Exam Essay Example | Topics and Well Written Essays - 6000 words

Exam - Essay Example Analyze the options, select what you believe is the best option and formulate your proposed design to collect primary and/or secondary reliable and valid data to address your research question. 2. CORE CURRICULUM: Examine and critically analyze the seminal works on leadership and/or management related to your research topic. Drawing from this work and the broader literature you have read, address the contributions and the shortcomings of academic and practitioner research surrounding your topic, and clearly articulate the particular contribution that your research will address. Include a discussion of generalizability of your findings to related research contexts and/or questions. 3. CONCENTRATION CURRICULUM: Drawing from the recent literature in your chosen concentration (generally within the last three years), evaluate the unique contributions and/or extensions of your research question to the discipline. Draw from your personal experience as well as the greater body of literature to address the intersection of the seminal work discussed in question 2 with the current state of concentration literature and the chosen research question. SMEs are an important foundation of business activity in the Thai economy representing over 99% of the country’s businesses. The government is keen to support SMEs because of the potential economic and social benefits, and it has therefore devised several support initiatives. Various success factors are identified in addition to government support such as leadership and management skills, organizational culture and technology. After considering the three approaches to research methodology, it is decided that a mixed-method would be suitable because there is valuable data that can be collected and at the same time, more insightful qualitative information can be obtained. The descriptive research design will involve a survey to identify certain characteristics of SMEs and further research to

The Automobile Industry in the US in 1920s Essay

The Automobile Industry in the US in 1920s - Essay Example In 2009, China successfully challenged its position, taking over as the second largest producer. Currently, America stands third in mass production of automobiles [1]. At the onset of the American automobile industry, a large number of manufactures came on the scene, and vigorously vied for the domination of the local market. However, towards the end of the 1920s, only three major companies had managed to control the market. Ford, General Motors, and Chrysler were the big players in the country. These companies continued to thrive strongly, even after the Great Depression and the advent of the World War 2. In the 1970s, a mishmash of rocketing oil costs, fervent competition from foreign brands, and tightening government laws greatly affected the companies negatively. From then on, the companies experienced widely fluctuating fortunes, but by 2008, the business was undergoing severe havoc. This resulted to the fall of General Motors and Chrysler, who had to file for bankruptcy. The Fo rd Company managed to stay afloat all through these trying periods, and is currently gaining momentum to regain its lost glory [2]. The Ford Company came into being from the original idea of its owner and founder, Henry Ford. Currently, the company stands second among the world’s biggest automobile producers. The multinational conglomerate is now currently worth about $167 billion dollars. Though the company specialized in automobiles, it now also runs Ford Credit, a venture that rakes in around $3 billion dollars annually. In addition, it also possesses The Hertz Corporation, which is the biggest car-rental company in the world. The corporation now produces a wide range of vehicle brands. These include Ford, Mercury,... This essay discusses the automobile industry, that is a huge part of the engineering sector and is involved in the devising, growth, production, and selling of vehicles. It is one of the major industries in the world in terms of economic worth and revenue. The definition of the industry, though broad, is limited to the production and sale of automobiles, and does not include after-sales services like repair and maintenance. The industry is laden with events and milestones that marked its start and evolution to what it is currently. Firstly, the researcher dicusses the onset of the American automobile industry and mentiones companies, such as Ford, General Motors, and Chrysler, that were the big players in the United States in the 1920s. The researcher discusses the Great Depression that happened in the late 1920s and severely depleted General Motors’ financial strength. This was what that gave the Ford Company a much-needed lifeline. The General Motors’s market share al l but disappeared, thereby greatly depleting its income avenues. The market stake of the Ford Company shot up drastically. In conclusion, the researcher states that Ford company managed to survive through the trying times mainly due to the backing of its continuous perfect performance of its financial services sector. However, reclaiming its position as the world’s biggest automotive producer is not an easy task. The frequency of changing technology and fluctuation of markets will certainly be a problem for most companies.

