Grapes of Wrath society before ones self essays

Grapes of Wrath society before one's self essays The Grapes of Wrath is written by John Steinbeck as a political statement about the need to put the well being of society as a whole before the individual needs. He discusses this idea in the book through his three main central characters, Tom, Ma, Casy and through his intercalary chapters. Throughout the book they all come to realise this need and the events that lead up to their realisation are used as evidence to prove to the reader that this notion is indeed necessary. At the start of the book it is evident that Toms concerns are short sighted, naive and undeveloped. His concerns lay centrally with the family and he is yet to embrace the notion that unity among poor will lead to change. In one of the earlier chapters in the book, in a conversation with Ma about prison, Tom quotes, You cant go thinking when youre gonna be out. Youd go nuts, you got to think about that day, the nex day... This clearly illustrates the shortsightedness of Toms initial state of mind. He also says to Casy, I only climb fences when I got fences to climb. Casy however is aware throughout the book of the need to work as one and he is the one who inspires this train of thought in Tom. He tells Tom at the start of the book, Maybe all men got one big soul everbodys a part of. Casy starts also putting his faith into action when he covers for Tom for hitting the police officer. In jail he has an experience where one man starts yelling for more food, then another, then all of them do and they get more food. He then realises the greater good that can come from everybody working together. When he leaves jail he goes on a strike for the migrant farmers. Tom accidentally meets up with him again and Casy explains to Tom his story. At the time it doesnt seem like the message has quite gotten through to Tom but after Casys death and when Tom is seeking re...

