“Originality in Italian Renaissance Architecture” Essay Example For Students

â€Å"Originality in Italian Renaissance Architecture† Essay The Chairman : This afternoon we are to hear Professor Cordingley, who occupies the Chair of Architecture at the Manchester University, talking to us on Originality in Italian Renaissance Architecture†. Many of you know that the old system of training architects in England, that of pupilage, has been considerably superseded by the school system and that architectural schools have been set up in London and various other cities up and down the country. Two of these are in Lancashire—at Manchester and Liverpool. Liverpool has, for various reasons, come into the pub Ik eye rather more than Manchester, but Manchester has always refused to be overawed by its powerful neigh- bour and under Professor Dickie, and later under his successor. Professor Cordingley, its school of architecture has developed a method of designing rather characteristic of itself. It is a type of design which 1 would say is distinguished by its modernism while not neglecting tradition and yet infused with scholarship. Without more ado, I will call upon Professor Cordingley to deliver his lecture. The following paper was then read: The Renaissance of Architecture in Italy extended over more than four hundred years—from 1420 to c. 1850. Selwyn Brinton, the founder of the series of lectures of which this is the second, in his series of volumes under the title of â€Å"The Art of the Renaissance†, adopts comprehending dates (1200-1800) which allow- reasonable room for the full cycle of the architectural manifestation of that Art. Much more commonly among historians, the Renaissance in Architecture is held to have terminated about 1600. The discrepancy is a matter which it is purposed here to examine. Italian Renaissance Architecture has suffered singular misfortunes of inter- pretation in the last hundred years. Rugltin is largely to blame. To him the Renais- sance appeared an irreligious style, and one, therefore, to be abhorred. Undeniable aesthetic merit of individual works sometimes forced his reluctant admiration, but for the most part, he studiously ignored the style or blistered it with a passing phrase incidental to his adulation of the â€Å"Christian† medieval arts. His views, or views like his , have coloured in diminishing, yet still important, degree almost all estimates of the values of the style made up to recent times. Thus, as views now stand, the earlier and formative phases of the style arc universally admired; the later phases remain in high disrepute, except in the instance of a few famous monuments or among the more enlightened enquirers and writers. The two stages are distinguished by separate terms, the â€Å"Renaissance† for the first stage and the Baroque† for the second. In this way the part is made to appear as the whole; and this is not accidental, for most writers on architecture arc at pains to prove a high distinction between the two, discerning a sharp change of trend and character at the junction between them. The Renaissance, according to these writers, did indeed end at a given point, to be succeeded by another, related but clearly distinguishable, historical style. One, the â€Å"Renaissance† naturally, is shown as of mostly admirable Qualities; the other, the Baroque, as mostly dis reputable and not infrequently vile. The date set for the division between t he two varies considerably, but about 1580 is a usual choice. The sharp distinction—a false one, it is hoped to show—is made almost exclusively upon grounds of externa] character and effect, and the Renaissance is deemed to last just so long as ancient Roman precedent is followed in matters of decorative detail. This is a too narrow, and, under the special circumstances, unstable a basis for a proper evaluation. The normal historical kind of review is much to be preferred; but there is partial justification for the standpoint in that the Renaissance architects, like the Greek, themselves had adopted the aesthetic objective; just as, on the other hand, the Romans and the medievals absorbed themselves outstandingly in practical, constructive endeavours. But too much room is left for the vagaries of taste and further deliberate judgment depends too importantly on accurate attribution of the origin of the decorative elements used. There is no kind of doubt that the Renaissance drew considerably upon ancient Rome for its stock of decor ative motifs, but this dependence frequently is exaggerated and attributions of origin quite often are at fault. In archeological ignorance sometimes, but quite consciously at others, the Renaissance borrowings were from the Early Christian or Romanesque, quite apart from the perpetuation of Italian medieval practices as the foundation of the Renaissance style. Too readily it is taken for granted that Renaissance classic is of the Roman kind. Sometimes, in recent days, Renaissance footifs have been used inferential!)-, as evidence of Roman architectural methods, but this is a most unsafe proceeding. As will be shown, there was much that was quite distinctive in the Renaissance usage of the decorative elements. They did not copy direct, but adapted and developed their own systems. They invented too, and combined the classical, old and new, with motifs derived from other architectures of intermediate times. A true evaluation necessitates consideration of the movement as a whole, and the Baroque was a part of that whole. At the outset of the Renaissance, and for long thereafter, ancient Rome provided a stimulus, but this did not endure at the same intensity throughout. In fact, during the Baroque phase, it was so slight as to be negligible. Renaissance character must not, therefore, be measured, in any sense, by the degree of its dependence upon ancient Roman architecture. This must have been merely incidental to it. It emerged from that dependence and reached maturity as a style, conditioned by circumstances yet to be examined; though it is unnecessary to decide at what particular point in its evolution it reached its finest sesthctic expression. Seen in this light, the so-called â€Å"Rena issance† phase was a stage of experimentation and development, not, by any means, an evolution in itself. Instead, the culmination, in the historical sense, lies in the Baroque stage. This is quite different from the usual interpretation, which would represent the onset of the Baroque, about 1580, as a revolt against academic purism in the deploy ment of the time-honoured classical elements, which, it is said, had come to be used with too meticulous and deadly a formality. Yet it has never yet been shown in what group of buildings this particular kind of rigidity exists. Nor are architects instanced, though sometimes we are told, almost in the same breath, that Palladio (especially) and Vignola were the ultimate purists—perhaps because they were authors of the most famous of the literary codes on the use of the classical elements and yet that neither held strictly to his own precepu. They were, if we compound the typical but contradictory statcm:nts made about them, archacologically-mindcd, hide- bound