Travel Motivation: Linking Theory To Practice

Travel Motivation Linking Theory To PracticeTravel heart the movement of people among comparatively distant geographical locations for any purpose and any duration, with or without any means of transport. Travel also includes relatively short stays between successive movements. Movements between locations requiring only a few minutes be not considered as travel (http//en.wikipedia.org/wiki/Travel). In other meaning, travel rotter be defined as a journey, a trip or a walk from one tail to another place in great distance whether using any transport or without transport.Travel can be for recreational purposes, for tourism, to visit people, for business or for commuting, and whitethorn occur for numerous other reasons, such as to obtain health cargon, migration, fleeing war, etc (http//en.wikipedia.org/wiki/Travel). There are many purposes of travel such as to rest and relax, to happen friends and relatives, to visit and experience new places and also to having fun and enjoying th e memorable moment.The tender phaeton can be defined as youth or young generation or population that age between 16 to 30 years old. In advance, young tourists were neglected by researcher because of they were always existence assumed same with the rest tourist population in terms of similarities. Pastor (1991,p.7) states that for too long it has been imagined that young tourists are merely more unprejudiced versions of the adult tourist, and that their needs are the same as their elders, but on a smaller, simpler less demanding scale to be considered, in a sense, as sub-requirements. But, rattling tourist population was separated in form of age, behavior and demandal factor. Instead, it is claimed that young tourists stimulate a distinct identity, special interests and different needs which split them from adult tourists (Ravon, 1991).This research topic was selected because we never known or never took concern somewhat why people want to travel to overseas or in countrie s, what inspires them to travel and why they pull up stakesing to spend their money and time merely just want to explore to other places. Furthermore, we do not have taken concern about the significant of travel, types of person that travel in context of age, behavior and inducing.In addition, tourism industry now increasing pronto to develop and had large potential in order to be major contributor to national economy. At the same time, it can introduce the country to external era with distinctive countrys uniqueness whose can attract various type of tourist to tour. However, every interest or inducement to tour that occurs in tourists themselves are varying because on that point are various walks of age in tourist population. Hence, we want to information about the young tourists group on their difference of inducement and interest to tour with aged tourists group and what motivates them.After I read all these journals, may be said that a little bit I can understand it and all the issues just now like answered. Especially, the significant or the importance of travel where it can be teaching us about the meaning of life satisfaction, open widest our mind to look the different corner of the world, know the cultural difference elsewhere which we might never known in the beginning(a) place and obligate us the experience to socialize and communicate with various type of people.SUMMARYDefinition of motivation is general. There is various type of definition that can be utilise. According to Susan Velez (2008), motivation is the characteristic that is required in order to achieve anything in life without it you will give up at the first sign of adversity. It is means to inspire and encourage a person to do their best towards something in their life. However, it is a slightly different with the definition of motivation in travel.Travel Motivation Linking Theory to PracticeFor the first case study, travel motivation is a critical factor and a driving force sc rew tourist behavior (Crompton, 1979). The purpose of this study is to review the relevant literature on travel motivation and provides a scenario- ground discussion on the applications of travel motivation theories in the industry practice (Huang and Hsu, 2009). This study was conducted by a comprehensive literature review on travel motivations that acknowledged the major theories. Two scenarios are presented and discussed by linking two motivation conceptual schemes, Maslows hierarchy of needs theory and Plogs allocentrism/psychocentrism model, to practical issues in travel management (Huang and Hsu, 2009).However, understanding tourists motivation merely predilection because it is very hard to understand different tourists need and wants from various age layer. It is closely related to the theory that applies in travel motivation with practices that theory into the objective world. We need to study and understand totally the theory, only then we can fulfill tourist satisfaction according to age layer, their needs in travel, arrest experience travel which meant for them and creating the repeat business.Profiling Young Travelers Travel BehaviorAccording to Sung Chae (2009), the purpose of this study is to segment young travelers travel behavior on the basis of travel motivation. It is based on diverse needs and desires on the tourist attributes. Using oblique principal component cluster analysis, this study identified seven factors in travel motivation Excitement, Tourist Attraction, New Experience, Relaxation, Atmosphere and Remembrance. The results indicate that the Korean young travelers travel behavior was varied between defined factors and different sets of socio-demographic and travel characteristics.The information was gathered by giving the questionnaire to the subject of study. The young tourist more tend to choose spend that give maximum pleasure, vacation to attracting places so that they would repeat the vacation to that same place, sense new experience that never felt before this, can give satisfaction of resting and relaxing without any interference and pressure, reposed in place that have atmosphere who can cause mood to revel and produce holiday that memorable forever and made as a sweet memory.Travel Motivations and Destination Activities of Young Travelers of Different Ages An Empirical Study in the United StatesSeveral studies have investigated the differences in tourism and destination activities of different age groups of the travelers in the United States. Previous research studies suggest different segments of American travelers exist based upon generational groupings. The findings of the study, based upon 744 respondents, clearly identified two distinct segments of tourists in the age group of 18-23 and 24-30 in terms of travel motivation and destination activities. The results can be used by managers to improve the experience of these two distinct groups of young travelers (Michael, Dana and Dinesh, 2008). In this study, two groups of different age were focused which is generation X (born 1961-1981) and generation Y (born 1982-2000).Through this study, found that both age group that having differences in terms of travel satisfaction, level of travel experience, motivations to travel and travel activities. After that, the result was produces where there are various factors that motivate them to travel and types of travel activities that they want. Some of the factors that motivate them to travel are the desire to travel foreign place, going to coast or island, having romantic holiday with beloved person, returning to place that we have gone before and want to spend time together with family and friends. Some types of travel activities is sightseeing, shopping, partying and celebrating and dine at special restaurant with good atmosphere and food.CONCLUSION AND RECOMMENDATIONBased on all research paper, can be deduced that there is tourist from various age layer, gender and standard of l iving. Through these research papers, a little bit can understand what motivate them to travel, which age group more like to travel and what types of place they like to take a trip. Especially young tourists, they expecting the vacations that gratify most maximum, like to gain new experience or try new materials, and they feel really fortunate if they can go travel to place that all this while they wish although lack of financial resources will be cultivated also. Unfortunately, mostly of young tourists group not emphasizing security matter when travel. Not many of them want a safety vacation such as old tourists.Especially women, because they was barer to various type of danger and threat at night time. Therefore, as a suggestion, they should take several initiatives to encumber thing that did not want to happen. Tell your family and friends on about vacation, keep map when sightseeing, do not carrying goods worth, wearing right clothes such as locals, sensitive with environment o r surrounding (especially woman), avoid from dark place and always bring some small tool to defend yourself.

