classify the change in each balance sheet account as an operating, or investing, or financing activity and enter it in the appropriate column of the work sheet using the same sign as the first column. 3.) Step 3: Sum the entries in the Operations, Investing, and Financing Columns and net the 3 sums to ensure that they equal the net change in cash. ***Things to Remember*** In T-accounts the balance are as follows:   Ã‚  Ã‚  Ã‚  Ã‚  Asset: balance on the left   Ã‚  Ã‚  Ã‚  Ã‚  Liability: balance on the right   Ã‚  Ã‚  Ã‚  Ã‚  Stockholders’ equity: balance on the right Balance Sheet is written as follows:   Ã‚  Ã‚  Ã‚  Ã‚  Assets   Ã‚  Ã‚  Ã‚  Ã‚  Liabilities   Ã‚  Ã‚  Ã‚  Ã‚  Stockholders’ equity Income Statement is written as follows:   Ã‚  Ã‚  Ã‚  Ã‚  Sales   Ã‚  Ã‚  Ã‚  Ã‚  Other Revenue   Ã‚  Ã‚  Ã‚  Ã‚  Cost of Goods Sold   Ã‚  Ã‚  Ã‚  Ã‚  Expenses   Ã‚  Ã‚  Ã‚  Ã‚  Net Income Statement of Cash Flows (Indirect Method) is written as follows: Operations Investing Financing

Men and Women Stereotypes

Emotional Manipulation at its Finest Have you ever felt like everything is always your fault? Like you’re always the person that’s stirring up trouble in your relationship? Women feel this way in particular and it’s because of the men that make us feel this way as well as the pressuring media. I’m sure that most women have heard derogatory comments such as â€Å"you’re crazy† or â€Å"you’re so dramatic† from husbands, boyfriends, male co-workers, fathers, kids, or even male friends at least once in their lifetime.As the epidemic of women being â€Å"crazy†, â€Å"sensitive† and â€Å"irrational† increases over time, we are seeing that women are being emotionally manipulated by men at an escalating rate. This sort of behaviour is appalling to women everywhere because it is a stereotypical way of treating us. Men and the media should not have the right to make women feel terrible for â€Å"overreacting† when they were the ones that caused us to react in the first place. Emotional manipulation is the driving force behind the male population’s egotistical way of viewing life.Having the power to make your wife or girlfriend feel bad for something you did boosts a man’s ego and confirms that they are the powerful spouse within the relationship. Although this stereotype has been around since before anyone can remember, it is important for women to fight back against the idiotic behaviour of men. In order for men and the media to stop emotionally manipulating women, society must stop authorizing this abusive and inconsiderate behaviour in their behalf. The term â€Å"gaslighting† comes into effect when situations such as these are observed.Gaslighting, as Yashar Hedayat wrote in his work entitled â€Å"A Message to Women from a Man: You are Not â€Å"Crazy†Ã¢â‚¬ , is â€Å"a term often used by mental health professionals to describe manipulative behaviour used to confuse people into thinking their reactions are so far off base that they’re crazy†. This is what men do to get themselves out of trouble with their women and it is toying with the women’s emotions. In my personal opinion, it is not fair for women to feel this way because it’s the alternate spouse, friend, co-worker, etc that caused the trouble within the relationship.Why should the woman feel bad for the male’s irresponsibility? In this day and age, women are afraid to let out their true inner feelings because men make it hard for them to do that. For example, Yashar Hedayat explores the idea of a man being late to dinner. The woman decides to text him to see where he is but instead of saying â€Å"you’re late where are you? You were supposed to be here 20 minutes ago. † she writes â€Å"you’re late lol where are you babe? † See the difference? She doesn’t want to upset him in any way so she adds a smile to lighten the mood.If men were not emotionally abusing women, this sort of behaviour on the woman’s part would not have to occur. It saddens me that women have to pretend to be happy in front of someone they’re supposed to be able to tell everything to. If such trust existed, would relationships have a different atmosphere? This manipulation is like jail for women; they are trapped in the fact that they cannot express how they feel when a man plays with their emotions. As I stated before, men have a sense of power within their relationships especially when gaslighting plays a huge factor in the relationship.Yashar Hedayat states that â€Å"acts of gaslighting steal [women’s] most powerful tool: their voice† Since the beginning, men have always been the dominant partner within relationships and this has caused women to remain quiet and not fight back. We can see this in the 1950’s when women were destined to be housewives from the age of eighteen. Men were the spouse that went to work every day and made money for the couple and the family if they had one. The stereotype of women being the recessive spouse continued into today’s society.Although women are not destined to be housewives anymore, men are still considered to be the dominant spouse in most relationships. When men partake in gaslighting, they are confirming their power over the woman. Often, the woman feels defeated and overpowered by the male which in turn causes emotional manipulation within the relationship. So why do men feel the need to manipulate women into thinking that they're crazy? Dr. Joseph Nowinski wrote an article on psychologytoday. com explaining how men are just as insecure as women.He states that men's insecurities have in fact altered relationships between men and women. Some men are so insecure that they force their insecurities onto their spouse and this is where gaslighting plays its role. Because of these insecurities, men feel the nee d to drive women crazy. The media is also a pressure on women. As state earlier, there is a stereotype surrounding women that they are clingy and too emotional when it comes to men. You see â€Å"overly-attached girlfriend† trending on twitter all the time and this authenticates the tereotype. Although some women may be overly sensitive and attached, it is not the case for all women. The media has also produced many films about crazy people and the main character is almost always a woman. The new exorcist movie coming out (the name escapes me) has a girl as the main character. The 1994 movie â€Å"Gaslight† (origin of the word) is about a woman that is sent to a mental institution when her husband makes her seem crazy. The media is always going to have stereotypical views on women whether we like it or not.This has been going on for a long time and I'm not surprised that the issue is getting larger and larger as the years go on. Gaslighting is an issue in today’ s society and we must try to break down the barriers that surround it. Gaslighting is not something that can be touched upon lightly and women should start to stand up for themselves when it comes to this situation. Although men and the media are large contributing factors to this issue, we must still band together and fight against it.This enhanced interrogation of women’s emotions is starting to deteriorate how strong and independent women once were. To be gain these qualities back, women must begin to take control of their emotions and stop letting men play with them. Works Cited Ali Yashar. â€Å"A Message to Women From a Man: You Are Not â€Å"Crazy†Ã¢â‚¬  The Huffington Post. TheHuffingtonPost. com, 12 Sept 2011. Web. Nowinski, Joseph. â€Å"Is It Love, Or Is It Insecurity? † Psychologytoday. com. The New Grief, 8 Nov. 2011. Web. 04 Mar. 2013 LEGEND: Thesis PINK Methods of Proof YELLOW Rhetorical Devices GREEN Literary Devices BLUE