Types of Sampling Essay Example for Free

Types of Sampling Essay * How do we decide which to use? * How do we analyze the results differently depending on the type of sampling? Non-probability Sampling: Why dont we use non-probability sampling schemes? Two reasons: * We cant use the mathematics of probability to analyze the results. * In general, we cant count on a non-probability sampling scheme to produce representative samples. In mathematical statistics books (for courses that assume you have already taken a probability course): * Described as assumptions about random variables * Sampling with replacement versus sampling without replacement What are the main types of sampling and how is each done? Simple Random Sampling: A simple random sample (SRS) of size n is produced by a scheme which ensures that each subgroup of the population of size n has an equal probability of being chosen as the sample. Stratified Random Sampling: Divide the population into strata. There can be any number of these. Then choose a simple random sample from each stratum. Combine those into the overall sample. That is a stratified random sample. (Example: Church A has 600 women and 400 women as members. One way to get a stratified random sample of size 30 is to take a SRS of 18 women from the 600 women and another SRS of 12 men from the 400 men.) Multi-Stage Sampling: Sometimes the population is too large and scattered for it to be practical to make a list of the entire population from which to draw a SRS. For instance, when the a polling organization samples US voters, they do not do a SRS. Since voter lists are compiled by counties, they might first do a sample of the counties and then sample within the selected counties. This illustrates two stages. In some instances, they might use even more stages. At each stage, they might do a stratified random sample on sex, race, income level, or any other useful variable on which they could get information before sampling. How does one decide which type of sampling to use? The formulas in almost all statistics books assume simple random sampling. Unless you are willing to learn the more complex techniques to analyze the data after it is collected, it is appropriate to use simple random sampling. To learn the appropriate formulas for the more complex sampling schemes, look for a book or course on sampling. Stratified random sampling gives more precise information than simple random sampling for a given sample size. So, if information on all members of the population is available that divides them into strata that seem relevant, stratified sampling will usually be used. If the population is large and enough resources are available, usually one will use multi-stage sampling. In such situations, usually stratified sampling will be done at some stages. How do we analyze the results differently depending on the different type of sampling? The main difference is in the computation of the estimates of the variance (or standard deviation). An excellent book for self-study is A Sampler on Sampling, by Williams, Wiley. In this, you see a rather small population and then a complete derivation and description of the sampling distribution of the sample mean for a particular small sample size. I believe that is accessible for any student who has had an upper-division mathematical statistics course and for some strong students who have had a freshman introductory statistics course. A very simple statement of the conclusion is that the variance of the estimator is smaller if it came from a stratified random sample than from simple random sample of the same size. Since small variance means more precise information from the sample, we see that this is consistent with stratified random sampling giving better estimators for a given sample size. Return to the top. Non-probability sampling schemes These include voluntary response sampling, judgement sampling, convenience sampling, and maybe others. In the early part of the 20th century, many important samples were done that werent based on probability sampling schemes. They led to some memorable mistakes. Look in an introductory statistics text at the discussion of sampling for some interesting examples. The introductory statistics books I usually teach from are Basic Practice of Statistics by David Moore, Freeman, and Introduction to the Practice of  Statistics by Moore and McCabe, also from Freeman. A particularly good book for a discussion of the problems of non-probability sampling is Statistics by Freedman, Pisani, and Purves. The detail is fascinating. Or, ask a statistics teacher to lunch and have them tell you the stories they tell in class. Most of us like to talk about these! Someday when I have time, maybe Ill write some of them here. Mathematically, the important thing to recognize is that the discipline of statistics is based on the mathematics of probability. Thats about random variables. All of our formulas in statistics are based on probabilities in sampling distributions of estimators. To create a sampling distribution of an estimator for a sample size of 30, we must be able to consider all possible samples of size 