Smart Conversion Rate And Sales Funnel Secrets From Daniel McGaw

Smart Conversion Rate And Sales Funnel Secrets From Daniel McGaw A sales and marketing funnel is when people have an awareness of your brand and move closer to a buying decision. You want them to know, like, and trust you, so there is enough value for them to become your customer. What does your customer’s journey look like? Fortunately, today’s episode features Daniel McGaw, the founder of Effin Amazing and creator of UTM.io. Daniel is a conversion rate optimization and sales funnel expert. Find out about the magic you can get from links and how to increase Website and content conversions. What are the superpowers of what can be done with a link when shared online? Urchin tracking module (UTM) tags are bits of code you can add to the end of any link; it’s the only universal tracking method available Daniel’s product offers presets for teams to keep tags consistent Most entrepreneurs think about business in the wrong way; they focus on the logo, brand, mission, and other factors before they acquire customers Daniel thinks of business this way: Where is the demand? Do we have a customer? If we have a customer, then we have a business. How Effin Amazing got its name and gets a lot of attention Don’t ask for tons of information; just get an email address to optimize for leads Funnel Anatomy: Awareness, top of funnel (TOFU), middle of funnel (MOFU), bottom of funnel (BOFU), and referrals of the funnel (ROFU) Daniel’s company uses the Velocity/Impact/Confidence/Easy (VICE) framework to map a funnel, which includes documenting information, developing strategies, and building benchmarks Evaluate your team’s skills and abilities to augment VICE scores Most marketers and businesses go wrong when they expect people to buy too quickly; and do not get enough email addresses email is king and the lynchpin to success Learn more about your customers during the funnel stages, and try to educate them Links: Daniel McGaw Effin Amazing UTM Trello RealtimeBoard AMP on iTunes leave a review and send screenshot to podcast@.com If you liked today’s show, please subscribe on iTunes to The Actionable Content Marketing Podcast! The podcast is also available on SoundCloud, Stitcher, and Google Play. Quotes by Daniel McGaw: â€Å"What are the superpowers that we can do with a link when sharing it online?† â€Å"We’re definitely trying to set the standard for how people make UTMs.† â€Å"You have to understand your target customer and what you’re trying to sell them.†

Sing a Spanish Version of Deck the Halls

Sing a Spanish Version of Deck the Halls Here is a Spanish version of the popular Christmas song Deck the Halls. Note that this song isnt a translation of the English but rather a Christmas-themed song that uses the same tune. Ya lleg la Navidad  ¡Ya llegà ³ la Navidad!  Ã‚  Fa-la-la-la-la-la-la-la-la. ¡Quà © alegre se siente el alma!  Ã‚  Fa-la-la-la-la-la-la-la-la.Vamos todos a cantar.  Ã‚  Fa-la-la-la-la-la-la-la-laVamos todos a reà ­r.  Ã‚  Fa-la-la-la-la-la-la-la-la. Apà ³stoles y magos vienen  Ã‚  Fa-la-la-la-la-la-la-la-la.Adorar al tierno nià ±o.  Ã‚  Fa-la-la-la-la-la-la-la-laVamos todos a cantar.  Ã‚  Fa-la-la-la-la-la-la-la-laVamos todos a reà ­r.  Ã‚  Fa-la-la-la-la-la-la-la-la Por doquiera llevaremos  Ã‚  Fa-la-la-la-la-la-la-la-laMensaje de buenas nuevas  Ã‚  Fa-la-la-la-la-la-la-la-laVamos todos a cantar.  Ã‚  Fa-la-la-la-la-la-la-la-laVamos todos a reà ­r.  Ã‚  Fa-la-la-la-la-la-la-la-la Translation Here is a translation of this Spanish song omitting the fa-la-la refrain: Christmas is already here! How happy the soul feels!Lets all go to sing. Lets all go to laugh. Apostles and magi come to worship the tender boy.Lets all go to sing. Lets all go to laugh. Lets carry the message of good news everywhere.Lets all go to sing. Lets all go to laugh. Vocabulary and Grammar Notes Note how in Spanish only the first word and the proper noun Navidad are capitalized in the songs title. The same pattern is used for other composition titles such as the names of novels and movies. Ya is a common adverb that has many translations but generally is used as a way of adding emphasis. Llegà ³ is the singular third-person preterite form of llegar, which means to arrive. The Spanish verb is used in a figurative way, as here, more often than the English verb. Navidad is the Spanish word for Christmas. It is frequently used, as here, with the definite article la. In Spanish, it is not unusual to place the subject after the verb, as is done in the first line.  ¡Quà © adjective! is a common way of saying How adjective! Vamos is the first-person plural imperative of ir, the verb for to go. Vamos a infinitive is the usual way to say lets go verb. Vienen is a form of the irregular verb venir. Por doquiera is a shortened form of por dondequiera, meaning everywhere. This shortened form is found primarily in songs and poetic writing. Llevaremos is the first-person plural form of llevar, which usually means to carry.

