Friday, August 28, 2020

Customs and Curtiousies Essay

Marine traditions are essentially alluring strategies endorsed by custom and utilization. In the Marine Corps, for all intents and purposes each custom has become out of the way wherein Marines of the past acted. Numerous Marine traditions have been joined into guidelines so as to normalize lead all through the Corps, however some of them can't be found in composed mandates. Knowing and watching these traditions, both composed and unwritten, is essential to every Marine since it keeps him aware of the legacy and customs of his Corps, and of his obligation to maintain them. What's more, it causes him to feel that he is a piece of the group and assists with making the solid obligation of devotion among him and every single other Marine that has become a distinctive characteristic of the Corps. Have you at any point asked why your child gets ready when they are playing the National Anthem when you are at a game? You may inquire as to why don’t you put your hand over your heart? Or on the other hand, for what reason would you say you are so firm? I realize I have gotten those inquiries. Loads of military traditions and cordialities go obscure to a huge segment of this Nation’s populace especially when individuals from our Corps quietly bey those revered customs while in regular citizen garments. Here is a short rundown of things you could conceivably know: The National Anthem. At the point when played, the administration part will prepare for action. Whenever shrouded while in uniform, the administration part will salute the National Ensign (our banner). It is additionally proper for the administration part to turn and face the banner during the playing of the National Anthem. The proper non military personnel activity is to put your correct hand over your heart stop while confronting the banner. Going of the National Ensign. It is fitting to render legitimate distinctions to the Nation’s ymbol by standing when the banner passes. You will see this at marches or during a Command Review. For Marines in uniform and secured, rendering a salute is additionally legitimate. The Salute. Its history goes back far and there are a few variants of why it exists. All hypotheses concede to a certain something, it is a politeness that is offered when two people pass, like the tipping of a cap to recognize the nearness of a woman. In the military, the salute is a welcome between an official and an enrolled part or between a Junior official and senior official. All administrations, to incorporate the Coast Guard, perceive saluting techniques. A few administrations apply various imperatives on when a salute is rendered. For instance, in the Marine Corps, a part will just salute while wearing a spread. In the Army, saluting in Physical Training dress is fitting albeit no spread exists. For all administrations, the salute starts with the Junior rendering the salute and the senior restoring the salute. The sir. This is additionally the suitable military welcome for Marines when not secured. Administration Songs. Administration melodies are as notable as the administration herself and most military coals invest wholeheartedly in hearing their tune played. For Marines, we consider our â€Å"Marine’s Hymn† to be a melody that tells our legend and for most, it makes us swell up proudly when we hear it. As needs be, we prepare for action when it is played. We likewise perceive our administration inside the Department of the Navvy and hence think that its fitting to render a similar respect to â€Å"Anchors Aweigh†. You will hear the two tunes played at formal settings, for example, a Sergeant Major Post and Relief or a Change of Command service. Fitting regular citizen activity during a help melody is to sit and tune in proudly. Obviously, we’d love to see you remain next to us and realize that you also are presumably growing with satisfaction for the love of your Marine. Marine Corps Birthday. One of the most well known Marine traditions is the recognition of the Marine Corps Birthday. Since 1921 the birthday of the Marine Corps has been authoritatively praised every year on 10 November, since it was on this date in 1775 that Continental Congress settled, â€Å"That two Battalions of Marines be raised†¦. † Over the years the Marine Corps Birthday has been commended in a wide assortment of ways, contingent upon the area and conditions of the Marine units. The festival includes the perusing of a passage from the Marine Corps Manual and a birthday message from the Commandant; the cutting of a birthday cake by the leader; and the introduction of the first and second bits of cake to the most seasoned and most youthful Marines present. As of late, the service for the recognition of the Marine Corps Birthday by enormous posts and stations has been joined into composed orders. Nautical Terms. A significant number of the Marine Corps customs are gotten from the numerous long stretches of administration above water. Indeed, even aground Marines usually utilize nautical terms. Floors are decks,† dividers are â€Å"bulkheads,† roofs, â€Å"overheads,† hallways, â€Å"passageways. † The request â€Å"Gangway! † is utilized to make room for an official aground, Just as it is above water. Among different terms in like manner utilization are: â€Å"two-block† - to fix or focus (as a tie); â€Å"square-away† †to effectively orchestrate articles or to take close by and coordinate an individual;† â€Å"head† †a restroom; â€Å"scuttle-but† - a water fountain, likewise an unverified talk. In the Marine Corps, the nautical articulation â€Å"Aye, Aye, Sir† is utilized while recognizing a verbal request. â€Å"Yes, Sir† and â€Å"No, Sir† are utilized in answer to coordinate inquiries. Yes, Aye, Sir† isn't utilized in answer to inquiries as this articulation is held exclusively for affirmation of requests. Revealing Your Post. A custom which influences the watchman is the way where a guard reports his post to the official of the day, or to the officials and noncommissioned officials of the gatekeeper. The standard system is for the guard to salute or come to introduce arms and state, â€Å"Sir, Private reports Post Number all safe. Post and requests continue as before. The same old thing to report. † This custom has practically general use all through the Marine Corps. It is an informal.