30 and base our analysis on how likely each individual result is. Return to the top. In mathematical statistics books (for courses that assume you have already taken a probability course) the part of the problem relating to the sampling is described as assumptions about random variables. Mathematical statistics texts almost always says to consider the Xs (or Ys) to be independent with a common distribution. How does this correspond to some description of how to sample from a population? Answer: simple random sampling with replacement. Return to the top. Types of Graphs - Line Graphs Comparing various sets of data can be complicated, but line graphs make it easy. The plotted peaks and dips on the grid allow you to monitor and compare improvement and decline. Scientists use line graphs all the time, as do all types of professionals and students. Learn more about line graphsà ¢Ã¢â€š ¬Ã¢â‚¬ the most popular type of graph. - Bar Graphs Pleasing to the eyes, bar graphs compare data in a simple format consisting of rectangular bars. With a few varieties to choose from, settling on the right bar graph might be confusing. Should you go with a horizontal, vertical, double or group bar graph? Read on to find out. - Pictographs You first encounter pictographs during childhood and bump into them all through lifeà ¢Ã¢â€š ¬Ã¢â‚¬ at school, work, and all over magazines and on TV. These diagrams, which use small picture symbols to compare information, are a media favorite; statisticians, though, do not share the sentiment. Find out why, and learn more about the uses of pictographs. - Pie Charts Simple to make and simple to understand, a pie chart is a popular form of data comparison, consisting of a circle that is split into parts. When should you use pie charts, and when should you not? Learn about their advantages and disadvantages, and get some tips on making pie charts. - Cosmographs A cosmograph is a type of chart that shows comparisons. In doing so, it makes life and work easier. If you want to prepare an input-output model for your organization, or compare the features of a geographical region through a simple visual, cosmographs come in handy. Find out how a cosmograph can help you. - Organizational Charts These diagrams represent the relationships between the different positions and ranks of a company through a series of boxes that go from top to bottom and side to side. Not only does anorganizational chart add order and structure to an organization, but it also shows if changes are needed. Get more information on organizational charts. - Flow Charts When projects seem overbearing and processes seem complex, flow charts can save the day by break things down into smaller steps and giving you a clearer idea of the overall process. Shapes are typically used to represent the components of a flow chart. Find out what these shapes represent and learn more about flow charts.

Wizard of Oz Analysis Essay

Wizard of Oz Analysis Essay When I was five years old, my family gathered around the T.V. on a snowy Sunday night and watched a special presentation of The Wizard of Oz. Shortly thereafter, I picked up L. Frank Baums The Wonderful Wizard of Oz  [1]  and was hooked. I read every Oz book that I could find at the public library. Nearly twenty years later, I picked up The Wonderful Wizard of Oz again and found a subtle depth which I did not expect, especially through the feminist lens. Both the book and the film are well-suited for a feminist critique because of Dorothy, the female heroine, and other important female characters. While Baums novel presents a relatively progressive view of women, the 1939 MGM adaptation of the book portrays women as weak and best suited for domestic life through the weakening of Dorothy as a character, the emphasis of Dorothys desire to get home, the dream motif, and the elimination of important female characters. The Wizard of Oz is one of the most important cultural texts of the twentieth century. MGMs movie was an instant hit: and, afterward, thanks to annual prime time television showings, more people have seen it than any other motion picture ever made (McClelland 13). The Library of Congress even included The Wizard of Oz with 24 other films that it declared to be national treasures (Rahn 109). Even with the immense popularity, the film was not met with universal critical acclaim when it was released. Raylyn Moore documents that many critics gave the film scathing reviews. She adds her own assessment: Throughout, the production seesaws alarmingly between the sentimental and the grotesque, the very pitfalls Baum so scrupulously avoided in his first Oz book (Moor 90). Like the film, Baums novel has received its fair share of criticism. Suzanne Rahn chronicles the history of the books reception throughout the century following its publishing. Most people wouldnt hesitate to call [The Wonderful Wizard of Oz] a classic of American childrens literature. Yet if a childrens classic can be defined as a book that is admired by critics and loved by children, then [The Wonderful Wizard of Oz] belongs in a peculiar category of its own. Enthusiastically received by the first