BP petroleum company Case Study Example | Topics and Well Written Essays - 1000 words

BP petroleum company - Case Study Example ude corporate branding and position, ethics and social responsibility, engagement of stakeholders, corporate affairs, strategic thrust and sustainability (Achenbach, 107). The main strength that the company had was that of changing the name from British Petroleum to BP and then tried to rebrand the name to Beyond Petroleum. The rebranding was a signal to stakeholders that it was focused on sustainability and the need to move beyond nonrenewable sources (Andrews, 89). The rebranding that was given to the petroleum company made it focus on sustainability and the need to move beyond nonrenewable energy sources. The company also presented itself as being committed to invest in renewable energy. This has gained a great deal of popularity among consumers and other members of society concerned about the future of the planet. There are problems that the company has faced in its history such as bankrupting the founder due to lack of well implemented strategies that the company had. BP has also experienced controversies regarding business practices hazard to workers, damages of the environment and greenhouses gases (Andrews, 108). These factors made the company to have an image that was not good to the consumers. BP Petroleum Company tried to position its products that support the sustainability and other social responsibility and the concern of other social responsibility. The claim that they have made is that of maintaining a product that is authentic and trustworthy (Benoit, 35). This has been put to improve the image of the company to attract more consumers. There have been many threats that the company has experienced such as explosion that occurred in Texas injuring many people which made it guilty for violating the safety of citizens. The threat has also continues as there are other accidents that the company has involved in with the main outcome being pollution of the environment (Gurney and Company, 78). The company has also been charged with violating Clean

Coy Mistress assignment Essay Example | Topics and Well Written Essays - 500 words

Coy Mistress assignment - Essay Example Women, by nature, are more shy and timid to express their love all on a sudden in the public. The sensual instinct of the speaker in coercing the mistress to make immediate love is clear to the readers as well as to the lady. There is also a tone of contempt, in the voice of the speaker, for the natural forms of love making and the means of passing the ‘long love’s day’. â€Å"We would sit down and think which way / To walk, and pass our long loves day; / Thou by the Indian Ganges side / Should’st rubies find...† (Marvell, lines 3-6) Though the speaker is able to state some essential facts about the temporary nature of time and life, he forgets the general facts about love. He is concerned about the material and physical love and he is practical in approach. Thus he states that â€Å"Thy beauty shall no more be found, / Nor, in thy marble vault, shall sound / My echoing song...† (Marvell, lines 25-7) Love is not anything spiritual or sublime t o him – it is merely a physical activity which he calls ‘sport’. â€Å"Now therefore, while the youthful hue / Sits on thy skin like morning dew, / And while thy willing soul transpires / At every pore with instant fires, / Now let us sport us while we may...† (Marvell, lines 33-6) Therefore, the mistress is able to recognize the lack of credibility and trustworthiness in the words of the

Stalins leadership Essay Example for Free

Stalins leadership Essay The great patriotic war was a theatre of war primarily between Russia and the Nazis, although it involved many surrounding countries in Eastern Europe and beyond. This period was notorious for its unprecedented ferocity, destruction, and immense loss of life and was lead under the leadership of Stalin. Yet to what extent was Stalins efforts and actions the reason for the Soviet victory against the axis powers? Politically, there were many aspects that contributed to the war effort. The Communist Party itself worked at the rear of the forces (350,000 members were transferred to the back lines) and also increased membership to ensure that there was sufficient support for the party. The NKVD played a more significant role in the war, most importantly controlling the USSR population through fear. The NKVD were responsible for the labour camps (gulags) where prisoners of war were sent as well as opposition suspects and deserters from