pedants and free-thinking, original, inventive practising architects. That they were academic in written theory and emancipated in their practice is not the explanation, for the universal popularity of their writings is attributed to the originality of the ideas expressed in them and the fitness of those ideas for con- temporary use. However, there is this unanimity in modern writings; there was little or no further reference made to ancient Roman architecture, once the Baroque was fully under way. The independence of the Baroque, all admit, was virtually complete. The occasion to invent a revolt† against pedantry and the observance of strict classical precepts† arises from the common interpretation of the course of the Renaissance up to that point as a regular progression towards the complete recovery of latin architectural ideals and methods. Unfortunately for this contention, it is notorious that the ancient Romans had very low artistic taste, and no better than rule-of-thumb decorative methods. For convenience of review, the architectural manifestations of the Renaissance need suitable sub-division. The common use of the term, in architectural circles at least, for a part of the whole is to be regretted, but it would be even more confusing here to attempt to substitute a new one. One may accept then, the Renaissance† as the precursor of the â€Å"Baroque†, though not admitting a break of logical develop ment between them. In Italy of these times, accurate chronological subdivision is even more than normally impracti cable, for the political severance between part and part occasioned developments at varying rates and the formulation of local schools with markedly individual practices. The dates to be given here, then, are highly generalised, and are stated in round figures. The Early Renaissance† (1420-1500) was followed by the High Renais sance† (1500-1550). A stage of Transition† ensued (1550-1600), and introduced the â€Å"High Baroque† (1600-1700) within which lay the culmination of the style, at aboi^t 1650. The Late Baroque† (1700-1750), wherein there is a trend towards the Rococo† (a lighter version of the Baroque), might be taken as the closure of the Renaissance proper, since thereafter the Italian is no longer an important originating source, but reflects instead developments taking place in France and countries elsewhere. The cycle of the movement was not then, however, completed, as in Northern Europe and England an â€Å"Antiquarian† Phase of some complexity followed (1750-1800), largely classical and tending increasingly towards the Neo Grec†. The latter, the Neo-Grec, might be embraced roundly in the dates 1800 1850. It was the dominant though not the exclusive manifestation throughout the greater part of that time. The Renaissance masters were activated almost exclusively by esthetic i deals. They were most able too in constructive science, but this to them was a means to the asthctic end, and not an end in itself. Here lies a mighty distinction between them and their Roman forbears, whom they purposed to emulate. Old Roman greatness lay in their political and economic system,not, certainly, in any decisive way in their arts. The Northern RenaissanceThe need for buttressing obviated, or very much minimised, the dome could be raised aloft to allow the insertion of fully adequate windows in a â€Å"drum† interposed below it, and the whole could then be exploited for grand external as well as internal visual effect. In other domes, more sightly tlun Brunelleschi’s, the incorporation of further structural devices (pendentives) permitted the use of the domical termination over any kind of regular base plan, not only round or ellip tical (for domes even of this shape came to be used), but square, octagonal and rectilinear too. Due to Brunelleschi’s invention, the dome came to be the almost inevitable crowning feature of every church or chapel, and the dominant, and not infrequently the exclusive, form of covering used. The experimental stages of development of this magnificent feature were traversed in the Early and High Renaissance stages of the style; St. Peter’s, on the threshol d of the Baroque, is the first major instance of thoroughly mature design. Afterwards, Baroque Rome became a city of splendid domes. The first onset of the Renaissance produced little outward change in palace design, and at no time do external influences importantly affect the established or developing modes of living or methods of use. On the other hand, medieval constructive character, protracted into the Renaissance, contributed an initial suggestion for a fresh range of decorative techniques, which, thereafter, the Renaissance masters infinitely exploited. The new range was that of rustication. Now there are endless instances of Roman rock-faced masonry, yet these are in no case deliberately designed to be decorative. They occur in the Roman idea as an incidental economy in constructive works outside the architectural pale. Nor do the Roman instances occur on those parts of buildings embellished with columns or their decorative adjuncts; except in one or two instances such as the Porta Maggiorc at Rome where however, the structures manifestly were never completed. The rustications here were intended to be dressed off, but the work was never wholly done. The ancient Romans never came nearer to the deliberate use of rusticated decoration than the occasional chisel-drafting along the joint-lines in the otherwise smooth masonry of certain temple cells. This is not to say that the old Roman instances, accidental though they are, did not offer suggestions to Renaissance enthusiasts. Renaissance initiative in this direction begins at once, in Florence again, with the first domestic building in the new style—the Riccardi Palace (1430). Every centre in the country in due course developed its local v ariants; the stones left rough and characterful, or bossed and facetted in high artificiality. At first restricted to wall surfaces, rustication soon came to be applied too to the Orders themselves, as, notably, in the work of Sanmichele in the Verona region (e.g., Porta Nuova, 1532) or of Alessi and Lurago (Porta Pila) in ornamental town gateways at Genoa. Palladio imitated it in stucco; Vignola expanded its range of use to the enframing of masonry panelling and to the embellishment of garden ornaments. In stucco, and in a variety of extravagant forms, it became the dominant decorative motif of the garden grotto and the artificial waterfall and cascade. It invaded the surrounds to windows and doors, and was used even on balustrades, stringmoulds and cornices. In short, rustication took its important place among the Renaissance decorative resources. French, English and German, as well as Italian Baroque art would be much the poorer without it. At certain phases in the development of the several national styles, rustication is sometimes almost the sole decorative device employed. Whilst on this point, another purely Renaissance decorative invention may be instanced—that of the baluster. Roman parapets, if not solid, were commonly of palisade character, patterned with interlacings in the panels, imitating