reviewers, the Oz books fell into such disfavor with childrens librarians 30 years later that they were systematically purged from library collections. [. . .] Then, in the 1970s, the pendulum swung again. The last 20 years have seen a renewed acceptance and appreciation of the Oz books, accompanied by critical analyses from the full gamut of perspectives-political, economic, spiritual, feminist, and psychological. The MGM film version of The Wizard, too, has received careful study and increasing respect. Yet reservations are still expressed; while no one today would deny the cultural importance of The Wizard, its quality as literature remains somewhat in doubt. (12) As Rahn illustrates, even works that have dubious literary merit often merit scholarly analysis. Arguably, the diversity of critical perspectives applied to the study of the text and film in the scholarly community speak to the value of the works as art forms. Regardless of any particular readers or viewers personal response to the film or the text, both have shown sufficient cultural influence to deserve closer scrutiny. Both the novel and the film lend themselves extremely well to a feminist examination of the texts. While it may seem odd to apply feminist theory to childrens literature, gender issues are often blatantly represented. As Lizbeth Goodman writes, If we take a [. . .] look at some of the most popular childrens story books, we can quickly see that gender inequalities are represented there (16). Goodman also notes that our first experiences with language often come through the medium of childrens books and that these books can have a powerful impact on how we conceptualize the world around us (16). Additionally, the life of Frank Baum strongly suggests the appropriateness of a feminist reading. Baum was a vigorous political supporter of the womens suffrage movement (Dighe 6). His wife also came from a family of womens rights activists. Her mother even wrote a book about the history of the suffrage movement (Moore 50). It is apparent in Baums Oz books that he consciously deals with gender roles. Baums sequel to The Wonderful Wizard of Oz is a blatant satire of certain strands of the womens suffrage movement (Huebel 35). S.J. Sackett examines [Ozs] value system and detail and sees there respect for individual freedom and nonconformity, the absence of militarism, equality of the sexes, [etc.] (Rahn 20). But perhaps the most compelling reason to look at feminism in both the book and the film is the preeminence of female characters (Moore 119). While both the novel and the film have many of the same important female characters, the film systematically portrays a more oppressive and sexist vision of women than Baum does in the original text. This is evidenced, most obviously, through the portrayal of Dorothy. In the novel, Dorothy is portrayed as a very strong, brave, resourceful six-year-old. Moore gives the following description: To the Wizards thundering I am Oz the Great and Terrible . . , she firmly replies, I am Dorothy, the Small and Meek . . , but she is not really meek any more than the Wizard is really terrible. Faced with getting back home to Kansas, she sets about it with implacable determination. And when the Wizard makes it a condition of his helping her that she destroy the second witch, she sets out immediately to do it, even though she does not want to destroy anyone or anything. (154) Dorothy is also very independent. She meets adults like the Good Witch of the North and the Munchkins who cannot help her, but she continues on her journey. In the book, it is her idea to wear the shoes (silver, not ruby-red) as she travels because she figures that they do not run the risk of wearing out (Rahn 58-59). Additionally, Rahn illustrates how Dorothy serves as an Everyman for children to follow: [. . .] Dorothy is not merely an Everyman but a model for children to emulate. [. . .] She is sensible, friendly, helpful, brave without being foolhardy, deeply attached to her friends and family, and resolute in pursuing her goals. She does not change dramatically in the course of the journey, for this is not the course of someone who badly needs to change (like Bilbo in The Hobbit or Mary Lennox in The Secret Garden) but a story of self discovery, in which Dorothy comes to realize her own potential by the journeys end. In this interpretation, the Scarecrow, the Tin Woodman, and the Cowardly Lion represent not only the friends we all need to help us on our way but also the qualities Baum felt were most essential for the traveler-qualities that Dorothy is to find within herself. (57) Dorothy is the true heroine in the novel. She is the one who holds the band of travelers together. She is a very strong female character throughout the text, notwithstanding periodic moments of weakness. In the MGM adaptation, however, Dorothy is portrayed as a weaker character with moments of strength. Arthur Freed, who worked on the film, had a lot to say in the conscientious decision to weaken Dorothys character. Michael Hearn writes in his introduction to the screenplay: But the chief weakness so far, according to Freed, was the