The 9 Literary Elements Youll Find In Every Story

The 9 Literary Elements You'll Find In Every Story SAT / ACT Prep Online Guides and Tips The AP Literature exam is designed to test your ability to analyze literature. That means you’ll have to know how to use analytical tools, like literary elements, to uncover the meaning of a text. Because literary elements are present in every piece of literature (really!), they’re a good place to start when it comes to developing your analytical toolbox. In this article, we’ll give you the literary element definition, explain how a literary element is different from a literary device, and look at the top nine literary elements you need to know before taking the AP Literature exam. So let’s get started! WhatAre Literary Elements? Take a minute and imagine building a house. (Stick with us, here.) What are some of the things that you would absolutely have to include in order to make a house? Some of those non-negotiable elements are a roof, walls, a kitchen, and a bathroom. If you didn’t have these elements, you wouldn’t have a house. Heck, you might not even have a building! A literary element’s definition is pretty similar. Literary elements are the things that all literature- whether it’s a news article, a book, or a poem- absolutely have to have. Just like a house, the elements might be arranged slightly differently...but at the end of the day, they’re usually all present and accounted for. Literary elements are the fundamental building blocks of writing, and they play an important role in helping us write, read, and understand literature. You might even say that literary elements are the DNA of literature. How Is a Literary Element Different From a Literary Device? But wait! You’ve also learned about literary device (sometimes called literary techniques), which writers use to create literature! So what makes a literary element different from a literary device? Let’s go back to our house metaphor for a second. If literary elements are the must-have, cannot-do-without parts of a house, then literary elements are the optional decor. Maybe you like a classic style (a trope!), or perhaps you’re more of an eclectic kind of person (a conceit)! Just because you decorate your house like a crazy person doesn’t make it any less of a house. It just means you have a...unique personal style. Literary devices are optional techniques that writers pick and choose from to shape the style, genre, tone, meaning, and theme of their works. For example, literary devices are what make Cormac McCarthy’s western novel, Blood Meridian, so different from Matt McCarthy’s medical memoir, The Real Doctor Will See You Shortly. Conversely, literary elements- especially the elements that qualify both works as â€Å"books†- are what keep them shelved next to each other at Barnes Noble. They’re the non-negotiable things that make both works â€Å"literature.† Top 9 Literary Elements List (With Examples!) Now let’s take a more in-depth look at the most common elements in literature. Each term in the literary elements list below gives you the literary element definition and an example of how the elements work. #1: Language The most important literary element is language. Language is defined as a system of communicating ideas and feelings through signs, sounds, gestures, and/or marks. Language is the way we share ideas with one another, whether it’s through speech, text, or even performance! All literature is written in a recognizable language, since one of literature’s main goals is sharing ideas, concepts, and stories with a larger audience. And since there are over 6,900 distinct languages in the world, that means literature exists in tons of different linguistic forms, too. (How cool is that?!) Obviously, in order to read a book, you need to understand the language it’s written in. But language can also be an important tool in understanding the meaning of a book, too. For instance, writers can combine languages to help readers better understand the characters, setting, or even tone. Here’s an example of how Cherrie Moraga combines English and Spanish in her play, Heroes and Saints: Look into your children’s faces. They tell you the truth. They are our future. Pero no tendremos ningà ºn futuro si seguimos siendo và ­ctimas. Moraga’s play is about the plight of Hispanic migrant workers in the United States. By combining English and Spanish throughout the play, Moraga helps readers understand her characters and their culture better. #2: Plot The plot of a work is defined as the sequence of events that occurs from the first line to the last. In other words, the plot is what happens in a story. All literature has a plot of some kind. Most long-form literature, like a novel or a play, follows a pretty typical plot structure, also known as a plot arc. This type of plot has six elements: Beginning/Exposition: This is the very beginning of a story. During the exposition, authors usually introduce the major characters and settings to the reader. Conflict: Just like in real life, the conflict of a story is the problem that the main characters have to tackle. There are two types of conflict that you’ll see in a plot. The major conflict is the overarching problem that characters face. Minor conflicts, on the other hands, are the smaller obstacles characters have to overcome to resolve the major conflict. Rising Action: Rising action is literally everything that happens in a story that leads up to the climax of the plot. Usually this involves facing and conquering minor conflicts, which is what keeps the plot moving forward. More importantly, writers use rising action to build tension that comes to a head during the plot’s climax. Climax: The climax of the plot is the part of the story where the characters finally have to face and solve the major conflict. This is the â€Å"peak† of the plot where all the tension of the rising action finally comes to a head. You can usually identify the climax by figuring out which part of the story is the moment where the hero will either succeed or totally fail. Falling Action: Falling action is everything that happens after the book’s climax but before the resolution. This is where writers tie up any loose ends and start bringing the book’s action to a close. Resolution/Denouement: This is the conclusion of a story. But just because it’s called a â€Å"resolution† doesn’t mean every single issue is resolved happily- or even satisfactorily. For example, the resolution in Romeo and Juliet involves (spoiler alert!) the death of both main characters. This might not be the kind of ending you want, but it is an ending, which is why it’s called the resolution! If you’ve ever read a Shakespearean play, then you’ve seen the plot we outlined above at work. But even more contemporary novels, like The Hunger Games, also use this structure. Actually, you can think of a plot arc like a story’s skeleton! But what about poems, you ask? Do they have plots? Yes! They tend to be a little less dense, but even poems have things that happen in them. Take a look at â€Å"Do not go gentle into that good night† by Dylan Thomas. There’s definitely stuff happening in this poem: specifically, the narrator is telling readers not to accept death without a fight. While this is more simple than what happens in something like The Lord of the Rings, it’s still a plot! #3: Mood The mood of a piece of literature is defined as the emotion or feeling that readers get from reading the words on a page. So if you’ve ever read something that’s made you feel tense, scared, or even happy...you’ve experienced mood firsthand! While a story can have an overarching mood, it’s more likely that the mood changes from scene to scene depending on what the writer is trying to convey. For example, the overall mood of a play like Romeo and Juliet may be tragic, but that doesn’t mean there aren’t funny, lighthearted moments in certain scenes. Thinking about mood when you read literature is a great way to figure out how an author wants readers to feel about certain ideas, messages, and themes. These lines from â€Å"Still I Rise† by Maya Angelou are a good example of how mood impacts an idea: You may shoot me with your words, You may cut me with your eyes,You may kill me with your hatefulness,But still, like air, I'll rise. What are the emotions present in this passage? The first three lines are full of anger, bitterness, and violence, which helps readers understand that the speaker of the poem has been terribly mistreated. But despite that, the last line is full of hope. This helps Angelou show readers how she won’t let others’ actions- even terrible ones- hold her back. Hogwarts School of Witchcraft and Wizardry from the Harry Potter book series #4: Setting Have you ever pictured yourself in living in the Gryffindor dormitories at Hogwarts? Or maybe you’ve wished you could attend the Mad Hatter’s tea party in Wonderland. These are examples of how settings- especially vivid ones- capture readers’ imaginations and help a literary world come to life. Setting is defined simply as the time and location in which the story takes place. The setting is also the background against which the action happens. For example, Hogwarts becomes the location, or setting, where Harry, Hermione, and Ron have many of their adventures. Keep in mind that longer works often have multiple settings. The Harry Potter series, for example, has tons of memorable locations, like Hogsmeade, Diagon Alley, and Gringotts. Each of these settings plays an important role in bringing the Wizarding World to life. The setting of a work is important because it helps convey important information about