Ethan Frome by Edith Wharton

The tale Ethan Frome, by Edith Wharton, is set thus of-the-century New England, in the phony town of Starkfield, Massachusetts. During this time, the two people were conflicted between obligation and profound quality, and individual want. Individuals were relied upon to follow the cultural standards, which despite the fact that tormented them, were regarded as right and appropriate. This social imperative set on people cause them to settle on the choice of whether to be acknowledged by society, or whether to be glad. During this time, society was caught in their very own snare shaped thoughts and conclusions. It is this consistent battle among want and what is socially satisfactory that drives the fundamental subject of Edith Wharton’s tale. In the novel Ethan Frome, by Edith Wharton, Ethan Frome is confronted with clashes that cause him to settle on a choice between social ethics, and the satisfaction of his wants to build up Wharton’s subject that society and congruity goes about as a limitation on joy. Ethan’s awareness of other's expectations first clashes with his powerful urge to leave Starkfield and seek after a vocation in designing. In any case, with the ongoing demise of his dad, he is compelled to come back to Starkfield and run the family ranch while proceeding to accommodate his debilitated spouse. This gets obvious in the introduction, when the Narrator’s revelation of his enthusiasm for the sciences shows that Ethan had dreams that were rarely satisfied. His internal requirement for information and learning, nearly â€Å"frozen† under a cover of an existence of straightforwardness and staticity, is point of fact a result of â€Å"†¦ an excessive number of winters. †(13) spent in Starkfield. This refutation of his desires makes him live with a feeling of disappointment that plagues him, and definitely impacts his future choices. During the preamble, Harmon Gow tells the Narrator that â€Å"Most of the savvy ones escape. † (13), and promptly begins to ponder with respect to why Ethan Frome is as yet dwelling in Starkfield. In all actuality Ethan, being as wise and as persuaded as he seems to be, tried to leave Starkfield in the quest for a satisfying profession in designing, yet was caught by the cruel handle of congruity as the Frome Farm. This inability to achieve his aspirations gives his persona a tone of regret, and by augmentation, the whole novel. The contention fortifies the topic in the manner it shows that on the off chance that he would have followed his fantasies about contemplating designing, his life would have played out much in an unexpected way. It is best placed in the expressions of the popular writer John Whittier (1807-1892) when he said â€Å"For of all the dismal expressions of tongue or pen/The saddest are these: ‘It may have been! ’†. Ethan Frome’s struggle between fleeing with Mattie and staying and thinking about Zeena is the primary factor that drives Wharton’s topic that adjustment to society goes about as a limitation on joy. Wharton delineates Zeena as old, cool, and heartless while Mattie is warm, cherishing, kind, and above all, a significantly more fitting spouse for Ethan. Imagery is utilized as Mattie’s red scarf to give Mattie a feeling of life and adoring warmth, while simultaneously giving Zeena a colder appearance. In this way, Wharton makes Ethan’s want to leave his frightful spouse for another lady thoughtful according to the peruser. However, much the same as on account of his building vocation, Ethan can't stand to leave Zeena, on the record that society would seriously disapprove of a spouse that relinquishes his debilitated wife. He is conflicted between following what he knows is the â€Å"right† activity, and following what he realizes will fulfill him. Note that his affection for Mattie never faltersâ€The struggle is outside, not interior. He fears what individuals would think, and not whether he adores Mattie. Despite the fact that he has one night alone with Mattie, he can't quit considering the entirety of the duties put on him. His powerful urge for Mattie in the end prompts the breaking of his marriage, which is represented by the breaking of Zeena’s valued wedding red pickle dish. Over and over, Wharton shows how society has mistreated Ethan to disregard his desires. In any event, whenever Ethan has the chance to steal away with Mattie toward the west, his ethics shield him from deceiving his neighbors to tie down the adequate measure of cash to go. These disappointments in following his own craving debilitate him, and power him to carry on with an existence of accommodation to the wills of society. His craving to accommodate confines his joy. He felt as though he could always be unable to get away from the grip of society, and be with Mattie. At long last, Ethan can no longer arrangement with the difficulties of life and settles on the impulsive choice to forsake life totally when he chooses to go â€Å"Right into the enormous elm† (130) with Mattie. As they are drifting down the side of the slant, he turns out to be intellectually burdened with the entirety of the duties that he would desert, and gets diverted. Once more, inferring that even Ethan’s most noteworthy endeavor to escape from the grasp of society has fizzled. Rather, he seriously handicaps both himself and Mattie, compelling them to come back to the ranch and live like Zeena. As it were, he succeeded in executing both himself and Mattie. Mattie got her desire to go down in the sled â€Å"So’t we’ll never come up any more† (130), in light of the fact that they didn't come up anymoreâ€At least not in soul. Society didn't permit them to kick the bucket that day, rather, endure a shaping of living demise that will never give them the joy they wanted in death.

Marketing - Med-I-Paint Ltd Essay Example | Topics and Well Written Essays - 1250 words

Promoting - Med-I-Paint Ltd - Essay Example MIP serves the landmasses with its reusable items, for example, rest sew, conventional sheet material, material security garments, garments insurance, breathable assurance, cushions and duvets, bed frill, clothing sacks, clothing types of gear, and towels among others from its universal customer base generally situated in Canada, Portugal and Germany (MIP UK Inc., 2012). This paper will concentrate on the key tasks of MIP with the target to evaluate its procedures. In this respects, the hierarchical culture apparent by MIP and its quality administration activities will likewise be considered in this paper. The conversation will likewise expect to recognize the different difficulties looked by MIP in managing its activities, particularly in the UK advertise. Hierarchical Culture in MIP The authoritative culture is regularly viewed as an assortment of saw esteems, guidelines, and practices shared by its workers that control the method of connecting with one another. The hierarchical cu lture of MIP centers around the persuaded individuals who are enthusiastic about their undertakings, as was expressed by the Human Resource Director of the association, Gail Perowne. It very well may be noticed that the hierarchical culture in MIP is created in a way with the goal that the representatives can bolster the authoritative development beneficially. ... Association culture is the manner by which the whole workforce plays out the errands adding to the general authoritative profitability. In this procedure, the representatives in a general sense perform errands related with critical thinking, strife and inquiry goals, and client taking care of just as effectively managing the individual individuals inside the association (MIP UK Inc., 2012). The association ought to include with some practical exercises to keep up a reasonable culture inside the association which can be viewed as the social control empowering security and giving wellspring of personality. Accepted practices are one of the most obligatory and most evident components of social control systems. An accepted practice is essentially a social desire that the individuals will continue in a predetermined manner for a specific circumstance (Bicchieri and et. al., 2011). It is in this setting society is a very solid power in the association, which is deliberately passed among th e approaching workers inside the association. It assumes an imperative job in mirroring the genuine nature and character of an association. The hierarchical culture includes the representatives, the clients, the providers, and the network which MIP follows in a manner keeping up the organization ahead on its profitability to produce a decent situation at the global dais (MIP UK Inc., 2012). Quality Management in MIP The components of value control show the nature of every single existing variable which are associated with the creation of any plant or any association. Components, for example, control, work the board, task determination process, execution standards and recognizable proof of past records among others assume a significant job in quality control parts of MIP. Besides, delicate

