Stylistic Analysis free essay sample

â€Å"On Colonizing Education† By Chief Canassatego Education is usually viewed with a positive connotation. Chief Canassatego, however, sees education as a burden and a set back to his culture. The Virginia government offered Chief Canassatego formal education for his people, leaving him grateful for the opportunity, resentful of the â€Å"colleges of the northern provinces,† unsure of the future. (Cumulative) To Chief Canassatego, the consequences of education are too great to ignore, such as men of his tribe forgetting how to do the seemingly simple tasks that the tribe has done daily for years upon years. Should he allow his people to leave the tribal ways? Should he risk the undermining of his culture? Should he allow his people to forget the skills and teachings of generations that came before? (Rhetorical) After spending an extended period of time living like the people of Virginia, the young men came back, and when they did, â€Å"they were bad runners, ignorant of every means of living in the woods, unable to bear either cold or hunger, knew neither how to build a cabin, take a deer, or kill an enemy, spoke [their] language imperfectly†¦Ã¢â‚¬  He feels resentful that his people have been uncultured by the colleges in Virginia. We will write a custom essay sample on Stylistic Analysis or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Along with feelings of resent, Chief Canassatego also feels gratefulness towards the people of Virginia for giving his tribe such an extraordinary offer. Though the offer is good in theory, Chief does not like the numerous negative consequences. As a chief, Canassatego was open to a relevant education; as an Indian, he was closed to a formal education. (Balanced) Similar to his feelings of gratefulness, Chief Canassatego feels so appreciative of the offer that he reciprocates the offer to the Virginians. He does not want to reject them completely so he offers up a compromise: instead of sending his tribe to them, he suggests they send â€Å"a dozen of their sons† to teach them their ways. Eventually, out of the confusing issue related to accepting the offer, Chief Canassatego counters with a compromise. (Periodic) He feels understanding towards the Virginians. Although he disagrees with their methods of education, he understands that â€Å"different nations have different conceptions of things. Understanding that concept helps him to deny the offer kindly and try to compromise with them. In essence, even though he rejects the offer, Chief Canassatego feels resentful towards the â€Å"Colleges of the northern province,† but also feels grateful and appreciative to have been offered such an opportunity. He understands that they have conflicting methods of education, and he even reciprocates the offer. Stylistic Analysis free essay sample The theme of the course paper is concerned with the stylistic analysis of five poems by different authors (D. H. Lawrence, H. W. Longfellow, R. Burns, Ch. Kingsley, B. Googe). The issue of stylistics and stylistic analysis has been extensively studied in recent years and the problem of stylistics has been a subject of special interest. Various scientific paradigms, trends and methods of stylistics and literary studies have been developed and explored in the works by such prominent scholars of pre-soviet, soviet and post-soviet linguistic schools as Larin B.A. , Peshkovsky A. M. , Polivanov E. D. , Scherba L. V. , Galperin I. R. , Akhmanova O. S. , Arnold I. V. , Skrebnev Yu. M. , Golovin B. N. , Kukharenko V. A. , Morohovsky O. M. and many others. â€Å"Thus the term â€Å"stylistics† is not old but the discipline originated from ancient Greek and Roman poetics and rhetoric. Modern poetics is a discipline concerned with the structural forms of literary art, both poetic and pr osaic, and its crucial problem is: what turns a verbal message into a work of art† [10, p. We will write a custom essay sample on Stylistic Analysis or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page 3]. The term â€Å"stylistics† became associated with detailed linguistic criticism because, at the time it developed, the study of authorial style was a major critical concern, and linguistic analysis, allied to statistics, was popular with the more linguistically inclined critics. According to some modern scholars, it is now moved away from the study of style and towards the study of how meanings and effects are produced by literary texts. Nowadays by stylistics the modern British linguist Henry Widdowson means â€Å"the study of literary discourse from a linguistic orientation, i. . stylistics is an area of mediation between the two disciplines, the two subjects: language and literature† [18, p. 43]. In R. de Beaugrande’s words, â€Å"stylistics applies linguistics to literature† [2, p. 18]. So, the object of stylistic analysis is language represented in literary texts. Stylistic analysis is a part of literary studies, of any adequate linguistic description . It is practiced as a means of understanding the possible meanings in a text as well as finding out the individual properties of concrete texts or text types. Its ultimate aim is to clarify the message of the author’s work through careful observation and consistent description of language phenomena in the text under study. Done at the junction of linguistic and literary analysis the work is concerned with a number of problems of the poems interpretation, stylistic, linguistic and literary analysis. Although considerable amount of research has been devoted to the problem of the stylistic analysis few attempts have been made to investigate aspects such as structural-semantic parameters of he given poems, lexical and syntactic expressive means, some stylistic devices which are used in these poems. This defines the actuality of the work and its theoretical value. The objective of the paper is to examine the linguistic, stylistic, lexical and syntactic nature of poems, types of expressive means on the different levels of language and their informational significance. The given aim predetermines the concrete tasks of the research. The the sis will cover the following research tasks: 1) to analyse such poems as â€Å"Don’ts† by D. H. Lawrence, â€Å"The Song of Hiawatha† (Introduction ) by H. W. Longfellow, â€Å" My Heart’s in the Highlands† by R. Burns, â€Å"Young and Old† by Ch. Kingsley, and â€Å"Out of Sight, Out of Mind† by B. Googe; 2) to point out various types of syntactic and lexical-syntactic stylistic devices in them; 3) to dwell upon their structural, logical-semantic peculiarities and functions; 4) to determine the structural, semantic types of metaphors, metonymies, epithets and similes; 5) to lay emphasis on the great number of themes developed in poems; 6) to give general characteristics of poetic methods of D. H. Lawrence, H. W. Longfellow, R. Burns, Ch. Kingsley, B. Googe. 7) to provide detailed analysis of the stylistic devices employed by the poets in their verses; 8) to give the close observation of the meanings of separate words and word combinations as well as of the significations of the various sentences and supra-phrasal units. So, the object of the paper is poetry by above mentioned poets. The subject is the main themes and stylistic peculiarities of these poems. The materials and theoretical basis for the given course paper were chosen among the research works of the established literary critics and biographers, who studied the life and the distinctive features of poets’ legacy. Special attention was paid to the book by Thomas Crawford â€Å"Burns. A study of the Poems and Songs†, Arvin Newton â€Å" Longfellow:His Life and Work† and other related works. The methodic base on the work became the works of Galperin I. R. , Kucharenko V. A. , Lototska K. materials from the Internet, different types of dictionaries, World Book Encyclopedia. In accordance with the purpose and tasks of the paper the following methods of investigation were used: words definitions analysis, contextual and systematic analysis of the poems, interpretational and stylistic analysis of the rhetorical figures for revealing the informational value of expressive means. The topicality of the research paper is determined by the necessity of systematic and resumptive comprehension of the notion â€Å"stylistic analysis†. The scientific novelty of the work consists in the fact that we will provide with the thorough analysis of poems on taxonomic, content-grasping, semantic, stylistic and functional stages of investigation. Besides, we will try to investigate the use of polysemanticism of the word in combination with repetition in such poems as â€Å"Don’ts† by D. H. Lawrence and â€Å"Song of Hiawatha† (Introduction) by H. W. Longfellow. From the theoretical point of view, this work presents the comprehensive study of lexical, syntactic expressive means and stylistic devices that makes it possible to reveal its lingvo- stylistic and functional features. So, the theoretical value of the given research paper is based on analysis of poets’ verses which promote the further development of fundamental principles of the theory of poetry. The practical value of the work lies in the fact that the results of the investigation can be used in the courses of lectures in stylistics, seminars in style and text interpretation and also can be useful for practical courses of English language. The course paper consists of an introduction, three chapters, conclusion and list of references. The introduction explains the topicality of the research paper, underlines its theoretical and practical value and identifies the theme, aim, tasks, object, subject, methods of investigation of the work. The first chapter deals with the stylistic peculiarities of D. H. Lawrence and H. W. Longfellow’s poetry. Mainly it is focused on the polysemantic aspect and lingvo-stylistic potential of such poems as â€Å"Don’ts† and â€Å"The Song of Hiawatha† (Introduction). The second chapter is dedicated to the detailed analysis of poem by Robert Burns which is called â€Å"My Heart’s in the Highlands†. It involves investigation of the style, expressive means, syntax of the given poem. The third chapter is concerned with two poems: â€Å"Young and Old† by Ch. Kingsley and â€Å" Out of Sight, Out of Mind† by B. Googe. Considerable emphasis is put on the lexical, syntactic expressive means and the stylistic devices at different levels. To illustrate the use of rhetorical figures these poems are analysed, considering theoretical issues of modern Stylistics. Chapter 1 Stylistic peculiarities of D. H. Lawrence and H. W. Longfellow’s poetry 1. 1. The use of polysemanticism of the word in combination with repetition in poems by D. H. Lawrence and H. W. Longfellow. The poem â€Å"Don’ts† which is under consideration was written by David Herbert Richards Lawrence ? an English novelist, poet, playwright, essayist, literary critic and painter. Although best known for his novels, D. H. Lawrence wrote almost 800 poems. His early works clearly place him in the school of Georgian poets. What typified the entire movement, and Lawrence’s poems of the time, were well-worn poetic tropes and deliberately archaic language. He wrote in a very free verse form, unbounded by traditional structures. Much of his work deals with issue of the working classes, relationships between men, women and the natural world. D. H. Lawrence was especially fond of writing about animals, flowers, and other aspects of nature ? usually in a deeply symbolic manner. His poetry collections include â€Å"Love Poems and others† (1913), â€Å"Amores† (1916), â€Å"Look! We have come through† (1917), â€Å"Birds, Beasts and Flowers† (1923), â€Å"The Collected Poems of D. H. Lawrence† (1928), â€Å"The Complete Poems of D. H. Lawrence† (1964), edited by Viviande Sola Pinto and F. Warren Roberts and many others. The poem â€Å"Don’ts† is devoted to the author’s instructions, pieces of advice given to a little boy. The basic theme is the protest against narrow-minded, philistine morality, ideals and hypocrisy. This theme manifests itself in some peculiar word usage which imitates adult’s word usage in the conversation with children. The author foresees the insincere, artificial exhortation which a young boy is going to hear from mealy-mouthed adults who demand from him to be well-behaved boy. They require that a boy ry to â€Å"be a good little boy being as good as you can† [6, p. 375]. However, D. H. Lawrence insistently recommends not to listen to these pieces of advice, not to be that humble good child whom sanctimonious persons want to see. The author admonishes him to fight and to be a courageous man. The tone of the poem is moralizing and contrast between the s ignificance of theme and parodic infantility of vocabulary creates acute satirical effect. D. H. Lawrence in his poem â€Å"Don’ts† uses â€Å"polysemanticism of the word in combination with repetition and this approximates by its stylistic function to casuistry. It occurs in reference to the adjective â€Å"little† which is used here in various variants with different connotations, furthermore, in some connotations it suppresses greatly the denotative components of meaning. That is why the notion of metre is completely insignificant. Due to the fact that repetition along with parodic usage of unceremonious-informal style, especially baby-talk, are the key stylistic devices with which we should start analysis of the given poem. They are diverse by nature. Alongside with a simple repetition of two or more absolutely identical components: mealy-mouthed, mealy-mouthed, greedy-mouthed, greedy-mouthed new repetition with some variation is introduced. Such repetition is, for example, greedy-mouthed as against mealy-mouthed. Similarity between mealy-mouthed and greedy-mouthed at the same time make them be compared, however difference between them supplements the characteristic of the â€Å"sly†, â€Å"every old lout†. Guite effective is partial repetition: â€Å"earning your living while your life is lost† [6, p. 375], where morphological closeness only sharper shades that living and life are not the same. (translation from Russian ? M. Andrushko) [22, p. 126-127]. In some cases repetition also can not collocate with the usage of polysemanticism. Then its function is intensifying or emotional or even