the world that impact other literary elements, like plot and theme. For example, a historical book set in America in the 1940s will likely have a much different atmosphere and plot than a science fiction book set three hundred years in the future. Additionally, some settings even become characters in the stories themselves! For example, the house in Edgar Allen Poe’s short story, â€Å"The Fall of the House of Usher,† becomes the story’s antagonist. So keep an eye out for settings that serve multiple functions in a work, too. #5: Theme All literary works have themes, or central messages, that authors are trying to convey. Sometimes theme is described as the main idea of a work...but more accurately, themes are any ideas that appear repeatedly throughout a text. That means that most works have multiple themes! All literature has themes because a major purpose of literature is to share, explore, and advocate for ideas. Even the shortest poems have themes. Check out this two line poem, â€Å"My life has been the poem I would have writ,† from Henry David Thoreau: My life has been the poem I would have writ But I could not both live and utter it. When looking for a theme, ask yourself what an author is trying to teach us or show us through their writing. In this case, Thoreau is saying we have to live in the moment, and living is what provides the material for writing. #6: Point of View Point of view is the position of the narrator in relationship to the plot of a piece of literature. In other words, point of view is the perspective from which the story is told. We actually have a super in-depth guide to point of view that you can find here. But here’s the short version: literature can be written from one of four points of view. First person: This is told by one of the characters of the story from their perspective. You can easily identify first-person points of view by looking for first-person pronouns, like â€Å"I,† â€Å"you,† and â€Å"my.† Second person: second-person point of view happens when the audience is made a character in the story. In this instance, the narrator uses second person pronouns, like â€Å"you† and â€Å"your.† If you ever get confused, just remember that â€Å"Choose Your Own Adventure† books use second person. Third person limited: this is when the narrator is removed from the story and tells it from an outside perspective. To do this, the narrator uses pronouns like â€Å"he,† â€Å"she,† and â€Å"they† to refer to the characters in the story. In a third person limited point of view, this narrator focuses on the story as it surrounds one character. It’s almost like there’s a camera crew following the protagonist that reports on everything that happens to them. Third person omniscient: in this point of view, the narrator still uses third-person pronouns...but instead of being limited to one character, the narrator can tell readers what’s happening with all characters at all times. It’s almost like the narrator is God: they can see all, hear all, and explain all! Point of view is an important literary element for two reasons. First, it helps us better understand the characters in a story. For example, a first person point of view lets readers get to know the main character in detail, since they experience the main character’s thoughts, feelings, and actions. Second, point of view establishes a narrator, or a character whose job it is to tell the story, which we’ll talk about in the next section! #7: Narrator Like we just mentioned, the narrator is the person who’s telling the story. All literature has a narrator, even if that narrator isn’t named or an active part of the plot. Here’s what we mean: when you read a newspaper article, it’s the reporter’s job to tell you all the details of a particular event. That makes the reporter the narrator. They’re taking a combination of interviews, research, and their own eyewitness account to help you better understand a topic. The same is true for the narrator of a book or poem, too. The narrator helps make sense of the plot for the reader. It’s their job to explain, describe, and even dramatically reveal plot points to the audience. Here’s an example of how one of the most famous narrators in literature, John Watson, explains Sherlock Holmes’ character to readers in A Study in Scarlet: He was not studying medicine. He had himself, in reply to a question, confirmed Stamford’s opinion upon that point. Neither did he appear to have pursued any course of reading which might fit him for a degree in science or any other recognized portal which would give him an entrance into the learned world. Yet his zeal for certain studies was remarkable, and within eccentric limits his knowledge was so extraordinarily ample and minute that his observations have fairly astounded me. Surely no man would work so hard or attain such precise information unless he had some definite end in view. Desultory readers are seldom remarkable for the exactness of their learning. No man burdens his mind with small matters unless he has some very good reason for doing so. John Watson tells the story from a first person perspective (though that’s not evident in this quote). That means he’s giving readers his own perspective on the world around him, which includes Sherlock Holmes. In this passage, readers learn about Holmes’ peculiar learning habits, which is just another part of his extraordinary nature. Grant Snider/Incidental Comics #8: Conflict Because conflict is a part of plot- and as we’ve already established, all literature has some sort of plot- that means conflict is a literary element, too. A conflict is the central struggle that motivates the characters and leads to a work’s climax. Generally, conflict occurs between the protagonist, or hero, and the antagonist, or villain...but it can also exist between secondary characters, man and nature, social structures, or even between the hero and his own mind. More importantly, conflict gives a story purpose and motivates a story’s plot. Put another way, conflict causes the protagonist to act. Sometimes these conflicts are large in scale, like a war...but they can also be small, like conflict in a relationship between the hero and their parents. One of the most important things to understand about conflict is it can be both explicit and implicit. Explicit conflict is explained within the text; it’s an obvious moment where something goes wrong and characters have to fix it. Bram Stoker’s Dracula uses explicit conflict to fuel its plot: a vampire has come to England, and the heroes in the story have to kill him as soon as possible. Implicit conflict is more common in poetry, where there isn’t a specific occurrence that obviously screams, â€Å"this is a problem.† Instead, you have to read between the lines to find the conflict that’s motivating the narrator. Take a look at Elizabeth Barrett Browning’s â€Å"How Do I Love Thee?† for an example of implicit conflict in action: How do I love thee? Let me count the ways. I love thee to the depth and breadth and heightMy soul can reach, when feeling out of sightFor the ends of being and ideal grace.I love thee to the level of every day’sMost quiet need, by sun and candle-light.I love thee freely, as men strive for right.I love thee purely, as they turn from praise.I love thee with the passion put to useIn my old griefs, and with my childhood’s faith.I love thee with a love I seemed to loseWith my lost saints. I love thee with the breath,Smiles, tears, of all my life; and, if God choose,I shall but love thee better after death. The conflict here is actually a happy one: the narrator is so in love that she’s struggling with expressing the depth of her emotion! Cyanide and Happiness/Explosm.net #9: Characters A piece of literature has to have at least one character, which can be a person, an object, or an animal. While there are many different character types (and archetypes!), we’re going to talk about the two you absolutely need to know: the protagonist and the antagonist. The protagonist of a work is its main character. The plot circles around this person or object, and they are central to solving the conflict of the story. Protagonists are often heroic, but they don’t have to be: many stories focus on the struggles of average people, too. For the most part, protagonists are the characters that you remember long after the book is over, like Katniss Everdeen, David Copperfield, Sherlock Holmes, and Hester Prynne. Antagonists, on the other hand, are the characters that oppose the protagonist in some way. (This opposition is what causes the conflict of the story!) There can be multiple antagonists in a story, though usually there’s one major character, animal, or object that continues to impede the protagonist’s progress. If you ever forget what an antagonist is, just think of your favorite Disney villains. They’re some of the best bad guys out there! What's Next? If you’re not taking AP practice tests, there’s no way to know how you’ll do when you’re taking the exam for real. Here’s a list of practice tests for every AP exam, including the AP literature exam. It might seem like extra work, but we promise- practice tests are one of the best ways to help you improve your score! Listen: we know you’re busy, so it can be hard to schedule time to study for an AP test on top of your extracurriculars and normal class work. Check out this article on when you need to start studying for your AP tests to make sure you’re staying on track. What does a good AP score look like, anyway? Here’s a list of the average AP scores for every single AP test. This is great for seeing how your practice scores stack up against the national average.