Saturday, August 22, 2020

Close Reading for Audience and Purpose Essays - Communication Design

Close Reading for Audience and Purpose Essays - Communication Design Close Reading for Audience and Purpose Key Terms: Crowd: characterized as the gathering of audience members or perusers for whom a book or message is proposed Reason: depicts the author's aims recorded as a hard copy a book, be they to engage, edify, convince, educate, assess, characterize, teach, explainor even trick. Essayist's and speakers need to impel a reaction from their crowd. Setting of Interpretation: alludes to the elements that can impact a peruser of a book, for example, time, spot, or individual experience. Setting of organization: alludes to the components that impact an essayist while making a book, for example, time, spot, and individual experience. Crowd So as to contemplate the connection between a book and the setting wherein it was composed, you have to know and comprehend the idea of crowd. Like listening in on a discussion, while breaking down writings for the course you have to fill in the holes and search for what is suggested. Writings are neither composed nor perused in a vacuum. Time and spot can impact how and why a book is composed and how it is deciphered. In the course you will look at writings where you will feel a separation among yourself and the target group (consider getting a magazine that objectives individuals with totally various interests that your own) While thinking about crowd, think about the accompanying inquiries: Who was the content composed for? How are you a player in or unique in relation to the intended interest group? Reason Authors need to make a reaction in their target group. In this way, every content has a reason. To decide reason, ask yourself the accompanying: What is the essayist's goal? For what reason did the author compose the content? Setting OF INTERPRETATION Perusers are frequently affected by the settings in which they read. They are influenced by their specific conditions and condition, just as their own history. This is known as the setting of understanding The setting of translation is the reason you may decipher a book uniquely in contrast to another person or why you may decipher it distinctively that the writer expected. Setting OF COMPOSITION Scholars, much the same as everybody, are influenced by their condition and their own encounters. Time, race, sexual orientation, nationality and family ancestry are a couple of elements that impact authors. Factors, for example, these are known as the setting of piece. As you read you should be a criminologist searching for bits of proof that mirror the setting of organization. These bits of proof are called relevant pieces of information. The figure beneath shows the connection between the setting of structure, the intended interest group, and the setting of understanding Setting OF COMPOSITION 3363162124968 Time and Place020000 Time and Place 14685265212100344606-20471600 6718585622100 327342535560 Writer020000 Author 140632216459009359904889500 296227551435 Text020000 Content 11899902159000 9810751676400 1261110106680 Point of Communication: otherwise known as Purpose020000 Point of Communication: otherwise known as Purpose 3455035133350 Time and Place of Target Audience020000 Time and Place of Target Audience344606-20471600 16757658699500 9359904889500 3105150118110 Target Audience020000 Target Audience 13265156413500 981075412750 1255395106045 Peruser's Placement of Text020000 Peruser's Placement of Text 3452751122918 Your Place and Time00 Your Place and Time 167145210203700344606-20471600 6700345870500 9359904889500 3084616125392 Text020000 Content 13265157048500 14065254381500 3357748160622 You020000 You Setting OF INTERPRETATION