Lacsap’s Fractions

Lacsap’s Fractions IB Math 20 Portfolio By: Lorenzo Ravani Lacsap’s Fractions Lacsap is in reverse for Pascal. On the off chance that we use Pascal’s triangle we can distinguish designs in Lacsap’s portions. The objective of this portfolio is to ? nd a condition that depicts the example introduced in Lacsap’s portion. This condition must decide the numerator and the denominator for all columns imaginable. Numerator Elements of the Pascal’s triangle structure various even columns (n) and inclining lines (r). The components of the ? rst inclining column (r = 1) are a direct capacity of the line number n. For each other column, every component is an explanatory capacity of n.Where r speaks to the component number and n speaks to the line number. The column numbers that speaks to indistinguishable arrangements of numbers from the numerators in Lacsap’s triangle, are the subsequent line (r = 2) and the seventh line (r = 7). These lines are individually the third component in the triangle, and equivalent to one another on the grounds that the triangle is balanced. In this portfolio we will figure a condition for just these two columns to ? nd Lacsap’s design. The condition for the numerator of the second and seventh column can be spoken to by the condition: (1/2)n * (n+1) = Nn (r) When n speaks to the line number.And Nn(r) speaks to the numerator Therefore the numerator of the 6th line is Nn(r) = (1/2)n * (n+1) Nn(r) = (1/2)6 * (6+1) Nn(r) = (3) * (7) Nn(r) = 21 Figure 2: Lacsap’s parts. The numbers that are underlined are the numerators. Which are equivalent to the components in the second and seventh column of Pascal’s triangle. Figure 1: Pascal’s triangle. The hovered sets of numbers are equivalent to the numerators in Lacsap’s divisions. Graphical Representation The plot of the example speaks to the connection among numerator and column number. The chart goes up to the ninth row.T he lines are spoken to on the x-pivot, and the numerator on the y-hub. The plot shapes an explanatory bend, speaking to an exponential increment of the numerator contrasted with the line number. Let Nn be the numerator of the inside portion of the nth line. The chart takes the state of a parabola. The chart is parabolical and the condition is in the structure: Nn = an2 + bn + c The parabola goes through the focuses (0,0) (1,1) and (5,15) At (0,0): 0 = 0 + 0 + c ! ! At (1,1): 1 = a + b ! ! ! At (5,15): 15 = 25a + 5b ! ! ! 15 = 25a + 5(1 †a) ! 15 = 25a + 5 †5a ! 15 = 20a + 5 ! 10 = 20a! ! ! ! ! ! ! thusly c = 0 along these lines b = 1 †a Check with other line numbers At (2,3): 3 = (1/2)n * (n+1) ! (1/2)(2) * (2+1) ! (1) * (3) ! N3 = (3) along these lines a = (1/2) Hence b = (1/2) too The condition for this diagram in this manner is Nn = (1/2)n2 + (1/2)n ! which simpli? es into ! Nn = (1/2)n * (n+1) Denominator The distinction between the numerator and the denominator of a similar division will be the contrast between the denominator of the present part and the past portion. Ex. In the event that you take (6/4) the thing that matters is 2. In this manner the distinction between the past denominator of (3/2) and (6/4) is 2. ! Figure 3: Lacsap’s parts demonstrating contrasts between denominators Therefore the general proclamation for ? nding the denominator of the (r+1)th component in the nth column is: Dn (r) = (1/2)n * (n+1) †r ( n †r ) Where n speaks to the line number, r speaks to the component number and Dn (r) speaks to the denominator. Let us utilize the equation we have acquired to ?nd the inside divisions in the sixth line. Finding the sixth line †First denominator ! ! ! ! ! ! ! ! ! ! ! ! †Second denominator ! ! ! ! ! ! ! ! ! ! ! ! ! denominator = 6 ( 6/2 + 1/2 ) †1 ( 6 †1 ) ! = 6 ( 3. 5 ) †1 ( 5 ) ! 21 †5 = 16 denominator = 6 ( 6/2 + 1/2 ) †2 ( 6 †2 ) ! = 6 ( 3. 5 ) †2 ( 4 ) ! = 21 †8 = 13 ! ! - Third denominator ! ! ! ! ! ! ! ! ! ! ! ! †Fourth denominator ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! †Fifth denominator ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! denominator = 6 ( 6/2 + 1/2 ) †3 ( 6 †3 ) ! = 6 ( 3. 5 ) †3 ( 3 ) ! = 21 †9 = 12 denominator = 6 ( 6/2 + 1/2 ) †2 ( 6 †2 ) ! = 6 ( 3. 5 ) †2 ( 4 ) ! = 21 †8 = 13 denominator = 6 ( 6/2 + 1/2 ) †1 ( 6 †1 ) ! = 6 ( 3. 5 ) †1 ( 5 ) ! = 21 †5 = 16 ! ! We definitely know from the past examination that the numerator is 21 for every single inside division of the 6th row.Using these examples, the components of the sixth column are 1! (21/16)! (21/13)! (21/12)! (21/13)! (21/16)! 1 Finding the seventh line †First denominator ! ! ! ! ! ! ! ! ! ! ! ! †Second denominator ! ! ! ! ! ! ! ! ! ! ! ! †Third denominator ! ! ! ! ! ! ! ! ! ! ! ! †Fourth denominator ! ! ! ! ! ! ! ! ! ! ! ! ! ! denominator = 7 ( 7/2 + 1/2 ) †1 ( 7 †1 ) ! = 7(4)â€1(6) ! = 28 †6 = 22 denominator = 7 ( 7/2 + 1/2 ) †2 ( 7 †2 ) ! =7(4)â€2(5) ! = 28 †10 = 18 denominator = 7 ( 7/2 + 1/2 ) †3 ( 7 †3 ) ! =7(4)â€3(4) ! = 28 †12 = 16 denominator = 7 ( 7/2 + 1/2 ) †4 ( 7 †3 ) ! =7(4)â€3(4) ! = 28 †12 = 16 ! ! ! ! ! ! Fifth denominator ! ! ! ! ! ! ! ! ! ! ! ! †Sixth denominator ! ! ! ! ! ! ! ! ! ! ! ! denominator = 7 ( 7/2 + 1/2 ) †2 ( 7 †2 ) ! ! =7(4)â€2(5) ! ! = 28 †10 = 18 ! ! denominator = 7 ( 7/2 + 1/2 ) †1 ( 7 †1 ) ! =7(4)â€1(6) ! = 28 †6 = 22 We definitely know from the past examination that the numerator is 28 for every single inside division of the seventh column. Utilizing these examples, the components of the seventh column are 1 (28/22) (28/18) (28/16) (28/16) (28/18) (28/22) 1 General Statement To ? nd a general proclamation we joined the two conditions expected to ? nd the numerator and to ? nd the denominator. Which are (1/2)n * (n +1) to ? d the numerator and (1/2)n * (n+1) †n( r †n) to ? nd the denominator. By letting En(r) be the ( r + 1 )th component in the nth line, the general explanation is: En(r) = {[ (1/2)n * (n+1) ]/[ (1/2)n * (n+1) †r( n †r) ]} Where n speaks to the column number and r speaks to the component number. Confinements The ‘1’ toward the start and end of each line is taken out before making counts. In this way the second component in every condition is currently viewed as the ? rst component. Also, the r in the general articulation ought to be more noteworthy than 0. Thirdly the very ? rst line of the given example is considered the first row.Lacsap’s triangle is balanced like Pascal’s, in this way the components on the left half of the line of balance are equivalent to the components on the correct side of the line of evenness, as appeared in Figure 4. Fourthly, we just detailed conditions dependent on the second and the seventh columns in P ascal’s triangle. These columns are the main ones that have a similar example as Lacsap’s portions. Each and every other line makes either a direct condition or an alternate allegorical condition which doesn’t coordinate Lacsap’s design. Finally, all parts ought to be kept when diminished; gave that no divisions normal to the numerator and the denominator are to be dropped. ex. 6/4 can't be decreased to 3/2 ) Figure 4: The triangle has similar portions on the two sides. The main parts that happen just once are the ones crossed by this line of balance. 1 Validity With this announcement you can ? nd any portion is Lacsap’s design and to demonstrate this I will utilize this condition to ? nd the components of the ninth column. The addendum speaks to the ninth column, and the number in enclosures speaks to the component number. †E9(1)!! ! †First component! ! ! ! ! ! ! ! ! ! ! ! ! †E9(2)!! ! †Second component! ! ! ! ! ! ! ! ! ! ! ! ! †E9(3)!! ! †Third component! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! {[ n( n/2 + 1/2 ) ]/[ n( n/2 + 1/2 ) †r( n †r) ]} {[ 9( 9/2 + 1/2 ) ]/[ 9( 9/2 + 1/2 ) †1( 9 †1) ]} {[ 9( 5 ) ]/[ 9( 5 ) †1( 8 ) ]} {[ 45 ]/[ 45 †8 ]} {[ 45 ]/[ 37 ]} 45/37 {[ n( n/2 + 1/2 ) ]/[ n( n/2 + 1/2 ) †r( n †r) ]} {[ 9( 9/2 + 1/2 ) ]/[ 9( 9/2 + 1/2 ) †2( 9 †2) ]} {[ 9( 5 ) ]/[ 9( 5 ) †2 ( 7 ) ]} {[ 45 ]/[ 45 †14 ]} {[ 45 ]/[ 31 ]} 45/31 {[ n( n/2 + 1/2 ) ]/[ n( n/2 + 1/2 ) †r( n †r) ]} {[ 9( 9/2 + 1/2 ) ]/[ 9( 9/2 + 1/2 ) †3 ( 9 †3) ]} {[ 9( 5 ) ]/[ 9( 5 ) †3( 6 ) ]} {[ 45 ]/[ 45 †18 ]} {[ 45 ]/[ 27 ]} 45/27 E9(4)!! ! †Fourth component! ! ! ! ! ! ! ! ! ! ! ! ! †E9(4)!! ! †Fifth component! ! ! ! ! ! ! ! ! ! ! ! ! †E9(3)!! ! †Sixth component! ! ! ! ! ! ! ! ! ! ! ! ! †E9(2)!! ! †Seventh component! ! ! ! ! ! ! ! ! ! ! ! ! †E9(1)!! ! †Eighth componen t! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! [ n( n/2 + 1/2 ) ]/[ n( n/2 + 1/2 ) †r( n †r) ]} {[ 9( 9/2 + 1/2 ) ]/[ 9( 9/2 + 1/2 ) †4( 9 †4) ]} {[ 9( 5 ) ]/[ 9( 5 ) †4( 5 ) ]} {[ 45 ]/[ 45 †20 ]} {[ 45 ]/[ 25 ]} 45/25 {[ n( n/2 + 1/2 ) ]/[ n( n/2 + 1/2 ) †r( n †r) ]} {[ 9( 9/2 + 1/2 ) ]/[ 9( 9/2 + 1/2 ) †4( 9 †4) ]} {[ 9( 5 ) ]/[ 9( 5 ) †4( 5 ) ]} {[ 45 ]/[ 45 †20 ]} {[ 45 ]/[ 25 ]} 45/25 {[ n( n/2 + 1/2 ) ]/[ n( n/2 + 1/2 ) †r( n †r) ]} {[ 9( 9/2 + 1/2 ) ]/[ 9( 9/2 + 1/2 ) †3 ( 9 †3) ]} {[ 9( 5 ) ]/[ 9( 5 ) †3( 6 ) ]} {[ 45 ]/[ 45 †18 ]} {[ 45 ]/[ 27 ]} 45/27 {[ n( n/2 + 1/2 ) ]/[ n( n/2 + 1/2 ) †r( n †r) ]} {[ 9( 9/2 + 1/2 ) ]/[ 9( 9/2 + 1/2 ) †2( 9 †2) ]} {[ 9( 5 ) ]/[ 9( 5 ) †2 ( 7 ) ]} {[ 45 ]/[ 45 †14

List of Prefixes and Suffixes and their Meanings

Rundown of Prefixes and Suffixes and their Meanings Rundown of Prefixes and Suffixes and their Meanings Rundown of Prefixes and Suffixes and their Meanings By Mark Nichol This post records prefixes, postfixes, and their implications. (Numerous logical and scientific prefixes have been overlooked.) Groups of at least one definitions after a prefix that are isolated by a semicolon come from various faculties of the prefix. Note that some prefixes share the spelling of particular words (for instance, under) or have been begat as unmistakable words themselves by precluding the base word when that word is suggested (for instance, hyper). Many prefixes have variations that are utilized relying upon setting or, frequently, on the principal letter of the base word. Rundown of Prefixes an or a : at, in or during the time spent, on; not, without acro-or acr-: starting, end, stature, top, highest point, tip, top promotion or (first sense as it were) air conditioning , af-, ag-, al-, ap-, as-, or at-: to, toward; nearby, close air : air, air, flying, gas after-: following, lower, back, coming about ambi-: both bet : previously, forward, earlier or preceding hostile to or subterranean insect or anth-: against, easing, relieving, restricted, inverse, forestalling curve or (second sense just) arche-or archi-: boss, outrageous, head; unique, essential, crude auto-or aut-: programmed, same one, self or self-acting bi-or (second sense just) bio-: between, twofold, two, twice; true to life, life chrono-or chron-: time circum-: about, around co-: substitute, delegate, individual, in or to a similar degree, joint, accomplice, together, with com-, col-, or con-: mutually, together, with contra-: against, opposite, differentiating counter-: against, integral, opposite, comparing, copy, contradicting, retaliatory, substitute crypto-or tomb : coded, secured, covered up digital : relating to PCs or PC systems de-: got from something, do the inverse, get off of, lessen, expel from, converse of, something got from di-or (first sense just) dia-: containing two, twofold, twice, twofold: daytime dis-: nonappearance or inverse of, totally, deny of, do something contrary to, bar or oust from, not dys-: unusual, terrible, troublesome, disabled en-or em-: cause to be, spread, go in or into, furnish with, put into or onto, to cover, completely epi-: after, connected to, plus, external, over, upon extra-: past, outside extro-: outward fore-: at or in front, previously, prior geo-: earth, ground, soil hetero-or heter-: extraordinary, other homo-or hom-: the same, gay, indeed the very same, comparative hyper-: above, past, extreme hypo-or hyp-: underneath, down, not exactly regular, under in-, il-, im-, or ir-: not; previously, in or into, on, toward, inside infra-: underneath, inside between : among, between, between the constraints of, carried on between, got from at least two, existing between, amidst, including, situated between, happening between, equal or correspondingly, shared by, inside intra-: between layers of, during, inside introduction : in, into, internal, inside full scale : huge, long mal-: anomalous or unusually, terrible or seriously, deficient or insufficiently uber or megal-or megalo-: incredible, huge, million, outperforming meta-: after, behind, past, change, later, rising above, change miniaturized scale or micr-: unusually little, millionth, minute, relating to brief characteristics or a little territory, little mid-: in the center or the middle scaled down : briefer, littler mis-or (second sense just) miso-: awful or seriously, inverse of, not, dubiously, negatively, wrong or wrongly; scorn mono-or mon-: alone, one, single multi-: many, many occasions over, mutiple or two, numerous, much neo-or ne-: new, later noct-, nocti-, or nocto-: night or during the night non-: nonattendance of, lacking, not, other than, opposite of, insignificant, useless omni-: all, all around over-: unreasonable, outperforming para-or standard : strange, embellishment, nearly, close by of, beside, adjacent to, past, defective, related, taking after, auxiliary; parachute ped-, (first sense just) pedi-, or pedo-: base, foot; youngster or adolescence philo-or phil-: pulled in to, getting a charge out of, adoring, requiring phono-or phon-: sound, discourse, voice photograph or phot-: light, brilliant vitality poly-: over the top, expanded, some, much, different, a few post-: after, behind, after, later, back, ensuing pre-: foremost to, previously, in advance, sooner than, ahead of time, before, preliminary to, essential to, preceding master : foremost, previously, sooner than, before, preliminary, preceding, anticipating, simple; advocating, preferring, filling in for, supporting proto-: starting, first, offering ascend to, essential pseudo-or pseud-: bogus, fake, substitute, transitory, related, looking like re-: once more, once more, back, in reverse semi-: half in amount or time, or partially through, fragmented or not completely, incompletely, like sub-: nearly, underneath, underneath, almost, auxiliary, fairly, subordinate, under, super-, supero-, or supra-: above, surpassing, extra, higher, more than, on, far beyond, prevalent, outperforming, rising above sym-or syn-: simultaneously, the equivalent, together, joined together, with or alongside thermo-or therm-: heat, thermoelectric tele-or (second sense just) tel-or telo-: far off; finish, end trans-: over, past, changed, through, moved tri-, tripl-, tripla-, tripli-, or triplo-: into thirds, each third, three, thrice ultra-: past, rising above un-: in spite of, not, inverse of; deny of, discharge, evacuate, turn around under-: underneath, underneath, confronting descending, lower, shy of, oppressed, subordinate uni-: one, single Rundown of Suffixes A postfix is an expansion of at least one letters as far as possible of a word so as to change its linguistic capacity. One kind of addition, the linguistic, or inflectional, postfix, changes a word’s syntactic properties, as when a s is added to a thing to make it plural (for instance, in the change to stroll between â€Å"Take a walk† and â€Å"Take walks†) or to an action word while changing over it to one relevant to the third individual (for instance, the change between â€Å"I walk† to â€Å"He walks†) or to show past tense (for instance, the change between â€Å"I walk† to â€Å"I walked†). In any case, postfix as a rule alludes to a derivational, or lexical addition, which is joined to a word to change its capacity, either to another