Global Warming Term Paper Example | Topics and Well Written Essays - 3000 words - 1

Global Warming - Term Paper Example The term Global Warming refers to the continuous increase in earth’s average temperature since 1950’s due to human activity and environmental deterioration by various harmful chemicals which are being added to the environment, mainly due to the burning of the fossil fuels. Another term that needs to be defined along with Global Warming is the Green House Effect, which refers to the trapping of heat by the gases such as carbon dioxide, hydrocarbons, water vapors and fuel particles etc. Green House Effect was first considered into study by S. Arrhenius during the last decade of the 19th century when the scientists first observed the changing global climatic conditions. Energy comes from the sun in the form of visible and invisible light rays; the desirable rays reach the surface of the Earth after getting filtered by the ozone layer. These rays are absorbed and reflected by the dark and light surfaces on earth. The reflected rays go back to the space whereas the absorbed rays heat up the substance by which they are absorbed and are thus converted into heat energy. This heat energy is radiated into the atmosphere and various gases in the atmosphere which include CO2, hydrocarbons and nitrogen oxides absorb a considerable amount of this energy before it returns to the space. These gases act as the screen of a Greenhouse which permits the energy to enter but does not allow it to return, thus the natural phenomena explained in the lines above is known as Green House Effect and the gases responsible for this effect are known as the Green House Gases (GHG’s). The Green House Effect is in fact a natural phenomenon because the Green House Gases are naturally present in the atmosphere. The presence of these gases is essential for the sustaining life on Earth because these gases keep sufficient amount of energy in the atmosphere which is needed for the presence of life on the Earth. The absence of these gases will result in a climate like the one on Ma rs (where there are no Green House Gases), on the other hand the presence of these gases in quantities greater than the required amount will result in temperatures so high as observed on Venus (where the concentration of GHG’s is much higher and the temperature is nearly 1000 degrees). Thus for the Earth temperatures to remain in the permissible limits the amount of these gases also need to be limited within a specified range, below which temperatures will become very low and above this range temperatures will become unbearably high. The GHG’s naturally exist in the environment however due to the recent advances in the technology, humans are emitting more and more GHG’s into the atmosphere and thus the concentration of these gases is being increased in the atmosphere resulting in an artificial Green House Effect (Houghton, 2004). The subject of this paper is to find out whether Global Warming is caused by the human activities? And what can humans do to stop Glob al Warming from taking place? There exists a consensus among the scientists over the fact that the temperature of the Earth has been rising over the past 150 years, however there was a difference of opinion among scientists about the correct cause of this change in temperature trend (Faust, 2008).