lack of a solid and dramatic drive of Dorothys adventures and purposes that will keep the audience rooting for her throughout her trip to Oz. Freed [. . .] demanded that Dorothy have a deep-rooted psychological need back home that would justify her actions in Oz. [. . .] There she is motivated by her generosity to help everyone first before her little orphan heart cries out for what she wants most of all (the love of Aunt Em)-which represents to her the love of a mother she never knew. [. . .] Consequently Dorothy in the film became far more weepy than Baums practical, determined girl from Kansas. (12) Judy Garlands portrayal of Dorothy is considerably more helpless than Baums character. In the film, Dorothy is held a helpless prisoner by the Wicked Witch of the West. She can do nothing for herself until her male friends, the Scarecrow, Lion, and Tin Woodman come to save her as she sobs. When Dorothy defeats the witch, it is because she accidentally douses her with water while trying to splash Scarecrow. The book portrays a much stronger and proactive heroine. Baum has the Scarecrow helplessly scattered across the land, the Tin Woodman dashed to the bottom of a rocky ravine, and the Lion helplessly harnessed in her courtyard. Dorothy engineers her own escape by purposefully throwing water onto the witch. While Dorothy did not know this would kill the witch, her subsequent actions show her as a brave heroine. Moore helps to interpret Dorothys actions. In a struggle over Dorothys magic shoes, of which the wicked sorceress knows the worth while Dorothy does not, [. . .] that water is spilled over the girls enemy, who is at the time also her captress. The witch promptly melts away Like Brown sugar before her very eyes. But practical, self-reliant Dorothy is not one to waste time in pointless hysteria. . . . The Witch fell down in a brown, melted, shapeless mass and began to spread over the clean boards of the kitchen floor. Seeing that she had really melted away to nothing, Dorothy drew another bucket of water and threw it over the mess. She then swept it all out the door. After picking out the silver shoe, which was all that was left of the old woman, she cleaned and dried it with a cloth and put it on her foot again. (154) Dorothy then proceeds to free the Lion and orchestrate the rescue of the Scarecrow and Tin Woodman (109-111). Dorothy is unequivocally the hero in Baums novel. Additionally, Dorothy is further weakened as the dominant female character in the film by her exaggerated desire to return home. While the book contains this same motivation and even includes the phrase, Theres no place like home, this becomes a dominant motif in the movie. As Harmetz explains: Dorothys urgent desire to get home was a part of L. Frank Baums book. (Understandably, since in the book, unlike the movie, the cyclone that picked her up was not fulfilling any wish on her part.) But the movie, by design, inscribed that theme with a hatchet. Be it ever so humble, theres no place like home was a truism and a moral lesson on which L.B. Mayer, Mervyn LeRoy, and Arthur Freed wholeheartedly agreed. (298) Because the movie purposefully portrays Dorothy as trying to escape her Kansas farm, her insistence that she return home as soon as possible sends an even stronger message: women leaving the home is a mistake, and while it may lead to colorful adventures, women are happiest when they are at home. This message is hammered in at the end of the film when Glinda explains to Dorothy why she didnt tell her about the shoes at the beginning. Because she wouldnt have believed me. She had to learn it for herself. At this point, the Tin Man asks, What have you learned, Dorothy? Dorothys response is revealing. Well, I . . .think that it . . . that it wasnt enough just to want to see Uncle Henry and Auntie Em . . . and its that if I ever go looking for my hearts desire again, I wont look any further than my own backyard; because if it isnt there, I never really lost it to begin with! Is that right? Glinda replies, Thats all it is (Hearn 128). The reason that Glinda didnt help Dorothy in the first place is because Dorothy didnt yet understand that her place is in the home. The film sends the clear message that true happiness for women lies in the domestic realm. Baum in his books, however, creates a place for Dorothy both in Kansas and in repeated visits to the Land of Oz. Additionally, the good witch at the beginning of the book doesnt tell Dorothy about the charm of the shoes because she, herself, does not realize the charm; she does not intend to teach Dorothy a lesson. The biggest change made in the film adaptation from the book also serves to entrench this anti-feminist mindset. In the book, Dorothys trip to Oz is very real. The house is actually carried away. When Dorothy returns, Uncle Henry and Aunt Em are surprised to see her. They have already built the new farm house to replace the old one (154). This realness of Dorothys experience in a different world is what makes The Wonderful Wizard of Oz a fantasy. The film effectively eliminates the elements of fantasy from their text, changing the fantastical