wooden prototypes. The Byz antines used these too, but also developed a distinctive practice in which the panel is a carved or pierced slab, supported between posts. Italian medieval practice varied, in part it followed the Byzantine, but more characteris tically, tiny columns of simplified classical design carried miniature arches, which, in turn, supported the parapet rails. Both the Italian medieval usages survived into the Renaissance. Instances may be found in the chapel screens in Albertis re-modelled S. Francesco at Rimini. The true baluster, as we know it to-day, is first traceable in the Colleoni Chapel at Bergamo (c. 1470-6). Hereabouts in the Milan region, there had been proceeding an exhaustive series of experiments with candela bra-like forms of ornament, applied as architectural decoration, and a wide range appears on this building. The use of the true baluster spread rapidly. It appeared both in Rome (Sistinc Chapel) and Venice (Pal Comer-Spinclli) by about 1480. By the end of the century, the older forms of parapet had almost wholly disappeared. The initial simple baluster, symmetrical in its upper and lower halves, soon gave place to the familiar type, weighted heavily in the lower part of the sleeve; but many variants subsequently were invented, especially in the Baroque phase. The progress of balustrade design is a good index of thef date of monuments. Surprisingly little initiative was shown in ancient Rome in the exploitation of the decorative possibilities of the Orders of Architecture. The arrangements in common use extended little beyond the simplest form of colonnade and arcade, and the com bination of the two into that motif most typical of their architecture, the so-called Roman Order†. Richer and more complicated devices rarely were used, and, even so, in single units for the especial decoration of comparatively small monuments, or for the elaboration of special parts of the larger ones. Tombs and sepulchral monuments, triumphal arches and the scena: of theatres are practically alone the subjects of decorative variation from the universal monotonous themes. Pedestal, parapet and other adjuncts were used, and the tabernacle† window or niche,but none of these appears to have been an original invention on Italian soil. There arc Greek Hellenistic precedents for each. The Renaissance materially extended the range of standard decorative motifs in regular use. Mostly, the new themes were invented afresh, for all that a careful search may disclose an occasional Roman instance of each. Such dubious precedents would very likely be the outcome of accidental and not calculated combinations. How frequently, for instance, is the â€Å"coupled† colonnade used in Roman times in extension beyond ? single bay, or that further type, in which the spacing of the Order is alternately wide and narrow? These arc very familiar dispositions in the It is true, of course, that the face of Renaissance architecture was never more like the Roman titan at this mid-sixteenth century time. Since the borrowings of ancient motifs were cumulative and ceased very soon, the point is obvious. Yet in general, the likeness was even now quite slight and certainly has not the significance usually attached to it. The kinship was less, not more, strong than before. In the essentia ls of spatial organisation and structural method, the two architectures were at no time particularly close, and never more so than at the outset. The trend thereafter was increasingly divergent. The cause of the break was incompatibility, increasing, naturally, as the Renaissance individuality developed. There was no hiatus or violent distortion in the Renaissance growth at this or any other stage. It followed a natural course and achieved a climax in its own right. The greatest debt due to Rome was that for the classic principles of formality; for the rest, as has been shown, certain details were acquired, but they were assimilated, not imitated, digested and trans- muted into decorative systems nearly always original in themselves, and always used in distinctive ways.

Taxation Generating Earlier Assets

Question: Describe about the Taxation for Generating Earlier Assets. Answer: Case study 1 Calculation of Net Capital Gain/ Loss of an Individual In this particular case study, capital gain or loss of an individual is calculated by applying the formula. Fred is an Australian resident as assumed in the case study. Fred was not operating in any of the trading business at the same time (Piketty, Saez and Zucman 2013). He had holiday home that is considered as assets as well as he sold it in this current year. It is not to be considered as trading stock by any chance. In other words, Fred was not generating revenues from its earlier assets also. Calculation of Net Capital/ Loss The below table shows the calculation of net capital or loss for Fred for the current financial year It is calculated using discounted method as well as Indexation method Name of Taxpayer : Fred Type : Individual Calculation of Net Capital Gain/Loss for the period ending on 30th June,2016 Discounted Method Indexation Method Particulars Amount Amount Amount Amount $ $ $ $ a) Sale of Holiday Home Sales Consideration 800000 800000 Less : Cost Base of the Property 100000 148043 Legal Fees on Sales (Exclusive of GST) 1000 1000 Commission of Real Estate Agent 9000 9000 Stamp Duty on Purchase 2000 2961 Legal Fees on Purchase 1000 1480 Construction Cost of Garage 20000 133000 23853 186338 Capital Gain on Sale 667000 613662.3 Less : 50% Exemption on Capital Gain 333500 Taxable Capital Gain (A) 333500 613662 Less : Capital Loss of Previous Year 10000 10000 Net Taxable Capital Gain 323500 603662 Table: Calculation of Net Capital Gain/Loss Source: Created by Author Discussion In the year, 1985 dated 20 September, Fred acquired the assets. Hence, it can be considered as CGT assets for taxable purpose for making the computation of net taxable capital gain or loss At the time of asset acquisition before the date 21st of September 1999, it has been noticed that cost base as well as other expenses incurs for the specified time (Piketty and Saez 2012). This is for the asset purchase that is mainly evaluated under the indexation method Fred, on other hand, had made garage on that property for substantial improvement. However, substantial cost of the garage is to be deducted from the expenses. This was performed on 21st of September 1999 and calculated using indexation method In accordance with Australian taxation rules, it is for acquisition of assets dated on 21st of September for the year 1999. In that case, individuals can easily apply for any of the method may it be discounted method or indexation method. Using this method, it will be easier to calculate capital gain or loss for an individual (Saez and Piketty 2012). It has been noticed that expenses are incurred from sale of properties as well as it should be deducted from any of the considerate sales figures. It will be determined in case of calculating net capital gain or loss of an individual As far as discounted method is concerned, taxpayer gets around 50% exemption especially on capital gain for assets. Addition