the Russian armies. The group had many other roles, including undercover officers within the red army reporting any deficiencies in moral and any anti-communist attitudes. Therefore they created a sense of terror that deterred any resistance against Stalin and the regime from building up effectively as well as maintaining discipline and security within the army. This was obviously a crucial factor in Soviet success, without this the Red Army would not have fought effectively. Although the NKVD were very effective throughout the war and must certainly be credited in the Soviet success, Stalin was in overall control of the body, and therefore could also claim some of this as his own. He also influenced the air of terror, by coining orders like not one step back meaning that any soldiers that tried to retreat would be shout by the NKVD themselves. Britain and America were Russias allies in the war and although they did not send troops directly to the front line, the lend lease programme (begun in March 1941) provided the USSR with essential war supplies $11. 3 billion worth of goods were sent throughout the war. Without these the army would have been less effectively supplied and progress may have been slower, particularly one the offensive move towards Berlin, which may have given the enemy more time to re-organise and build defenses. Additional assistance came from U. S. Russian War Relief (a private, nonprofit organization) and the Red Cross who also sent supplies. Again, it could be suggested that it was Stalins political ability that allowed him to form these alliances that proved to be so vital. However, for the supplies from the Red Cross and Russian war relief he cannot be accredited and it could be argued that the allies did not aid Russia due to Stalins diplomacy but merely in an attempt to defeat Germany. Despite the destruction of the war, the Russian economy managed to keep the front supplied with weapons and other supplies. The move to dismantle factories and rebuild them in the remote Urals once the Germans had begun to infiltrate Russia proved to be very successful. 1500 enterprises and 10 million people were transferred eastwards and the new industrial heartlands began production. The planned economy also meant that industrial plants were converted into military production factories (for example, in Moscow a childrens bicycle factory was converted into a automatic rifles factory). Without this economic planning, the Red Army would not have been supplied tanks, guns ammunition and planes in adequate quantities (in fact, by 1943 the Red Army was achieving this). However, yet again the ideas for the planned economy and the move of the factories were announced by Stalin and therefore their successful results and vital contribution to the war could be said to be a result of cunning planning and economic efficiency. Further than this, Stalin managed to mobilize the entire urban society into production. Similarly to the five year plans, anyone of a working age was forced into labour, including the women. For example, in 1942, women made up 53% of the urban workforce. Without this mobilisation, the factories would not have run to full capacity and production levels would have fallen substantially. Stalin also cleverly ensured that the workers would not resent the regime by increasing wages (wages rose by 75% between 1938 and 1944) and those in regular manual employment were guaranteed survival through the network of Ors (workers provisionary department) shops at their places of work. Obviously the Red Army must be accredited with at least some of the war success. Although it was initially disorganised and was unable to adapt to the defensive tactics now necessary, this was the result of Stalins fierce purges of the Red Army causing military leaders to be wary of taking any initiative or acting without firm orders from the leader himself. The Army was however, heroic in nature and had many successful attacks against the Germans (for example, the Battle of Kursk). Another initial weakness was the dual command of the Politruki, but Stalin did end this when he realised it was a hindrance to the army rather than a help. Stalins choices in military men had both positive and negative effects on the war. He was often seen to give leadership powers to those who were his close friends and allies, often with poor results. An example of this is Kulik who delayed the production of Katyusa rockets and T34 tanks due to a belief that more old fashioned artillery and horsepower were more effective war methods. However, Soviet