grammatical feature or to a similar grammatical form yet with a particular significance. This post records numerous regular derivational postfixes, which are classified by which grammatical feature the addition shows. Thing Suffixes - acy: quality or state - al: activity or procedure of - ance or - ence: activity or procedure, quality or state, sum or degree (- ance as it were) - subterranean insect: operator or entertainer, or a thing that prompts an activity or procedure, or one associated with or thing followed up on - dom: office or those having an office, spot or state - er or - or: one that is, or does or performs; one related with or having a place with; one that has, creates, or yields; one that lives in or is from (- er just); movement or condition (- or as it were) - ess: female - hood: character, condition, quality, or state, or people sharing a condition or state; occasion or period - ics: information, study, practice, or aptitude; segregation or partiality; condition, property, or state; trademark activities or exercises, or trademark tasks, marvels, or characteristics - ism: act, practice, or procedure; way of activity or conduct; conviction, precept, religion, hypothesis, or adherence to one; trademark or particular component or quality - ist: one that plays out a particular activity, has practical experience in an occupation or aptitude, or clings to or potentially advocates a code or precept - ite: disciple or adherent, relative, or local or inhabitant, item; part or fragment; fossil, mineral, or rock - ity or - ty: degree, quality, state - kind: class - like: normal for or taking after - legend: something educated, conventional conviction or information, collection of information, or custom - ment: operator, article, or result; means or instrument; activity or spot of an activity, or procedure; state or condition - ness: condition, degree, quality, or state - oid: something looking like - ology or - logy: part of learning or investigation of a subject, or an account, thing stated, or method of talking - transport: condition, quality, or state; nobility, office, or calling; craftsmanship or ability; one qualified for an assignment or typifying or showing a quality or state; collection of individuals participating in an action - sion or - tion: quality Action word Suffixes - ate: become - en: become - ify or - fy: become or make - ize or - ise: become Descriptor Suffixes - capable or - ible: equipped for being - al: described by, of, identifying with - subterranean insect: being, performing or inciting - er: more than - esque: in a way, - ful: striking for - ic or - ical: having the character or type of - ious or - ous: described by - ish: having the nature of - ist: normal for, of, identifying with - ive: having the idea of - less: without - oid: looking like - y: described by Intensifier Suffixes - er: more than - est: most - ily or - ly: quality, identified with - ward or - wards: heading - insightful: corresponding to Need to improve your English quickly a day? Get a membership and begin getting our composing tips and activities day by day! Continue learning! Peruse the Vocabulary class, check our famous posts, or pick a related post below:70 Idioms with HeartAnyone versus EveryoneThrew and Through

The Family Album Questioning Memory. Free Essays

string(69) set aside in a crate or bundle to be examined on occasion of reminiscence. The Family Album: Questioning Memory. â€Å"After 17 years I’m back in Shanghai and up and down, my memory has been playing tricks† (Otsuka, 2006:33). For what reason do we take pictures for family collections? We accept them to recollect individuals as they were. We will compose a custom paper test on The Family Album: Questioning Memory. or on the other hand any comparable point just for you Request Now Customarily in representation photography, it has been a state of contention whether a photo can or can't uncover the genuine feeling of an individual, their character or internal identity. To me the photo is only surface †a similarity - , it is the thing that the picture taker or chronicler needs to be seen, and holds no more profound reverberation. Furthermore, in addition to the fact that we want to recollect that, we need to recognize our reality, and later on, act naturally recognized as a basic piece of the nuclear family. It isn't just about having a place, yet about leaving a hint of ourselves that will be around long after we are gone: photos are tokens of everlasting status. The family collection both speaks to what must be proceeded and sustains the fantasy of the ‘happy family’, which can be translated in different ways relying upon the watcher and their thought processes. The depiction of the ‘happy family’ is reliant on the different phases of altering †the picture taker concludes who is incorporated or forgotten about, advises the subjects where to stand or sit, and when to state â€Å"Cheese! † The collator then chooses which photos are deserving of going into the collection and which will be left in a case, or discarded. The altering and documenting follow apparent belief systems of family ancestry, mirroring the editor’s own motivation and individual perspective. Claire Gray accepts that history is constantly an individual record (Holland Spence, 1991: 108). Yet, do these photographs assist us with recalling or do they adjust or supplant the genuine recollections of what occurred and who the individuals in the photographs truly were? In this exposition, I will endeavor to clarify why I accept that the recollections imbedded in the family collection are develops, deceptions. I am going to take a gander at pictures from six photographic artists just as my own family collections to find out the precision of memory created by picture. In taking a gander at a family collection, do I take different people’s and family member’s memories and apply them to my own history? Aggregate memory can wind reality and frequently build adjusted varieties. As stories go starting with one age then onto the next, they are inclined to manufacture and embellishment. Lorie Novak states, â€Å"Our own pictures are regularly tied up in family legend with discussions about family photos much of the time joined by frivolity and innovation. Photos and the accounts they move can become substitutes for recollections of real events† (Hirsch, 1999: 26-27). She likewise pondered whether the data overlooked from her own family collection molded her recollections and examined this idea in her work (Hirsch, 1999: 15). Possibly this is the equivalent for Ingrid Hesling, who, at 16 years old, discovered that she was embraced †I wonder if this new data changed her recollections or only her impression of her recollections: it would show up those that were once affectionate turned out to be unpleasant. She scrutinized her whole youth driving her to make work utilizing a blend of old family photographs, content and her own contemporary pictures. Her work is an examination concerning how memory can be adjusted relying upon how you identify with the history behind it and the pictures recording it. Investigating Numbers (Figure 1), the eye is attracted promptly to the grinning youngster grasping her toys, a picture taken from the family collection, at that point to the going with photograph, lastly to its substance, the numbers †which emblematically don't arrive at 16 †and the content. The vacancy behind the youngster and the separation among her and the numbers †improved by the solid horizontals †figuratively speaks to the division from reality. The youngster and toys have meanings of family, solace and home, while, the numbers recommend congruity, absence of uniqueness and having a place, †being a number without personality. The topic isn't promptly clear until the content (both inside and out of the picture) is incorporated. The underlying impression of bliss is underscored and afterward lowered by a feeling of disquiet, of outrage and of selling out. The first photograph ought to summon satisfaction yet the watcher becomes upset when the inverse happens. Is this family picture consequently a creation, in light of the fact that the manner in which we see the memory has changed? Were things kept