intensifying-emotional as it is in the first two lines: Fight your little fight, my boy, Fight and be a man. [6, p. 375] S emantics variations in the repetition are very interesting for the theme of the given paragraph, i. e. the usage of different lexical-semantic variants which are included in the semantic structure of one and the same word. Due to the parallel usage of the word in one context, these semantic variations accentuate differences in connotations. The word â€Å"little† is used in the given poem in two various lexical-semantic variants with antithetical connotations. In such phrases as â€Å"good little, good little boy†, â€Å"dear little girl†, â€Å"dear little home† the word little has one meaning and in such phrases as â€Å"little fight†, â€Å"let in a little air†, â€Å"a little hole in the holy prison†, â€Å" your own little bit†, â€Å"your own little cry† another meaning. â€Å"The usage of the word â€Å"little† here is guite difficult. First of all, there is need to resort to a dictionary to find out what in general is observed in the language. In the direct meaning â€Å"little† signifies the small size and is synonymic with neutral word small. In the informal style of speech this objective-logical meaning is strongly suppressed by its emotional meaning. So, little expresses sympathy, tenderness, compassion and is equivalent to affectionate diminutive suffixes of the Ukrainian language. Exactly this meaning forms the basis of the stylistic connotation of the first group of examples†. (translation from Russian ? M. Andrushko) [22, p. 127]. It is interesting that compatibility of the word â€Å"little† in this meaning with the following adjectives â€Å"dear† and â€Å"nice† is characteristic for informal speech, especially for the speech used in conversations with children. For instance, a dear little cottage, a dear little boy, a dear little kitten, a nice little wife and etc. Frequent usage of the word â€Å"little† sounds like affectation in the same way as in the conversational speech the misuse of diminutive suffixes creates an impression of insincere baby-talk. The stereotypy of those combinations used in not characteristic of direct speech shows their pretence, falsity and insincerity. The poet mocks those people who will tempt a young boy by dreams about bourgeois welfare. It is worth to be noticed that the word â€Å"little† can be used ironically, for example, one of my little ideas and even with the tone of sarcasm: â€Å"so that’s your little plan, is it! † [22, p. 375]. Since in the semantic structure of the word â€Å"little†, is included the meaning which is synonymic to the adjectives: unimportant, mean, paltry, so this estimation is introduced in the implication of the poem and in combination with an absurd repetition makes it grotesque. It also destroys sweetness of promises about family happiness and comfort which are waiting for a good boy. The second group of examples ? â€Å"let in a little air†, â€Å" fight your little fight† etc. ? belongs to the author’s direct speech. A reader can not find here any irony, the direct meaning of a metrical rhythm is preserved. The repetition underlines the idea that even modest results of everyone’s fight for ability to breathe in â€Å"the hole prison† easier are valuable and necessary for common good. In such way this poem acquires acute social orientation. At the same time the contrast between lexical meanings of two lexical-semantic variants of one and the same word plays an important role as well. In the examined case the comparison of two variants of one and the same word occurs syntagmatically, i. e. both variants are in the text: little synonymic to affectionate diminutive suffix and little with the meaning of dimension or significance. The second type of comparison between direct and figurative meaning occurs in the following metaphors : â€Å"don’t be beholden to the herd inside the pen†, â€Å"money sty†, â€Å" holy prison†. The first metaphor is the metaphor in which in the text only one member of comparison is represented, i. e. only figurative meaning where people are resigned to their fate, to the institutionalization of D. H. Lawrence surrounding world.   Alongside with many other stylistic devices these metaphors express very clearly the author’s attitude towards reality. Repetition can perform several functions simultaneously. In â€Å"Song of Hiawatha† by H. W. Longfellow repetition creates folk colour, song rhythm and underlines interrelation of separate images combining them in one common picture: Should you ask me, whence these stories? Whence these legends and traditions, With the odors of the forest With the dew and damp of meadows, With the curling smoke of wigwams, With the rushing of great rivers, With their frequent repetitions, And their wild reverberations As of thunder in the mountains? I should answer, I should tell you, From the forests and the prairies, From the great lakes of the Northland, From the land of the Ojibways, From the land of the Dacotahs, From the mountains, moors, and fen-lands Where the heron, the Shuh-shuh-gah, Feeds among the reeds and rushes. I repeat them as I heard them From the lips of Nawadaha, The musician, the sweet singer. Should you ask where Nawadaha Found these songs so wild and wayward, Found these legends and traditions, I should answer, I should tell you, In the birds-nests of the forest, In the lodges of the beaver, In the hoofprint of the bison, In the eyry of the eagle! [8, p. 9-10] In these first stanzas of â€Å"Song of Hiawatha† a reader encounters with the convergence of stylistic devices and in the first place with repetitions. This convergence puts him in the genre of lyrical epic stylized in a spirit of indian national-poetical creativity. Repetition adds rhythmical and song colour to the tale and integrates the enumeration of elements concerning the nature of the land. It is interesting that frequent repetitions are mentioned intentionally and are explained by the author as borrowing from the indian singer Nawadaha. D. H. Lawrence explains the emergence of repetitions in the songs of Nawadaha as the influence of the surrounding nature ? â€Å"reverbarations/ As of thunder in the mountains† [8, p. ]. â€Å"Various kinds of repetition can be an important means of connections inside the text. Connection by means of pronouns has more specific meaning. In the given example connection is accomplished by anaphoric repetition of such pronouns as â€Å"with†, â€Å"from† and â€Å"in† together with parallel constructions and some other kinds of repetitions. † (translation from R ussian ? M. Andrushko) [22, p. 185]. Alongside with lexical synonymic repetition: â€Å"stories-legends†, â€Å"moors-fenlands† here is represented purely syntactical repetition in the form of homogeneous parts of the sentence. To be more precise, lexical synonymical repetition is like the extension of syntactical repetition. The poem by H. W. Longfellow is called a song. However, the word song is polysemantic and the meaning implied by the author is explained by three homogeneous nouns: stories, legends and traditions. The homogeneous parts of the sentence specify and details the content of the author’s opinion. The type of legends and traditions mentioned in the song is explained by a set of prepositional phrases which starts with the preposition â€Å"with†. The indirect question with the word â€Å"whence† makes us think about the sources of the song. The answer to this question is a set of similar by its syntactic function parallel constructions with anaphoric preposition â€Å"from†. Inside this syntactic convergence is the convergence of single-word components: â€Å"the forests and the prairies†, â€Å"from the mountains, moors and fenlands† [8, p. 9]. So, the usage of polysemanticism of the word in combination with repetition is very important for the right understanding of the poem’s content. 1. 2. Lingvo-stylistic potential of D. H. Lawrence’s â€Å"Don’ts† Stylistic devices and expressive means are very significant for complete understsnding and perception of the whole artistic colouring of a poem. That is why it is worth to consider some other stylistic devices in these two poems: â€Å"Don’ts† by D. H. Lawrence and â€Å"The Song of Hiawatha† (Introduction) by H. W. Longfellow. In the poem â€Å"Don’ts† the author imposes upon the reader his personal attitude towards a young boy and people who surrounds that boy. The repetition brings the necessary rhythm into the utterance. There are many types of repetition in this poem. The first and the most vivid example is â€Å"Fight your little fight†. It is morphemic repetition which â€Å"is a variety of polyptoton, a figure based on the repetition of two or more words of the same stem (but belonging to different parts of speech or word classes within the same part of speech) † [9, p. 132]. Also the poem is full of lexical repetitions, especially successive or juxtaposed: a good little, a good ittle, mealy-mouthed, mealy-mouthed, greedy-mouthed, greedy-mouthed, dear little, dear little, don’t drink, don’t drink. Apart from successive, there is ordinary repetitions of the word â€Å"dear† in the collocation with different nouns: girl, mother, home and the repetition of the word â€Å"hit-hit† which is invented by the author. The most interesting and effective is the repetition in strong positions ? lexical anaphora which in this poem is represented by the word â€Å"don’t†: Don’t be sucked in by the su-superior, don’t swallow the culture bait, don’t drink, don’t drink and get beerier and beerier†¦ [6, p. 375] To grasp and hold the reader’s interest the author uses a number of epithets. Semantically they are classified into two major groups: 1) Without the violation of semantic agreement: a good little boy, dear little girl, dear old mother, dear little home, little fresh air, own little try, comfortable feeling, culture bait. All these epithets, apart from the last two, structurally are pair epithets. The last one is a word-epithet or simple. Also they all belong to explanatory epithets because they indicate an important features of the defined object. 2) With the violation of semantic agreement to the metaphoric epithets belong mealy-mouthed cowardice, golden opinions, sweet joys, dull death. Structurally they are word epithets. A significant metaphor is used in this poem: don’t swallow the culture bait. This is verb metaphor, where bait is tenor and the vehicle is food which is only implied by a reader. According to the structure this metaphor is simple. D. H. Lawrence by this stylistic device wants to say that a little boy does not believe the words of other people. One more special variety of metaphor is allusion. D. H. Lawrence resorts to allusion in the last line of the poem ? â€Å"the risen Christ should be risen†. The author makes reference to the Bible, to the religious theme. Concerning the vocabulary of the poem it is quite neutral, although some peculiar, special words occur. For example, the word â€Å"lout†. The origin of this word is uncertain and it has some stylistic colouring. The Oxford Dictionary gives the following definition: an uncouth and aggressive man or boy. Another interesting word is â€Å"suck in† which is slang and means â€Å" to deceive†. The author also creates a new word ? â€Å"hit-hit† which is repeated twice. This stanzaic poem with the cross rhyme is one of the D. H. Lawrence’s masterpieces. 1. 3. The main stylistic-semantic features of H. W. Longfellow’s poem â€Å"The Song of Hiawatha† (Introduction) â€Å"Longfellow, Henry Wadsworth (1807-1882) was the most widely published and most famous American poet of the 1800’s. His reputation among critics declined sharply after his death, and he had much less influence on modern poetry than such other poets of his day as Walt Whitman and Emily Dickinson. However, many of his poems remain among the most familiar in American literature. Longfellow’s best-known longer works include â€Å"Evangeline†, â€Å"the Song of Hiawatha†, and â€Å"The Courtship of Miles Standish†. Among his popular shorter poems are â€Å"The Village Blacksmith†, â€Å"The Children’s Hour†, â€Å"Paul Revere’s Ride†, â€Å"The Wreck of the Hesperus†, and â€Å"Excelsior†. Longfellow’s works achieved great popularity in Europe as well as in the United States. He was the first American writer to be honored in the Poet’s Corner of Westminster Abbey in London. † [15, p. 448] â€Å"The Song of Hiawatha† is regarded as Henry Wadsworth Longfellow’s greatest, most characteristic, and most original epic poem. Intentionally epic in scope, it was described by its author as â€Å"this Indian Edda†. It is, from beginning to end, a metrical version of legends originating with the Algonquin family of Indians. H. W. Longfellow had taken an interest in Indians from early youth, and early formed a plan to commemorate their legends in his verse. From Schoolcraft he obtained nearly all the material utilized in the cycle he named â€Å"Hiawatha†. Originally his intension was to group the legends about the mythical personality of the Algonquin deity ? Manabozho. The poet’s imagination has invested his hero with much of the character of the strong man who bound together the most compact and efficient league of Indian tribes. The Song of Hiawatha† was begun on June 25, 1854, and its 5,314 lines were concluded on March 29, 1855. Its meter, derived from that of the great Finnish epic, the Kalevala, consists of eight-syllabled lines, with stresses falling on the first, third, fifth and seventh syllables. Octosyllabic verse, whether trochaic, as here, or iambic, as in Scott ’s â€Å"Lays of the Last Minstrel†, is by far the easiest of all measures to write; and the fact that â€Å"The Song of Hiawatha† is unrhymed made the American’s task greatly easier than that of the Scotchman. H. W. Longfellow left a careful pronouncing vocabulary of all the proper names used from the Indian languages in his poem. These show an almost bewildering confusion of vowels, some having the quality of French, some that of English. The name of the titular hero himself is to be pronounced as if spelled hee-ah-wah? -tha, though the French transliteration made it Haye? nwatha, with the accent on the second syllable. The proper names throughout are used with the rarest skill, both to give melody and variety to the verse and to lend it that more subtle quality known as