experience, instead, to a psychological dream. The writers reasoned that, you cannot put fantastic people in strange places in front of an audience unless they have seen them as human beings first (Harmetz cit. in Rahn 124). This decision invalidates Dorothys entire experience in Oz. Rahn describes the critical response, saying: Most critics-and nearly every child who sees the movie-agree that the worst mistake was to explain away Dorothys adventures and Oz itself as a dream. As art, says Harmetz, The movie is flawed by its sentimentality, by its cheerful insistence that east, west, home is best, and by the decision to void Dorothys experience by making it into a dream (229). [. . .] Whatever the film may have suggested about the power of dreams and aspirations, the journey through life, or the discovery of ones own potential is effectively invalidated by this ending. (124) In a sense, Dorothys journey and watered down accomplishments become a counterfeit. The viewer has no reason to believe that Dorothy could survive outside of Kansas in the real world. Additionally, the dream viewed as an expression of Dorothys psyche presents an even more damning view to the potential of women to be strong and solve their problems. Nathanson suggests that a psychoanalytic approach is appropriate in dealing with The Wizard of Oz. It seems clear that The Wizards dream sequence can be interpreted psychoanalytically in terms of growing up (78). When we look at the dream from this perspective, it is clear that the central conflict shifts from Oz in Baums novel to Kansas in the film. Dorothy is not really struggling against witches, flying monkeys, and an incompetent wizard. She is struggling against Mrs. Gulch who wants to take her dog and her desire to escape the dreariness of the Kansas farm. Hence, fight for her independence and the fight for Toto become the two main conflicts in the film. In regards to the first, her dream serves to convince her to stay at home in the domestic role prepared for her by Aunt Em who even tries to keep her from coming near the pig pen, let alone the outside world. In her struggle with Mrs. Gulch, Dorothys victory is fleeting. While the movie ends with Dorothy in possession of Toto, Mrs. Gulch still has the sheriffs order and legal recourse to have Toto put to sleep. In this sense, Dorothys subconscious desire to stay in the domestic confines of the farm is so great that she sacrifices her love for Toto. Where Dorothy is unquestionably victorious in the book and gains strength and wisdom, the films portrayal of her experience as a dream leaves her the ideal woman: a more submissive, ineffectual version of herself. Finally, the films elimination of important female characters from the book devalues the contributions of women in Oz. In the book, there are initially four witches: two good and two bad. The movie condenses the characters of the two good witches into one good witch Glinda. In the book, there is a queen of the mice who plays a critical role in helping the travelers achieve their goals. She is completely omitted from the film. Finally, there is a female stork who rescues Scarecrow from a river. Dighe contends that the stork is symbolic for Baums support of the womens suffrage movement (74). While the elimination of these important female characters arguably gives the film needed directionality, it severely limits the number of major female characters, shifting the balance of power towards the men in the film. The three remaining female main characters all paint an anti-feminist picture. Dorothy, as discussed, is a weakened heroine who sacrifices her dreams and battles for domestic lif e. The Wicked Witch of the West is the only female character who is powerful in the movie and in the real world of Kansas. Ironically, she is portrayed as the stereotypical strong woman: unnatural and evil. Glinda, the one good witch, is the only major character who does not represent an actual person from Kansas. The implication is that women who are powerful and good are imaginary; they do not exist in reality. While the popularity of The Wizard of Oz both in text and film amongst readers and viewers of all ages is almost uncontested, the quality of each of works of art remains debatable. It is clear, however, that gender issues permeate both the novel and the film. While L. Frank Baums book is not the model of feminist equality judged by modern standards, it portrays a world in which good and powerful women exist and where determined and resourceful little girls can accomplish extraordinary things. He illustrates that there is a place for women in both the world of the home and in the world outside the home, just as there are for men. Even though the film was released 39 years after the publication of the novel, its adaptation represents a regressive approach to gender equality through its portrayal of Dorothy, its glorification of domestic life for women, its representation of Oz as a dream, and its elimination of key women from the novel. Which raises the question: why, in our society, s o progressive concerning gender and gender roles, are we still so drawn to MGMs backward film?