to that, the taxpayer owns these assets for a period of twelve months (Jones and Rhoades-Catanach 2013). Summary of findings The above calculation on net capital gain or loss has been explained for Fred for the given current year using discounted method. Using the method, calculation has been done and figures amounted to $ 323500. On the other hand, using indexation method, figure arrived at $ 603662 (Farhi et al. 2012). By using discounted method, Fred had to pay less tax especially on the gain for capital. It has to be considered using discounted method for computation of net capital or loss from the case study. Net Capital gain arrives at $323500. Net capital gain consequences In order to view at the consequences of net capital gain, Antique vase can be considered as collectable in nature. In accordance to Australian Taxation rules, adjustments have been made on net capital loss from the collectable sale. Hence, net capital loss taken from the previous years mainly arises from antique vase sale (Chen et al. 2016). It cannot be adjusted in any case for adjusted net capital gains from house property sale. Net capital gain of Fred arrives at $333500. Case Study 2 Part A Calculation of Fringe Tax Benefit of Periwinkle Pty Limited in relation with various consequences From the above case study, it has been noticed that Periwinkle Pty Limited is the employer company as well as considered as general Australian company. It cannot be entitled under the tax benefits in comparison with small business entities. It is for the case of the company providing few benefits for its current employee name Emma (Auerbach and Hassett 2015). Emma is assumed to be Australian resident. Periwinkle Pty Limited is entitled in giving fringe tax benefits for various additional benefits in the most appropriate way. FBT consequences for such type of benefits are explained below with proper justification. Car Fringe Benefit Calculation Of Car Fringe Benefit:- Particulars Details Total Kms. Travelled during the FBT year A 10000 No. of Days in the FBT year B 366 No. of Days of Travel C 336 Annualized Kilometers (A x B/C) 10892.857 Statutory Rate as per Annualized Km. E 20.00% Cost Base F $33,000 No. of Days available for Private Use C 336 No. of days in FBT Year B 366 Taxable Value (FxExC)/B $6,059.02 Table: Calculation of Car Fringe Benefit (Source: Created by Author) The above table calculates the car fringe benefits. In the given case study, Emma uses car for the purpose of official as well as private activities. Hence, benefit with car should be included in the car fringe benefits. At the time of foreign visit, Emma parked the car at airport rather on employer premises. This particular car was kept in the garage so that annual maintenance will be done and not come under unscheduled repairing at the same time (Adam, Kammas and Lagou 2013). This reveals that car unused during the repaired days will be included in the calculation of FBT. It requires to use statutory method for calculation of car fringe benefit for the company of the car. FBT for Interest on Loan Calculation of Interest on Loan for FBT:- Particulars Details Loan to Employee A $500,000 Benchmark Interest Rate B 5.95% Actual Interest Rate C 4.45% Taxable Value Interest on Loan D = (AXC) $22,250 Table: Calculation of Interest on Loan for FBT (Source: Created by Author) The above table shows the calculation for Interest on Loan for FBT. The employer should provide interest on loan to the employee (Auerbach and Hassett 2015). This is considered as fringe tax benefit. It has been calculated that interest rate of loan will be at 4.45%. This rate of interest is considered lower in comparison with benchmark interest on loan at 5.95%. Therefore, FBT calculation based upon actual interest rate. FBT for Special Discount Rate Calculation of Special Discount for FBT:- Particulars Amount Market Price of the Bathtub A 2600 Special Price for the Employee B 1300 Taxable Value of the Bathtub C=A x 75% 1950 Taxable Value of Benefit C - B 650 Table: Calculation of Special Discount for FBT Source: Created by Author The above table shows the calculation of special discount for FBT. This means that employer can easily claim for FBT in case of getting special discount. It will be provided to its employees for the specified product. FBT calculation will be based upon 75% on normal selling price (Auerbach and Hassett 2015). FBT Calculation Name of Taxpayer : Periwinkle Pty. Ltd. Type : Company Calculation of Fringe Benefit Tax for the period ending on 31st March,2016 GST Inclusive GST Free Particulars Amount Amount $ $ Car Benefit 6059.02 Interest on Loan 22250 Sale at Special Rate 650 Total of GST Inclusive/Free Benefits 6059.02 22900 A B Gross-up Rate 2.1463 1.9608 C D Gross-up Value 13004.47 44902.32 E = A x C F=B X D Total Taxable Fringe Benefit 57906.79 G = E + F Fringe Benefit Tax Rate 49% J Fringe Benefit Tax Liability 28374.33 K = G x J Table: Calculation of Fringe Benefit Tax (Source: Created by Author) From the above table, calculation is done on the fringe benefit tax for the year ending 31st March for the year 2016. It has been assumed that car expenses comes under GST as well as all FBTs equalizes with values of FBT in accordance with Gross up rates (Auerbach and Hassett 2015). As far as fringe tax benefits are concerned, it is calculated for general companies at 49%. For the company Periwinkle Limited, calculated has been done for calculation of FBT liability in accordance with given rules. Part B Alternate Consequences In this particular part, alternative consequences are explained to give unique insights to the given case study. In case Emma made the purchase for shares for herself as well as earn dividend from the shares, then she would be entitled in paying tax (Piketty, Saez and Zucman 2013). Payment will be done on that kind of income. If such cases are there, then total FBT value as well as FBT liability of the employer will be considered lesser based on income amounted and earned by an employee from total loan amount. Reference List Adam, A., Kammas, P. and Lagou, A., 2013. The effect of globalization on capital taxation: What have we learned after 20years of empirical studies?. Journal of Macroeconomics, 35, pp.199-209. Auerbach, A.J. and Hassett, K., 2015. Capital taxation in the 21st century (No. w20871). National Bureau of Economic Research. Chen, P.H., Chu, A.C., Chu, H. and Lai, C.C., 2016. Short-run and Long-run Effects of Capital Taxation on Innovation and Economic Growth. Farhi, E., Sleet, C., Werning, I. and Yeltekin, S., 2012. Non-linear capital taxation without commitment. The Review of Economic Studies, 79(4), pp.1469-1493. Jones, S. and Rhoades-Catanach, S., 2013. Principles of Taxation for Business and Investment Planning, 2014 edition. McGraw-Hill Higher Education. Piketty, T. and Saez, E., 2012. A theory of optimal capital taxation (No. w17989). National Bureau of Economic Research. Piketty, T., Saez, E. and Zucman, G., 2013. Rethinking capital and wealth taxation. Abgerufen von https://piketty. pse. ens. fr/files/PikettySaez2014RKT. pdf. Saez, E. and Piketty, T., 2012. A Theory of Optimal Capital Taxation. NBER Working Paper, (17989).