Criteria For Essay Writing

Criteria For Essay WritingWriting a very good essay is an art that needs to be mastered in order to be written successfully. As you begin with your first essay, it is imperative that you review some criteria for essay writing in order to avoid making any of the common mistakes. It is also helpful to remember that the more detailed your research is, the more credible you will appear as a writer. The subject that you choose and how you phrase your ideas make all the difference.When you are done with writing your first essay, you should have a master's degree in the subject you choose to write on. Having this means that you understand the content inside and out. It is better to go with the topic that you know inside and out than to try to learn something about something that you are not quite sure of. For example, if you are writing about another country's history, it is easier to research it than to try to create a history with no understanding of it.Another of the criteria for essay w riting is that the essay should contain appropriate grammar. You should be able to keep the sentence structure straight and the grammar on point. A good essay will also demonstrate an ability to correctly use words such as 'the', 'and', 'but', 'and' and other commonly used words in their correct order.The writing style that you adopt for your essay must be able to convey the information that you want to convey. If your essay is not written in a conversational tone, but rather in a formal style, it will not be clear to the reader what you are trying to say. At the same time if you use the formal tone in your essay it will come across as boring and tiresome to read. This can make a reader take you more as a professor than a writer.Another important criteria for essay writing is the amount of information you have included within the essay. An essay should be able to stand on its own. You can use footnotes, sources, and even outline your points with one to two sentences of written text. Don't be afraid to give away some of the facts in your essay, so that the reader will be willing to continue with your ideas.You should also have something that you have decided to bring up in your essay so that you can present unique points to your readers. Don't just throw in your thoughts as you start writing your essay. You need to bring them to the forefront in order to make your essay stand out from the rest. Something that you could possibly think about to incorporate into your essay would be using humor to get your point across.Another of the effective criteria for essay writing is the number of sentences you use. Do not use too many sentences within a single paragraph. You should try to make each paragraph short and clear without having to go into large amounts of detail. Too much information can be overwhelming to a reader, so don't get bogged down in the details of your topic.One other thing to consider is the length of your essay. The last thing you want to do is confus e your reader with too much information. Too much information can make it difficult for the reader to determine if they should continue with your essay or not. Be sure to keep your essay simple but still provide your reader with enough information to continue with your ideas.

Friday, August 21, 2020

Belarus essays

Belarus articles On August 25, 1991 the Republic of Belarus picked up its freedom from the Soviet Union.The Republic of Belarus had perceived the city of Minsk as its capital. Landlocked in Eastern Europe, Belarus has a complete territory of 207,600 sq km, including no considerable water territories. Belarus has 3,098 km of fringe nearby 5 unique nations. Belarus is chiefly contained by and large of level land with a decent arrangement of marshland. This land can be jumped into 5 land utilizes: arable land 29%, lasting harvests 1%, perpetual fields 15%, timberlands and forest 34%, other 21% (1993 est.). Belarus for the most part has cool and clammy summers with cold and in some cases unforgiving winters. Belarus fundamental regular assets comprise of peat stores, backwoods, and little amounts of flammable gas and oil. Since Minsks freedom in 1944 its populace has consistently expanded from 50,000 to 1,672,000 individuals as (1995 est.), qualifying it as the biggest city in Belarus. Barring Minsk, Belarus top 5 urban areas by populace all together are: Homjel', Mahiljow, Vicebsk, Hrodna, and Brst (2001 est.). 99.9 % of all power in Belarus is delivered by n on-renewable energy sources while 0.01 % is hydroelectric. Every year, Belarus produces 24.911 billion kWh while the utilization of kWh is at 27.647 billion kWh, compelling Belarus to import 7.1 billion kWh, in spite of the fact that Belarus exports 2.62 billion kWh. The main ecological issues tormenting Belarus are soil contamination from unnecessary pesticide use and atomic aftermath in the south from the 1986 Chernobyl mishap. Belarus has a populace of 10,350,194, developing at a pace of - .15% every year. Belarus has a populace thickness of 50.10 individuals/sq km, at present positioned 147th on the planet. Belarus has a death pace of 13.97 passings/1,000 populace and a baby death pace of 14.38 passings/1,000 live births. Belarus proportions are: under 15 years: 1.04 male(s)/female ... <!