success was also the result of meticulous planning and military excellence of many other of the Russian leaders, for example Vasilevsky who was responsible for the planning and co-ordination of all decisive offences and Chuikov who commanded in Stalingrad. The man with the most influence militarily however was General Zhukov who oversaw the defence of Leningrad and orchestrated the first breakthrough, commanded in the Battle of Kursk and launched the final attack on Germany, including capturing Berlin. Further than this Zhukov was more fearless than many others of the leaders and stood up for his military ideas. It could be suggested that this was the main reason that Stalin eventually accepted that his tactics needed updating and moved away from his previous military ideas. Had the Red Army continued with these they may never have won the war as the outdated tactics were very unsuccessful. The Stavka ended up being a very effective team, some disagreement with Stalin was tolerated and the result was concrete military decisions that resulted in Soviet success. It is possible to completely blame Stalin for the initial Russian failures for a further reason. Previous to Operation Barbarossa, Stalin had been warned of the German attack but simply ignored this and made no defensive military plans. Therefore when under attack, the army only had defensive strategies available. This was particularly a problem due to the lack of initiative that generals were willing to take as explained above. Some debate still remains over why Stalin refused to acknowledge the information but it was probably a combination of Stalins overconfidence in the character of Hitler and other circumstantial information (such as 22nd June was theoretically too late to attack as it was too close to the Russian winter). For these reasons Stalin was certainly a hindrance to the Russian side at times. However, he did change his tactics eventually which was obviously a difficult move for Stalin as it resulted in a loss of face. Another of Stalins failures was his refusal to sign the Geneva Convention for human rights. Therefore when Russian prisoners of war were captured they often ended up in extermination camps in Germany. Many Russian war prisoners ended up fighting for the German side in preference to being killed. An example of this is Andrei Vlasov who set up a Russian Liberation Army who fought for the Germans; he was later used as a figurehead for German propaganda. If Stalin had signed the agreement the Germans wouldnt have had any extra re-enforcements. Another general factor for the Soviet success in the Great Patriotic War is psychological and social. The role of the Russian people undoubtedly contributed to the war effort. Other than the obvious roles they played in the factories, farms and on the battlefront itself, the sheer heroism of many of the people is astounding. For example, within Leningrad the Russian people failed to give in to German terror for 872 days, despite the constant attack from the skies, bitter famines spread throughout the whole city, horrific death rates (in December 1941, 53000 people died in Leningrad (this was as many as the total deaths in 1940)) and rations that were barely enough to survive (bread rations were 400g a day but decreased to 250-125g in December/January 1941). This strength of the nation was seen in other places, such as the partisan units that were set up in the German occupied areas. Often the members were Red Army troops that had not retreated quick enough to stay in front of the Germans, but many were also civilians united in a hatred for the Nazis. They were effective in tying down Germans in certain areas, harassing German soldiers but most importantly showing the opposition that Russian influence was still present in their occupied areas. The sheer hatred that the Russians felt for the Germans was also influential to Soviet success, and the treatment in the camps was certainly a contributing factor to this. Another reason for this was the treatment for the Russians in the German occupied territory. The Germans viewed the war as a war of extermination and used the Slav people as sub-humans. An example is a quote from Hitler if 10,000 females die of exhaustion digging an anti-tank ditch, my only interest is that the ditch is dug for Germany. Only towards the end of the war did the Germans realise that it would be much more effective to try and keep the Russians on side. An example of the earlier brutality is the 34,000 Jews and Soviet citizens massacred at Babi-Yar which was an attempt to cleanse