atmosphere. The main character appears in the tales of Indians under various names. He endowed with many fine features and embodied the idea of overcoming every kind of discord, rejection of strife and wars in the name of labor peace on generous ground. H. W. Longfellow is rich in some special vocabulary or different realities: geographical, ethnographic, religious, mystical. Geographical realities mainly include the names of settlements, their location, characteristics of plant and wildlife and natural conditions. Using a large number of realities, indicating the birds, animals and insects, H. W. Longfellow was trying to show the diversity of nature and its inhabitants. He mentions such birds as â€Å"Shuh, shuh-gah, the heron†, â€Å"Chetowaik, the plover†, â€Å"Mahng, the loon†, â€Å"the wild-goose, Wawa†, â€Å"the grouse the Mushkodasa†[8, p. 9-10]. Another special vocabulary concerns the names of nations, since each nation has evolved a way of life and culture that initially led them to division into different clans: Ojibways, Dacotahs, Hurons and others. Several times the author refers to â€Å"the vale of Tawasentha†[8, p. 10]. the word â€Å"vale† according to Oxford American Dictionary is a poetic term for a valley. In the introduction a reader can also meet an archaic word â€Å"ye† which according to Collins Cobuild Dictionary means â€Å"an old-fashioned, poetic, or religious word for you when you are talking to more than one person†. Concerning the stylistic devices, repetition is one of the most frequent stylistic means in Longfellow’s poem. In the poem it can be founded on all levels of language, but the most frequent used is lexical anaphora: â€Å"With the odors of the forest With the dew and damp of meadows, With the curling smoke of wigwams, With the rushing of great rivers, With their frequent repetitions†¦Ã¢â‚¬  [8, p. 9] or â€Å"From the forests and the prairies, From the great lakes of the Northland, From the land of the Ojibways, From the land of the Dacotahs, From the mountains, moors, and fen-lands †¦Ã¢â‚¬  [8, p. 9] and some others starting with prepositions â€Å"from†, â€Å"and†, â€Å"by†. These lines also can be characterized as parallel anaphoric syntactic constructions. Apart from lexical anaphora, the author uses distant repetition of such hrases as â€Å"pleasant water-courses†, â€Å"to this Song of Hiawatha†, morphemic repetition ? â€Å"Sang the Song† [8, p. 11] ? which belongs to root repetition. Affixational repetition in the line â€Å"There are longings, yearnings, strivings† brings the necessary rhythm into the utterance. In the same time, this line is a nice example of gradation, the type of gradation ? climax. Its function is to give a vivid emotional-evaluative cha racteristic of the phenomenon described. One more instance of gradation: â€Å"how he lived, and toiled, and suffered† only gives some additional emotive effect. Antonymous syntactic parallel constructions: â€Å"Should you ask me†, â€Å"I should answer† form antithesis. A very nice lexical-syntactic stylistic device used in the poem is simile : And the thunder in the mountains, Whose innumerable echoes Flap like eagles in their eyries†¦ [8, p. 11] It describes the nature of the valley, the weather in the mountains and this description trough using simile gives a reader the clear picture of that locality. The poem is rich in epithets among which it is worth to mention such as â€Å"songs so wild and wayward†(a pair metaphoric epithet), â€Å"melancholy marshes†(simple metaphoric), â€Å"green and silent valley†(the first is tautological, the second is metaphoric, structurally it is a pair epithet), â€Å"singing pine-trees†(simple, metaphoric), â€Å"wondrous birth†(simple emotive proper or affective epithet) and some others. However, the above mentioned epithets in the best way to convey the mood, feeling and emotions of the poem. The excessive use of repetition have made â€Å"The Song of Hiawatha† the most parodied poem in the English language, spawning more than a thousand variations, some of them as long as the original. Despite the flaws of critics, caused by H. W. Longfellow’s choice to mimic the solemn, unrhymed tetrameter of the Finns’ Kalevala, â€Å"The Song of Hiawatha† is still widely accepted as a significant nineteenth-century American poem. Chapter 2 Romantic and lyrical figure of Robert Burns 2. 1. General stylistic features of R. Burns’s â€Å"My Heart’s in the Highlands† Robert Burns was one of the great poets of the eighteens century and the only great poet ever to emerge from the British peasant class†[11,p. 23]. According to Merrian-Webster’s Encyclopedia of Literature, R. Burns was â€Å"national poet of Scotland who wrote lyrics and songs in the Scottish dialect†[12, p. 187]. John Anderson mentions that â€Å"most of Robert Burns’s poetry is written in Scotch brogue. The poet used dialect deliberately. It was not that he knew no better. You will notice that when it pleased him, he could turn out stanzas in pure English as polished and smooth as those of any classic poet†[13, p. 36]. â€Å"Burns was interested in authentic folk songs. He collected about 300 original and traditional Scottish songs for books compiled in his day, including The Scots Musical Museum (1787). Burns wrote many poems to be sung to Scottish folk tunes†[14, p. 716]. He is regarded as a pioneer of the Romantic movement, and after his death he became a great source of inspiration to the founders of both liberalism and socialism, and a cultural icon in Scotland and among the Scottish Di aspora around the world. His poem â€Å"Auld Lang Syne† is often sung at Hogmanay (the last day of the year), and â€Å"Scots Wha Hae† served for a long time as an unofficial national anthem of the country. Other poems and songs of Burns that remain well known across the world today include â€Å"A Red, Red Rose†, â€Å"A Man’s a Man for A’That†, â€Å"To a Louse†, â€Å"To a Mouse†, â€Å"The Battle of Sherramuir†, â€Å"Tam o’Shanter†, and â€Å"Ae Fond Kiss†. However, the poem which we are going to analyse is called â€Å"My Heart’s in the Highlands†. The title of this poem tells us quite a bit. The poet identifies a place that is important to him, and the word â€Å"heart† indicates a strong emotional attachment to the Highlands. The poem is lyric, in fact, a song, and the musical language expresses the emotions of the speaker. In this poem we can assume that the speaker and the poet are the same. It is a poem about Robert Burns leaving his home, the Highlands. He looks back on his life to remember all of the good times he had there. This shows love for a place, the Highlands of Scotland and proves that R. Burns was homesick. Concerning the poetical form, R. Burns wrote four-line stanzas, called quatrains, with a very simple aabbccdd rhyme scheme. The metrical pattern includes an opening iambus followed by two dactyl feet and ends with an accented syllable. Since the dactyl feet prevail, the poem is written in dactylic tetrameter. Poets often vary the meter and feet slightly to avoid a work that sounds like a metronome. This poem has strong visual elements. R. Burns writes about the â€Å"wild deer†, â€Å"green valleys†, and â€Å"wild-hanging woods†. In addition, there is an aural image in the line â€Å"Farewell to the torrents and loud-pouring floods†[1, p. 54]. These images convey the poet’s love for the region, a love that the audience recognizes. Thus, the sensory images elicit an emotional response. R. Burns uses repetition to great effect. Not only does he repeat the first stanza as the last, which is called in stylistics lexical framing, he also repeats words: â€Å"Wherever I†, â€Å" farewell to the†. [1, p. 254]. In the third stanza the author uses repetition in strong position ? lexical anaphora: â€Å"Farewell to the mountains high coverd with snow; Farewell to the straths and green valleys below; Farewell to the forrests and wild-hanging woods; Farwell to the torrents and loud-pouring floods. † [1, p. 254] By using repetition, the poet makes â€Å"My Heart’s in the Highlands† sound like a song. R. Burns also uses the devices to emphasize his ideas. The word â€Å"Highlands† is repeated eight times, and â€Å"Farewell† is repeated six times. The most repeated phrase â€Å"My Heart’s in the Highlands† contains the most important idea in the poem. At the same time it is a very nice noun metaphor (T ? Heart, V ? implied by the author: human body or even the author himself). According to the degree of unexpectedness, it is genuine metaphor which evokes images and suggests some associations, reveals the author’s emotional attitude towards the described place. Repetition creates an emotional response because the reader must acknowledge the importance of the poet’s attachment to the place. Similarly, the poet uses parallelism, the repetition of the same grammatical form structure, to convey his message and elicit an emotional response: â€Å"Chasing the wild deer, and following the roe†, â€Å"Farewell to the Highlands, farewell to the North†, â€Å"Wherever I wander, wherever I love†[1, p. 54]. The whole third stanza also serves as an example of parallelism. All these repetitions add the feeling of homesickness and nostalgia in the poem. The opposition in this poem is between â€Å"the Highlands† and â€Å"here†. This opposition in stylistics is called antithesis. Since a reader do not know what kind of plac e â€Å"here† is, we imagine that it is quite the opposite of the Highlands. This establishes the sense of sadness, the sense of feeling out of place that most people felt at some time. A significant stylistic device is periphrasis : â€Å"the birth-place of Valour, the country of Worth†. The author in such way gives proper names to his Highlands. He wants to emphasize that his country is very beautiful and he will miss it. Usage of epithets enriches the aesthetic perception of the poem. In the poem we can find such epithets as â€Å"wild-hanging woods† which is compound structurally and metaphorical semantically; â€Å"loud-pouring floods† also compound metaphorical epithet. â€Å"Wild deer†, â€Å"green vallies† are examples of simple tautological epithets. R. Burns also resorts to using a Scottish dialect. He mentions the word â€Å"Straths† which means a broad mountain valley. John Anderson writes about R. Burns: â€Å"Burns used dialect because ? however well educated a Scotsman may be ? when he is with those he loves and trusts, he drops naturally into brogue. It is cozy, familiar speech of the home†¦Burns, writing for his neighbors and cronies, uses the daily speech, homelike and comfortable as their old clothes†[13, p. 336]. 2. 2. The style in â€Å"My Heart’s in the Highlands† In the poem â€Å"My Heart’s in the Highlands†, the reflectively longing and lyrical tones reflect an inner feeling of yearning for the Highlands and a love for the land that liberates those who have been exposed to it. The narrator consistently reminisces about his memories of the Highlands and as he does so, he explains these feelings in a rhythmic and melodic fashion. The feelings that the narrator exhibits reflect the natural tendency of humans to maintain a connection with their original homeland. The poem’s diction emphasizes the liberation that the Highlands provide and the narrator’s feelings pertaining to his deep affection toward the Highlands. As the narrator â€Å"wander[s]† throughout the Highlands, he ventures to places as widespread as â€Å"mountains covered in snow† where he [â€Å"chases†] wild deer. The Highlands are a place where one experiences freedom as evidence by how expansive they appear. The lack of bothersome interaction and the presence of wide-open spaces allow the narrator to maintain a sense of no restrictions. As the Highlands, or the â€Å"birthplace of valor†, are described, it is evident that the narrator is â€Å"forever [in] love† with them, and that memories of the Highlands are with him â€Å"wherever† the narrator travels. The Highlands symbolize bold strength that has stuck with the narrator throughout his life. This results in the narrator feeling a close bond with the Highlands. Along with the diction, the point of view allows for observation of the various tones. The first-person point of view reinforces the feelings of wistfulness and release that the poem conveys. The narrator says â€Å"my Heart is not here† in order to convey the fact that he longs to be in â€Å"[his] contry of Worth†, or the Highlands. There is a sense of immediacy as the narrator describes his experiences roaming throughout the hills and vallyes, and his longing is directly conveyed through the first-person point of view. It is clear that, as the Highlands are described, the narrator would rather be there than anywhere else, and the first-person point of view is beneficial in conveying this. The narrator says that he will think of the Highlands â€Å"wherever I wander,† since he claims that â€Å"my heart’s in the Highlands, where’er I go. † The narrator is not able to let go of his thoughts and feelings about the Highlands when he is not there. This reflects the strong feelings that the narrator has for the Highlands and how he feels incomplete without their presence. Other things, such as the syntax, serve to provide a deeper meaning for the poem. The syntax in the poem moves from short phrases separated by commas, to a rhythmic and repetitive farewell, and finally to a structure that parallels the opening. Initially, the text is very ephemeral, and there is almost no defined rhythm associated with it. The narrator is incredibly attached to the Highlands, and his thoughts seem almost unfocused as he continually thinks about and longs for the Highlands. This reflects how detached the narrator is to his current life and how he would rather be somewhere where he can live with no restrictions. In the middle, the poem gains a defined rhythm, and repetition occurs. The narrator repetitively says goodbye to the Highlands, and during this farewell, he drifts off into somewhat of a euphoric daydream. His thoughts flow freely and in a distinct rhythm. This free-thinking coincides with the freedom that the narrator feels when he is in the Highlands. In the end, the text returns to the brief and disjointed format that it begins with. The narrator realizes that he is not physically at the Highlands, and he resumes wishing that he was. The end reflects a snap back to reality that occurs as the narrator finishes his imaginative farewell. Once again, the broken-up text reflects the uneasiness that the narrator has with his current life. While the syntax serves to provide the poem with a deeper meaning, the imagery and detail expound upon the meaning is evident on the surface of the text. The poem’s imagery and detail reflect both the physical characteristics that make the Highlands such a special area and the deep emotional love that the narrator has for them. The Highlands are very expansive areas that span from â€Å"mountains high covered with snow† to the â€Å"green valleys below,† and the narrator feels a connection with these areas as he â€Å"a-chas[es] the deer† across the hills. The narrator feels free in an environment as widespread as this. Because of this freedom, he reaches a comfort level that is unmatched in any other respect; he even feels comfortable enough to chase wild deer across the hills. The narrator’s passion for â€Å"the country of Worth† is evidenced by the fact that his â€Å"heart is not here. † His strong love for the Highlands makes it seem as though no other land can be compared to them. In fact, he cannot devote his unyielding love to anything other than the Highlands because no love that he has ever experienced has been as strong as his love for the Highlands. The imagery, syntax, point-of-view, and diction each reflect the two original tones of the poem. Because they demonstrate that the poem exhibits a reflective longing for the past and that the text is lyrical and expressive of feelings, the styles of writing that the poem exhibits are very effective. As in A Dictionary of English Literature is said: â€Å"Burns is important because he deserted the artificial tradition of eighteenth-century poetry, replacing poetic diction with the pungent vernacular, false sentiment with true tenderness, sharms with realities. He taught the Romantics, in Wordsworth’s words: How Verse may build a princely throne On humble truth. † To the world at large he is merely a singer of timeless song†[19, p. 45]. Chapter 3 Lexical, syntactic, expressive means and stylistic devices in: 3. 