Eulogy for my Loving Mother :: essays research papers

Good afternoon, let me just start by saying that the kindness, support, friendship, and love extended to me and my family during this difficult time has really touched my heart- we are sincerely appreciative! During the last moments of my mother’s life she was surrounded by loved ones, as she slowly slipped away into the morning with grace and peace. I can’t begin to express how hard it is for me to stand here before you and give my last respects to my loving mother - name here. From the biography that was handed out you can recall that during the her early years in the united states she studied and worked in New York where she met and married my dad, the love of her life. They spent the rest of their days loyal and in love with one another. Unfortunately, one day my father passed away with cancer at a young age. My dad was the one who suffered the most, but my mom suffered right along with him. She felt powerless, and for my mom- powerlessness turned in to guilt and grief, a painful distress she lived with on a daily basis for the next six years. When he died part of her died! Life for her was never the same again. I was not able to completely understand her loss- until now†¦ Throughout my life my mom has always been selfless and generous- especially when it came to her children and grandchildren†¦ ever putting her self last! SHE WAS MY EVERYTHING†¦ Unlike my sister, I was the one that gave my parents their grey hair†¦ It took me longer than most to mature, and the truth is- that’s putting it mildly. Yet through all the ups and downs, and all the times I would end up disappointing her expectations of me, one thing NEVER changed and that was her belief in me†¦ because of her unconditional love I am the person that I am today†¦ her reassurance and patience made all the difference. Because of her active involvement in my life and Eileen’s she became known to our friends as â€Å"Mama†. Where ever we would go- she would go with us, that’s just the way it was†¦ she got so close to our friends that they formed their own friendship with her.

The Life of Ludwig Van Beethoven :: Biographies

The Life of Ludwig Van Beethoven The rise of Ludwig van Beethoven into the ranks of history's greatest composers was paralleled by and in some ways a consequence of his own personal tragedy and despair. Beginning in the late 1790's, the increasing buzzing and humming in his ears sent Beethoven into a panic, searching for a cure from doctor to doctor. By October 1802 he had written the Heiligenstadt Testament confessing the certainty of his growing deafness, his consequent despair, and suicidal considerations. Yet, despite the personal tragedy caused by the "infirmity in the one sense which ought to be more perfect in [him] than in others, a sense which [he] once possessed in the highest perfection, a perfection such as few in [his] profession enjoy," it also served as a motivating force in that it challenged him to try and conquer the fate that was handed him. He would not surrender to that "jealous demon, my wretched health" before proving to himself and the world the extent of his skill. Thus, faced with su!ch great impending loss, Beethoven, keeping faith in his art and ability, states in his Heiligenstadt Testament a promise of his greatness yet to be proven in the development of his heroic style. By about 1800, Beethoven was mastering the Viennese High-Classic style. Although the style had been first perfected by Mozart, Beethoven did extend it to some degree. He had unprecedently composed sonatas for the cello which in combination with the piano opened the era of the Classic-Romantic cello sonata. In addition, his sonatas for violin and piano became the cornerstone of the sonata duo repertory. His experimentation with additions to the standard forms likewise made it apparent that he had reached the limits of the high-Classic style. Having displayed the extended range of his piano writing he was also begining to forge a new voice for the violin. In 1800, Beethoven was additionally combining the sonata form with a full orchestra in his First Symphony, op. 2. In the arena of piano sonata, he had also gone beyond the three-movement design of Haydn and Mozart, applying sometimes the four-movement design reserved for symphonies and quartets through the addition of a minuet or scherzo. Having confidently proven the high-Classic phase of his sonata development with the "Grande Sonate," op. 22, Beethoven moved on to the fantasy sonata to allow himself freer expression. By 1802, he had evidently succeeded in mastering the high-Classic style within each of its major instrumental genres-the piano trio, string trio, string quartet and quintet, Classic piano concerto, duo sonata, piano sonata, and symphony. Having reached the end of the great