Russia and create living space (lebensraum). This is important for the war as the Russian hatred fuelled their desire to defeat the Germans and individuals would work harder and faster in whatever role they were contributing in. It could be suggested that Stalin did help influence this as his speechs were always hugely anti-German and highlighted the deaths and terrors inflicted upon Russia. He also contributed to the propaganda that was circulated in the war which showed clearly the brutalities of the war to the Russian civilians. This was to influence the Red Army and partisans to fight for motherland, for honour, for freedom and for Stalin. Stalin also managed to mobilise and encourage women into the war effort. Women took on roles within factories, farms and other mens positions such as miners and welders. At the beginning of 1940 women made up 41% of labour front and over 800,000 saw active service on the battlefields (ordered after 1942). Another social change that Stalin made during the war were the religious concessions. For example, in 1942 the labour camps were searched for religious men who were then allowed home and in 1943 they Russians elected a new patriarch and synod. These proved very successful and brought him more support as the religious Russians had previously felt oppressed. Stalin as a war leader was always resolute and determined. It is unquestionable that Stalin was courageous, despite German attack he remained with his family in Moscow rather than fleeing to Kuibyshev. Although he did make some mistakes, particularly during the openings of the war, he did manage to amend many of these. The ways in which Stalin helped make the Soviet war success certainly outweigh his hindrances in both number and significance. Without such a powerful, charismatic and talented leader, Russia would have been much more likely to be defeated in the Great Patriotic war.

Breaking Convention in A Room of Ones Own Essay -- Room of Ones Own

Breaking Convention in A Room of One's Own New discoveries and exciting breakthroughs are all made at the expense of contradicting old rules and ideas. In order for Earth to be round, it could no longer be flat. Revolutions in literature, science, and countries are always filled with conflicts and contradictions to traditional conventions. In this sense, Virgina Woolf's essay A Room of One's Own can be called a revolution. Woolf breaks nearly all the rules of essay writing in her argumentative essay. She addresses the reader in the first person, tells the reader that she is lying, focuses on unnecessary details, and even contradicts herself from time to time. Why does Woolf, a competent writer, decide to write this way? Perhaps, her unorthodox style supports her perception on the difficulties that exists in women becoming serious writers. Her writing style constructs a relationship between her essay and women writers; it shows the reader that for women to become a writer without a "a room of one's own" is just as unconvention al as her writing style. With both her words and her unique writing style, Woolf presents her view on women's writing. In a serious essay, a point or an argument should be made. This is why a writer writing a serious essay finds it necessary to shower his reader with logical reasons and facts. A typical writer wants the reader to examine, if not accept, the writer's point of view; however, Woolf claims that "lies will flow from [her] lips" in her essay.(720) Not too many writers will come right out and tell their readers that they intend to lie in their essays. The persuasiveness of an essay is not going to be enhanced by having the writer admit that he is lying. Because writers want to be as factua... ... as an intellect. Woolf has set up the essay so that the argument is presented in the essay but conveyed to the reader through the subtle messages hidden in the stylistic and the structural set up of the essay. And perhaps she has one more intention for setting up her essay in such a way; perhaps she wants to remind women that they can turn their disadvantages into advantages, as she did with the presumably awful style in her essay. Since women have not had a voice in this make dominated would for so long, it is almost certain that they will have a different voice from the men. This different voice, that has been oppressed for so long, is bound to carry novel ideas, and women, the source of this hidden voice, are the only ones capable of sharing these new views with the world. Works Cited: Woolf, Virginia. A Room of One's Own. San Diego: Harcourt, Inc., 1929.