1. â€Å"Young and Old† by Charles Kingsley As The Encyclopedia Americana informs:â€Å"Charles Kingsley (1819-1875) was English clergyman, author, a nd teacher and a leader in social and economic reform movements†¦A founder of the Christian Socialist movement, he was an active supporter of the British working-class movement known as Chartism, as is demonstrated in his early novels ? Yeast (his first novel, originally published in Fraser’s Magazine in 1848) and the powerful Alton Locke (1850). Openly didactic, they were meant to educate the upper classes in their social responsibilities. Ch. Kingsley is best known for his later novels, which include historical romances and children’s stories. Perhaps the most popular novels were Hypatia (1853) and Westward Ho! (1855)†¦Among his works for children in The Water-Babies (1863), a fairy tale based on natural history† [16, p. 420]. Our task is to analyze one of the poems by Ch. Kingsley â€Å"Young and Old†. This poem originally appeared as a song sung by a character in the Reverend’s book entitled â€Å"The Water-Babies†. Before we get into the specifics of symbols I would like to dwell upon the meter and rhyme scheme. This poem is written in an altered iambic trimester. The alteration is very slight: a substitution of a single tribrachin place of the last iambic meter of every odd line. The simple rhyme scheme ababcdcdefefghgh contributes to the easiness of the song and prevents the subject from feeling overly forced by use of other unnecessarily more intricate schemes. This poem is about the dissimilarities of youth and old age. There is a certain sentimental connotation to be further explored, but the basis of the poem is rooted in the differences. In the first stanza the author addresses youth. A spry horse to carry along the boot, and the idea that â€Å"every dog [has] his day† paired alongside the comments of a young world and queenly lasses provide us with a clear idea that the topic we broach is that of youth. The line â€Å"young blood must have its course, lad, and every dog his day† come across as a call to action, demanding perhaps as busier and more productive youth. Additionally, we are treated to a slue of natural imagery in the form of green trees, geese, swans, the horse etc. The allusion to a simple, natural order is a compelling one. This is continued in the second stanza, though the trees are marked as being brown, the sport of the previously accelerated and youthful life has gone stale, the cart wheels are run down, and the lad is forced to â€Å"creep home† and take his place among the â€Å"spent† and â€Å"maimed† occupants. The final lines provide the wish that, God willing, you are alongside the one that you love. The poem â€Å"Young and Old† is full of many kinds of stylistic devices. The main stylistic device used in the text under analysis is antithesis: â€Å"When all the world is young, lad/ When all the world is old, lad†[5, p. 334]. The whole poem is written by means of parallel constuctions: â€Å" And all the trees are green; And every goose a swan, lad, And every lass a queen;† [5, p. 334] The quatation above mentioned also is a vivid example of repetition in strong positions, namely lexical anaphora. Another example containing anaphora: â€Å"And all the trees are brown; And all the sport is stale, lad, And all the wheels run down†¦Ã¢â‚¬  [5, p. 334] Apart from lexical anaphora, there is also lexical epistrophe. In every two stanzas the word â€Å"lad† is repeated. A very significant stylistic device used by Ch. Kingsley is ellipsis or apokoinu: â€Å"And all the trees are green, And every goose [is] a swan, lad†¦Ã¢â‚¬  [5, p. 334] In the second stanza predicate is omitted but it is implied by the author. I can point out another instance of an ellipsis: â€Å"Young blood must have its course, lad And every [must have] dog his day† [5, p. 334] Concerning metaphors, they are not so numerous. However, the poem contains two structurally very similar metaphors: â€Å"When all the world(T) is young(V)† and â€Å"When all the world(T) is old(V)†. They are, in my opinion, personal metaphor, i. e. personification. Here world obtains the characteristics of human. It can be young or become old. Also these two lines are, to some extent, hyperbolized by usage of the word â€Å"all†. This poem was analyzed by T. Hoagwood. He shows that it is impossible for the song to be fully understood when first encountered in The Water-Babies. It is only later in the story that we recognize that the song is the old dame’s lament for her son Grimes who left her. The realization at the end of the novel that Grimes is her son â€Å"enables us to revisit the lyric and to revise our understanding of its latent, private, and even secret significance for the grieving old dame†. 3. 2. â€Å"Out of Sight, Out of Mind† by Barnabe Googe One more poem which we are going to analyze is called â€Å"Out of Sight, Out of Mind† by Barnabe Googe. According to The Encyclopedia Americana, B. Googe (1540-1594) was â€Å"English poet and translator. Googe’s only original work is Eglogs, Epytaphes and Sonnets, a collection of poems published in 1563. His eclogues are among the earliest examples of English pastoral poetry. He also translated into English some minor contemporary works in Latin prose†[17, p. 742]. As a translator, Googe is noted for his English versions of Marcellus Palingeniuss Zodiake of Life (1560) and Conrad Heresbachs Four Books of Husbandry (1577). Googes reputation, which considerably declined following his death in 1594, has been revived by literary historians who recognize in his work transmissions of both ideas and stylistic practices that would influence such better-known English writers as Edmund Spenser, William Shakespeare, and John Milton. In â€Å"Out of Sight, Out of Mind† B. Googe worked with a proverbial theme. He stacks caesuras in thirteen lines of the eighteen-line poem, all of them more or less in the exact middle. Because of the repetition, these caesuras speed up the lines rather than slowing them down, hence allowing the lines from which Googe suddenly omits caesural pause ? â€Å"The heavy heart breeds mine unrest†, â€Å"Such pleasures rife shall I obtain/ When distance doth depart us twain† [4, p. 96] ? to gather greater emphasis since, on top of the newly introduced spondees and trochees, they are also made to slow down. This particular poem also demonstrates Googe’s stoical approach to verse as an adequate container for human feeling. He combines a monotonous rhythm and rhyme scheme with a predominantly monosyllabic lines, pithy both in content and length. The author uses in his poem repetition in strong position through the whole poem namely chain-repetition: â€Å"The oftener seen, the more I lust, The more I lust, the more I smart, The mire I smart, the more I trust, The more I trust, the heavier heart†¦Ã¢â‚¬  [4, p. 96] This repetition brings the necessary rhythm into the utterance. A very interesting device used in the poem is gradation. A reader can find an emotional climax that expresses the ideas in a descending order of significance: The rarer seen, the les in mind, The less in mind, the lesser pain, The lesser pain, less grief I find, The lesser grief, the greater gain† [4, p. 96] The leading feature of the poem is usage of comparison. I. R. Galperin in his book â€Å"Stylistics† states that â€Å"comparison means weighing two objects belonging to one class of things with the purpose of establishing the degree of their sameness or difference†[3, p. 167]. In â€Å"Out of Sight, Out of Mind† we also can observe comparison. It is almost in each line: â€Å"the oftener/ the more†, â€Å"the more/ the heavier†, â€Å"the rarer/ the less†, â€Å"the lesser/the greater†, â€Å"the more/the happier†. A device greatly favoured by the writer is irony: â€Å"Such pleasure rife shall I obtain When distance doth depart us twain† [4, p. 96]. According to Lototska K. â€Å"English Stylistics†: â€Å"Irony (from the Greek â€Å"eironeia†= hidden mockery) is a device based on the interaction of dictionary and contextual meanings standing in opposition†¦Irony is transference by contrast†[9, p. 86]. The last two lines of the poem â€Å"Out of Sight, Out of Mind† is the vivid instance of irony. The whole poem is very symbolic. Even the tittle means the idea that if you do not see someone or something frequently, you will forget about it. Barnabe Googe wrote poems in the Native Tradition, a species of plain style. In this relatively early period, accents were heavy, unaccents were light, alliteration survived from old Anglo-Saxon verse, and the subject was usually serious. Conclusion The general purpose of the paper was to investigate stylistic, linguistic, lexical and syntactic peculiarities of five selected poems by different authors, to check earlier observations on the subject of stylistic analysis and to obtain new information. This course paper explored the comprehensive study of stylistic devices. Despite the fact that there are many works devoted to the problem under analysis some important aspects such as structural-semantic parameters of the poems and some lexical stylistic devices have not been fully investigated. In this work, to some extent, were used the elements of stylistics under lexico-syntactic patterns and choices, phonological, morphological and graphological devices to analyze such poems as â€Å"Don’ts† by D. H. Lawrence, â€Å"The Song of Hiawatha† (Introduction ) by H. W. Longfellow, â€Å" My Heart’s in the Highlands † by R. Burns, â€Å"Young and Old† by Ch. Kingsley, and â€Å"Out of Sight, Out of Mind† by B. Googe. The display of stylistics in the poems, their functions and their effects have been the major focus of this research work. To make a striking impression on one’s readers and stir up their emotions, nothing else could be done to achieve this purpose than employing the right and appropriate use of language. The study revealed that poets made use of various stylistic devices in a way that interrupts the normal syntactical flow of the sentences to secure emphasis and focus the reader’s attention. As can be seen from the data, each poet uses different techniques in his poem. In â€Å"Don’ts† by D. H. Lawrence we can find polysemanticism of the words in combination with repetition, metaphors, epithets, allusion. â€Å"The Song of Hiawatha† by H. W. Longfellow is rich in special vocabulary and different realities. The stylistic value of R. Burns’s poem â€Å"My Heart’s in the Highlands† can not be overestimated. Ch. Kingsley and B. Googe are considered to be masters in usage of stylistic devices. Under the lexico-syntactic choices, the authors use similes, metaphors which are both related to the topic of similarity to give clearness and liveliness to words. Under the phonological devices, rhyming scheme, consonance, assonance are found and they have been used to reinforce meaning. They also provide tone and musical colour and aid memorality. Different kinds of repetition, which is greatly favoured by the authors, and punctuation marks have been used to play various roles to achieve cohesion in discourse for varying stylistic effects. All of these things found out have worked together in attaining and ensuring effective meaning and communication. The choice of words by the poets also plays a very important role in meaning making. It helps the reader to understand the intention and the message the poets were trying to pass across. The obtained results give a clue to the understanding of stylistic analysis. As the previous researches on the given theme are not numerous, it is difficult to compare the findings of this research paper with the results of other study. In the course of investigation I had solid theoretical base. The inconsistency of data is probably a consequence of the lack of practical material and previous research. The problems associated with stylistic analysis and meaning of various expressive means are far from being solved and require further theoretical and experimental efforts. To sum up, different poets in their poems cultivates various styles and techniques which are worth of being studied. Each poem that was analyzed in this course paper fascinates readers by its stylistic originality.