Perfect competition Essay Example for Free

Impeccable rivalry Essay A benefit maximiser builds yield until MC=MR at Q1. The convergence of MC with MR gives the benefit expanding level of yield. The crossing point of MC with MR gives the benefit amplifying level of yield. To discover the market value one must extend up from Q1 to the interest bend and over the vertical value hub, P1. Buyers are eager to pay P1 for Q1. Unit costs are just P2 so the firm is making an anomalous benefit of (P1-P2)*Q1. The four key attributes of restraining infrastructure are: (1) a solitary firm selling all yield in a market, (2) a remarkable item, (3) limitations on passage into and exit out of the business, and as a general rule (4) particular data about creation strategies inaccessible to other potential makers. These four attributes imply that an imposing business model has broad (boarding on complete) advertise control. Restraining infrastructure controls the selling side of the market. In the event that anybody looks to secure the creation sold by the restraining infrastructure, at that point they should purchase from the imposing business model. This implies the interest bend confronting the imposing business model is the market request bend. They are indeed the very same. The attributes of restraining infrastructure are in direct complexity to those of impeccable rivalry. An impeccably serious industry has countless generally little firms, each delivering indistinguishable items. Firms can uninhibitedly move into and out of the business and offer a similar data about costs and creation strategies. Single provider: The quintessence of an imposing business model is a market constrained by a solitary merchant. The most significant part of being a solitary vender is that the imposing business model merchant IS the market. The market interest for a decent IS the interest for the yield delivered by the imposing business model. This makes imposing business model a value producer, instead of a value taker. Remarkable Product: To be the main merchant of an item, be that as it may, a restraining infrastructure must have a one of a kind item. There are no nearby substitutes. A restraining infrastructure is an ONLY vender of a UNIQUE item. Boundaries to Entry and Exit : A restraining infrastructure is commonly guaranteed of being the ONLY firm in a market as a result of grouped hindrances to section. A portion of the key boundaries to section are: (1) government permit or establishment, (2) asset proprietorship, (3) licenses and copyrights, (4) high beginning up cost, and (5) diminishing normal all out expense. An imposing business model may likewise confront obstructions to leaving a market. On the off chance that legislature considers that the item gave by the restraining infrastructure is basic for prosperity of general society, at that point the imposing business model may be kept from leaving the market; Specialized Information Monopoly is usually portrayed by control of data or creation innovation not accessible to other people. This specific data frequently comes as legitimately settled licenses, copyrights, or trademarks. It could be a mystery formula or recipe. Maybe it is a novel strategy for creation. While these make legitimate boundaries to section they additionally show that data isn't superbly shared by all. Regular Monopoly Sometimes advertises become restraining infrastructures essentially on the grounds that it is more practical to have one firm serving a whole market than it is to have various littler firms contending with each other. Firms whose economies of scale are for all intents and purposes boundless are known as regular imposing business models, and the merchandise they produce are alluded to as club products. These organizations come to be restraining infrastructures in light of the fact that their size and position makes it incomprehensible for new participants to contend on cost. Characteristic imposing business models are normally found in enterprises with high fixed expenses and low minimal expenses of activity, for example, digital TV, phone, and internet services. Legitimate Monopoly Sometimes an administration will pass laws holding a particular exchange, item or administration for government offices. For instance, commonly an administration office will be responsible for running water. The lawful boundaries that are set up keep different organizations from contending with the legislature. Mechanical imposing business model happens when the great or administration the organization gives is has legitimate assurance as a patent or copyright. For instance, if an organization creates and licenses a medication to fix mind malignant growth, that organization has a legitimate imposing business model over that tranquilize.? Contentions for imposing business model : The helpful impacts of economies of scale, economies of degree, and cost complementaries on cost and yield may exceed the negative impacts of market power. Energize development.