Social and Feminist Influences of Austen and Shakespeare

Social and Feminist Influences of Austen and Shakespe beBy Khalil JethaIntroductionFeminist thought is a movement truly apocalyptical of a dynamic ball club. When gentlemanifested in literature, it signifies the breaking of old traditions, and the manner in which feminism is endowed reflects the attitude of the writer and society to the aforementi singled changes. In the racing shell of William Shakespeare (1564-1616), delivering charge young-bearing(prenominal)s was of marked significance as the Elizabethan era marked the strongest womanly monarchy England had ever seen. However, upon closer inspection it can be inferred that Shakespeare had an innate disregard for fe young-begetting(prenominal) authority, reflected by examining the causas Desdemona (from Othello), Kate (from The Taming of the Shrew), and Rosalind (from As You handle It). The prevailing approach in Shakespeares time was one of trepidation for the wild woman, or a fe masculine who did not conform to social expectations. The so-called womens liberationist regions merely served to lend form and dimension to virile characters and patriarchal themes. In contrast, later authors such as Jane Austen (1775-1817) use empowered characters such as Elizabeth Bennet (from Pride and Prejudice), Elinor Dashwood (from Sense and Sensibility), and Catherine Morland (from Northanger Abbey) to present feasible realities within the context of the society in which Austen lived. Working her characters into the cloth of her era, Austen used women not as a means but as her end. Unlike Shakespeares characters, whose wiles and individuality served as gimmicks to promote patriarchy, Austens characters showed women who pull rounded independently of male-dominated societies. with careful dissection and comparison of texts, Shakespeares Othello, The Taming of the Shrew (TOS), and As You Like It (AYLI), exemplify distaffs whose liberty and unorthodox qualities are eventually extinguished by overbearing male figures. Desdemona, Kate, and Rosalind are all radically different characters encompassing various prospects of the womanish psyche. Desdemona represents a rebellious daughter and cozyly insatiable wife whose wiles cannot be controlled by men, a characteristic which drives her husband insane. Kate, the shrew, is the empowered woman who grants to the power of society, forgoing her independence to operate a wife, in the process experiencing a wonderful metamorphosis instigated by her husbands subjugation. Rosalind is unique among the tierce, an omniscient whose altruist temper cedes dominance to her alter ego, Ganymede.A to a greater extent accurate description of the depot feminist applies to Austen, whose characters do not serve to alter or develop male characters. date successfully writing novels whose mends and characters fit in 18th cytosine England, Austen manages to show a different side of women, a side that is adversely affected by the character weaknesses of men. Her novels Northanger Abbey (NA), Pride and Prejudice (PP), and Sense and Sensibility (SS) present females whose pensive minds help them maneuver by the tumultuous and impractical societies in which they find themselves living. NAs Catherine Morland, PPs Elizabeth Bennet, and SS Elinor Dashwood are subtly different however, the triplet female characters share their firm morals and unwavering integrity in common. Catherine Morland finds herself growing up in a earth of first glances and vagaries, the sharp-witted Elizabeth Bennet spites the side of meat bourgeois for their pride, finding that she herself has prejudice to overcome. SS Elinor Dashwood finds that doneout her life she cannot rely solely on men though society leads her to do so all three women overcome tribulation to grow into worldly individuals, unlike Shakespeares who any compromise their personality or lives in the course of their respective texts.Shakespeares Characters and workShakespeares Othello is notabl e among Shakespeares tragedies because it presents a unique setting and character establishment. The namesake and protagonist, a Moor (a Muslim of African descent), transcends racial and religious boundaries to enter and communicate the elite of Venice. The relationships between Othello and separate Venetians communicates Shakespeares disdain for society, manifested in the villain Iago. From a feminist standpoint, however, the most prevalent victim of tragic circum military posture is not the Moor of Venice, but rather the woman he marries. Desdemona is the classic martyr for feminist ideals, encumbered both as a woman struggling to track a life with the one she loves of another race and as a woman living in a mans world, struggling to affirm her marital fidelity and personal integrity. As a feminist martyr, she is helplessly passive, can do nothing, unable to retaliate even in speech because her nature is infinitely sweet and her love absolute (Bloom 1987, p. 80). When Othello accuses her of compromising her fidelity, she is insulted and maintains her integrity by refusing to even answer such allegations. Viewed by the reader, this action is one of pride and combine. However, when she counters Othello, slightly mocking his insecurities by inquiring what he could ask her, that she should deny/Or stand so mammering on, he perceives it as her attempts at masking her experience desires to seek familiar satisfaction outside the bonds of matrimony (Act III, Scene iii, lines 69-71).Desdemona is constantly struggling with her environment. On the one hand, she fits into society as a married young woman. On the other, she presents a threat to the stability of patriarchal society. By marrying outside her race and religion, Desdemona defies custom by posing the scandal of miscegenated offspring. Confronted by her father, Desdemona vehemently rejects his concerns and contentions, favoring Othello despite the fact that she perceives a divided duty Desdemona ration ally argues in favor of Othello, professing that she should show Othello the same preference her mother showd/To Brabantio (Act I, Scene iii, lines 178-188). In her design that presupposes her assertiveness, Desdemona reveals social boundaries a woman faces first she is bound by allegiance to her father, then she grows to devote her life to her husband.From a gender issues standpoint, her identity