separate from the Hesling family collection pictures so as to hide reality from her? In my own work, I utilize the family collection stylish every now and again. I search out, investigate old family photos, and attempt to apply them to my work. It intrigues me when I discover pictures of myself as a kid that I have never experienced. I consequently attempt to find any recollections related with the picture, in spite of the way that they don't exist for me, as I was excessively youthful, and endeavor to recall stories I may have been told about the photo. Be that as it may, this is anything but a genuine memory †it is absorbed from my family’s aggregate memory. Jo Spence said that scanning for recollections inside family photos, was unimaginable (Holland Spence, 1991:203). Trish Morrissey is a picture taker who takes a gander at ‘the family collection as fiction’, cautiously developing the shows and adages of the residential depiction; in this manner, seeking reality by the demonstration of arranging. Along these lines she has made a conventional family collection, to which anybody can relate: her family collection has become everybody’s family collection and endless others presently share the recollections. Anne McNeill states in her paper on Morrissey’s work that the pictures in the ‘shoe box’ are not the ‘official’ history of the family, yet â€Å"the ones that got away† (Morrissey, 2004:23). This is an intriguing idea, in that the family esteem a few pictures more significant than others: ‘proper’ pictures are shown on the TV or surrounded for the divider, while the photos that could be seen as being more ‘real’, of regular day to day existence, are taken care of in a crate or bundle to be scrutinized now and again of memory. You read The Family Album: Questioning Memory. in classification Paper models I am pulled in to Morrissey’s work in view of the scrutinizing idea of her pictures. In September twentieth, 1985 (Figure 2), with her sister in the other job, she carefully reproduces the first association between the subjects just as the fringe subtleties. Be that as it may, rather than most family photographs, the individuals in her pictures infrequently grin, driving the watcher to focus on the motions and non-verbal communication and use them to decipher and uncover shrouded pressures between relatives. Such basic pressures tell a greater amount of the history and setting than grinning faces. Arranging permits the watcher to witness Morrissey in the demonstration of building photographic importance. Shading attracts the eye to the young subject, her appearance, and afterward to the differentiating articulation of the more established lady. The title incorporates the date †affirmed by the style and design †anyway as it is realized that the pictures are remade and were taken more as of late than the title expresses, this consideration creates a larger number of inquiries than answers. She addresses reality of the family collection. Her pictures developed as nonexclusive models, utilizing, and as indicated by, her recollections and the first photographs. In any case, how precisely can these be reproduced when individual memory and current feelings are available? The remaking turns into another history of her and her sister. At that point we understand it is, and consistently has been, about her relationship with her sister, and this thusly, makes the watcher question the legitimacy of all family collection pictures: the implication to unacknowledged family pressure and the false notion of the ‘happy family’. She addresses the authenticity of the whole custom of the family collection. Tim Roda is another craftsman who reproduces individual accounts utilizing his recollections. Roda utilizes his family to reproduce complete groundbreaking recollections and minutes from his life: his child accept his youth job and he turns into his dad. This hits home for me as my present work spins around the thoughts of job inversion †kid getting grown-up and the other way around. Roda’s Untitled (Figure 3) at first created me turmoil and misery, as though a still from a blood and gore movie: it is dim, shadowy, and threatening. It is clearly and proudly arranged, however why? It causes me to pose inquiries. What is it about? It is an account, yet is it actuality or fiction? The camera is utilized to record a second in time that harmonies among recollections and developed analyses, yet it is a documentation of genuine occasions for the individuals participating in the picture making. Despite the fact that his family are the quick subjects, the work is loaded up with allegorical resonations of family ancestry and beloved recollections. At first the structure drives the watcher to the man. What's going on with he? At that point the consideration is attracted to the youngster with sharp shears, at that point to the winged animals swinging from the roof. These flying creatures give a setting to the picture and spot it some place that is conspicuous. The man seems to have been chasing and is thusly setting up the creature for cooking. The scene proposes that that they are nation individuals, maybe poor and living off the land: the dad currently showing the kid by passing on customs and aptitudes. However, is this a genuine memory or a degenerate, admired memory? What amount of it has been overstated or transformed from the truth of the past? How might we know? Miyako Ishiuchi, interestingly, captured her late mother’s possessions. Sh

Identity Theft Feminism in “Fantomina; or Love in a Maze” - Literature Essay Samples

In a time when women were never considered victors in the realm of sexuality, author Eliza Haywood protests these standards in her writings. She creates female characters who show the world that women can win, even in patriarchal societies. Victorious female characters make the world a better place by further empowering other women. Whether they are accomplishing their dreams, raising a family, or finding a mate, women benefit from living their lives with the freedom to make their own choices. In Eliza Haywood’s novella, â€Å"Fantomina; or, Love in a Maze,† the unnamed protagonist (Lady —) represents a strong female character in an early example of feminist literature. The story â€Å"Fantomina; or, Love in a Maze† begins with a description of the protagonist as a â€Å"young lady of distinguished birth, beauty, wit, and spirit† (Haywood 2740). Lady — attends the playhouse one night and curiously notes the way men give attention to the prostitutes in another section of the audience. She decides to gratify her â€Å"innocent curiosity† (Haywood 2740) and visits the playhouse the following night dressed as a prostitute herself. Men flock to her, praising her beauty. One man in particular, Beauplaisir, makes her swoon. She agrees to go with him the following night. Once Beauplaisir and the young woman have sex, she is afraid of her undoing. She backtracks and says that she is not actually a prostitute, but Fantomina, â€Å"a daughter of a country gentleman,† which is why she is ashamed of her actions (Haywood 2744). Nevertheless, they continue to meet, she assuming the identity of Fantomina. When he tires of her and travels away, she assumes a new disguise to attract him. Her new identity is a maid at the place he is staying, and she calls herself Celia. Beauplaisir becomes attracted to the protagonist as Celia (unaware that it is the same woman as before). After a month, he grows sexually weary of her as well and goes back home. Not to be forgotten, she assumes a fourth identity, calling herself Widow Bloomer. Once again Beauplaisir is beguiled, thinking she might be able to â€Å"ease the burden of his love† (Haywood 2749). Once again, they form a sexual relationship, but unsurprisingly Beauplaisir wants something fresh rather quickly. Finally, Lady — (Haywood 2740) puts on her fifth and final identity, the mysterious and masked aristocrat who goes by the elusive title, Incognita. At last, she becomes tired of her scheme and trickery, not without discovering she is pregnant. Her mother visits, â€Å"not approving of many things she had been told of the conduct of her daughter† (Haywood 2756). The young protagonist hides her pregnancy well