Denmark vs America

In this essay I would like to tell about the differences and similarities in Denmark and America. I will tell good stuff and bad stuff, and you will be able to hear my opinoin as well. Denmark and America are way different from each other, but at the same time we’re a bit alike. We see a lot of teenage movies, and about 95 percent of them are from the states, the other 5 percent are from our own country. We see a lot about the teenage lifestyle through these movies, and no matter if we want or not, then we all create an image in our heads about how the lifestyle is. Now I’m so lucky that I’ve actually tried to live the real teenage life in America, and yes, I would say that the image that I had about the American life, was very true. But there is this thing called drama, which teenage movies love to use as exaggeration. So thank goodness that there’s not all that drama in real life. The coolest thing about high schools in the states is that high schools love to have dances, and they spend a lot of energy into planning them, and they spend a lof of money on them, and high school kids love these dances. Prom, for example, is the most important dance of the year, and everybody is talking about it all year. Here in Denmark we just have a random school dance where everybody drinks their brains out, and can’t remember anything the next day and people is only thinking about wearing the smallest outfits that they can find. I’m tempted to say that the exact opposite is the case in in the states, because in the states they are trying to find the biggest dresses, and they don’t drink. This brings me to the next subject that I want to talk about, alcohol. In America you can’t drink untill you’re twenty-one, where as here on the other side of the world, you can drink when you’re sixteen. I think both these ages are a bit ridiculous, the one in Denmark is too low, and the one in America is too high, it should be around eighteen. One thing that I don’t like about the U. S is all the crime; I know that crime is starting to escalate here in Denmark, but it’s still much worse in the U.  S. People are walking around with guns on them; children get kidnapped daily, which is the worst when that happens. When a child gets kidnapped, it’s all over the news and media, and this is called an Amber Alert. I tried that when I was in America, it was terrifying, police men everywhere, helicopters, news people reporting live twenty-four seven. Unfortunately they didn’t find the kid alive; they found the kid only a few blocks away from its house. America has a ton of fast food restaurants which of course cause all the really fat people, who can barely walk. Here in Denmark we don’t have that many fast food restaurants, but we have the most famous ones, and we’re acyually not skinny anymore. So my conclusion is that Denmark and America are different because of the rules and laws we have in each country, here I’m thinking of the drinking age and drivers license. We like to do the same things, such as school dances and parties, but it will never be the same because of the way we’re raised.