Poetry Reading Response Assignment Essay Example

Poetry Reading Response Assignment Essay Select a book length collection of contemporary poetry by one or more poets, or put together your own collection of 20+ poems; at least half of them must be contemporary (1960 to present) and a maximum of 3 can come from song lyrics, children’s poets, non-professionals, or anonymous authors. Read the collection you select, and narrow down to 10 poems you like enough to reread several times and respond to. List the 10+ poems you choose not to respond to on one page. For the 10 you like best, identify the poet, title, and source as you respond using the guidelines below.Be sure some of the ten you choose for response are contemporary. You may choose either of the following methods of organizing your responses: Method #1: This method works best if something is tying your selected poems together, i. e. they are all by the same poet or only two different poets, they are unified thematically or by subject, or they are all of the same sub-genre or pattern or perhaps only two differen t sub-genres or patterns. For this method list; your ten poems, poets, and sources on a separate initial page.Then address your responses by the following subjects, and use specific titles to illustrate your more general comments in each area. Be sure to use some details concerning each of your ten poems. Write 3-5 typed pages, making sure to address all 5 of the following topics and discuss all 10 poems: R-1 Content/Ideas/Purpose/Themes (What does the poem mean to you? What do you think the poet is trying to communicate with his/her audience? What thematic ideas can you identify? ) R-2 Large-Scale Techniques (Focus on the poem as a wholesub-genre or pattern as sonnet, haiku, villanelle, etc. type of poem as lyric, narrative, dramatic; visual format; meter; rhyme scheme, freeverse, blank verse; organization; speaker identification point of view; tone, mood, setting, and atmosphere; humor, irony, satire; dialogue, dialect; etc. R-3 Small-Scale Techniques (Focus on language and indiv idual linesfigurative language as metaphor, simile, personification, hyperbole, metonymy; sensory imagery concrete detail; sound devices as alliteration, assonance, consonance, onomatopoeia, rhyme, slant rhyme, internal rhyme; diction and connotation; humor, irony, satire; dialogue, dialect; etc.R-4 Favorite Passages Commentary (Include quotes and page #s) Copy the passages and discuss why you selected these passages. Analyze the passages and their significance overall. R-5 Personal Response, Evaluation, ; Application to your own writing (Give yourself advice for working in this particular genre. Whenever possible address specific writings in progress. ) Method #2: This method works best if you have selected 10 different poems with little or no connection. Begin by identifying the poet, title, and source of each new poem. Then respond to each of the 10 poems separately.Address as many of the following issues as possible in responding to each poem separately. Make connections to pr evious poems discussed as you proceed whenever possible. Write a total of 3-5 typed pages on you 10 poems, numbering each response R-1 through R-10. Address each of the following issues as you discuss each poem: * Content/Ideas/Purpose/Themes (What does the poem mean to you? What do you think the poet is trying to communicate with his/her audience? What thematic ideas can you identify? ) * Large-Scale Techniques (Focus on the poem as a wholesub-genre or pattern as sonnet, haiku, villanelle, etc. type of poem as lyric, narrative, dramatic; visual format; meter; rhyme scheme, freeverse, blank verse; organization; speaker identification point of view; tone, mood, setting, and atmosphere; humor, irony, satire; dialogue, dialect; etc. * Small-Scale Techniques (Focus on language and individual linesfigurative language as metaphor, simile, personification, hyperbole, metonymy; sensory imagery concrete detail; sound devices as alliteration, assonance, consonance, onomatopoeia, rhyme, slan t rhyme, internal rhyme; diction and connotation; humor, irony, satire; dialogue, dialect; etc. Favorite Passages Commentary (Include quotes and page #s) Copy the passages and discuss why you selected these passages. Analyze the passages and their significance overall. * Personal Response, Evaluation, Application to your own writing (Give yourself advice for working in this particular genre. Whenever possible address specific writings in progress. ) Oral Presentation Based on your responses, focus in on one to three poems to share with the class. Be prepared to do the following: 1. read one or two poems aloud (rehearsed reading/oral interpretation) 2. point out some of the techniques you noticed in the poem(s) . trace a common theme or compare/contrast two or more themes 4. comment on how the poem(s) affected you personally both as a reader and as a writer 5. present orally beginning on the assignment due date Suggested Poets for Poetry Response Assignment Maya Angelou John Ashber ry As We Know, 1979 W. H. Auden (1907-1973) Houston Baker Spirit Run, 1982 Joe David Bellamy Robert Bly Sleepers Joining Hands, 1973 The Light Around the Body, 1967 Gwendolyn Brooks Olga Cabral Lorna Dee Cervantes From the Caples of Genocide: Poems on Love and Hunger, 1991 Diana Chang Sandra Cisneros Loose Woman, 1994Lucha Corpi Mark Craver Seven Crowns for the White Lady of the Other World and Blood Poems, 1992 E. E. Cummings (1894-1962) Toi Derricotte Captivity, 1989 Annie Dillard Tickets for a Prayer Wheel, 1974 T. S. Eliot (1888-1965) Bob Dylan Writings and Drawings, 1981 Lawrence Ferlinghetti A Coney Island of the Mind, 1958 Carolyn Forche Gathering the Tribes, 1976 Robert Frost (1875-1963) Allen Ginsberg (b. 1926) White Shroud: Poems 1980-1985, 1986 Nikki Giovanni Robert Hayden Langston Hughes Selected Poems, 1974 Denise Levertov Phillip Levine Ashes, 1980 Claude McKay Selected Poems of Claude McKay, 1953 E.Ethelbert Miller where are the love poems for dictators? 1986 Marianne Moore (1877-1972) Simon Ortiz Alicia Ostriker Sylvia Plath (1932-1963) Ariel Adrienne Rich Carl Sandburg Anne Sexton William Stafford Wallace Stevens (1879-1955) Henry Taylor The Flying Change, 1985 ; The Horse Show at Midnight and An Afternoon of Pocket Billiards, 1992 Diane Wakoski Inside the Blood Factory, 1968 Alice Walker Horses Make a Landscape Look More Beautiful, 1984 Margaret Walker Robert Penn Warren Selected Poems 1923-1975, 1976 Richard Wilbur (b. 1921) William Carlos Williams (1883-1963) Selected Poems, 1969 James Wright

How to Prepare for the TOEFL Essay Sample