Elements of the Gothic Genre

The gothic novel was invented almost single-handedly by Horace Walpole, whose The Castle of Otranto (1764) contains essentially all the elements that constitute the genre. Walpole's novel was imitated not only in the eighteenth century and not only in the novel form, but it has influenced writing, poetry, and even film making up to the present day. It introduced the term â€Å"gothic romance† to the literary world. Due to its inherently supernatural, surreal and sublime elements, it has maintained a dark and mysterious appeal. However, the roots of the Gothic? precede the Gothic? works of Horace Walpole.The focus on the grotesque in the medieval period (visible especially in the paintings and architecture of the period) provides a key backdrop against which Gothic must be read, as do the violent and often grotesque tragedies written for the Elizabethan and Jacobean theatre, with their detailed, almost surgical exploration of the supernatural, vice, corruption, imprisonment, br utality and sexuality, all of which were to provide the very substance of the Gothic authors. (Note particularly ‘Macbeth? and ‘Dr Faustus?) Gothic literature is devoted primarily to stories of horror, the fantastic, and the â€Å"darker† supernatural forces.These forces often represent the â€Å"dark side† of human nature— irrational or destructive desires. Gothic literature derives its name from its similarities to the Gothic medieval cathedrals, which feature a majestic, unrestrained architectural style with often savage or grotesque ornamentation (the word â€Å"Gothic† derives from â€Å"Goth,† the name of one of the barbaric Germanic tribes that invaded the Roman Empire). The Gothic genre (in both literature and architecture) is therefore associated with savagery and barbarism.Generally speaking, gothic literature delves into the macabre nature of humanity in its quest to satisfy mankind's intrinsic desire to plumb the depths of t error. The key features of gothic texts are: 1) the appearance of the supernatural, 2) the psychology of horror and/or terror, 3) the poetics of the sublime, 4) a sense of mystery and dread 5) the appealing hero/villain, 6) the distressed heroine, and 7) strong moral closure (usually at least). ELEMENTS OF THE GOTHIC IN TEXTS 1. Setting in a castle or haunted house. The action takes place in and around an old castle, sometimes seemingly abandoned, sometimes occupied.The castle often contains secret passages, trap doors, secret rooms, dark or hidden staircases, and possibly ruined sections. The castle may be near or connected to caves, which lend their own haunting flavour with their branchings, claustrophobia, and mystery. (Translated into modern filmmaking, the setting might be in an old house or mansion–or even a new house–where unusual camera angles, sustained close ups during movement, and darkness or shadows create the same sense of claustrophobia and entrapment. ) It is usually a dwelling that is inhabited by or visited regularly by a ghost or other supposedly supernatural being.Example: Horace Walpole's The Castle of Otranto. Walpole's novel first introduced to gothic literature its single most influential convention, the haunted castle. The castle is the main setting of the story and the centre of activity. Cemetery /Graveyard. A cemetery defines a place which is used for the burial of the dead. Cemeteries are widely used in Gothic Literature as oftentimes frightening places where revenance can occur. Catacombs are especially evocative Gothic spaces because they enable the living to enter below ground a dark labyrinth resonating with the presences and mysteries of the dead. . The Weather is used in a number of ways and forms, some of these being: Mist – This convention in Gothic Literature is often used to obscure objects (this can be related to the sublime) by reducing visibility or to prelude the insertion of a terrifying person or thing; Storms – These frequently accompany important events. Flashes of lightning accompany revelation; thunder and downpours prefigure the appearance of a character or the beginning of a significant event (eg thunder precedes the entrance of the witches in ‘Macbeth?;Sunlight – represents goodness and pleasure; it also has the power to bestow these upon characters. 