Friday, July 3, 2020

Aaron and Othello Shakespeares Moorish Characters - Literature Essay Samples

While certain of William Shakespeare’s plays have so ingrained themselves into popular culture as to be ubiquitous, others are rarely performed or read and are, in fact, largely ignored. Shakespeare’s Othello, one of the former, and Titus Andronicus, one of the latter, are vastly different plays in setting and style, but their subject matter is much more similar than it first appears. Othello’s titular character is famously a Moor and generally depicted as black, despite debate over what exactly Shakespeare meant by â€Å"Moor.† Titus Andronicus also features a Moorish character, Aaron, but his characterization brings to mind more of Iago’s villainy than any traits of Othello’s. The ten-year separation between the writing of the two plays seems to have brought about an abrupt shift in Shakespeare’s characterization of the Moor, but the impact that this shift has on the differing notions of race and otherness within both works is immens ely complex. The characterization of Aaron in Titus Andronicus and Othello differ with regards to notions of masculinity, inherent barbarity, and animalism, but both plays highlight the â€Å"otherness† of their Moorish characters. In addition, both plays have strangely warped timelines and duration, which, although quite possibly mere coincidence, also contributes to the othering of Aaron and Othello. Although Aaron of Titus Andronicus and Othello are both most certainly Moorish characters, what is meant by â€Å"Moorish† is not abundantly clear. As Emily Bartels establishes in the introduction to her work â€Å"Making More of the Moor,† the term was used during the Renaissance interchangeably with a variety of other racially ambiguous words â€Å"to designate a figure from different parts or the whole of Africa (or beyond) who was either black or Muslim, neither, or both† (434). Much of early criticism on Othello denied that the character could be black (448) and was instead intended to be Arabic, but racial epithets hurled at Othello focus on blackness; Iago refers to him as â€Å"an old black ram† (1.1.88). Aaron’s skin color is also fixated upon throughout Titus Andronicus. He himself states that he â€Å"will have his soul black like his face,† while â€Å"a black ill-favoured fly† reminds Marcus and Titus painfully of â€Å"t he Empress’ Moor,† Aaron (3.1.204, 3.2.65-66). Both Aaron and the other characters in the play constantly call attention to skin color, but in Othello, Iago is the instigator of nearly all racial language (Bartels 447-48). Shakespeare’s Moorish characters are both black, and skin color plays heavily into the larger issue of power, and where it lies. Titus Andronicus, the earlier of the two plays, depicts a much more heavily stereotyped â€Å"barbarous† black character in Aaron, who is unabashedly and undeniably evil, than does Othello. Aaron â€Å"is the one character in this play whose malignant differentness is consistently recognized and easily categorized by all, including himself and his allies,† (Bartels 442) and indeed his malignancy is practically his only personality trait. Aaron, much like Othello’s Iago, exemplifies the brooding villain, often revealing his schemes to the audience through monologues or asides. Joseph Porter notes Aaron’s similarity with Iago in his linguistic examination of the texts, â€Å"Belleforest’s ‘Vn Escalue More’ and Othello.† He appears alone in 2.1 and summarizes the action of the first act, afterwards revealing his sexual intention â€Å"to wanton with† and â€Å"mount aloft with [Tamora],† newly made empress of Rome (2.1 .1-25). The lewdness of his lines here are typical of his racially charged depiction as a scheming villain, almost cartoonish to a modern audience. This near-cartoonish effect, however, is banished shortly thereafter when Aaron orders Demetrius and Chiron to â€Å"serve [their] lust, shadowed from heaven’s eye, / And revel in Lavinia’s treasury,† that is, to rape and mutilate Titus’ daughter (2.1.131-132). Aaron strews destruction across Rome and across Titus Andronicus, but â€Å"that [he] had not done a thousand more [heinous deeds] / Even now [he] curses the day† (5.1.124-125). Titus Andronicus is a play concerned with subverting sympathies and uprooting normalcy, but in its depiction of Aaron, it firmly cements