as a sexually charged, erratic newlywed earns her little more than violent encounters with Othello and her eventual murder. Her charged sexual nature catalyze Othellos sexual anxieties through not fault of her own, as Iago manipulates Othellos marital instability to begin with (Bloom 1987, p. 81). Ultimately, it is Othellos indecision, his inability to voice his suspicions directly that further fuel his insanity and manipulation at Iagos hands Desdemona pays the ultimate price for her loyalties, both in marriage and to herself (Bloom 1987, p. 88). Throughout the play, Desdemona, like the other female characters of the play, never requires validation or reassurance of her pass judgment as a person. Othello represents the need for public respect, a reason why Iagos suggestions of Desdemonas infidelity drives him insane. Desdemona is further degraded as Othello gives Iago more assign than he does his own wife. In all his deceptions, Iagos feigned love gives him power which Desdemonas genuine love cannot counteract Shakespeare shows his audience that female character is surpassed in importance even by spurious male camaraderie (Bloom 1987, p. 91). A victim of male circumstance, Desdemona is tragically caught between the Iagos insecurities as a soldier surpassed by an outsider and Othellos insecurities as an outsider seeking social acceptance. Othellos marriage to Desdemona preyifies her Iago spites Othello for marrying Desdemona as it completes what Iago perceives as Fates ungodliness against his station in life. Othello, in turn, is never sated, as his marriage to Desdemona should establish consolidated his power as a man instead, he resents Desdemonas confidence and the power that even a suggestion of her infidelity asserts over him. The feminist criticism of the institution of love revolves around loves existence as a means of control when Othellos male autonomy is compromised and he begins to speculate on his nature as secondary to his wifes sexual power, he goes insane, ironically smothering her to death using the same sheets used during the night of their marriages consummation. Desdemonas erstwhile functional marriage serves as the proverbial straw that breaks the camels back, as Othello finds the scorn due the cuckold almost as difficult to bear as the loss of Desdemona (Bloom 1987, p. 90). Shakespeares introduction of Desdemona as a pawn in Iagos manipulation can be presented as his disdain with societys misogyny. However, Desdemonas portrayal as the helpless victim serves to further discredit female position.While the tragic death of Othello surpasses Desdemonas in literary importance, Desdemona becomes more tragic a character than her estranged husband. She has done nothing to earn the contempt of her husband, whose murderous intent and eventual suicide serve as the solely means of self-validation. She has become an object in Othellos self-sacrifice, nothing more than another factor in Shakespearean tragedy. In his portrayal of Desdemona, Shakespeare may get down been able to present a feminist case for the station of women in society and their abuses at the hands of men. But Othello is not made the villain Iago is the person portrayed as destroying a life, not in Desdemonas passing but in Othellos fall from grace. Desdemona, though a possible case for the argument of feminist characters in Elizabethan theatre, is ultimately too passive to be a feasible feminist. Had she asserted herself and called Othellos insecurity, her husbands pride may have been compromised, but it would serve as a means for him to i dentify the primary culprits at hand. That Desdemona confronted her father and not her own husband plays the feminist argument into discredit marriage, not self-sufficiency, was Desdemonas final goal. She sought neither to validate herself nor her sense of self-worth, but rather chose a life of devotion to the Moor she loved. In essence, she presented herself as a victim from the very beginning.Unlike other Shakespeare plays, TOS can be taken both in its historical context and simultaneously be use to the modern social constrictions women face. In its historical context, the play presents a comical obstacle standing between a man and the object of his affection. In a more contemporary setting, however, TOS is a story of one mans conquest over a womans social and emotional independence and the domestication of a free spirit. The aforementioned setting studys sport out of breaking Kates will and reveals a theoretical rebuttal of radical feminism.As TOS unfolds, the audience sees Kat e as a social pariah, unfit for society as she spurns the institution of marriage and the idea of love. An independent, sharp-tongued woman, she is demonized by the local male population who sees her as a barricade preventing courtship of the demure, younger, more favorable Bianca. It is not completely dismissible a notion that Shakespeare wrote TOS with the intent of exposing the farce of certain types of marriage. Shakespeare may have juxtaposed the stubborn, resilient, and often violent Kate with the desirable Bianca to show the duplicity of social marriages. In his article entitled The Taming of the Shrew Mocks the World Mercantile Marriage, Gareth Lloyd Evans describes the world of TOS as mercantile to the end, showing how even at the conclusion of its biggest transaction (the marriage of Bianca), the gambling element remains (Marvel 2000, p. 69). In the end, Kate becomes docile to the will of Petruchio, divergence Bianca flabbergasted at her sisters change of heart. Kates rad ical change from self-avowed hater of all things love and marriage hence becomes the locus of the question of her nature as a feminist character was Shakespeares portrayal of Kate as a virulent misanthrope a comic device or a social message? If Shakespeare intended to use Kate in the same manner with which he employed the character of Desdemona in Othello (that is, as a means to the plots end), then TOS takes on an entirely new committal. Using Kate as a comic device makes female independence the object of scorn and ridicule, and Shakespeares tone toward feminist issues would be dismissive and, condescension not withstanding, misogynist. As the object of a social statement, Kate would become a testament to the futilities of female cynicism and rejection of society.Examining Kates transition lends credibility to the