The History of Hacky Sack

The History of Hacky Sack Hacky Sack, also known as Footbag, is a modern, non-competitive American sport that involves kicking a bean bag and keeping it off the ground for as long as possible. It was invented in 1972 by John Stalberger and Mike Marshall of Oregon City, Oregon as a fun, challenging way to exercise. Inventing the Hacky Sack The story of Hacky Sack began in the summer of 1972. Mike Marshall introduced visiting Texan John Stalberger to a game that he had learned from a Native American, a fellow inmate in a military brig. The game involved kicking a small bean bag repeatedly to keep it off the ground for as long as possible- using all parts of your body except your hands and arms- and then eventually passing it to another player. Stalberger, who was recovering from a knee injury, began playing the game- which they described as going to â€Å"hack a sack†- as a way to rehabilitate his leg. Six months later, with Stalberger’s knee healed and newly acquired mastery of their game, they decided to go into manufacturing. Hacky Sack Evolution For about a year and a half, Marshall and Stalberger experimented with different versions of the sack. Their 1972 initial sack was square-shaped, made of denim and filled with rice. They quickly realized that internal stitching provided an improvement in control, and tried round instead of square, and switched from denim to cowhide for longevitys sake. By ’73, they had developed the classic, two-panel, leather, internally sewn, disc-shaped style that would stay in use and manufacture for the next twenty years. The first bags using the Hacky Sack name appeared in 1974. When the 28-year-old Marshall died of a heart attack in 1975, Stalberger decided to soldier on, developing a more durable bag and working to promote the game he and his late friend had created. Hacky Sack Ancient History LIke most modern inventions, hacky sack is a really old idea. A game similar to hacky sack was supposedly invented by the legendary (or mythological) Chinese Yellow Emperor (or deity), who used a hair-filled leather bag in a game called cuju, as training for his military forces during his reign in the late mid-third millennium BCE. The first non-mythological records of cuju date to the Zhan Guo Ce, a Chinese record written during the Warring States period (476–221 BCE). Cuju is also mentioned in the Chinese history of Shiji written about 94 BCE. In Japan, a similar game called kemari was being played at Nara by the 7th century CE; and in Malaysia, a game with a small rattan ball called sepak takraw has been played at least since the 11th century CE. Of course, hacky sack is also similar to soccer (European football), and soccer players frequently â€Å"juggle† or â€Å"freestyle† with a ball before kicking it in the air to a teammate. Official Techniques There arent any rules per se to the game of hacky sack, except that you cant use your hands or arms to keep the ball from falling to the ground. There are established techniques. The inside kick involves using the inside curve of your foot to kick the ball straight upward. The outside kick uses the outside of your foot to the same thing, and the toe kick hooks the ball straight upward. It is legal to stall the ball, bouncing it off any of those places on your foot rather than passing it high into the air, and it is legal to bounce it off your chest, head, or back. Just not your arms or hands. More formal types of hacky sack include footbag net (played with a net), footbag golf (like Frisbee golf), and consecutive (where you try to set a record for continuous bouncing). The original hacky sack is known as freestyle, where people stand in a circle and pass it to one another. The Hacky Sack Game Catches On Hacky Sack became extremely popular with high school and college students, especially with counterculture groups who would stand in circles, taking turns working to keep the footbags aloft. Groups of Deadheads playing the game became a familiar sight outside concert venues whenever the Grateful Dead performed. Stalberg was instrumental in founding the National Hacky Sack Association, founded in 1975. In 1979 the U.S. Patent office granted a license to the Hacky Sack brand footbag. By then Hacky Sack Company was a solid business, and Wham-O, the company that manufactures the Frisbee, acquired it from Stalberger. in 1983. A World Wide Sport Along the way, the generic, non-copyright name of footbag became popular for the game, and the game has become a worldwide sport with official rules. The first official organizing body for the sport, the National Hacky Sack Association, was organized by John Stalberger and Ted Huff in 1975. It sanctioned or sponsored U.S. footbag tournaments, including the World Footbag Championships, which have been running annually since 1980.   The NHSA ended in 1984, and the World Footbag Association rose to become its replacement. The World Wide Footbag Foundation was incorporated in 1994 and in 2000 it morphed into the International Footbag Players Association, Inc. The IFPA has a Football Hall of Fame: the first person initiated was Ted Huff in 1997.