How to Prepare for the TOEFL Essay SampleThe TOEFL essay sample test is a short but comprehensive test that requires concentration and thorough attention. It is also one of the most difficult tests that you will encounter as an English language student. This is because the structure of the TOEFL contains components that are very different from others and therefore, it takes much more time for your brain to learn how to understand and process them. In addition, it is also one of the few tests that has different sections for learning about pronunciation and tones, which are essential elements in your overall writing.If you are struggling with the TOEFL test, then you should not worry as you will only have to attend one English speaking class before you are qualified for the real test. There are many English-speaking schools that offer this type of course for students who have just started their study of English. Besides this, there are also many private English-speaking schools that yo u can attend, though it might be a little bit more expensive. It is important for you to choose the right school so that you can have an easier time of studying with your fellow classmates.If you wish to improve your English writing skills, then it is essential for you to know what to expect when taking the TOEFL essay test. Of course, if you will just have to take the test once, then you will not need to worry about reading up on what to expect during the test. However, if you have to take the test more than once, then you need to consider it as an opportunity to improve your writing skills. You should consider some of the following tips in order to pass the test. The best tip in this regard is to try to answer the questions as accurately as possible.Make sure that you write the essay completely on paper and avoid using any kind of paper clips or the like. This is one of the most common mistakes made by many students. There are several reasons why it is best to avoid using such mat erials. The first reason is that the materials might not allow you to enter all of the words as clearly as possible. Secondly, this makes it harder for your classmates to give you feedback on your answers.Next, make sure that you write the essays according to the instructions given. For example, the test might not allow you to use any of the provided examples or talk about historical figures at all. Therefore, you should make sure that you write the essays according to the instructions of the test. There is a chance that you might lose your focus when writing an essay on an issue that is not presented in an example.Another thing that you need to keep in mind is that you have to make sure that you take the test without taking breaks. Make sure that you don't take a break or even look around too much as it might distract you from concentrating on the question. You also need to make sure that you read over the entire passage carefully and check if there are any grammatical errors in it .Make sure that you pay attention to the rules in the test. You have to remember that you have to answer each question without assuming that it is the correct answer. Thus, you have to go over each answer and see if there is a solution for it. If you have doubts in your mind, then it is best for you to go to a native English speaker so that you can ask them for help.It is vital for you to remember that the TOEFL essay sample is designed to measure your speaking ability and your writing ability. It is your responsibility to ensure that you are able to pass this test. Remember that it is imperative for you to meet the deadlines set by the school or tutor in order to pass the exam.

Profile of Idaho Teen Killer Sarah Johnson

Profile of Idaho Teen Killer Sarah Johnson Sarah Johnson was 16 years old when she shot and killed her parents with a high-powered rifle because they did not approve of her 19-year-old boyfriend. Victims Alan, 46, and Diane Johnson, 52, lived in an attractive home that sat on two acres of land in an affluent suburb in the small community of Bellevue, Idaho. They had been married for 20 years and were devoted to each other and their two children, Matt and Sarah. The Johnsons were well liked in the community. Alan was the co-owner of a popular landscaping company, and Diane worked for a financial firm. The Crime In the early morning hours of September 2, 2003, Sarah Johnson ran out of her home, screaming for help. She told neighbors that her parents had just been murdered. When police arrived, they found Diane Johnson lying under the covers of her bed, dead from a shotgun blast that had removed most of her head. Alan Johnson was found lying next to the bed, dead from a gunshot wound to his chest. The shower was running, and Alan’s body was wet. Based on wet, bloody footprints and blood splatters, it appeared that he had stepped out of the shower and was then shot, but managed to walk towards Diane before collapsing and bleeding to death. The Crime Scene The police immediately secured the crime scene including sectioning off an entire block around the house. In a trashcan outside of the Johnson’s home, investigators found a bloody pink bathrobe and two gloves. One was a left-handed leather glove, and the other was a right-handed latex glove. Inside the home detectives found a trail of blood spatters, tissue and bone fragments that went from the Johnson’s bedroom, into the hall, and across to Sarah Johnson’s bedroom. A .264 Winchester Magnum rifle was found in the master bedroom. Two butcher knives, with the tips of the blades touching, had been placed on the end of the Johnson’s bed. A magazine of bullets was also found in Sarah’s bedroom, which was located around 20 feet across the hall from the Johnsons bedroom. There was no evidence of forced entry into the home. Sarah Johnson Talks to Police When Sarah Johnson first talked to the police, she said that she woke up around 6:15 a.m. and heard her parents shower running. She continued to lie in bed but then heard two gunshots. Sarah Johnson ran to her parent’s bedroom and found that their door was closed. She did not open the door, but rather called for her mother who did not answer. Frightened, she ran out of the house and began screaming for help. The Story Changes Her story of what happened would change several times throughout the investigation. Sometimes she said her parent’s door was slightly opened and other times she said her door was closed, but not her parent’s door. Based on the forensic evidence found in the hall and Sarah’s bedroom, both her door and her parent’s door would have to have been opened. Sarah also admitted that the pink robe was hers, but denied knowing anything about how it ended up in the trash. When first asked about the robe her first response was to say that she did not kill her parents, which investigators found odd. She said she thought the killer was a maid who had been recently fired by the Johnsons for stealing. The Murder Weapon The owner of the rifle used to kill the Johnsons belonged to Mel Speegle, who was renting a garage apartment in a guesthouse located on the Johnson’s property. He was away over the Labor Day weekend and had not yet returned home on the day of the murders. When questioned, he told police that the rifle was kept in an unlocked closet in his apartment. Infatuation and Obsession Sarah Johnson was described by neighbors and friends as a sweet girl who enjoyed playing volleyball. But another Sarah had emerged over the summer months. One that seemed infatuated and obsessed with her 19-year-old boyfriend, Bruno Santos Dominguez. Sarah and Dominguez had been dating for three months before the murder of her parents. The Johnsons did not approve of the relationship because Dominguez was 19 and an undocumented Mexican immigrant. He also had a reputation for