said stance. If Shakespeare was a feminist writer, creating Kates character with the conclude of communicating a message to society at large, the shrew universe tamed would be Petruchio. Instead, Petruchios taming of Kate is an act of instilling humility in a spoiled, egotistical, well-fed, rich girl and forcing her to accept a will other than her own (Marvel 2000, p. 147). The feminist standpoint would rather be one of prevailing contempt for Petruchio, a self-avowed social climber whose desire to marry Kate stems from expansion of his familys wealth. Like Desdemona, Kates independence and strength as a female character are stifled by marriage unlike Desdemona, Kates marriage to the hooligan Petruchio is one with ulterior motive. Kates wedding is a travesty and a sacrilege, marred by Petruchios intoxication and unruly garb (Marvel 2000, p. 152). Almost suggestive of Petruchios goal of taming the shrew, he further suppresses Kate by kissing her at the will of I will not (Marvel 2000, p. 152). Ironically, the kiss represents more than the overbearing will of an intoxicated groom. The significance of pacifying Kates ill will with a kiss is utterl y symbolic of her contentions toward TOS opening. Standing at the altar, her final cry is one against a life of pacification and subjugation under the supremacy of a husband. The actual taming does not begin until after marriage, a further explanation of Kates disdain.What is more intriguing about Kates taming is the means in which she is subdued. Following her outrage at the spectacle of the wedding, Petruchio denies Kate food, insisting that it is for her own good. Later, he denies her access to the ornate clothing provided by the tailor. Before leaving for their return to Padua, Kate implores her husband that they make haste, as they are late. Petruchio sputters that he will not go, and that she is reading the time incorrectly Petruchio condescendingly states that whenever they get off it will be at what oclock he says it is (Act IV, Scene iii, line 189). The means denied Kate in her taming are food, clothing, and free will. Kate begins to rely on her husband for survival, warmt h, and freedom of motion. Essentially, Petruchio becomes not further her husband but also her guardian, leaving Kate with the independence of a small child. It is almost as if he is brainwashing her, torturing her by keeping her hungry, clothed in what way he sees fit, restricting her motion and even forcing her sense of time under the fetters of his will. Shakespeares only message here(predicate) is not simply the futility of female emancipation, but the repercussions of atypical female action. Kate is portrayed as earning her fate through her belligerence and the days she spent terrorizing society with her outbursts and isolated violence. The more a woman strays from the path society sets out for her, the harsher the punishment in an inescapable future marriage.The only negating aspect to the misogyny of Shakespearean self-assertion is Kates nature. though stubborn, Kate is intelligent, too in her apparent surrender to her husbands mad will, Kate realizes she can take the wind completely out of his sails, rifle his weapon of its power, even turn it against himtame him in his own humor (Marvel 2000, p. 52). By entertaining his strange whims, Kate can turn the tides against Petruchio, calling his bluff, so to speak. later on all, Petruchios madness is forced, as he is trying to irk his wife and break her composure. As the entertaining, submitting wife, Kate also tames Petruchio she conceivably leaves him no reason to be as erratic as the wife whose will he set out to break. In this sense, Kate is Petruchios equal, and in their social obscurity, they are made acceptable through the bonds of marriage.On the surface, Rosalind is socially acceptable, like most of Shakespeares characters. She is almost altruistic, exuding transcendent knowledge about life and love. She chastises Silvius for his devotion to Phoebe, yet swoons for Orlando and does not grow embittered at the prospect of love in the manner TOS Kate does. As one of the more engaging characters of the play, Rosalind, like Othellos Desdemona, goes against her uncles wishes in the pursuit of her love, in this case manifested by Orlando. Unlike Desdemona, however, Rosalind is more congenial, coaxing her uncle by imploring his forgiveness. Rosalind testifies to Duke Frederick that if she offended him in her affections for Orlando, it was never so much as in a thought unborn (Act I, Scene iii, lines 49-50). As a lady and a daughter, Rosalind is the ideal woman to show society. She is polite, reserved, and wise beyond her years. Her personality, however, shifts to a point unparalleled by other Shakespearean characters. Rosalinds power as a possible feminist character is best exemplified in her fundamental interactions while cross-dressed as Ganymede (Ganymed). After she assumes the identity of the male Ganymede, Rosalinds character unfolds as one who is both enticing and mysterious, alluring to the romantic, erotic, and homoerotic aspects of theatre. She begins to take a more aggre ssive stance in her interaction with Orlando, preventing him from kissing her despite her desire, insisting that he should speak first (Act IV, Scene i, lines 69-74).As mentioned previously, men were exclusive actors as women were not permitted entry into the world of Elizabethan theatre. Homoeroticism was naturally an unavoidable subtext to any Shakespearean play. The choice of the Greek mythological figure of Ganymede is indicative of Shakespearean homoeroticism. In Greek myth, Ganymede was a ward boy with whom Zeus (Jove) fell in love. Rosalind on an Elizabethan stage would therefore be a male actor cross-dressed as a woman, who in the play cross-dresses as a homosexual man beguiling and perhaps slightly manipulating the unsuspecting Orlando. When taken into this context, As You Like It reveals new depth and content. Michael Shapiro delves into cross-gender devices in his book Gender in Play on the Shakespearean Stage Boy Heroines Female Pages. Rosalind adopts three separate a nd distinct layers of identityRosalind, Ganymede, and Rosalind (Shapiro 1994, p. 119). The sole purpose behind her schizophrenic metamorphosis is her love for Orlando, a man she has barely met. The first Rosalind is the vibrant character attracted to