TESTING A TOOL(FORM) FOR HOSPITALIZED PATIENTS TO PREVENT DVT Essay

TESTING A TOOL(FORM) FOR HOSPITALIZED PATIENTS TO PREVENT DVT - Essay Example Deep vein thrombosis (DVT) and pulmonary embolism (PE) are the main components of VTE. According to Kahn, et al, 2007, such symptomatic events are seen in medical patients that make up sixty percent of all hospital admissions. These thromboembolic events are preventable and the American College of Chest Physicians (ACCP) constantly provides guidelines on the basis of updated evidence on the prevention of VTE (Kahn, et al, 2007). The latest guidelines from ACCP recommend the use of thromboprophylaxis options in the prevention of VTE among patients with moderate to high risk for VTE. There is strong scientific evidence supported by solid principles in the use of thromboprohylaxis as recommended by ACCP. Many of the hospitalized patients have one or more risk factors for VTE, which are usually cumulative. In the absence of any prophylaxis, objective evidence suggests that between ten to forty percent of patients admitted for medical illnesses or general surgery and forty to sixty percen t of those patients admitted for orthopedic surgery develop VTE. This gives strength to the relevance of thromboprophylaxis in hospitalized patients (Geerts, et al, 2004). However, Arnold, Kahn, and Shrier, 2001, claim that in spite of ACCP guidelines encouraging the use of thromboprophylaxis in the prevention of VTE, these guidelines are not always followed leading to the occurrence of VTE. Furthermore the inadequacy seen in the use of prophylaxis stems quite often from omission of prophylaxis (Arnold, Kahn & Shrier, 2001). The ACCP guidelines recommend the use of prophylaxis in the prevention of VTE, to reduce the mortality and morbidity of patients hospitalized for surgical procedures and medical illness. Yet, there is inadequacy in the use of prophylaxis in the prevention of VTE, which frequently is due to omission on the part of the physicians. The purpose of this study is to evaluate the effectiveness of an

The Future of Cloud Computing Essay Example | Topics and Well Written Essays - 1250 words

The Future of Cloud Computing - Essay Example In this report a discussion will be presented using the concepts provided in the chapter and in the scholarly articles about the increased use and advancements in the computer technologies. This report will analyze all three forms of the discussion and present agreements and disagreements with the authors about the future of these topics. This will reflect an individual understanding about the topic on which an appropriately structured conclusion will be developed. CHAPTER SUMMARY The findings proposed in the chapter show that the use of IT and advancement in the computer technologies require that new methods evolve. For ensuring the safety of the data providing non physical spaces to the users for storing the data have led to such innovations. The developments in mobile computing segments, artificial intelligence and cloud computing are the examples of the developments in the IT industry. These facilities provide safe storage of the data online and make accessibility easier. Associa ted to these advancements are several advantages and disadvantages. The examples of such systems are Google cloud storage, Apple’s cloud, Microsoft’s cloud and other facilities like Dropbox and Amazon. There are four forms of the information clouds namely, 1. Global information/ Internet 2. External information cloud 3. Local information cloud 4. ... The main reasons why users prefer using the cloud facilities are archiving the data in backup, store application data, computing, sharing data and building apps and websites. SCHOLARLY ARTICLE 1: MODELING AND SIMULATION OF CLOUD COMPUTING SOLUTION FOR DISTRIBUTED SPACE DATA STORAGE AND ACCESS IN MOBILE COMMUNICATION NETWORKS Then high bandwidth radio telescopes generate large amounts of digitized data. The challenge associated with this is to provide the ease of access with highest efficiency of the data which is recorded. The main emphasis of the topic is to understand the storage and the retrieval of the space signals. This requires advancement in setting the core technologies and implementing it completely within the cloud computing paradigm. The article is a proposition which suggests cloud computing solutions. Within the distributed space it is required that the data stored can be accessed and at the same time it can become a part of the mobile communication networks. The modeli ng and the simulation results of the processes assist in developing an understanding that the proposed solutions perform satisfactorily in extracting the data from the specified space. The future of this process shows utter reliance on the cloud computing processes for data storage. Verification of the importance of the process and implementation of the process shows its importance in the future (Kurmis, Dzemydiene, Didziokas, & Trokss, 2013). The author of the paper is suggesting that the cloud computing process is acquiring popularity and the ease of access is providing in setting the methods which can enhance the usage. He further suggests the methods which can lead to advancements of the process. SCHOLARLY ARTICLE 2: HEAD IN THE

Case Assignment Coursework Example | Topics and Well Written Essays - 750 words

Case Assignment - Coursework Example For example: Sephora – a brand that sells cosmetics, perfume and other beauty products recently decided to enter into a contract with JC Penney upon opening a ‘store within stores’ strategy aiming to attract the young women. (MSNBC, 2007) Considering the change in the customers’ preference to shop conveniently at regional shopping malls, it is good that JC Penney has decided to open almost all new Penney store within the regional malls because that is where most of the shoppers go to buy cloths, furniture and other merchandises that JC Penney is selling to the consumers. However, opening a JC Penney store in each metropolitan area in order to create a significant presence in each market is not much of a good idea because it is not convenient for the consumers to intentionally go to a JC Penney store to buy something and go back again to the mall to buy the rest of what they need. Looking at this angle, the demand for establishing a JC Penney store separate from the regional malls is low. Giving each of the store managers the control over merchandise selection could greatly affect the quality and type of merchandises available within a specific JC Penney store outlet. In the absence of a strict centralized regulation in terms of selecting the items being sold in each store, some of the store managers could take advantage of the situation by entering into a special contract with its suppliers. This enables the store managers to make a bias judgment with regards to selecting the merchandise. Giving each of the store managers the power to price the goods could result to lack of uniformity when it comes to the selling price of the same product in each store outlets. The same is true when it comes to management of employees, the store manager will have the tendency to prioritize one employee over the other which may lead to serious management problem in the end. The funding for the local community relations will also be an issue since