being involved in drugs. Close friends of Sarah’s said that a few days before the Johnson’s murder, Sarah showed them a ring and told them that she and Dominguez were engaged. They also said that Sarah often lied, so they did not completely buy into what Sarah was saying about her engagement. Days Leading up to the Murder On August 29, Sarah told her parents that she was spending the night with friends, but instead, she spent the night with Dominguez. When her parents found out, her father went to look for her the next day and found her with Bruno at his family’s apartment. Sarah and her parents argued, and Sarah told them about her engagement. Diane was very upset and said that she was going to go to the authorities and report Dominguez for statutory rape. If nothing else, she hoped to have him deported. They also grounded Sarah for the rest of the Labor Day weekend and took her car keys. During the following days Sarah, who had a key to Speegle’s apartment, was in and out of the guesthouse for various reasons. Both Diane and Sarah called Matt Johnson, who was away at college, on the night before the murders. Matt said his mother cried about Sarahs relationship with Dominguez and expressed how embarrassed she felt by Sarahs actions. Uncharacteristically, Sarah seemed to accept her parents punishment and told Matt that she knew what they were up to. Matt did not like how the comment sounded and almost called his mother back, but decided not to because it was so late. The next day the Johnsons were dead. DNA Evidence DNA testing showed that blood and tissue belonged to Diane on Sarah’s pink robe, along with DNA that matched Sarah. Gunshot residue was found on the leather glove, and Sarah’s DNA was found inside of the latex glove. Diane’s DNA was also found in the blood that was on the socks Sarah was wearing on the morning her parents were killed. Sarah Johnson is Arrested On October 29, 2003, Sarah Johnson was arrested and charged as an adult on two counts of first-degree murder to which she pleaded not guilty. Nancy Grace Helped Prosecutors One of the big problems that the prosecution had with a major piece of evidence had to do with the pattern of blood splatters found on the pink robe. Most of the blood was on the left sleeve and the back of the robe. If Sarah put the robe on before shooting her parents, how did so much blood get on the back? While the prosecution was struggling to put together a viable explanation for the location of the blood on the robe, Sarahs defense lawyer, Bob Pangburn happened to appear as a guest on the Nancy Grace Current Affairs program. Nancy Grace asked Pangburn about the blood on the robe, and he said it showed possible contamination of evidence and that it actually could help exonerate Sarah Johnson. Nancy Grace offered another explanation. She suggested that if Sarah wanted to protect her body and clothing from blood splatter, that she could have put the robe on backward. Doing that would act as a shield, and the blood would then end up on the back of the robe. Rod Englert and other members of the prosecution team happened to be watching the program, and Graces theory provided them with a reasonable scenario that would result in the blood patterns that were on the robe. Court Testimony During the trial, there was a lot of testimony about Sarah Johnson’s inappropriate behavior and lack of emotions about the brutal murder of her parents. Neighbors and friends who offered comfort to Sarah on the day her parents were killed said that she was more concerned about seeing her boyfriend. She also did not seem traumatized, which would be expected if a teen went through the experience that she had inside the house when her parents were gunned down. At her parents funeral, she talked about wanting to play volleyball that evening and any sadness that she displayed seemed superficial. Witnesses also testified about the troubled relationship between Sarah and her mother, but many also added that it was not that unusual for a girl her age to fight with their mother. However, her half-brother, Matt Johnson, gave some of the most insightful testimony about Sarah, although it also proved to be some of the most damaging. Johnson described her as a drama queen and a good actor who had the propensity to lie. During part of his two-hour testimony, he said that the first thing Sarah told him when he arrived at their home after finding out his parent’s had been murdered, was that the police thought that she did it. He told her he thought Dominguez did it, which she vehemently denied. She said that Dominguez loved Alan Johnson like a father. Matt knew this was not true. She also told him that at 2 a.m. on the night before the murders, that someone had been to the house. Her parents checked the yard to make sure no one was out there before they went back to bed. She had not provided this information to the police. Regardless Matt did not believe her but did not challenge what she was saying. In the weeks after the murders, Matt testified that he avoided asking his sister about the murders because he was afraid of what she might tell him. The "No Blood, No Guilt" Defense Some of the strongest points that Sarah’s defense team made during her trial had to do with the lack of biological matter found on Sarah or her clothing. Investigators found nothing in her hair, hands, or anywhere else. Experts testified that with Diane having been shot at such close range, it would be impossible for the shooter to avoid being sprayed with blood and tissue and yet none was found on Sarah who underwent two complete physical exams on the day of the murders. Her fingerprints were also not found on the bullets, rifle or the knives.  However, there was one unidentified print found on the rifle. The testimony of cellmates of Sarahs who testified about some of the damaging comments she made regarding the murders was challenged. One cellmate said that Sarah said the knives were placed on the bed to throw off the police and make it look like a gang-related shooting. The defense fought to have the testimonies thrown out because the cellmates were adults and the law forbids incarcerated minors to be housed with adults. The judge did not agree, stating that if Sarah could be tried as an adult, she could be housed with adult prisoners. The defense team also questioned Matt Johnson about the life insurance money he would get if Sarah were out of the picture, insinuating that he had a lot to gain if Sarah was found guilty. The Verdict and Sentencing The jury deliberated for 11 hours before finding Sarah Johnson guilty on two counts of murder in the first degree. She was sentenced to two fixed life prison terms, plus 15 years, without the possibility of parole. She was also fined $10,000, of which $5,000 was allocated to go to Matt Johnson. Appeals Efforts for a new trial were turned down in 2011. A hearing was granted for November 2012, based on the possibility that new DNA and fingerprint technology that was not available during Sarah Johnsons trial may prove that she is innocent. Attorney Dennis Benjamin and the Idaho Innocence Project took on her case pro bono in 2011. On February 18, 2014, the Idaho Supreme Court  rejected Johnsons appeal.