Orlando. Ganymede serves as a mentor to Orlando, a bestower of advice in her assumption of Ganymedes identity, Rosalind alters her own nature as a woman living in a patriarchy as she takes the role of a mentor, giving man-to-man advice to Orlando on the behavior of wives (Shapiro 1994, p. 124). This ascension to egalitarian status with Orlando is reflective of the first feminist objective to attain total social equivalence with men.The third Rosalind is the one who acts according to the advice she gives Orlando as Ganymede, and incidentally is the most intriguing of the three identities. As Ganymede, Rosalind has a control over Orlandos emotions and thoughts. She can stoop him whichever way she so pleases by suggesting, as a man, how Orlando ought to behave or react to women as wives. As the third Rosalind, she can indirectly affect Orlando by either corroborating through her actions any advice she gave as Ganymede, or further discredit Ganymede by acting opposite. Rosalind ultimately has the choice of how she wants Orlando to accept her. Rosalind can covet Orlandos trust and affections as a man, and in doing so mold him to her liking so that she may later win him over as a woman. Ganymedes presence as a trusted friend of Orlando is significant as it is perhaps the only way Rosalind can enjoy equality. This aspect of her cross-dressing is wholly non-feminist in its nature. From a radical feminist standpoint, there should be no gender labels, in which case Rosalind has failed to identify herself as such as she is forced to become a man. From a liberal feminist standpoint, gender labels can exist and differences should be respected. In the liberal feminist mindset, Rosalind has failed to gain equality as she is o nly given credibility as a man the nature of the advice Orlando seeks regarding the nature of women as wives can only be trusted as coming from a man.Equally plausible is that Rosalind is forced to act the way she does to get what she wants. Rosalind may have taken the initiative to achieve her goals no matter the cost of identity. Furthermore, her male identity had the potential to liberate her female identities as Ganymede, Rosalind had the power to dictate to Orlando the manner in which women should be approached. Shakespeare had the opportunity to relay a message through his cross-dressing female hero, but failed to endeavor to such communication. though working within the limits of his society, Shakespeare did not address issues through Rosalinds characters in the manner Austen does with her female protagonists. While heavy-handed techniques are not necessary, Shakespeare only flirted with the notion of empowered females as it augmented the situational comedy in AYLI.Shakespear es characters cannot be accurately described as feminists, even with respect to the social norms they challenge in his works. The Webster Dictionary defines feminism as the theory of the political, economic, and social equality of the sexes.Though her marriage to Othello was one of controversy, it was one that tested the boundaries of race and religion-relations. Miscegenation, not misogyny, was addressed in their relationship. Desdemona was perpetually a victim whose life rested solely in the hands of her insane husband. For Desdemona to be a feminist or even have feminist characteristics, she would have picked up a sword and joined Othello in the military. The Venice in which she lived only economically endowed her with a dowry, which would then be paid upon marriage. From a social standpoint, Desdemona may have been able to petition her fellow Venetians for help when she suspected Othellos violent tendencies. However, she chose to leave her destiny in the hands of her husband, no matter the outcome.Kate, though constantly haranguing the general public for the institution of love, does not take her stance for feminist reasons. The traditional feminist attack on the institution of marriage focuses on marriage as forcing certain roles on women (motherhood and subjugation under a husband in particular). thither is no indication that Kate took any of these stances more plausible is that she is embittered by the fact that society forces marriage and not why it is forced.Rosalind is perhaps the strongest character of the three in question. That she is assertive has little to do with her identity as a feminist character. While there is little doubt that she is a hero and one of the foci of AYLI, and still less speculation on the strength of her character, she still does not actively seek political or economic equality. There is no mention of her stance on women in society. The most feminist aspect of Rosalind is her ability to transcend gender. In cross-dressing, s he reflects new treatment by Orlando. Though not more positive or negative than her treatment when Orlando acknowledged Rosalind as a woman, as Ganymede, Rosalind shows that Orlando approaches her with similar respect. Rosalinds sexual empowerment does idealise her to a certain degree it is as if she has the power to evoke feelings in men that would erstwhile not exist.With the exception of TOS Kate, Shakespearean females are usually undisturbed individuals who contribute to the development of a plot or male character. However, all three Shakespearean characters can be described as heroes to a degree. warble Pearson defines a hero in her book The Female Hero in American and British Literature as one who departs from convention and thereby either implicitly or explicitly challenges the myths that define the status quo (Pearson 1981, p. 16).Desdemona, though sexually more forward than other Shakespearean women, is at home in her surroundings. She is a born Venetian of high stature, and though she keeps her relationship with Othello secret, she has no conflicting interests in Venice. Her marriage to an outsider challenges the myth of requisite same-race marriage. Othello, on the other hand, is a man of different race and religion, struggling to make a name for himself in a new land. He is not nearly as self-assured as Desdemona, his physical differences weighing on his conscience and costing him peace of mind. Where Desdemona has made peace to accept her own death (she requests the wedding sheets be primed(p) on the bed), Othello is never composed to the measure Desdemona exudes. In short, Desdemona acts as foil to Othello in every way their