Development of Regulatory Mechanism

Development of Regulatory Mechanism Critical Analysis of Role of IRDA (Regulator) In the Last Decade In Respect of  General Insurance Companies In India, insurance has a very deep-rooted history. Insurance in India has evolved over time heavily drawing from other countries, England in particular. The history of general insurance dates back to the Industrial Revolution in the west and the consequent growth of sea-faring trade and commerce in the 17th century. It came to India as a legacy of British occupation. General Insurance in India has its roots in the establishment of Triton Insurance Company Ltd., in the year 1850 in Kolkata by the British. In 1907, the Indian Mercantile Insurance Ltd., was set up. This was the first company to transact all classes of general insurance business. In 1968, the Insurance Act was amended to regulate investments and set up minimum solvency margins. The Tariff Advisory Committee was also set up then. In 1972, with the passing of the General Insurance Business (Nationalization) Act, general insurance business was nationalized with effect from 1st January, 1973. 107 insurers were grouped into four companies, namely National Insurance Company Ltd., the New India Assurance Company Ltd., the Oriental Insurance Company Ltd. and the United India Insurance Company Ltd. The General Insurance Corporation of India was incorporated as a company in 1971 and it commence business on 1st January, 1973. Evolution of IRDA In 1993, the Government set up a committee under the chairmanship of RN Malhotra, the former Governor of RBI, to propose recommendations for reforms in the insurance sector. The objective was to complement the reforms initiated in the financial sector. The committee submitted its report in 1994 wherein, among other things, it recommended that the private sector be permitted to enter the insurance industry. They stated that foreign companies should be allowed to enter by floating Indian companies, preferably a joint venture with Indian partners. Following the recommendations of the Malhotra committee report, in 1999, the Insurance Regulatory and Development Authority (IRDA) was constituted as an autonomous body to regulate and develop the insurance industry. The IRDA was incorporated as a statutory body in April, 2000. The key objective of IRDA includes promotion of competition so as to enhance customer satisfaction through increased consumer choice and lower premiums, while ensuring the financial security of the insurance market. The IRDA opened up the market in August 2000 with the invitation for application for registrations. Foreign companies were allowed ownership of up to 26%. The Authority has the power to frame regulations under Section 114A of the Insurance Act, 1938 and has from the year 2000 onwards framed various regulations ranging from registration of companies for carrying on insurance business to protection of policyholders interests. In December, 2000, the subsidiaries of the General Insurance Corporation of India were restructured as independent companies and at the same time GIC was converted into a national re-insurer. Parliament passed a bill de-linking the four subsidiaries from GIC in July, 2002. Today there are 24 general insurance companies including the ECGC and Agriculture Insurance Corporation of India. IRDA plays a vital role in shaping the growth of the insurance industry as a whole. Ever since IRDA came into existence and started regulating the insurance industry, there were many changes which were brought in the insurance industry which immensely helped the customers in choosing the right policies as well as helped the insurance companies in delivering the right policies to its customers as well as the insurance company. IRDA made a huge impact of its presence in the insurance industry since it started regulating the insurance industry firmly and stiffly as well as imposed many new regulations on the insurance companies to protect the policy holders interests and help the insurance companies grow and have a healthy competition among each other so that no insurance companies are declared bankrupt. Insurance companies were made to comply with all the regulations framed by IRDA and IRDA had full authority to penalize any insurance company for non-compliance of the guidelines of IRDA. IRDAs role in shaping the whole insurance industry has been a challenging job since its inception because the insurance companies enjoyed the freedom of non-regulation before IRDA came into existence. This is the reason why IRDA worked tiresomely in order to put everything in place and faced so many challenges for regulating the insurance industry as a whole. Mission Statement Of The Authority To protect the interest of and secure fair treatment to policyholders; To bring about speedy and orderly growth of the insurance industry (including annuity and superannuation payments), for the benefit of the common man, and to provide long term funds for accelerating growth of the economy; To set, promote, monitor and enforce high standards of integrity, financial soundness, fair dealing and competence of those it regulates; To ensure speedy settlement of genuine claims, to prevent insurance frauds and other malpractices and put in place effective grievance redressal machinery; To promote fairness, transparency and orderly conduct in financial markets dealing with insurance and build a reliable management information system to enforce high standards of financial soundness amongst market players; To take action where such standards are inadequate or ineffectively enforced; To bring about optimum amount of self-regulation in day-to-day working of the industry consistent with the requirements of prudential regulation. Composition of Authority As per section 4 of IRDA Act, 1999, Insurance Regulatory and Development Authority specify the composition of Authority: The Authority is a ten member team consisting of: a Chairman; Five whole-time members; Four part-time members. (All the members are appointed by Govt. of India) Review of Literature Insurance Regulatory Development Authority IRDA since its inception has done a wonderful job in carrying out its duties, powers and functions without failing. The powers and functions of IRDA are such that it has the authority to issue to the applicant a certificate of registration, renew it, modify it, withdraw, suspend or cancel such registration. IRDA plays an important role in protecting the policy holders interests in matters concerning assigning of policy, nomination by policy holders, insurable interest, settlement of insurance claim and other terms and conditions of contracts of insurance. IRDA also specifies the requisite qualifications, code of conduct and practical training for intermediary or insurance intermediaries and agents. It clearly states the code of conduct for surveyors and loss assessors as well as promotes efficiency in the conduct of insurance business and regulates the professional organizations connected with the insurance and re-insurance business. IRDA always calls for information related to undertaking inspection, conducting enquiries and investigations including audit of the insurers, intermediaries, insurance intermediaries and other organizations connected with the insurance business. IRDA fully controls and regulates the rates, advantages, terms and conditions that are offered by the insurers in respect of general insurance business which were earlier not so controlled and regulated by the Tariff Advisory Committee. IRDA also specifies the form and manner in which books of account shall be maintained and statements of accounts shall be rendered by the insurers and other insurance intermediaries. Now to discuss some of the guidelines and regulations framed by the IRDA in respect of General Insurance Companies, IRDA issued some regulations relating to protection of policy holders interests which stated that an insurer or its agent or other intermediary shall provide all material information in respect of a proposed cover to the prospect to enable the prospect to decide on the best cover that would be in his or her interest. Where the prospect depends upon the advise of the insurer or its agent or and insurance intermediary, such a person must advise the prospect dispassionately. Except in case of marine insurance cover, whereby current market practices do not insist on a written proposal form, a proposal for grant of cover for general business must be evidenced by a written document. It is the duty of an insurer to furnish to the insured free of charge, within 30 days of the acceptance of a proposal, a copy of the proposal form. Every insurer should have proper procedures and effective mechanism in place in order to address complaints and grievances of policy holders efficiently with speed. An insured or the claimant should give notice to the insurer after any loss has occurred arising under the contract of insurance at the earliest and within specified time period which may be allowed by the insurer. On receipt of such a communication, the insurer has to respond immediately and give clear indication to the insured on the procedures that he or she should follow. In case a surveyor is appointed for assessing the loss, it shall be done within 72hours of the receipt of intimation from the insured. On receipt of the survey report, the insurer should offer a settlement of claim to the insured within a period of 30days. If the insurer for any reason decides to reject or repudiate the claim under the policy, it has to do so within a period of 30days from the receipt of the survey report. Non-Tariff Regime In the year 2005, General Insurance Companies and other stake holders in the insurance market voiced the demand for removal of tariff as the existence of tariff was considered contrary to free market principles and insurance products needed to be priced based on market forces. IRDA accordingly considered moving to a tariff free regime. IRDA stated that in a market free of tariffs, all the insurance companies should have in place internal capabilities, procedures and controls. It also stated that the functions of underwriting and rating of insurance business should be independent of the business development function and not be made subservient to the business development function. Employees with authority were to be trained to evaluate proposals, underwrite and rate the risks as per the guide tariff. Following the decision of the tariff advisory committee to de-tariff Marine Hull Insurance, IRDA issued certain guidelines in respect of Marin Hull Insurance. All the general insurers who had wish to underwrite marine hull business, should follow the exact existing policy wordings, terms and conditions including clauses such as the Institute clauses as it was before de-tariff regime. It was also indicated and stated that all the insurance companies who wanted to underwrite marine hull class of business should file separately with the IRDA regarding the reinsurance arrangements for protecting the net account exposures. Guidelines Pertaining to Corporate Agents Outsourcing of Activities All the non-life insurers were directed to lay down minimum business requirements for Individual agents. The said provision of minimum business requirements is extended to all Corporate Agents as well. Accordingly, all the non-life insurers were directed to lay down minimum business requirements for Corporate Agents and monitor the performance of Corporate Agents as often as it is required. Insurers in India increasingly used outsourcing, as a means of both reducing cost and accessing expertise, not available internally and in order to achieve strategic aims. IRDA in respect of outsourcing stated that, all applicants will carry on functions in respect of insurance business including management of investment, within its own organization. It was observed that certain insurers were even outsourcing the core activities such as investment, underwriting and policy servicing. IRDA said that it was not desirable to outsource the core and important activities which will immensely affect the corporate governance, protection of policy holders, solvency and revenue of flows of insurer. IRDA further stated that outsourcing arrangements should neither diminish its ability to fulfill its obligations to policy holders nor impede effective supervision by IRDA. Insurers therefore were to take steps to ensure that the service provider employs the same standards in performing the services as would be employed by them if the activities were conducted in house. Accordingly, Insurers were not to engage in outsourcing that would result in their internal control, business conduct or reputation being compromised or weakened. Therefore, IRDA does everything that they can in order to protect the policy holders interest as well as control the Insurance Industry as a whole for betterment. Need of the Study What is the purpose of IRDA in regulating the General Insurance Companies? How IRDA framed and implemented the policies. Role of IRDA. Objectives of the Study A comprehensive wide case analysis of the role of IRDA in the last decade in respect of General Insurance Industry will aid and help in understanding the details regarding the benefits of the guidelines bestowed upon on the General Insurance Companies by the IRDA as well as to know the problems faced by General Insurance Companies in complying with IRDA regulations. Rationale of the topic Insurance industry in India has come a long way since the time when businesses were tightly regulated and concentrated in the hands of a few public sector insurers. Following the passage of the Insurance Regulatory and Development Authority Act in 1999, India abandoned public sector exclusivity in the insurance industry in favour of market-driven competition. This shift has brought about major changes to the industry. This topic will help in identifying the role of IRDA and its impact on the General Insurance Industry since its inception. IRDA plays a vital role in shaping the growth of the insurance industry as whole due to which it is very important to understand how IRDA framed and implemented the policies in order to protect the policy holders and bring transparency in the insurance market. This is the reason why it is very important to critically analyze the role of IRDA since its inception and find out whether the general insurance companies have strictly adhered to the rules framed by IRDA and followed it without any problems faced. Research Methodology Research method: Descriptive Research Sampling tool: Questionnaire Data collected: primary Statistical tool used: Microsoft excel Data collection methods Primary data: the primary data will be collected by means of a survey. Questionnaire will be prepared and the General Insurance companies will be approached to fill up the questionnaire. The filled up information will later be analyzed to obtain the required information. Hypothesis Null: H0: Guidelines framed by the regulator are useful. Alternative: H1: Guidelines framed by the regulator is not useful. Null: H0: IRDA treats all the insurance companies both Public and Private, equally and fairly. Alternative: H1: IRDA doesnt treat all the insurance companies both Public and Private, equally and fairly. Data Analysis Interpretation Q1. Insurance Regulations includes all the objective of insurance business. Code Response Frequency Precentage 1 Agree 10 100 2 Disagree 0 0 According to the survey collected from 10 respondents one each from 10 general insurance companies, it was found that the regulations framed by IRDA includes all the objective of insurance business. Q2. Regulator Examines the documents thoroughly before issuing a license to any new insurance company. Code Response Frequency Precentage 1 Agree 10 100 2 Disagree 0 0 As per the pie chart above, we can easily interpret that all the respondents agree on the fact that the regulator examines the documents thoroughly before issuing a license to any new insurance company. Q3. Insurance Companies are able to meet the capital requirement set by the regulator. Code Response Frequency Precentage 1 Agree 10 100 2 Disagree 0 0 The response on the capital requirement is that Insurance Companies are able to meet the capital requirement set by the regulator as responded by the survey respondents. Q4. True disclosure of the working of insurance company ensures the soundenss of the business of the insurance company. Code Response Frequency Precentage 1 Agree 10 100 2 Disagree 0 0 According to the respondents, all of them agree to the fact that true disclosure of the working of insurance company does always ensures the soundness of the business of the insurance company thus showing transparency in the workings of insurance companies. Q5. Regulator has a very important role in the selection of the management. Code Response Frequency Precentage 1 Agree 2 20 2 Disagree 8 80 As the chart speaks for itself, we can clearly see that 80% of the respondents does not agree to the fact that regulator has a very important role in the selection of the management as opposed to 20% who agree to the statement. This shows that regulator is not so important when it comes to the selection of management. Q6. Guidelines framed by the regulator are useful Code Response Frequency Precentage 1 Agree 9 90 2 Disagree 1 10 According to the survey conducted, it shows that 90% of the respondents feel that guidelines framed by the regulator are useful whereas 10% feels it is not useful meaning that majority of the insurance companies feel that the guidelines are very useful for insurance companies to sustain and grow in the market. Q7. Filing a new product with regulator for approval is easy. Code Response Frequency Precentage 1 Agree 1 10 2 Disagree 9 90 The survey on the filing of new conducted concluded with 90% denying the fact that filing a new product with the regulator for approval is easy meaning that they feel it is difficult to file a new product. Only 10% feels it is easy which is quite bad. Q8. Setting up of the customer grievance cell as the directives by the regulator helps in satisfying the policy holders and getting more business for the company. Code Response Frequency Precentage 1 Agree 9 90 2 Disagree 1 10 90% respondents feel that setting up of the customer grievance cell as directed by the regulator helps in satisfying the policy holders and getting more business for the company where as 10% of the respondents doesnt support the statement. Q9. Establishment of the IRDA to regulate the insurance industry was a wise step taken by the government of India in order to protect the policy holders interest and insurance industry as a whole. Code Response Frequency Precentage 1 Agree 10 100 2 Disagree 0 0 The above pie chart shows that all the insurance companies that were surveyed feels that establishment of the IRDA to regulate the insurance industry was a wise step taken by the government of India in order to protect the policy holders interest and insurance industry as a whole. Q 10. IRDA treats all the insurance companies both public and private equally and fairly. Code Response Frequency Precentage 1 Agree 10 100 2 Disagree 0 0 All the 100% respondents agree to the fact that IRDA treats all the insurance companies both public and private equally and fairly. Q11. IRDA takes strict actions on insurance companies for non-compliance with the regulator. Code Response Frequency Precentage 1 Agree 10 100 2 Disagree 0 0 According to the pie chart, we can easily come to a conclusion that all the respondents from 10 general insurance companies accepts that IRDA is very strict and that it takes strict actions on insurance companies for non-compliance with the regulator. Findings Insurance Regulations does include all the objectives of insurance. IRDA always examines the documents thoroughly before issuing a license to any new insurance company. Regulator doesnt have much role in the selection of management according to the general insurance companies. Guidelines framed by the regulator are very useful for the insurance companies. Filing a new product with the regulator for approval is not at all easy. Establishment of the IRDA to regulate the insurance industry was a wise step taken by the government of India in order to protect the policy holders interest and insurance industry as a whole. IRDA treats all the insurance companies both public and private equally and fairly. IRDA takes strict actions on insurance companies for non-compliance with the regulator. Suggestions Since regulator doesnt have important role in the selection of the management, I think the regulators should take part in the selection of the management so that there is a fair and transparent management. Since filing of a new product for approval from the regulator is not so easy, IRDA should take into account such problems and issues so that various types of products are available immediately in the market which would help the customer choose the best suited product. IRDA can try to increase their man power and examine the new products filed thoroughly in a quick moment. Although guidelines framed by the regulator are useful, few insurance companies feel it is not due to which IRDA should also take the consent of the insurance companies for sharing their ideas on the guidelines, then note it down and if the regulator feels it is valid, then adapt that guideline. Conclusion The study of the topic Critical Analysis of the Role of Regulator (IRDA) in the Last Decade in Respect of General Insurance Companies it was found that regulator plays a very vital role in protecting the policy holders interests as well as growing and shaping the insurance industry as a whole. It was also found out that establishment of IRDA to regulate the insurance industry was a wise step taken by the Government of India as well as the most important factor for IRDA to be a very prominent and successful regulator is due to the hard work and wise firm decisions and steps taken by the Government as well as the Management of the regulator. The study also found out that there was not much gaps and flaws in the functioning of the regulator since the regulator has properly framed the guidelines taking into account the customers protection and the Insurance Industrys protection as a whole. The general insurance companies are all satisfied with decisions taken by IRDA and do appreciate the presence of IRDA. So finally, it is concluded that IRDA as a regulator does play a very important role in shaping the whole insurance industry and that IRDA should maintain the same henceforth so that even the new insurance companies would also stick to the norms and proper procedures. Sonam Tobgay