3. An atmosphere of mystery and suspense. (or a sense of dread) The work is pervaded by a threatening feeling, a fear enhanced by the unknown. Often the plot itself is built around a mystery, such as unknown parentage, a disappearance, or some other inexplicable event eg. Ghosts walking or a painting coming to life. There may be an ancient prophecy connected with the castle or its inhabitants. It is usually obscure, partial or confusing.This serves to captivate the reader and encourage further reading. The atmosphere may also be seen acting upon the protagonists in texts, influencing them by excitin g their curiosity or fear. 4. Claustrophobia / Entrapment & Imprisonment: A favourite horror device of the Gothic finds a person confined or trapped, such as being shackled to a floor or hidden away in some dark cell or cloister. This sense of there being no way out contributes to the claustrophobic psychology of Gothic space. It consists of an abnormal dread of being confined in a close or narrow space.Often ttributed to actual physical imprisonment or entrapment, claustrophobia can also figure more generally as an indicator of the victim's sense of helplessness or horrified mental awareness of being enmeshed in some dark, inscrutable destiny 5. The supernatural may be intrinsic to the plot. This is generally in the form of some kind of supernatural being or object, such as a vampire, witch, devil or ghost, which is frightening due to its refusal to adhere to the laws of nature, God or man. In ‘Macbeth? there are three witches. Dr Faustus communicates with a demon and indirec tly with Lucifer.All of ‘Paradise Lost? involves the supernatural. 6. Dreams, omens, portents, visions. Dreaming is characterised as a form of mental activity that takes place during the act of sleep. Dreams invoke strong emotions within the dreamer, such as ecstasy, joy and terror. Dreams dredge up these deep emotions and premonitions that reflect tellingly upon the dreamer, what one might conceal during waking hours but what emerges in sleep to haunt and arouse the dreamer. It is most likely due to this heightened emotional state that dreams are used so often within Gothic Literature.By invoking dream states within their characters, authors are able to illustrate emotions on a more unmediated and, oftentimes, terrifying level. Dreams reveal to the reader what the character is often too afraid to realise about himself or herself. Dreaming also has an ancient relation with the act of foretelling wherein the future is glimpsed in the dream state. Perhaps the most famous Gothic example of significant dreams occurs in Shelley's ‘Frankenstein? after Frankenstein ‘awakes' his creature: he falls into a dream state that begins with his kissing of Elizabeth, his love.However, this kiss changes her in the most drastic way as she transforms into the rotting corpse of Caroline, Victor's dead mother. Upon awakening from this horrifying dream, Victor finds himself staring into the face of the monster he has created. Interpretations of this dream lead to explorations of Frankenstein's psyche, relational ability and sexuality. A character may have a disturbing dream vision, or some phenomenon may be seen as a portent of coming events. For example, if the statue of the lord of the manor falls over, it may portend his death.In modern fiction, a character might see something (a shadowy figure stabbing another shadowy figure) and think that it was a dream. This might be thought of as an â€Å"imitation vision. † Banquo in ‘Macbeth? dreams of the â €˜weird sisters?. Lady Macbeth?s suppressed guilt emerges when she is seen sleepwalking. 7. The stock characters of Gothic fiction include tyrants, villains, bandits, maniacs, Byronic heroes, persecuted maidens, femmes fatales, madwomen, magicians, vampires, werewolves, monsters, demons, angel, fallen angel, the beauty and the beast, revenants, ghosts, perambulating skeletons, the Wandering Jew, and the Devil himself. .Villain-Hero (Satanic, Promethean, Byronic Hero) The villain of a story who either 1) poses as a hero at the beginning of the story or 2) simply possesses enough heroic characteristics (charisma, sympathetic past, etc) so that either the reader or the other characters see the villain-hero as more than a simple charlatan or bad guy. Three closely related types exist: Satanic Hero: a Villain-Hero whose nefarious deeds and justifications of them make him a more interesting character than the rather bland good hero.Example: The origin of this prototype comes from Roman tic misreading of Milton's Paradise Lost, whose Satan poets like Blake and Shelley regarded as a far more compelling figure than the moralistic God of Book III of the epic. Gothic examples: Beckford's Vathek, Radcliffe's Montoni, and just about any vampire. Promethean: a Villain-Hero who has done good but only by performing an over-reaching or rebellious act. Prometheus from ancient Greek mythology saved mankind but only after stealing fire and ignoring Zeus' order that mankind should be kept in a state of subjugation.Mary Shelley's Frankenstein is tellingly subtitled the â€Å"Modern Prometheus. † Consider whether Dr Faustus is a