a racial stereotype (Bartels 442). Shakespeare’s initial depiction of a Moorish character is one of undeniable and stereotypical barbarity and differs heavily from Othello, whose Moorish character is much more ambiguously depicted . Barbarity is far less racially cut-and-dry in Othello. Far from a barbarous figure, Othello is educated and worldly, and woos Desdemona with tales of his travels. However, much of the critical discourse surrounding the play is concerned with the ease with which Othello is persuaded to â€Å"monstrous thought and action,† as Emily Bartels puts it (448). â€Å"Valiant Othello,† as the Duke of Venice calls him, tells such compelling tales of his life and travels that Desdemona â€Å"with a greedy ear / Devours up [his] discourse† and â€Å"loved [him] for the dangers [he] had passed† (1.3.48, 148-49, 166). This is not a picture of a barbarous man, but Iago in his jealousy associates him with a devil (2.1.221), and thus with barbarity. In private, Iago turns Brabantio and Roderigo against Othello using racial associations with devils and â€Å"black rams,† but at court, where â€Å"at the least [Othello’s] martial prowess takes precedence over r ace †¦ Iago knows better than to demonize the Moor† (Bartels 448-449). Barbarity, here, is far less strongly associated with the play’s Moorish character than in Titus Andronicus. In addition, the idea that Othello has some inherent barbarism that eases Iago’s persuasion is refuted by Iago himself, who admits that Othello â€Å"is of a free and open nature / That thinks men honest that but seem to be so† (2.1.381-82). Although he claims to Roderigo that â€Å"these Moors are changeable in their wills,† implying Iago’s belief in Othello’s racial inferiority, Iago preys upon Othello’s apparently trusting nature, weakening the already faint association between Moors and barbarism (1.3.339). The contrast between the brave general Othello and the man who so easily falls prey to Iago’s deception draws attention to Othello’s otherness (Bartels 448) but he is less overtly othered by simple barbarism, as is Aaron in Ti tus Andronicus. Although similar to or perhaps simply a subcategory of barbarism, animalism is a separate trait associated with Moorish characters in both Othello and Titus Andronicus, and the language of animal traits merits a separate examination. The animalistic language used in both plays is more similar than that of barbarism, but is still distinct. Joseph Porter engages with the language of bestial traits in his article concerning the phrase â€Å"I took by the throat the circumcised dog,† present in Othello but not in Titus Andronicus, despite the fact that both works have Moorish characters, to whom the epithet is applied, and that the epithet originates in Titus’ source text (Porter 194). Despite this omission, the language of animalism is present elsewhere. As previously mentioned, Aaron is associated with â€Å"a black ill-favoured fly† that Marcus swats, and Titus is enraged at this waste of life until Marcus brings to mind the Moor, at which point Titus asks for a k nife, intending to â€Å"insult on him, / Flattering [himself] as if it were the Moor† (3.2.66-72). Additionally, although â€Å"circumcised dog† is absent from Titus Andronicus, Lucius compares Aaron to an â€Å"inhuman dog,† as well as a â€Å"ravenous tiger† (5.3.14, 5). Aaron’s method of execution also brings to mind the animal kingdom; he is buried â€Å"breast deep in earth,† head emerging from the ground like a worm, until he dies of dehydration, starvation, or exposure (5.3.178-182). In animalism, as in barbarism, Aaron’s association with such traits is somewhat simpler than Othello’s, and he is a more obvious racial stereotype of a Moor. The language of bestial traits, like that of barbarism in Othello, is largely found in the mouth of Iago, and typically in private or in asides. As Joseph Porter notes in his short work concerning the source text of Titus Andronicus, words and phrases from this source filter into Shakespeare’s Othello ten years later, particularly the epithet â€Å"circumcised dog† (Porter 195). Aside from this particular phrase on which Porter focuses, Othello is compared to â€Å"an old black ram† and is accused of being as willing â€Å"to tenderly be led by th’ nose / As asses are,† (1.1.88, 2.1.383-384). Iago, of course, utters both of these epithets. However, in