union is one that naturally causes friction, without which Iago would never be able to manipulate the situation.Kate and Petruchio are very unique among Shakespearean couples though Petruchio is hardly a hero by the Shakespearean norm of gallantry, he is the man who tames the shrew. However unorthodox a hero, Petruchio is the perfect match for Kate in his gruffness, his unkempt demeanor, and his social shortcomings. The two have only their resilient personalities in common Kate is more polished and presentable than her wily husband, but the two both have a natural contempt for life that can only be squelch by their marriage. Their relationship is one of servant and master, the power balance shifting constantly. Though Kate detested the pandering of her past suitors, her attraction for Petruchio budded because he was precisely the opposite of what society (and her father) wanted for her. To keep her interest piqued, Petruchio naturally appealed to Kate and had to maintain a certain air about himself. Following their marriage, Kate became subservient, accepting Petruchios odd tendencies and orders to pacify him (he never would have expected a docile Kate, and receiving one shifted manipulation back into Kates hands). Though their personalities are strong, societys favor puts the advantage in to Petru chios hands as in addition to a wife he also gained financial means. Kate is merely a means to an end for Petruchio, whereas Petruchio is the only means for Kate to attain what society expects of her.Rosalind and Orlando are another anomaly, though in the end, Rosalind exists more for Orlando than vice versa. Cross-dressing aside, Rosalinds sweet temperament and witty rapport make her the ideal mate. Orlando, with the exception of his privileged birth and notable wrestling skills, is rather normal in every respect. Rosalind exists only to marry Orlando, and while her transsexual tendencies are a force with which to be reckoned, her antics merely delay what an inevitable relationship and existence. Her previously mentioned teasing was a perfect metaphor for a life whose direction she could not control.Shakespeare as a FeministWhether in tragedies or comedies, Shakespeares female characters vary greatly in their nature and the social mold they fit. presumption the Elizabethan era in which Shakespeare lived, most of his more wily and energetic female characters went against the grain of society. However, most all of Shakespeares more powerful female characters occurred in comedies, begging the question of whether or not they could be taken seriously as characters that could exist outside the realms of stage narrative. That these strong female characters exist only in comedies does not question any aspect of society. In keeping with his comedies humorous undertones, Shakespeare may very well have made his female characters strong because their existence would be laughable. After all, Elizabethan stage actors were all male women were never allowed in theatre. Furthermore, the tendencies of comedic so-called feminist characters are to either succumb to societys restraints, or to be smothered by overpowering male dominance. The women of Shakespeares plays are usually the ones who change, often when they become married. Katherina, for example, succumbs to marriage, s ettling for Petruchio, a drunkard whose ostentatious personality and strong sense of deviance outweighs her own rejections of conformity and domestication. Her resilience goes unrewarded, and she once again becomes a subservient figure in the archetypal patriarchy of the time. A large reason behind female suppression in Shakespearean plays was also public acceptance. No patron, male or female, would return to Shakespeares productions if the prevailing themes were the emancipation of women. Female assertion was a taboo, a reason why it was so popular in comedies. The greatest aspect of comedies is the aversion of tragedy negative happenstances that reach fruition are tragedies, and the same happenstances that are avoided are comedies. As the defining characteristic of a comedy, the resolution of a problem is mirrored in the pacification of said comedys female rogues. The strength of women in Shakespeares plays, therefore, is a literary tool used to build up the glory and triumph of m en and the patriarchies in which they exist.What cannot be dismissed, however, is the context in which Shakespeare wrote the plays. Speculation of his historical surroundings denote Shakespeares inclination to pander to leadership, in this case, Englands greatest female monarch, Elizabeth I. Though society was largely patriarchal, the monarchy led by queen who did not marry. It is not completely flimsy that Shakespeare pandered to the female monarch, emulating her reluctance to wed in his The Taming of the Shrew. Queen Elizabeth, after all, did not marry, nor would she fit into societys mold of the typical woman. Shakespeares characters were daring for the time, as they also broke the mold of Elizabethan women. Unlike Queen Elizabeth, however, the strong female characters of Shakespeares plays were exemplified by their ability to manipulate, control, and overpower men. In many ways, the strength of women served as a means to make women antagonists. For example, Desdemonas power ex isted to drive Othello mad with her unchecked sexuality. She exhibited a power over men, one that would not be contained or controlled by men. Though Iago manipulated the characters of Othello, it was extreme jealousy that drove the plays namesake mad, causing him to kill himself and the woman he could not control. The message conveyed in Othello could be construed to be a foreboding one to women in society and the men that dominated them losing control of women and compromising male dominance leads to tragic consequences.Shakespeares Rosalind was unique, different from Desdemona and Katherina in her omniscience and enlightened state. Though the complexity of her emotions and thoughts is unrivaled in As You Like It, she takes on a darker side, one of manipulation and social subversion. Though laudable, her social deviance still leaves the play wanting for a male counterpart to complement her. She cannot criticize the respective stations of men and women for too dour without succumb ing to loves fetters herself. It is as though Shakespeare is communicating the futility of female nonconformity. Shakespeares penultimate message in comedic female characters is one of concession. Though women are invite to mock and society and live outside its bounds, they all must eventually grow into wives and docile domesticates