Why study of Economy hsitory is important and why it has privilages Essay

Why study of Economy hsitory is important and why it has privilages U.S.Social or International history - Essay Example In addition, the lack of experience has led to fundamental errors and omissions caused in the present times. Furthermore, the study of economy history is important as it allows the students to understand how the economic and the non-economic facts are related to one another. In summary, the importance of economy history study is that it is an excellent economic foundation and base for those who study it. Economic history has significant privileges in the U.S International History. It provides modern day students and scholars with a background of understanding the economic events that have shaped the U.S. history. For instance, the modern economic student cannot explain the 2008-2009 economic crisis without intimate understanding of the Great economic depression that occurred in 1929. Nevertheless, economic history addresses the gains the U.S economy contributed to the world. For example, the innovations in transport that included the steam engine revolutionized the movement of goods and people. Fast, efficient and easy movement of goods by railroad bolstered trade not only domestically but also internationally (Cameron and Neal,

Hume’s critique of causation Essay Example for Free

Hume’s critique of causation Essay Our work aims to define David Hume’s views on causation. At first we should say that his critique of causation rose from the full theory of causal inference. In this way we may be better able to make out what is critical and what constructive in Humes views of causation and substance. It is sometimes said that Humes analysis of causation and substance is thoroughly dependent on his theory of ideas as to be quiet vitiated by the falsity of that theory. The constructive theory of causal inference, by which Hume connects his sceptical analysis of the causal relation with his final discovery of the impression of necessity in the felt determination of certain habits or customs in imagination, shows the limitations of such criticism as would dispose of Humes conception of experience as atomistic merely. It will be recalled that Hume begins the â€Å"Treatise of Human Nature† with an analysis of the perceptions of mind into impressions and ideas; and that, in the subsequent sections of Part I, he discloses the remaining elements of perception. Therefore, it would be incorrect to identify perception with any one of its elements, or with all of them taken respectively in isolation. Only mere fancies or perfect ideas occur divorced from all associations. Normally, in the experience of mature persons, there occurs, at the least, a lively idea associated with a present impression; which is, by definition, the general nature of belief. These beliefs vary in elaborateness and force between the extremes of proof and mere chance; but only at the extreme of mere chance, or gratuitous fancy, do isolated impressions or ideas exist. Ordinarily, the terms of Humes analysis of perception occur in the synthesis which he articulates in his theory of belief. Normal experience, then, will consist of perceptions, themselves the syntheses in habit which are beliefs. The substantial identity of things present here and now may be compared in direct perception. But only on the assumption that the causes of a things existence remain unaltered may the continued existence of a thing beyond perception be inferred. Again, although times and places as such admit of comparison without inference, still any constancy or variation in such relations may be inferred to exist only as a result of causation. That relation, therefore, is the principle of all inferences about matters of facts. Nothing exists which may not be considered as either a cause or an effect; though it is plain there is no one quality, which universally belongs to all beings, and gives them title to that denomination (Hume, 185). Since, therefore, the origin of the idea of cause and effect is to be found in no quality of our perceptions, it must be derived from some relation between them. Hume at once finds two such relations: causes and effects are contiguous in space and time, and the cause is always prior in time to the effect. Dr. Broad (120-2) points out that Humes proof of the temporal priority of causes is formally vicious. Hume himself seems to have had some doubts about its validity, for he writes: If this argument appear satisfactory, tis well. If not, I beg the reader to allow me the same liberty, which I have used in the preceding case, of supposing it such. For he shall find that the affair is of no great importance (225). But contiguity and succession do not afford a complete idea of causation. A thing at once contiguous and prior to another still might not be considered its cause. There is a necessary connection to be taken into consideration, and that relation is of much greater importance than any of the other two above mentioned (Hume 211). Necessary connection is then the defining characteristic of the causal relation. The impression from which this idea is derived is therefore the one we are looking for. Yet the only relations between impressions Hume has found so far are those of contiguity and succession, which I have already regarded as imperfect and unsatisfactory (216). And he proceeds to divide his problem into two questions: why we believe that every event must have some cause or other; and why we believe that the same cause must necessarily produce the same effect (Hume 223-6). Hume thus distinguishes the law of causality from the law of causation, and takes it that together they are what is meant by a necessary connection among events. Though a general maxim in philosophy, that every even must have a cause is not a matter of knowledge. This Hume demonstrates first on the grounds of his own view of the extent of knowledge. The law of causality may be identified neither with resemblance, degrees of quality, contrariety, nor proportions in quantity and number. The law is therefore not known to be true. Hume thinks that anyone who would controvert this conclusion will be obliged to exhibit a relation at once identical with causality and known by direct inspection, which it will then be time enough to examine (224). He proceeds next to urge that the law in question is to be demonstrated by apagogic reasoning on no theory of knowledge, and therefore is neither intuitively nor demonstrably certain (228). That every event must have some cause or other means that the ideas of cause and effect are necessarily connected. Was this the case, it would be impossible that those ideas should be separable. Yet, since they are distinct, the ideas of cause and effect are separable; and the denial of their necessary connection involves no contradiction. Here Hume relies on the principle of his atomism. Yet he need not have done so; for the contradictory of the law of causality being not self-contradictory, that law is not demonstrable by apagogic reasoning. For since the relation of cause and effect is the principle of all inference about matters of fact, no inference to a probability can be independent of that relation. Hume takes his analysis thus far to have shown that our only notion of cause and effect is of certain objects constantly conjoined. We cannot penetrate into the reason of the conjunction. We only observe the thing itself, and always find that from the constant conjunction the objects acquire an union in the imagination (128). Our notion of cause and effect, as so far disclosed, is no more than a philosophical relation. Thus though causation be a philosophical relation, as implying contiguity, succession, and constant conjunction, yet it is only so far as it is a natural relation, and produces an union among our ideas, that we are able to reason upon it, or draw any inference from it(Hume 131). And causation is more than a philosophical relation just so far as it is association. Concerning the nature of the transition from impression to idea in causal inference is thus that the transition is the work of associations or habits in imagination, not of reason. So understood, the inference from impression to idea Hume declares to be one part of the definition of an opinion or belief; that it is an idea related to or associated with a present impression (Hume 137). Hume insists that the idea of necessary connection derives from the felt force of the natural relation of cause and effect. The ideas of cause and effect being separable, there can be no contradiction in denying their necessary connection. Here again, however, Humes conclusion is valid independently of the assumption on which he himself makes it out. For the contradictory of the law in question is conceivable. And in going on to show the uniformity of nature to be indemonstrable, Hume points out on the one hand that we can at least conceive a change in the course of nature, which sufficiently proves that such a change is not absolutely impossible; and, on the other, that the uniformity in question being the presupposition of probable reasoning, any attempt at its demonstration by induction could only beg the question. Hume is giving a definition of cause and effect, so in conclusion he is describing the observed or felt nature of that relation. Those impressions may have causes Hume does not deny. He says the ultimate causes of sense-impressions are, in my opinion, perfectly inexplicable by human reason, (223) and he finds the alleged necessity that they have a cause to be not demonstrable. Nor are his arguments that impressions are prior to and productive of ideas advanced as a denial that impressions are thus productive. And the attraction of association is also assumed and its origins are regarded as inexplicable. Yet this means that impressions, ideas, and the attraction of association are found to exist in constant conjunction, not in necessary connection. That the than the logical necessity of Malebranche, means that what has been called a necessary connection is in fact habitual; not that from this conclusion we may infer the non-existence of causes. For the fact that the rational necessity of causation is not to be demonstrated plainly does not imply that nothing in the nature of a cause can exist. If we do not know the laws of causality and causation to be true, neither do we know them to be false. Hence there is no reason, the contradictory of which would be inconceivable, why causes should be or should not be assumed. The law of causation, being demonstrable by neither apagogic nor inductive reasoning, if demonstrable at all, will be on the ground that necessary connection in fact is disclosed within sense-perception. Since Humes failure to find that logical necessity obtains between the elements of sense-perceptions has been held to require his own analysis of experience, it may be well to consider briefly the fact that in other interests, and through a conception of experience not that of Hume, the same conclusion had been reached by three of the Cartesians. Hume may well emphasize the conclusion that all of our beliefs that are justified by experimental enquiry and all of our accurately successful causal inferences will depend upon the operation in the understanding of those fundamental habits by which cases of constant conjunction are disclosed and inferred. The nature of the understanding thus is what constitutes the foundations of induction. That the habits of which the understanding consists can in no case yield demonstrably certain conclusions, means that the foundations of induction are essentially illogical, to be neither demonstrated nor denied either by the reason of the Cartesians or by inductive theory itself. It is, finally, of the nature of the understanding that logic proper consists: the pretensions of our scholastic headpieces and logicians are simply to be set aside† (312). The assumption that the elements of experience are intrinsically self-identical is thus requisite to the view of impressions as complete in themselves. But the finding of elements by analysis is itself not the further explanation that these elements may be regarded as self contained because, like being simple, resemblance is not the name of a qualifying predicate. Whether or not the theory of philosophical relations be rejected along with the doctrine of impressions and ideas, the conclusion, as such, that apagogic reasoning is powerless in matters of existence, remains no less free of that theory and that doctrine, than is the conclusion itself of Humes failure to find necessary connections among matters of fact. For, as Professor Kemp Smith has pointed out, it was Hume who first perceived the falsity of the Cartesian, rationalistic view of the causal relation (537). Malebranche could discover no necessary connection between events, yet he continued to conceive of the causal relation as being intelligible to the pure understanding, and, as a consequence of his theory of knowledge as the vision in God, failed to draw the conclusion that the law of causation is neither intuitively nor demonstrably certain. For a real cause, Malebranche says, is a cause between which and its effect, the mind perceives a necessary connection (Rome 94). This conclusion drawn, Hume can attack the root of any assumption that the law of causation may be justified by experience. The attempted justification could only be inductive; and the law of causation is the presupposition of induction. Since causal inference is found to be neither rational nor merely sensory, if explicable at all, it will be so through an analysis, not of the fancies of the philosophers, but of the imagination that is the foundation of the senses and the memory. It is thus found that probable inference consists of the habits of imagination, or beliefs, which are the perceptions that constitute the mind, and of which the more firmly established in the imagination are the understanding. To conclude the work we should say that Humes chief innovation in association’s theory is his inclusion of cause and effect among the natural relations, or modes of association. Yet even a moderately detailed examination of Humes theories of causal inference and belief in substance may suffice to indicate how groundless is the charge of total scepticism, while at the same time it discloses the character of unanalysed experience in Humes view. The relation between his critical analysis of causation and that of the Cartesians, as well as the logical nature of Humes arguments in that regard, make it plain that his analysis here is independent of his chief psychological dogma. Works Cited Baillie, James. Hume on Morality. London: Routledge, 2000. Broad, Charlie Dunbar. Perception, Physics, and Reality; an Enquiry into the Information that Physical Science Can Supply About the Real. New York: Russell Russell, 1972. Hall, Roland. Fifty Years of Hume Scholarship: A Bibliographical Guide. Edinburgh: Edinburgh University Press, 1978. Hendel, Charles William Jr. Studies in the Philosophy of David Hume. Princeton: Princeton University Press, 1925. Hume, David. A Treatise of Human Nature. New York: Penguin Classics, 1986. Kemp Smith, Norman. A Commentary to Kants Critique of Pure Reason. Houndmills: Palgrave Macmillan, 2003 Noonan, Harold W. Philosophy Guidebook to Hume on Knowledge. London: Routledge, 1999. Potkay, Adam. The Fate of Eloquence in the Age of Hume. Ithaca: Cornell University Press, 1994. Rome, Beatrice K. The Philosophy of Malebranche: A Study of His Integration of Faith, Reason, and Experimental Observation. Chicago: H. Regnery Co. , 1963. Stewart, John B. The Moral and Political Philosophy of David Hume. New York: Columbia University Press, 1963. Strawson, Galen. The Secret Connexion: Causation, Realism, and David Hume. Oxford: Clarendon Press, 1989. Stroud, Barry. Hume. London: Routledge, 1977.