the third act it might be said that Iago’s words begin to creep outwards to Othello himself, who â€Å"had rather be a toad / And live upon the vapour of a dungeon / Than keep a corner in the thing I love / For others’ uses,† that is, Desdemona’s love (3.3.274-277). Whether or not caused by association with Iago, Othello’s shift here to comparing himself to a toad is representative of his ongoing descent into jealous fever. Iago’s use of bestial and racial insults in private, although typically disapproved of in court, helps to turn other characters, like Brabantio and Roderigo, against Othello (Bartels 449). Compared to animalistic language in Titus Andronicus, it is significant that such speech is limited to Iago’s private moments alone or with specific other characters, and its effect is to less overtly associate Othello with the animal while still using this association to aid his downfall. Ever-present in Shakespeare’s plays, as well as Renaissance literature in general, is the obsession with cuckolding and masculinity, which of course intersects with depictions of race in Titus Andronicus. Although Othello is perhaps more concerned with issues of sexuality and masculinity, as suspicions of adultery drive the plot, such issues are also present in Titus Andronicus. Unlike Othello, who is convinced he is a cuckold, Aaron does the cuckolding in Titus. Tamora, with whom Aaron conducts an adulterous affair, compares their illicit romance to that of Dido and Aeneas. She begs Aaron to lie with her amidst the â€Å"yellowing noise† of the ongoing hunt in Act 2, Scene 3, as â€Å"the wand’ring prince and Dido once enjoyed / When with a happy storm they were surprised / And curtained with a counsel-keeping cave† (2.3.20-24). Further proof of Tamora’s liaisons with Aaron comes with the birth of her child, which the nurse delivers to Aaron and de scribes as â€Å"a joyless, dismal, black, and sorrowful issue / †¦ as loathsome as a toad† (4.2.66-67). The child, obviously, does not belong to Tamora’s husband, Saturninus, but to Aaron. Although Aaron has henceforth had little regard for human life, he murders the nurse and presumably the midwife to protect the life of his illegitimate child (4.2.140-167). In a turn somewhat incongruous with his previous characterization, Aaron spends the final act of the play carrying his infant son. This image of parent and child is commonly associated with femininity, somewhat upending Aaron’s hyper-masculine, adulterous image. In Titus Andronicus, he who cuckolds the emperor is in turn feminized by the result of his own adultery, his child. Masculinity is, as with many of these traits, much more complex in Othello. Iago preys on Othello’s fear of being cuckolded, which is the essential driver of the plot. Sexuality, and by extension masculinity, in Othello is an issue of power, just as race is also an issue of power (Bartels 447). Iago convinces Othello that he is a cuckold, but at the same time Iago’s private speech about Othello is hyper-sexualized, part of the Moorish stereotype that Iago attributes to Othello. Iago is convinced that â€Å"’twixt [his] sheets / [Othello] has done [Iago’s] office,† that is, had extramarital sex with Iago’s wife, Emilia (2.1.169-170). This, coupled with the fact that Othello has chosen Cassio for his lieutenant, affronting Iago’s masculinity, has lead him to â€Å"hate the Moor† (2.1.168). Iago’s insecure masculinity leads him to prey upon Othello’s equally insecure masculinity, of which Iago is well aware. Othello w oos Desdemona with his worldliness and tales of his travels, not with â€Å"loveliness in favour, sympathy in years, manners, and beauties, all which the Moor is defective in,† according to Iago (2.1.223-225). Iago is not the only character obsessed with Othello’s sexuality and masculinity; Brabanzio, Desdemona’s father, is also deeply concerned with Othello’s sexual conduct. He claims that Othello must have Desdemona â€Å"in chains of magic †¦ bound† for her to have married him (1.2.66) and he is outraged at the idea that she has lost her virginity to Othello, even though he is her lawful husband. Masculinity, it appears, is a toxic cycle. Iago perceives a threat to his masculinity and power and in turn convinces both Brabanzio and Othello of threats to their power, Brabanzio of the threat to his daughter and Othello that to his