The Character of Shylock in The Merchant of Venice :: Free Merchant of Venice Essays

The Character of loan shark in The Merchant of Venice         Often, The character Shylock, in Shakespeares The Merchant of Venice, is portrayed as a unintellectual monstrosity, with a lust for Antonios life.  Through a more careful examination it can be determined that Shylock was an upstanding member of his community, who endured abuse, forgave easily, and upheld the customs and law.         Shylock endured much of Antonios abuse, overt a long period of time. This can be seen by the sheer volume of disgraces he has bore. A good example is in Act 3 scope 1, beginning with line 52         He hath disgraced me half a million, laughed at my losses,       mocked at my gains, scorned my nation, thwarted my bargains,       cooled my friends, het up mine enemies...                    &nb sp                -Shylock         Shylock had such a magnanimous spirit, that he even offered Antonio, who had abused him terribly, a loan, free of interest.  Shylock was willing to loan m stary to one who totally ruined him in public, on terms that were nicer than his normal business terms.  This kind, forgiving heart can be seen in Act 1 Scene 3 beginning with line 148         Why, look how you storm I would be friends with you and       have your love, forget the names that you have stained me       with, supply your present call for and take no doit of usance       for my moneys, and youll not hear me This is kind I offer.                                   &nbs p -Shylock         Often, this quote from Act 3 Scene 1 line 83,         Why, there, there, there, there A diamond gone cost me two      thousand ducats in Frankfurt The curse never fell upon our nation   till now, I never felt up it till now.  Two thousand ducats in that and    other precious, precious, jewels  I would my daughter were dead      at my foot and the jewels in her ear portraying Shylocks treatment of his daughter, after she ran away, is manipulated to make Shylock seem beastly.  But, within the Jewish culture and the time period, his response was appropriate.  After his daughter ran away, she was, for all intents and purposes, disowned.  Thusly, the theft of

The Cobb-Douglas Production Function for South Africa Essay -- South A

Introduction For every firm to produce goods it needs inputs such as capital and do work. Mankiw (2005) refers to capital set of tools that workers use in the process of production e.g. Machineries such as computers whereas labour refers to the hours that employee invest working. Production function refers to the output of a firm, an industry or an entire economy for any combination of inputs (Banaeian and Zangeneh, 2001).Economists use production function to precise the relationship between labour and capital and according to Mankiw (2005). Production functions reveal the available technology for transforming labour and capital into output.Tang (2008) highlighted the fact that theory of productivity was proposed by Knut Wicksell in 1851 which contributed a lot towards the works of Charles Cobb and Paul Douglas. Cobb-Douglas production function was developed by Cobb and Douglas in 1928 which is a fundamental function even now in both Macroeconomics and Microeconomics. The Cobb-Dou glas production function is normally utilized by economists in the counseling of explaining the correlation between contributions of resources involved in production such as labour, capital and technology.Cobb-Douglas production function and constant elasticity of substitution functions are vie a significant role for analysis in economics.Cobb-Douglas production function is still universally used toward the analysis of productivity and growth (Felipe and Adams, 2005). Felipe and Adam accepted as true that Paul Douglas is one of the economists who deserved a Novel Price for his marvelous works. Cobb and Douglas suggested that elasticity of substitution between capital and labour should be constant or equals to one even though they did not specify ... ....worldbank.gov. (2011). Data on Gross Domestic Product and Total employment of southeastern Africa. World Bank. http//www.southafricanreservebank.co.za. (2011). Data on Fixed Capital Stock of South Africa. South African Reserve B ank Mankiw, NG. (1995). The Growth of the Nations. Brookings paper of economics activities. pp 275-326Mankiw, NG. (2005). Macroeconomics, multinational edition. Worth Publishers New YorkMankiw, N.G (2013) Principle of Macroeconomics 7th edition. Congage Learning United States of America Romer, P.M. (1986). Increasing returns and long run growth. daybook of political economy Vol 94. Pp 1002-37Romer, P.M. (1990). Capital, Labour and productivity. Journal of political economy Vol. 98, No 5 university of Chicago. Pp 339341Solow, R.M (1956). A contribution to the theory of economic growth. Quarterly Journal of Economics. Pp 65-94

Same Sex Marriage Essay -- Homosexuality, argumentative, persuasive

Many years ago one may have thought that marriage was just between a man and a woman alone today that is not always the good example. People of this era have now begun to exploring a new aspect of marriage, similar sex marriage. Should two people of the same sex be allowed to marry?Throughout the years same sex couples have been pursuing the same rights as heterosexual couples. Since the 1970s homosexual couples have been trying climb this social ladder and gain their courteous rights. They have been seeking the government recognition as a domestic partnership since the 1980s. it wasnt until the late 1990s when the state of California legalized domestic partnership but very few followed. This allowed extensive rights to couples that werent married. But the couples partnership was only recognized in the state in which they were married. Gay and lesbian couples then began to seek recognition from the government through civil union. Even though it was still only recognized in the s tate in which the union was performed, civil union gave the unmarried couples even more extended rights. This was first passed by Vermont 2000 and yet again