until she goes into labor prematurely. Her mother demands Lady — confess who the father is, to which she offers up Beauplaisir’s name. He comes, but denies he is the father, still not realizing the woman before him is the same as the other five women he has slept with. Lady — confesses her trickery and must take full responsibility for her actions. When she is healed, she is sent off to a monastery. Readers struggle to interpret who Lady — really is. Is Lady — a strong, independent woman who is ahead of her time, or is Lady — a self-conscious, fragile character who is so dissatisfied in her identity that her only option is to experiment with the identities of others? On the one hand, she makes her own decisions as she pleases and holds sexual power over a man, but on the other hand, she hides her true self from readers. Who really is Lady—? She is a woman who defines independence and inner-strength. She defies societal expectations to become who she wants to be with no help from others. She, although excelling at mystery and multiple identities, does not become confused in her inner identity, â€Å"one of distinguished birth, beauty, wit, and spirit† (Haywood 2740). Even though her final circumstances (of pregnancy and a monastery) appear to be her downfall, Lady — does not surrender to the appearance of weakness. She holds her head high , still identifying with her real self — a popular young woman who frequently attends high-class social gatherings. Finally, she ends up in a all-female society that empowers women to strip themselves from the bondage of men. Some critics disagree with the argument that Lady — is a strong, independent woman who is ahead of her time. According to Kate Levin, Lady — is not mature because she only acts in relation to Beauplaisir (Levin 1). Levin also argues that the protagonist is always saying yes and no at the same time, a weakness that she calls â€Å"collusive resistance† (Levin 2). Margaret Croskery believes that because Lady — demonstrates â€Å"collusive resistance,† she is neither the victor nor the vanquished, a protest of both kinds of norms (77). Others note that Lady —’s pregnancy takes away from the power of feminism (Ballaster 190). Pregnancy is a consequence that she cannot run from and ultimately shows the weakness of the female sex, something, though, that Lady — herself cannot control. Lastly, while some say Lady —’s transportation to a monastery is a continuation of the female society (Craft 831), others debate that it i s a punishment and an imprisonment of female freedom (Levin 1). Even the text itself is its own critic. At some points, it seems like Lady — and Beauplaisir really love each other, and it is a mutual, loving relationship. In the beginning, Fantomina and Beauplaisir â€Å"were infinitely charmed with each other† (Haywood 2741). Lady — even â€Å"almost died for another opportunity of conversing with him,† and calls him her â€Å"beloved Beauplaisir† (Haywood 2742 2746). And â€Å"nothing could be more tender than the manner in which he accosted her† (Haywood 2742). At other times, it seems that the relationship (in both their eyes) is simply a lustful and passionate affair. Beauplaisir quickly loses interest over and over again, â€Å"the rifled charms of Fantomina soon lost their poignancy, and grew tasteless and insipid (Haywood 2745). Even Lady — eventually reveals that it was fatal to have gotten involved with Beauplaisir because of the trouble it had caused her (Haywood 2757). Readers may que stion if Lady — is a desperate woman who wants attention or if she is in search of a genuine lover but gets distracted by the game of identity. Because of the discrepancies and changes in feelings, especially Lady —’s, some critics still debate if the protagonist is actually empowered and should be hailed as a heroine in feminist literature (Merritt 46). Despite all the criticisms, Lady — does display a striking freedom in the way she expresses herself and is fearless in her quest towards the discovery of love, sex, and power. The feminist literary criticism approach can be used to study the protagonist, Lady —, in â€Å"Fantomina; or Love in a Maze.† Elaine Showalter argues that there are three literary subcultures, or major stages of female development, in literature. The subculture itself means â€Å"a habit of living† (Showalter 14). The first is the Feminine Stage, which involves the â€Å"imitation of the prevailing modes of the dominant tradition† and â€Å"internalization of its standards† (Showalter 13). The next, Feminist Stage, is â€Å"a protest against these standards and advocacy of minority rights† (Showalter 13). Finally, the Female Stage is a â€Å"phase of self-discovery, a turning inward freed from some of the dependency of opposition, a search for identity† (Showalter 13). Showalter says that a character can display characteristics from more than one developmental stage, even though the stages roughly follow literary time periods (13). Ac cording to Showalter, the Feminine phase in literature included texts written between the 1840s and 1880s; the Feminist phase from 1880s to 1920; the Female stage from 1920 to the present (13). Eliza Haywood wrote this particular novella in 1724, long before females became common protagonists and long before the Female stage began. The protagonist in â€Å"Fantomina; or Love in a Maze† strongly illustrates the final developmental stage (Female) and demonstrates some characteristics in the Feminist stage as well. This is determined by the character’s knowledge of what she wants and her desire to get what she wants, her protest against stereotypical female standards by advocating self-discovery of identity, her trickery that makes her the victor, and her continuous inner strength. Lady —’s motives guide her during the process of getting what she wants. At first, her motives are â€Å"no other aim than the gratification of an innocent curiosity† (Haywood 2740). According to one critic, Lady —’s motives stay here the whole story, meaning she is only interested in learning more about what male attention feels like, nothing more (Merritt 49). Other textual interpretations acknowledge that her curiosity turns into sexual knowledge and experience because she keeps trying to sleep with Beauplaisir. A â€Å"hope of interest† becomes her new motive in keeping Beauplaisir close at hand (Haywood 2743). She says that â€Å"she loved Beauplaisir† (Haywood 2746). She wants have some sexual control and be sexually satisfied at the same time, hoping to â€Å"once more engage him, to hear him sigh, to see him languish, to feel the strenuous pressures of his eager arms, to be compelled, to be sweetly forced to what she wished wi th equal ardor† (Haywood 2746). Once the fun becomes a glorious scheme to trick Beauplaisir into loving and lusting more than one woman, her motives finally turn to being the victor in the game of love and sex. According to Catherine Craft, this is Lady —’s â€Å"fantasy of female freedom† (830). Craft notes that she adopts disguises for her own pleasures and is proud and content with her actions during the game (830). Her motives, although shifting frequently, demonstrate character complexity and depth. Lady — knows what she wants and will not stop at anything to get it â€Å"no matter the consequence† (Haywood 2742). In this, she defines strength and independence because what she wants defies what society says women should â€Å"want† in that day. Lady — chooses to fight for what she desires, even if society opposes it. The exception to this rule is when her mother comes to town, because not only are there uninvited consequences (pregnancy), but she has to be responsible for them. Lady — takes on five different identities to keep the game alive. With each disguise and performance, she prepares more, meaning that she learns quickly how to become someone else (Hodgson-Anderson 5). However, she does not lose sight of who she is and proves that it is okay for women to do whatever necessary to win. As her experiences broaden, she begins to understand the complex differences between the sexes. She learns quickly that men desire difference while women de sire sameness so she elegantly disguises her desire for the same object with his for a new (Merritt 