wife. Finally, and most tangentially, the representation of the passage of time in both Shakespeare’s Othello and Titus Andronicus, while perhaps merely coincidental, contributes to the otherness of the Moor. Othello’s â€Å"dual time schemes† are well known (Cohen 2096). Literally speaking, the events of the play take place in a matter of days and Othello murders his wife less than a week after their marriage, but he also accuses her of a long-standing affair with Cassio, which is impossible (2096). Similarly, the time frame of Titus Andronicus is ambiguous. Supposedly, Titus returns from the Gothic war with Tamora and Aaron in tow and in the same day Tamora marries Saturninus, becoming empress. Titus then requests that Saturninus join him in a hunt if â€Å"tomorrow †¦ it please [Saturninus] / To hunt the panther and the hart with [him]† (1.1.488-490). The action of this next day includes the murders of Bassianus, Quintus, and Martius, as well as the rape and mutilation of Lavinia. This day is also presumably the day of conception of Aaron’s illegitimate child with Tamora, as the audience sees their sexual banter throughout the hunt (2.1-3). There is no indication that Tamora is pregnant prior to this scene, and yet the child is born seemingly a few days later (4.2). The simplest explanation would be that there is a large jump in time from Act 3, Scene 1 to Act 3, Scene 2, but it would make little sense for the action of this and later scenes to take place conveniently nine months later. In 4.1, for instance, Marcus has Lavinia reveal the identities of her attackers by writing in the sand â€Å"without the help of any hand at all,† using her mouth and a stick (4.1.70). This is a fairly simple concept, one that would not likely take nine months to come to mind. The gestation period of Aaron’s child, it would seem, is a matter of days, just as it takes a mere forty-eight hours or so for Othello to be incited to mu rder his wife. This warping of time, although a small detail, endows Shakespeare’s Moorish characters with vague sub-human qualities, as though the temporal laws of humanity do not quite apply here. Through the interaction of his Moorish characters, Aaron of Titus Andronicus and Othello, with issues of barbarity, animalistic language, sex and masculinity, and temporality, Shakespeare depicts two characters that, although they are the same race, are very differently othered in their respective plays. Both characters stand outside of the power structures driving the plots of their respective plays, but are set apart from these power structures in different ways. For Othello, it is through issues of the masculinity of others that he is â€Å"othered,† and indirect and private accusations of barbarism and animalism separate him from power. In Titus, Aaron is more directly characterized as an ugly Moorish stereotype, set apart from the very beginning of the play and remaining apart throughout. He begins the play as a traditionally masculine figure but ends it as a caricature of a feminine mother figure holding an infant, separating him from what little power he has. Although O thello is a much more complex and well-known work, comparison to Titus Andronicus is valuable in showing the relative nuance with which Othello is depicted compared to Aaron. By modern standards, of course, both plays are incredibly racially insensitive, but Othello treats its Moorish character with more finesse than a modern audience would have cause to expect based on the precedent set by Titus Andronicus. Works Cited Bartels, Emily C. Making More Of The Moor: Aaron, Othello, And Renaissance Refashionings Of Race. Shakespeare Quarterly 41.4 (1990): 433. Web. Cohen, Walter. Othello. The Norton Shakespeare. William Shakespeare. 1st ed. New York: WW Norton and Co., 1997. 2091-2099. Print. Porter, Joseph A. Belleforests Vn Esclaue More And Othello. Shakespeare Quarterly 47.2 (1996): 194. Web. Shakespeare, William. The Tragedy Of Othello The Moor Of Venice. The Norton Shakespeare. Stephen Greenblatt. 1st ed. New York: WW Norton and Co., 1997. 2100-2174. Print. Shakespeare, William. Titus Andronicus. The Norton Shakespeare. Stephen Greenblatt. 1st ed. New York: WW Norton and Co., 1997. 379-434. Print.

Tuesday, May 26, 2020

The Biggest Myth About Gmat Essay Writing Samples Exposed

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