only a few followed. Homosexuals still felt that even though domestic partnerships and civil unions were major appal troughs they were not marriage. Neither of domestic partnership nor civil union would have even contributed to the court cases of the nation of Cooper and Dean v. District of Columbia. In the Estate of Cooper case of 1993, Cooper died and left his belongings to his ex-spouse. His present spouse sued hoping to inherit his belongings as a surviving spouse. The court denied his case and stated that a surviving spouse is considered only as a lawfully recognized husband or wife. In 1995, in the ... ...r marriage to be between one man and one woman, not between two men or two women. Same sex marriage is nothing but detestation. If a man also lie with mankind, as he lieth with a woman, both of them have committed an abomination They shall surely be put to dying their blood shall be upon them. Letiviticus 2013Works Citedhttp//www.equalitymaine.org/marriage-civil-unions-and-domestic-partnerships-comparisonhttp//www.infoplease.com/ipa/A0922609.htmlhttp//www.casebriefs.com/blog/law/wills-trusts-estates/wills-trusts-estates-keyed-to-dobris/estate-and-trust-administration/in-re-estate-of-cooper-2/http//www.ncsl.org/default.aspx?tabid=16430http//www.mit.edu/thistle/v13/3/marriage.htmlhttp//www.cdc.gov/nchstp/dstd/Press_Releases/STDGay2000.htmhttp//atwar.blogs.nytimes.com/2011/07/18/more-legal-maneuvering-in-dont-ask-dont-tell-repeal/

Law School Admissions Essay - The Spirit Lives -- Sample Law School Ad

Hasta la victoria siempre. (Che Guevara) I want to study law so I can help people with problems in the civiliseplace. I am unhappy with the decrease in real wages, the huge increase in temporary and odd-job(prenominal) employment that includes few or no fringe-benefits, and the continued universe of discourse of unsafe work places. I entrust that technological advances are going to continue to put people out of work, perhaps on a monumental scale, in the next twenty to fifty years, and that government, business, and workers will have a new opportunity to share the gains in productivity that are to come. I believe that people have the right to work at a job that allows them to afford to raise a family, live in a comfortable, safe home, and work in a safe environment. I want to devote my work to improving workers pay levels, assuring them access to health care, paid vacation time, honest treatment by their employers, and physical safety in the work place. Increasing the number of safe, well-paid, secure jobs will go a long way towards helping alleviate many of the social ills that are associated with poverty. I was involved with labor issues at my job at the San Francisco International Youth Hostel, where I worked from 1992 to 1996. I helped direct a group of workers there to discuss our work place and to smooth out scheduling conflicts between management and our group of workers. In September 1995, part-time staffs holiday pay was taken away without any discussion at all, and I called the Executive Director of the Company the (The Golden Gate Council) and persuaded her to re-institute it. I was on a regular basis consulted for my opinion on various wage, hour and working-condition matters. I have seen how working people organize them... ...ing as a community organizer for a military volunteer service-exchange program that benefits seniors and the disabled. the work I am doing reinforces the goals I have of helping solve problems in the workplace. A t my job here in West and southmost Berkeley, I have again seen the poverty that a dearth of good jobs breeds in a community. I want to help raise my communitys living standards through with(predicate) a more equitable sharing of the resources we transform in our workplaces. The last thing I can say about myself is that I am arouse in almost everything and hope to learn much more about solutions to social problems, science, questions of spirituality and religion, history, visual arts, music, literature, and the list could go on for a turn form there. The curiosity and interest in knowing about the world is an asset that I will take into whatever endeavor I choose.

Tribalism :: Personal Narrative Papers

Tribalism I. My sister recently put a map of the world in her bedroom, where she dreams always of being chased. Warfare is the greatest juncture of state, the basis of life and death, the Tao of survival and extinction. It must be thoroughly pondered and analyzed. If you want to succeed in battle, act as if deranged. 1 I overheard two women arguing. ace of them was me, in a later life. The other was God. My sister pushes her dream away and well c every her a mystic her lived reality defers to the visions, and details of where well live, how well earn a living, or who is at the door sink into the background. If creatures are helpless in a world of flags and fairies, we can break tyrants with our fists. Why wake up from that vision? If I could remember, I would never return to sunburn, rental cars, boy scout leaders, garbage, greasy hair, no water in the desert, cold nights of sweat and gleaning. Trust me. Spring the noose - a package with an umbilical cord, ties straining. Mou rning doves and the sound of birds and rapids. The wind pushes the river backwards, completing the cycle. Before night fell into your lap you stared blankly at the traffic pass on the corner wondering, why consult the Book of Changes? Every sign you need is right here fire trucks a staple on put up street, power lines buzzing overhead like soldiers of fortune. The planets align in your seventh house, poking feebly at an electromagnetic field. So if I ever advance anything Im lying to you. Feel better or worse, see if I care. March toward madness, in the evening we swore up and shovel in to stay alive. Foundry the boundary down to the last gravedigger. Morning or evening times are unimportant dont live to compete, but fight when you must for a better world. We are all singers and mad and we make less and less money every year. Perhaps you care about all this loss, heaped onto your plate like steaming eggs on an English. Further along and we come to a crossing, where I found you w aiting for me and left. Pretend you have come to a crossing. Not a fork in the yellow wood but a good city intersection, with traffic and manholes and strangers not particularly watching.