53 55). Emily Hodgson-Anderson argues that although Lady — plans everything out beforehand, her feelings for Beauplaisir are still genuine, which is why she succeeds overall (2). Thinking ahead and preparing how she will seduce Beauplaisir is, Hodgson-Anderson argues, what makes Lady — a feminist character (6). Lady —’s strong will and deep thinking further empowers her throughout the story. Lady — actively protests stereotypical female standards as she discovers her own identity. First, she protests common gender roles. She promotes her own power when she first refuses Beauplaisir’s service, â€Å"observing the surprise he would be in to find himself refused by a woman, who he supposed granted her favours without exception† (Haywood 2742). Although Lady — is dressed as a prostitute, she does not live to the standard of one, which threatens Beauplaisir’s expectations of manliness and conquering. When Lady — addresses Beauplaisir in a letter as Incognita, she calls him the â€Å"all-conquering Beauplaisir,† buttering him up and praising everything about him (Haywood 2753). However, when Beauplaisir responds to â€Å"the obliging and witty Incognita he calls himself â€Å"your everlasting slave† (Haywood 2754). The way Lady — writes Beauplaisir puts herself in the spot of the victor. No matter how powerful Bea uplaisir thinks he is, when it comes down to it, he is at the hands of Incognita because she has to make the first move. He never has to make the first move because he is being eloquently pursued, an ironic twist of gender stereotypes. Beauplaisir’s hands are tied — he is subservient to a woman. Lady — has great power over a man in this part of the story and she delights in it. The power she has promises a chance to finally control Beauplaisir’s attention, making him focus on Incognita alone. Lady — even experiments with social class, creating identities as lowly as a prostitute and maid to as high as an aristocrat. Lady — herself, being born of â€Å"distinguished birth† (Haywood 2740) would have never experienced life from the perspective of lowly characters like the prostitute, Fantomina, or the maid. According to Craft, each disguise Lady — assumes is a higher class than the last, but more sexually accessible, which is the opposite of standards of the day (829). As a prostitute, she is â€Å"fearful, confused, altogether unprepared to resist in such encounters† (Haywood 2743). Although she may start out sexually weak, she develops her sexual strength and dominance, so by the time she is Incognita, she â€Å"yielded without even a shew of reluctance† (Haywood 2755). According to Hodgson-Anderson, Incognita is the identity most threatening to Beauplaisir (6). This is not because she is the highest class citizen, but because she refuses to share her real name or her face. A refusal to share these things makes Beauplaisir uncomfortable and frustrated because he has no power and may end up the fool in the end. A lack of accountability could mean the woman he is sleeping with is not an aristocrat, or worse (in his mind) — ugly. But what really scares Beauplaisir, while empowering Lady —, is her mask. Juliette Merritt suggests that masquerade is a game in which women win because in realigning femininity, women create a new identity that will not compromise their public identity (45, 47, 51). The mask also allows her to freely express her genuine desires (Hodgson-Anderson 6). According to Hodgson-Anderson, this is a positive personal demonstration called self-conscious performance, which is when women act out roles that they have internally conceived for themselves so they can achieve female passions that society would consider immoral or disastrous (1). Lady —’s strength is further defined by the way she grows to handle the pressure sexual encounters create, and how she controls her own identity’s desires through the names and costumes of others. By creating false identities, Lady — is freely expressing what society would not normally allow her to express — her true desires. Lady — uses trickery to first become and then stay the victor in the game of sex. She genuinely enjoys tricking Beauplaisir and being the master behind the curtain. She â€Å"imagines a world of satisfaction to herself in engaging him in the character of such a one† (Haywood 2742). She is convinced that no one knows of her scheme, proud that â€Å"I shall hear no whispers as I pass, — She is forsaken: — The odious word forsaken will never wound my ears; nor will my wrongs excite either the mirth or pity of the talking world† (Haywood 2745). Even the narrator brags on Lady — in the text, â€Å"she was so admirably skilled in the art of feigning† (Haywood 2749). This proves that whether or not Lady — is actually interested in Beauplaisir, she wants to play a game, and Craft even argues that Lady — gets tired of Beauplaisir just as often as he gets tired of her (831). â€Å"She began to grow as weary of receiving his now in sipid caresses as he was of offering them† (Haywood 2756), which further suggests that Lady — is interested in something short-lived that gives her power over a man. The complexity of her trickery and her character keeps the game alive. Instead of playing the typical weak female or the victim, Lady — presents Beauplaisir as the fool in the relationship. He is â€Å"both surprised and troubled at the mystery† from the beginning when Lady — tells him she is not a prostitute (Haywood 2743). Thus begins the more advanced labyrinth of deceit. She â€Å"provided herself of another disguise to carry on a third plot† (Haywood 2747), and then â€Å"she had prepared herself for it, and had another project in embryo, which she soon ripened into action† (Haywood 2751), a deceit unmatched by any other. Her disguises empower her because only she knows what is real. Beauplaisir can only guess who these beautiful women are, clueless that is is all the same person. The mystery of the disguises keeps her reputation safe while allowing her to pursue her desires. She turns the relationship into a maze (and a game) that she gets out of, while he is still left clueless, â€Å"But I have outwitted even the most subtle of the deceiving kind, and while he thinks to fool me, is himself the only beguiled person† (Haywood 2751). She lets Beauplaisir think he is seducing her, but she is seducing him and is in charge the whole story (Levin 4-5). Hodgson-Anderson points out that Beauplaisir thinks he has conquered four women, when he is actually making love to the same body every night (3). Such a belief on Beauplaisir’s part would make him feel like a male victor, a king in the field of sex. But when Lady — confesses what she has done, he is â€Å"more confused than ever he had known in his whole life† (Haywood 2758), an entire defeat on his part, one that will forever remain with him. Lady — ultimately â€Å"proves skill in a game against the man perceived to be the best† (Levin 5). Finally, Lady —’s inner strength throughout the novella proves her to be in the feminist and female stages of Showalter’s female development theory. First of all, she depends on only herself to get through the game and any pain it might cause her. She â€Å"did in every thing as her inclinations of humours rendered most agreeable to her† (Haywood 2740) and â€Å"depended on the strength of her virtue, to bear her fate through trials more dangerous than she apprehended this to be† (Haywood 2742). When she succeeds, she is proud of herself because â€Å"I have him always raving, wild, impatient, longing, dying† (Haywood 2754). Things start downhill because she is raped by Beauplaisir, â€Å"she was undone; and he gained a victory so highly rapturous, that had he known over whom, scarce could he have triumphed more† (Haywood 2743). Even so, she rises above, becoming the victor in an uncomfortable and taboo situation that first puts her on the bottom of the social pyramid (Ballaster 188). Next, she is accountable for her actions and accepts responsibility for them. Helen Thompson says it is important to note that Lady — does tell Beauplaisir about the trickery she involves him in (207). Even if it would have cost her reputation and been completely terrifying, â€Å"she related the whole truth† (Haywood 2758). Lastly, she