Relationships in Norman MacLeans A River Runs Through It Essay

Relationships in Norman MacLean's A River Runs Through It "Eventually the watcher joined the river, and there was only one of us. I believe it was the river." The river that Norman Maclean speaks of in A River Runs Through It works as a connection, a tie, holding together the relationships between Norman and his acquaintances in this remote society. Though "It" is never outwardly defined in the novella there is definite evidence "It" is the personality of the people and that the river is running through each individual personality acting as the simple thread connecting this diverse group of people. With the help of the river these Montana residents are able to teach as well as learn from each other. Since the time of the Indians, fathers have been teaching sons the ways of the river and the Maclean family is no different. Paul and Norman learn from a young age first how to pray, read the Bible, and then fly fish from their father. For the Maclean family "there is no clear line between religion and fly-fishing" and their father is a Presbyterian preacher who incorporates all these lessons into the river. He carefully transitions from telling them "about Christ's disciples being fishermen" to teaching them "to approach the art (of fly-fishing) Marine- and Presbyterian- style" alongside the river. Along this river his sons receive "as many hours of instruction in fly fishing as in all other spiritual matters" making the river a pivotal part of everyday life. "Although Paul was three years younger than Norman?he was already far ahead in anything relating to fishing" by their early teens. Paul quickly passes Norman and his father in skillful fishing but more than that he acquired more style. His father... ...y and as expected Norman "is blamed for Neal." Norman is able to put his anger quickly behind him however, when he and Paul go on a fishing trip to "recuperate." He looks to "fishing for the healing effects of the cool waters" of the river. He quickly becomes lost in his fishing, so completely that he becomes "totally composed of thoughts about the Elkhorn River, the weather, and a mythological fish" and not a single thought of his dying anger. Characters are bound to each other by the river and through their common love of the river. Sometimes the only thing they have in common is this mutual love. This Montana community is entwined in the river that runs through it. All the characters obviously feel the same as Norman when he says "I also became the river." Work Cited MacLean, Norman. A River Runs Through It. University of Chicago Press, 1989.

Chicc Boy Research Paper

CHIC-BOY Vision To become the premiere franchisee of Chic-boy by the year 2020. Mission To be the best Chic-boy franchisee in the Philippines by providing the most appetizing Filipino food at very competitive prices. Will consistently maintain the highest standards in food preparation and service. Not only profit-oriented but is service-oriented as well. Surplus food that are not served will be donated to our less fortunate brothers and sisters at the end of the day.Goals and Objectives 1st Objective: conduct a soft-opening of the franchise by December 2011 and to be fully operational by the start of year 2012 Our specific objectives are the following: To conduct daily inspections on the floor and restaurant equipment Strictly implement the specifications set by Chic-boy and the Food and Drug Administration (FDA). To hire prospective employees with the ample amount of experience every 6 months. To review employee skills and knowledge of Chic-boy operating procedures every 2 months.To strictly comply with the requirements set by Chic-boy through punctual payment of royalty fees and other related payables. To achieve an ROI in a span of two years. To establish a minimum of 5 branches by 2020. Chicken at Baboy Brief history of the business A group of BM studens from DLSU-M saw a great potential in franchising and they were encouraged by their professor to pursue the venture. A few of them started to notice Chic-boy in a commercial center in Alabang. It was a relatively new establishment, yet a lot of customers were entering it.This made the group curious and after some research, they have finally decided to get a franchise of Chic-boy. They thought that it was a good opportunity for them, because they can put the franchise in more desirable locations in Metro Manila. Definition of the Market Fast Food Restaurant (aka Quick Service Restaurant) – limited menu establishment which lends itself to production line techniques of producing food that is served packa ged for immediate consumption, on or off the restaurant premises. (Franchise Direct. com, n. d. , para. 3).Fast Food Industry – can be assessed as overly saturated because of the countless establishments competing for dominance Established brands make it hard for prospective entrepreneurs to enter the industry with a new product or service Chic-boy provides a new concept which may tap the unexplored portion of the fast food industry as it still holds some potential growth and success for newcomers. Its concept integrates the best qualities of the leading fast food chains today The franchise will target the B, C, and D market of the Philippine population.Students and employees with a strict budget for food but still crave for rich-tasting Filipino food that will fill their bellies to the rim will find what they are looking for in Chic-boy. A budget of around PhP 50 to PhP 100 will surely satisfy one's hunger Currently, Chic-boy has no significant share in the fast food market but it is slowly gaining foothold with 4 take-out stores and 10 dine-in stores, 9 of which are franchises. 10 more are under construction all over Metro Manila, and 4 of these will be serving 24/7.Description of Products ; Services Product: Chic-boy Started on 2008 and became franchisable November the year after, Chic-boy is relatively new in the market. Registered under the Philippine Franchise Association (PFA) which certifies that it is legal and all its documents are complete. Chic-boy's concept is integrating into one fast food restaurant the best qualities of the leading fast food chains today such as the best-selling chicken inasal, lechon manok and liempo together with the ever popular unlimited rice. It highlights the most popular Filipino dishes that is best suitable for a fast food setting.Cebu Lechon Manok Cebu Lechon Liempo Chibog Busog Meals Chiquito Meals Magandang Umaga Meals Sizzling Specials Soup Merienda Side Orders Extras Desserts Drinks Chic-Boy Menu Organizatio n and Management Company Structure Organizational chart of Partnership and the Chic-boy franchise †¢Partnership consists of 5 partners †¢Two general partners – oversees the overall operations of the franchise †¢Three limited partners – are consulted by general partners from time to time †¢Partners receive equal share of earnings †¢As an incentive, general partners receive salaries for their time, effort and resource spent in the operations Company Structure †¢Business Permit †¢Mayor’s permit †¢BIR permit †¢SEC registration Form (for partnership) †¢Insurance †¢Barangay Permit †¢DOLE permit †¢DOH-BFAD Accreditation Special Licenses and Permits Brief Bio of Key Managers Shekinah Bonite †¢A current student of De La Salle University-Manila under the Business Management program †¢Born September 21, 1991 †¢Eldest among four siblings Noel Aguilar †¢A current student of De La Salle Unive rsity-Manila under the Business Management program †¢Born November 14, 1989 †¢Youngest among four siblings Marketing and Sales B,C,D market Young and old Filipino food one to 3 years of operations -> exponential Growth after the third year -> Gradual increase this is due to the ecline in demand of the customers Growth and Projection Channels of Distribution Main supplier: Franchisor Provides all raw materials Start up cost: 3,500,000 to 5,000,000 Inclusive of the ff: trade name and propriety marks chic boy business model site assessment, design and construction assistance management manual training programs Procurement program IT support Marketing and Pre and Grand and Post opening assistance Term of the franchise: 7 years Franchise fee: 500,000 Renewal of the contract: 50% of the prevailing franchise fee Royalty fee: 5% of gross sales Marketing and advertising fee: 2% of the gross sales ROI: 2 to 2. 5 years Aguilar. Araneta. Bonite. Piad. Vergara THANK YOU! New business m odel developed by Pier One Bar and Grill Holdings Corp. Combination of the Lechon Manok and Liempo from Cebu and the Chicken Inasal from Bacolod. Opened its first branch in Marikina on September 2008. Currently has: Four branches of Chic-Boy take-out stores. company-owned, 1 franchised. Ten dine-in branches. 1 company-owned, 9 franchised. Business Description and Vision About Chic-Boyâ„ ¢ Marketing and Sales Price Prices are very affordable. Because the target market is the B, C and D the prices that are set will fit in their budget. The class A market can also afford it if they wish to try it out. Prices range from P49 to P99 for individual meals. P100 to P200 for Lechon Manok and Liempo. Product Offers a variety of Filipino cuisine, with a different kind of flare. Can quickly be served. Menu is diverse, customers can choose from a wide range of dishes. Quality and value for the customer’s money.Place Most of the franchises are located in other places of NCR, such as Las Pinas and Mandaluyong. There is only one Chic-boy branch in Paranaque as of now. Owners strategically chose Sucat as the location where they will put their establishment because of the foot traffic. Promotion Reliant on word of mouth for advertising since Chic-boy is new to the market. Franchisor may opt to launch print, TV, and radio advertisements soon, none as of now. Soruce:Chic-Boy Chicken at Baboy. (2010). About Chic-Boy. Retrieved February 22, 2010 from http://www. chic-boy. com. ph/about. html Soruce:Chic-Boy Chicken at Baboy. (2010). Chic-Boy Menu. Retrieved February 22, 2010 fromhttp://www. chic-boy. com. ph/about. html Financial Management