Telemechus in The Odyssey :: essays research papers

The people who raise a child influence that child’s values. Telemechus in â€Å"The Odyssey† is the son of Odysseus, a hero from the battle of Troy. After Telemechus was born, Odysseus left for battle leaving Telemechus, and his wife, Penelope, for a sum of twenty years. Telemechus had to learn to become a man at a very young age because he had to uphold the position of the man in the household. He developed a way of modernized thinking for this time in Greece, this includes his disbelief in the gods or their power over human beings. Telemechus also learned good judgment of character, from the people who surrounded his childhood. This epic poem portrays Odysseus as a strong hero, physically and mentally, however, Telemechus surpasses his father’s strength, mentally (physically is not mentioned in detail). Telemechus’ coming of age, although not described, made him become a stronger person than his father. Telemechus had to assume his father’s roles in the household because of his absence. Odysseus would have the responsibility of taking care of Penelope and Laertes, his father. When Telemechus was young, he was rushed into becoming a responsible adult. Odysseus was strong leader and next in line for the throne of Ithaca. Therefore, Telemechus had to protect his family’s land and throne in Ithaca, especially when suitors appeared on the doorstep looking for Penelope’s hand in marriage. Even though he heard about how his father was a strong leader, he did not have him as a role model. He had to find his own role models, such as his grandfather, Laertes. The responsibilities placed on Telemechus when he was young made him mature faster. Since Telemechus handled these new responsibilities well, he is stronger than Odysseus. He adapted to the situation at hand immediately, unlike Odysseus who takes a longer time to adapt to problems. For instance, it took him a while t o devise a plan to defeat Polyphemus at the Land of the Cyclopes, causing some of his shipmates to be Polyphemus’ dinner. The rush Telemechus had from childhood to adulthood shows that he has the strength to accept changes, and form his own ideas on the Greek values. Telemechus is a modern thinker from the method in which he raised himself. He did not have a father to guide him through learning all of the Greek values, and he formed some of his own opinions. â€Å"Those two are great defenders, no one doubts it, but throned in the serene clouds over head, other affairs of men and gods they have com to rule over†¦Ã¢â‚¬  Telemechus doubts the power of the gods.

Role of Rosaline in Romeo and Juliet

Would anything be lost (or gained) if Rosaline were never mentioned? Rosaline is the niece of Lord Capulet whom Romeo falls in love with prior to the play, Romeo and Juliet; however, she doesn’t reciprocate Romeo’s feelings as she has chosen to remain celibate. In most film adaptations, she is usually omitted, yet Romeo is always grieving for his rejected love at the beginning of every adaption. Now, this is rather paradoxical as Rosaline is not important enough to be portrayed by an actor, yet she is always mentioned by Romeo. So would anything be gained or lost if Rosaline is removed from the original play? Theoretically, Rosaline is only important in this play for Romeo’s past with her, but if she is removed, Romeo wouldn’t have attended the party where he meets Juliet, and consequently he would appear less impulsive and passionate. To the audience, Romeo’s love for Rosaline helps them to understand the depth and nature of Romeo’s relationship with Juliet. When the audience first meet Romeo, he is seen moping around Verona because Rosaline cannot return his love as she chose to be chaste for life. This affects him greatly as he becomes depressed and he alienates himself from his friends and families; indeed, all he can think of is his rejected love. Subsequently, Benvolio, cousin of Romeo, attempts to make Romeo forget about Rosaline by telling him to examine other beauties of Verona, which Romeo refuses to do. However, when a Capulet servant asks them to read the guest list for the Capulet’s party, from which Romeo finds out that Rosaline, is expected to attend; Benvolio then suggests Romeo to crash the party in order to look at other beauties of Verona, and Romeo reluctantly agrees. While at the party, when he is looking for Rosaline, he sees Juliet for the first time and falls in love with her immediately. Therefore, Rosaline is often seen as a plot device as her presence at the Capulet party convinced Romeo to seek for her, where he would ultimately fall in love with Juliet. Romeo’s love for Rosaline has been dismissed by literary critics as childish and many believe that Shakespeare uses Rosaline’s unattainable love to contrast with Juliet’s feelings. Most characters use poetry to express their feelings, and Romeo is no exception to this, especially when declaring his feelings. There is a noticeable difference between the poems he writes for Rosaline and Juliet; the former focuses more on Rosaline’s beauty while the latter focuses more on the love they share between them. Friar Lawrence remarked that Romeo’s affection for Rosaline is not real as Romeo is repeating the poems that he memorised; however, the poems he makes for Juliet is spontaneous and far more affectionate. The origin of Romeo’s attention for Rosaline is questioned by critics and readers. There is no doubt that Romeo and Juliet are a pair of star-crossed lover who are meant to be together, and in many ways, Juliet influences Romeo. However, Friar Lawrence remarks to Romeo that â€Å"Is Rosaline, whom thou didst love so dear, /So soon forsaken? Young men’s love then lies/Not truly in their hearts, but in their eyes. † Therefore, it is possible that Romeo may have never conversed with Rosaline, thus the basis for his love would lie in her physical appearance. Comparing with a pre-destined love, Romeo’s reason for loving Rosaline appears childish and weak. Romeo’s relationship with Rosaline also makes his love for Juliet more secretive and it helps to emphasis the feud between the two households. Most of Romeo’s friend, including Benvolio and Mercutio, know of his love for Rosaline, as Mercutio is constantly making remarks about that â€Å"same pale hard-hearted wrench† and Romeo could do nothing more than saying â€Å"he jests at scars that never felt a wound† when he is alone. However, Romeo’s love for Juliet is only known to 2 people; the Friar and the Nurse, and if it had been known by more people, the feud between the Capulets and Montagues would have ended. On the day Romeo got married to Juliet, he is challenged by Tybalt but he declines it they are kinsman now, through his marriage. However, Romeo is unable to explain to Tybalt as to why he can’t duel him who then provokes Mercutio to duel Tybalt for Romeo, and it results in a death that leads to Romeo’s banishment. Lastly, Romeo’s love for Rosaline contributes greatly to Romeo’s characterization as a passionate and impulsive man. His passion is demonstrated by his willingness to be estranged from his family, as he tells no-one about his rejected love and he refuses to accept Benvolio’s advice, which is to forget Rosaline. His impulsivity is demonstrated through how quickly he forgets about Rosaline; in Act 1, Scene 4, Romeo says to Mercutio that â€Å"I am too sore enpierced with his shaft†¦Under love’s heavy burden do I sink. It is evident that he is still lovesick for Rosaline. However, in Act 2, Scene 5, he proclaims that â€Å"Did my heart love till now? Forswear it, sight! † And in Act 2, Scene 3, Rosaline vanished from his memory altogether by his â€Å"I have forgot that name, and that name’s woe. † No-one can fall out of love in under a day, and thus, Rosaline helped to characterized Romeo as an impulsive man. In short, Rosaline is important to Romeo and Juliet not because that she is a major character; in fact, she isn’t portrayed in most film adaptations. However, she is important as she is a plot device, essential to Romeo’s first meeting with Juliet. Her relationship with Romeo is often used to contrast with his love for Juliet. Their relationship emphasises the secrecy of his bond with Juliet as the former is publically known while the latter is only known to two people; this also helped to stress the enmity between the Capulets and the Montagues. Finally, Romeo’s short-lived love contributes greatly to Romeo’s characterization as a passionate and impulsive man. Therefore, without Rosaline, the story would lose a great amount of detail.