does not get confused in her own identity, despite putting on so many others. Lady — is able to maintain her personal identity so that â€Å"she met him three or four days in a week, at the lodging she had taken for that purpose, yet as much as he employed her time and thoughts, she was never missed from any assembly she had been accustomed to frequent† (Haywood 2745). According to Croskery, her adopted roles reveal traits about her own identity because in the fake identities, she can express desires that she normally could not based on her sex and class (4). Her ultimate inner strength is her self-composure and belief in herself, which is how she presents herself to the world (Merritt 67). Lady —’s inner strength continues even when she becomes pregnant and is sent to the monastery. Even though she is pregnant, she still retains her true identity, attending social gatherings appearing as a lovely virgin, â€Å"by eating little, lacing prodigious straight, and the advantage of a great hoop-petticoat, however, her bigness was not taken notice of† (Haywood 2756). She gives birth to a daughter, someone who will be pinned down by society as an illegitimate child. However, that child will grow to become a woman who will have the choice to be whoever she wants to be. Lady — is the one the child can look up to in this way, because Lady — not only defies stereotypical female standards, but pursues the self-discovery of identity. In the monastery, Lady — has the opportunity to live in an all-female society, a society that is free from male bias, power, and control. Instead of living in a place where men rule and women submit, Lady â€⠀ can finally rest in a home that promotes female empowerment, something that Lady — exhibits throughout the story. The archetype of seduction begins in the garden with Eve and the serpent (Levin 3). In this story, however, it is not the woman who is beguiled, but the man. This story weakens the criticism of women on the basis of the garden. Instead, men are attacked with the point that they are â€Å"stupid and beguiled† (Craft 831). Seduction is a hot topic in literature, especially in Haywood’s writings, who, according to literary critics, is known as the â€Å"Great Arbitress of Passion† (Hodgson-Anderson, 1). Haywood writes â€Å"Fantomina; or Love in a Maze† to play with the idea that the best seduction is mutual (Levin 6). The passion in this story is a split flame — one lover’s flame burns out over and over again (Beauplaisir) while the other’s constantly grows stronger (Lady —). Not only does the story â€Å"Fantomina; or Love in a Maze† frequent the topic of passion, it focuses on rising above the stereotypical gender roles i n the game of sexuality. According to Levin, the female protagonist learns sexual knowledge through experience, she jumps over conventional boundaries by becoming the teacher instead of the learner (5). As her sexual identity forms, so does her identity as a female. Her final identity settles as a mother when instead of creating another disguise, Lady —’s body creates another being (Thompson 207). The introduction to â€Å"Fantomina; or, Love in a Maze† is a couplet by Edmund Waller which reads, â€Å"In love the victors from the vanquished fly. — They fly that wound, and they pursue that die.† While traditionally Lady — would be the vanquished, she is in fact the victor because she empowers herself and mystifies the sex that is usually all-powerful. Beauplaisir is the vanquished, weak, and confused one. The story ultimately proves the power women have when they are given the opportunity and freedom to express it. Lady — is a woman who demonstrates incredible independence, empowerment, and control for a female of her time. Through her motives, quest for identity, trickery, and inner strength, Lady — demonstrates that she is a strong female character in an early example of feminist literature. Works Cited Ballaster, Rosalind. Seductive Forms: Women’s Amatory Fiction from 1684 to 1740. Clarendon Press, 1992. Craft, Catherine. â€Å"Reworking Male Models: Aphra Behn’s â€Å"Fair Vow-Breaker,† Eliza Haywood’s â€Å"Fantomina,† and Charlotte Lennox’s â€Å"Female Quixote.† The Modern Language Review, vol. 86, no. 4, 1991, pp. 821-38. Croskery, Margaret. â€Å"Masquing Desire: The Politics of Passion in Eliza Haywood’s Fantomina.† The Passionate Fictions of Eliza Haywood: Essays on Her Life and Work, edited by Kristen T. Saxton and Rebecca P. Bocchicchio, 1st ed., UP of Kentucky, 2000, pp. 69-94. Haywood, Eliza. â€Å"Fantomina; or Love in a Maze.† Norton’s Anthology of English Literature, Edited by Stephen Greenblatt, W. W. Norton Company, 2012, pp. 2740-2758. Hodgson-Anderson, Emily. â€Å"Performing the Passions in Eliza Haywood’s â€Å"Fantomina† and â€Å"Miss Betsy Thoughtless.† The Eighteenth Century, vol. 46, no. 1, 2005, pp. 1-15. Levin, Kate. â€Å"‘The Only Beguiled Person’: Accessing Fantomina in the Feminist Classroom.ABO: Interactive Journal for Women in the Arts, vol. 2, no. 1, 2012, pp. 6-19. Merritt, Juliette. â€Å"Peepers, Picts, and Female Masquerade: Performances of the Female Gaze in Fantomina; or, Love in a Maze.† Beyond Spectacle: Eliza Haywood’s Female Spectators, University of Toronto Press, 2004, pp. 45-72. Showalter, Elaine. A Literature of Their Own: British Women Novelists from Bronte to Lessing. Princeton University Press, 1977. Thompson, Helen. â€Å"Plotting Materialism: W. Charleton’s â€Å"The Ephesian Matron†, â€Å"E.Haywood’s â€Å"Fantomina†, and Feminine Consistency. Eighteenth-Century Studies, vol.35, no. 2, 2002, pp. 195-214.

College Football Rankings Explained

College Football Rankings Explained Determining College Football Team Rankings Rankings for college football teams change every week throughout football season as aggregate performance impacts how each elite team compares against the others. Related Articles Understanding College Athletic Divisions Understanding College Athletic Divisions College Ranking College Ranking College Football College Football College Football Playoff Rankings The College Football Playoff (CFP) system began with the 2014 season, replacing the former Bowl Championship Series (BCS). The CFP ranking system is the one that, ultimately, is the most meaningful. That's because CFP rankings are the ones that determine which teams will be invited to participate in the playoffs, and the playoffs determine which teams have a shot at winning a national championship. CFP rankings are determined by a selection committee that consists of a mixture of people with expertise in football (such as athletic directors, former NCAA and conference representatives and former head coaches) and leaders outside the sport (as of 2015, former Secretary of State Condoleezza Rice and Lieutenant General Mike Gould (Ret., U.S. Air Force) serve on the committee). Unlike the Coaches Poll and the AP Poll that are published from the very beginning of football season, CFP rankings aren't released until mid-season, when teams have had a few months to establish their track records. After the initial release date, CFP rankings are updated each week throughout the season, until selection day, which occurs after the last conference championship game has been played. Even though CFP rankings aren't released from the beginning of the season, every game, and even every play, are taken into consideration when determining rankings. Factors taken into consideration include "conference championships won, strength of schedule, head-to-head results, comparison of results against common opponents and other factors." Coaches Poll USA Today is behind the Coaches Poll, and Amway is the name sponsor, so it is referred to as the Amway Coaches Poll. Rankings are determined by a randomly selected panel of head football coaches at the Football Bowl Subdivision (FBS) schools. Every week, panel members submit their recommendations for the top 25 teams in college football. The panel members don't just submit a list of team names. Instead, the votes they turn in specify which position they feel each team should be in based on performance-to-date in the season, taking any factors they feel are relevant into consideration. A first place vote is worth 25 points, a second place vote is worth 24 points and so on.