Biff Loman and Tom Wingfield Analysis Essay

Growing up is a major part of human life. For males, a strong father figure is imperative during childhood and adolescence. This is needed for the child to develop their father’s characteristics by learning from them and following in their father’s footsteps. However, two characters, lack a strong father figure and it affects them negatively. These two characters are Biff Loman, from Death of a Salesman and Tom Wingfield, from The Glass Menagerie. Both are affected differently by the deficiency of a father whom has favorable traits that would be salutary to both characters development. Instead they form the same unfavorable characteristics as their father. These traits cause them to begin to live in a fantasy world that their fathers also had lived in. For both characters, the lack of a strong father figure leads them to develop detrimental personality traits that ultimately distance them from their families and the ones that they love. In Death of a Salesman, the main character, Willy Loman is consumed by his false pretenses of what a real man should be. These illusions include how he believes that a real man is measured by how big his bank account is and how popular he is. Willy feeds these falsities into the mind of his eldest son, Biff, who believes them to be true since he looks up to his father so much. Biff would do anything to appease his father, but his whole world comes crumbling down when he realizes that his father has been unfaithful and has cheated on his wife. At this time Biff realizes that he has been living a fantasy due to all the hot air that his father has been feeding him, but it is too late and the damage has already been done. Biff has developed all of the same unwanted traits that his father had. Biff cannot work for anyone as he feels it makes him unsuccessful as his father had been. Also the confinement that his father has caused him leads him to want to escape from it all and he deserts his family to go out West. During the play he comes back but he meeting his father brings back up Biff’s upbringing and he realizes that he needs to escape from all the bad pretenses that Willy has feed him. In the sense Biff did not physically lack a father, but the fact that Willy’s characteristics were so detrimental to Biff show that Biff did in fact lack a characteristically sound father. In The Glass Menagerie, Tom Wingfield experiences a similar predicament as  Biff. In the play, Tom and his family are deserted by Tom’s father when Tom was young. This lack of a father shows to be nothing but detrimental to Tom’s development as a man. Tom begins to feel trapped in by his handicapped sister and over-bearing mother. He then realizes why his father left, to escape the unwanted pressure that the family has caused. Tom then begins to develop these same characteristics as his father. He wants to live his life like the ones that he sees in movies but he realizes that, like his father he needs to first escape from his current life, so he deserts his family in search for a better life for himself. Unlike his father though, he stayed as long as he could to try to put them in a better position and then he was going to leave. Even still, the characteristics he developed due to the lack of a father caused him to desert his family. Biff and Tom both lack a strong father figure in their lives. As a result they know nothing better and they are forced to develop the same unfavorable traits as their fathers. The results for both characters are different as both fathers have unique faults, but the main result is the same. This ultimate result is that both characters fall quickly from their fantasy world that have been instilled onto them by their fathers and they come to face the harshness that is reality. They cannot face this and they have to escape from it and desert their family. Glass Menagerie, Tennessee WilliamsDeath of a Salesman,Arthur Miller