Difference between Qualitative and Quantitative Research Essay

The first question asked by any researcher with a new topic to study is: ‘What sort of research should I use?’ Reference to the literature can be confusing: so much research has been done, so many questions asked and sometimes answered, and so many conclusions have been drawn that it can be difficult to sort out one research technique from another. The decision most beginners to research find taxing is: ‘Should I use quantitative or qualitative methods?’At the most basic level, quantitative research methods are used when something needs to be measured, while qualitative methods are used when a question needs to be described and investigated in some depth. Often, the two methods are used in tandem to provide measurements for comparison and evaluation and to give an in-depth explanation of the meaning of an idea. Quantitative researchThe words themselves hold the clues. Quantitative research includes so-called benchtop science (where experimental tests are carried out), drug trials (where the effects of drugs are measured), epidemiology (where rates of illnesses in populations are calculated), intervention studies (where one technique is used and its effects compared with another), and so on. Quantitative research usually contains numbers, proportions and statistics, and is invaluable for measuring people’s attitudes, their emotional and behavioural states and their ways of thinking. In one section of a study on child care in hospitals, I asked a group of parents to give a ‘yes’ or ‘no’ response to a range of questions on their attitudes to paediatric hospital care (Shields 1999). I then measured the number of ‘yes’ answers and compared them with responses from nurses and doctors to the same questions. The study showed differences in attitude between parents and staff that could have affected communication between them and influenced the delivery of care. In another example, a researcher in Iceland measured the most important needs of parents during their children’s admission to hospital and found that they rated emotional needs as more important than physical requirements, such as rest and food (Kristjansdà ¶ttir 1995). Qualitative researchQualitative methods are used when the meaning of  something needs to be found. Exploring the question: ‘Who owns a child in hospital?’ (Shields et al 2003), or examining the meaning of an experience, illness, or condition, for example, of what it means to be a mother whose child has died (Laakso and Paunonen-Ilmonen 2001), are all forms of qualitative research. Qualitative research usually has no measurements or statistics but uses words, descriptions and quotes to explore meaning. It can even use arts techniques, such as dance (Picard 2000). The question to ask when planning a research project, therefore, is: ‘Do I want to count or measure something, or do I want to find the meaning of something, and describe it?’ Which comes first? This is sometimes a chicken-and-egg question but if no one has investigated the topic before, qualitative research is used first to try to tease out ideas, which can then be turned into questions — that can be tested quantitatively REFERENCES Kristjansdà ¶ttir G (1995) Perceived importance of needs expressed by parents of hospitalized two-to-six-year-olds. Scandinavian Journal of Caring Sciences. 9, 2, 95-103. Laakso H, Paunonen-Ilmonen M (2001) Mothers’ grief following the death of a child. Journal of Advanced Nursing. 36, 1, 69-77. Picard C (2000) Pattern of expanding consciousness in midlife women: creative movement and the narrative as modes of expression. Nursing Science Quarterly. 13, 2, 150-157. Shields L (1999) A Comparative Study of the Care of Hospitalized Children in Developed and Developing Countries. Doctoral thesis. Brisbane, University of Queensland. Shields L et al (2003) Who owns the child in hospital? A preliminary discussion. Journal of Advanced Nursing. 41, 3, 1-9.

X-Napster essays

X-Napster essays The infamous Napster under attack for its pirating of music from famous musicians needs to be shut down. Piracy is a major issue of moral standards, right, and wrong in the entertainment world. Napster is well known for its sharing of MP3 files through the Internet; taking, receiving, and bootlegging. Over 70% of college students said they use Napster at least once a month. The majority of its users are aware that Napster is an illegal bootlegging website, the federal government says. The U.S. Copyright Office says Napster's operations are clearly illegal under the very law Napster hopes will make its senior executives and well-heeled investors filthy rich which was written in 1992 saying that if a person wants to compile music to a personal CD for self then its ok. But in that law there was never any mention of legal dissemination to obtain the music. I oppose Napster because they have no coherent or viable plan to compensate artists. If Napster makes money off the dissemination of an artists copyrighted material then the artist should participate in those profits. (Currently Napster does not make a profit, however the fact that they raised at something like $40,000,000 in capital to finance their operation suggests that their investors obviously intend to make a profit one day). But the million dollar question is; should Napster be shut down because of its illegal sharing of files The answer is YES. BURNED CDs are a major issue in the U.S. To download from a website, and save it to a CD, or your computer. Personal music a person has made up, or created by himself is legal to save. But copyrighted music on the other hand is illegal. Commercial radio stations generate revenue off of the use of copyrighted material. Through longstanding arrangements with BMI and ASCAP a portion of that money (however small) is shared with the son ...