Describe denver art museum Essay Example | Topics and Well Written Essays - 750 words

Describe denver art museum - Essay Example Since then it undergone several changes, and had different temporary locations. It was transformed in the form of a museum in 1949. The museum shifted to its present location in 1971. At present, the museum has 356,000-square-foot museum complex which includes collection gallery space, three temporary exhibition venues, and the Lewis I. Sharp Auditorium. Apart from art collections, the Denver Art Museum is internationally recognized for its family-friendly environment (Denver Art Museum: History). (Denver Art Museum: Asian Art- Hayagriva mandala, monk-artists of Seraje Monastic University, India) Hayagriva mandala is one of the major paintings kept in the Asian art section in the Denver art museum. The above painting is a Tibetan art which represents the universe and its powers. This painting has been portrayed by three Tibetan monks in 1996 and it took around two weeks time for them to complete it. This painting is done with the help of sands painted in different colors and hence it is called sand mandala. Normally sand mandalas were painted for rituals and it may not be displayed to the normal public. However, the above sand mandala is one of the few of that kind which is preserved for permanent viewing.    (Denver Art Museum: American Indian art- Shuffle Off to Buffalo Five, Harry Fonseca) Shuffle Off to Buffalo Five is a painting by Harry Fonseca which is kept in the American Indian art department of Denver art museum.... (Denver Art Museum: Asian Art-Shinto Deity) The sculpture is dressed in court attire with a hat in the head. Shinto arts are normally not visible to the public since it is used for the worshipping purposes only by the devotees. In other words, the sculpture of Shinto deity kept at Denver art museum is one of the rarest one which is displayed publicly. To conclude, Denver Art Museum is a place which is useful not only for student, but also for art lovers. It gives us the opportunity to watch some of the rarest paintings, sculptures and art forms of different regions and countries. Works Cited 1. â€Å"Denver Art Museum†. Web. 12 February 2011.

Management - Class Reflection Research Paper Example | Topics and Well Written Essays - 1250 words

Management - Class Reflection - Research Paper Example The last and the most important area is the way to write a flawless dissertation in a cohesive way. The Course Content and Outcome This course has provided me in depth knowledge into the various aspects of research process, and also various forms of research. Evidently, the course gives adequate knowledge about the various aspects of research according to American Psychological Association. It also teaches how to do literature review, various aspects of grammar, and also how to develop a good dissertation. The very first thing I learnt is the use of action research. Contrary to my view that research is something different from doing things practically, the course made me learn how it is possible to ‘learn while doing’ through action research. Also, for the first time, I realized that action research is different from other forms of research in the fact that it turns the people involved into active researchers too. Te researchers do things, observe changes, make modificat ions, and try again until a solution is reached. As Greenwood (1999, pp. 85-87) points out, the research takes place in real life situations and the solutions too come out in real life situations; not in just theory as it often happens with other forms of research. Also, I gained the idea how important it is to have the principles of reflexive critique. As Mike (2007) states, the term ‘reflexive critique’ means to reflect on issues and processes and to make explicit the interpretations, biases, assumptions, and concerns upon which judgments are reached. This is important to do because truth is relative to the teller. This helps developing theoretical considerations from practical accounts. In addition are the factors like dialectical critique and collaborative resources. Thus, I learnt the fact that action research is very useful in such real life situations like a workplace to solve real life problems. As Rehm and Cebula (1996, pp. 1-3) point out, another vital point i s the use of the Search Conference tool which can be effectively utilized in various organizations. Two other research areas explained are qualitative research and quantitative research. Sukamolson (n.d) opines that while qualitative research is about counting and measuring things, producing averages and differences in numbers. Qualitative research stems from social science and hence, is more concerned about people’s knowledge, attitudes, behaviors, beliefs, and fears. In addition, the course made me understand how qualitative research is more useful in identifying a large number of hidden attitudes and values that will be missed in qualitative research. For example, while quantitative research will help in identifying a trend, qualitative research will be required to find the reason behind that trend (QSR International, 2011). In addition, the study gave an insight into various forms of data collection in qualitative research. They are focus groups, direct observation, and i n depth interviews. Some other methods used in qualitative research are diary methods, role play, simulations, and case studies. Also the course helped me understand how difficult it is to conduct an extensive qualitative research as it is more labor intensive than other forms of research. Some other problems as connected to qualitative research are lack of generalizability, possibility of research bias influencing the observation, and poor reproducibility of the