How to Study for the Summer SAT 4 Helpful Tips

How to Study for the Summer SAT 4 Helpful Tips SAT / ACT Prep Online Guides and Tips As of August 2017, there's now an SAT test date at the end of the summer. What are the advantages of taking the SAT in the summer and what’s the best way to prep for the summer SAT? Read on to find out the summer SAT dates for 2018 and 2019 and what the best way to prep for them are. When Is the Summer SAT? There are seven SAT test dates every year. The SAT test dates in 2018 are as follows: March 10 May 5 June 2 August 25* (Summer SAT!) October 6* November 3* December 1* *Anticipated test date And here are the 2018 SAT test dates: March 9* May 4 June 1 August 24* (Summer SAT!) October 5* November 2* December 7* *Anticipated test date Depending on your own preferences and situation, you may decide that the SATsummertest dates are just not for you or that adding the SAT August test date is the best thing that the College Board has ever done. We discuss two pros and two cons of the summer SAT dates in the next few sections of this article. Anthony Godinho/Flickr. Pro: More Time to Study = Better Chance of a High Score The biggest advantage of the new summer SAT date is that over the summer, you’ll have no school and little to no schoolwork, which means you can devote your entire summer to studying for the SAT. No, spending your summer break studying for the SAT doesn’t really sound like a fun time. But the advantages to you and your test score of spending more time studying are clear. Here’s a rough estimate of how long you need to study for each level of score improvement: Points Hours 0-30 10 30-70 20 70-130 40 130-200 80 200-330+ 150+ During the school year, carving out time to spend on SAT prep (particularly if you need to improve 200+ points) can be extremely difficult. You’re already in school for nearly 40 hours a week, and then there’s homework, extracurriculars, maybe a part-time job, social activity, sleeping (hah)...adding another 7-15 hours a week of SAT studying on top of that for three months might seem impossible. It’s only during the summer, when you have no school and minimal summer homework, that you’ll be able to really devote yourself to studying for the SAT regularly for significant chunks of time. Even if you just spend a couple of hours a day on SAT prep between the end of school and the summer SAT, that’s already over a hundred hours of prep! You can find more information about how long you should spend studying for the SAT here. Disappointed with your scores? Want to improve your SAT score by 160 points?We've written a guide about the top 5 strategies you must be using to have a shot at improving your score. Download it for free now: Con: Low Motivation If you’re the type of student who does better in structured environments, you might find it difficult to effectively study for the SAT over the summer. When you’re not in classes every day, it’s easy to fall out of the studying mindset and lose your motivation. It can also be hard to find the motivation to study because the break between the end of the school year and the August SAT is so long. You might find yourself procrastinating in June and July, thinking â€Å"Eh, I have two months left, I’ll be fine,† and end up not studying at all until August. While it could still end up working out okay, if you can’t get yourself motivated to study it’s unlikely you’ll see big score increases on the test. Plus, you’ll have spent the whole summer with the SAT hanging over your head, which is no one's idea of a good time. Pro: SAT Summer Prep Programs Doing a structured SAT prep program or summer camp can help keep you motivated. Rather than having to go to an SAT prep class in the evenings after a long day of school and activities, you'll be able to get started on studying when you're still fresh and energized. By having a class to go to or a certain amount of prep you have to turn in every day, you’re held accountable for studying. And if you find yourself hating the subject material, you have the light at the end of the tunnel of knowing that if you put in the effort now, you can take the summer SAT right after your SAT summer program ends and then never have to think about it again. Con: No Summer Vacation After spending 9-10 months in school mode, your brain could probably use a break, and if you devote your summer to studying for the SAT, you won’t give yourself that time to rest. Not having a summer break is especially a problem if you’re feeling really burned out at the end of the school year and need the summer to recover before heading back into school-mode. It's also an issue if you’re planning on working full-time during the summer, as studying for the SAT on top of working might be too draining to be effective. To avoid setting yourself up to fail, as the end of the school year approaches, you need to assess how burned out you are and how busy you're going to be during the summer. We'll talk more about this in Tip #4 in this article. Don't let this be you. Summer SAT Prep Tips To wrap up, here are four tips to guide your prep for the SATsummer test date. #1: Make a Study Plan To keep up your motivation, make yourself a summer SAT study plan and stick to it. Plan out to the day and week how much time you’ll spend studying and how often you’ll be taking practice tests. You can be flexible if you find you’re progressing faster or slower than you expected, but try to stick to your study plan as much as possible. By planning ahead of time, you’ll also be able to do things like adjust for mandatory family vacations or other summer activities. Learn how to find your SAT target score, gauge how much you need to improve, and review your mistakes with these four ultimate SAT study tips. You should also use the tips in this article about getting a perfect score on the SAT to keep up your motivation. #2: Target Your Weak Areas To keep your skills honed, you’ll need to regularly practice skills you struggle with. Before you start your summer studying, take a full-length practice test, note what you had problems with, and plan your studying accordingly. For instance, let's say you took a practice test and did fine on Writing Language and Math but struggled with the Reading section. When plan your studying, you'll need to make sure that you’re regularly drilling yourself on SAT Reading passages and reading SAT-level materials. #3: Consider a Summer SAT Prep Course Think about doing a summer SAT bootcamp or other SAT prep course this summer to give you more structure in your studying. It’s no fun to have to give up part or all of your summer for SAT prep, but if you can get a great score in August then you’ll be done with the test forever. #4: Don’t Burn Yourself Out If you get to the end of the school year and you're brain-dead because of how hard you’ve been working, give yourself a break. Immediately diving into SAT prep when you no longer care about anything schoolwork related is a recipe for disaster. Instead, give yourself a set amount of time to relax and reboot. It’s better to spend a week or two at the beginning of the summer building up your motivation than to force yourself straight into SAT prep and see no score improvement. Avoiding burning yourself out also means not creating a too ambitious summer SAT prep schedule. Don’t expect that you can study for ten hours a day for months on end and continue to have high-quality studying time Know your own studying strengths and weaknesses and create a study plan that plays to your strengths and minimizes your weaknesses. For example, if you know you can only concentrate for about 45 minutes at a time, build in breaks to your study sessions so that you can concentrate absolutely for those 45 minutes, confident that you’ll have time to take a break once that sprint is over. What’s Next? Looking for more advice on how to plan your summer SAT studying? Learn more with our article on making a study plan for the summer before senior year. Thinking about getting a tutor to help you with your SAT score goals? Find out if it makes more sense for you to hire a tutor or to study for the SAT on your own. How early should you begin studying for the SAT? Read our analysis of when to start studying for the SAT and figure out what works best for you. Want to improve your SAT score by 160 points?We have the industry's leading SAT prep program. Built by Harvard grads and SAT full scorers, the program learns your strengths and weaknesses through advanced statistics, then customizes your prep program to you so you get the most effective prep possible. Check out our 5-day free trial today:

Sex and Gender with Dr. Chantal Tetreault Essay Example | Topics and Well Written Essays - 250 words

Sex and Gender with Dr. Chantal Tetreault - Essay Example Therefore, they subordinate men in almost all activities. So, the community expects them to be hardworking, loving and patient so that they can do their chores without any constraints. There exit a difference between sex and gender (Martin). In my own understanding, sex may be used to refer to either male or female. Therefore, people can be categorized as man or woman and boy or girl depending on the sex (Martin). Sex can also be used to categorize the functions of gender. Men can perform hard work for they have the muscles and the stamina while women are supposed to perform light chores (Martin). The readings have challenged me in that it has made me understand that women do a lot of work than men. Women therefore contribute much in the production of goods and services compared to men. The reading material has given an example of the Betsileo women in Madagascar who usually invest about a third of the hours invested in rice production in addition to their daily customary tasks (Gender: Exploring Culture Diversity). Separate genders have come out of the customary tasks to do what is considered as culturally bad. These activities range from leadership to other noble tasks. For example, the Williams sisters; Serena William and Vienna William have greatly been praised for their sport and have developed many agendas contributing to the positive focus on gender sensitivity in countries where they do put bars between men and