Promethean hero. (The vaulting arches and spires of Gothic cathedrals reach wildly to the sky as if the builders were trying to grasp the heavens , an ambition for the eternal that is likewise expressed in many works of Gothic literature (consider Manfred's quest for supernatural power in Byron's poem, or Frankenstein's quest to become godlike by cr eating life or Dr. Faustus pact – offering his soul for 24 years of power).Byronic Hero: a later variation of the â€Å"antithetically mixed† Villain-Hero. Aristocratic, suave, moody, handsome, solitary, secretive, brilliant, cynical, sexually intriguing, and nursing a secret wound, he is renowned because of his fatal attraction for female characters and readers and continues to occasion debate about gender issues. Example: Byron's Childe Harold and, more gothically, Manfred are the best examples, but this darkly attractive and very conflicted male figure surfaces everywhere in the 19th and 20th century gothic eg Heathcliff or Wilde?s Dorian Gray.Byron himself was described as â€Å"mad, bad and dangerous to know. † The Byronic hero in literature and life: A. Robin Hood B. Richard III C. Iago D. Faust/ Dr. Faustus E. Milton's Satan F. Victor Frankenstein G. Frankenstein's Creature H. Dracula I. Byron?s Manfred J. Cain K. Lara L. Conrad M. Childe Harold N. Byron, Shelley O. Ambrosio P. Peter Quint Q. Miss Jessel R. Stalin S. Hitler T. The Unabomber U. Prometheus 9. The Pursued Protagonist This refers to the idea of a pursuing force that relentlessly acts in a severely negative manner on a character.This persecution often implies the notion of some sort of a curse or other form of terminal and utterly unavoidable damnation, a notion that usually suggests a return or â€Å"hangover† of traditional religious ideology to chastise the character for some real or imagined wrong against the moral order. The Wandering Jew is perhaps the archetypically pursued/pursuing protagonist. –Drew McCray 10. Pursuit of the Heroine This is the pursuit of a virtuous and idealistic (and usually poetically inclined) young woman by a villain, normally portrayed as a wicked, older but still potent aristocrat.While in many early Gothic novels such a chase occurs across a Mediterranean forest and/or through a subterranean labyrinth, the pursuit of the he roine is by no means limited to these settings. This pursuit represents a threat to the young lady's ideals and morals (usually meaning her virginity), to which the heroine responds in the early works with a passive courage in the face of danger; later gothic heroines progressively become more active and occasionally effective in their attempts to escape this pursuit and indict patriarchy. eg. Angela Carter?s ‘The Bloody Chamber. ?Women in distress. As an appeal to the pathos and sympathy of the reader, the female characters often face events that leave them fainting, terrified, screaming, and/or sobbing. A lonely, pensive, and oppressed heroine is often the central figure of the novel, so her sufferings are even more pronounced and the focus of attention. The women suffer all the more because they are often abandoned, left alone (either on purpose or by accident), and have no protector at times.Women threatened by a powerful, impulsive, tyrannical male. One or more male chara cters has the power, as king, lord of the manor, father, or guardian, to demand that one or more of the female characters do something intolerable. The woman may be commanded to marry someone she does not love (it may even be the powerful male himself), or commit a crime. 11. The Outsider: The one theme that cuts through virtually all Gothic is that of the â€Å"outsider,† embodied in wanderers like Frankenstein's creature.Gothic fiction is concerned with the outsider, whether the stationary figure who represses his difference, or the wandering figure who seeks for some kind of salvation, or else the individual who for whatever reason- moves entirely outside the norm. In any event, he is beyond the moderating impulses in society, and he must be punished for his transgression. He is gloomy and melancholy, full of self-pity and self-hatred. Like Cain, he is the perpetual outsider, marked by his appearance, doomed to wander the four corners of the earth, alone and reviled.It may be argued that Frankenstein himself becomes an outsider as he grows more and more like his creation. . While the society at large always appears bourgeois in its culture and morality, the Gothic outsider is a counterforce driven by strange longings and destructive needs. While everyone else appears sane, he is insane; while everyone else appears bound by legalities, he is trying to snap the pitiless constrictions of the law; while everyone else seems to lack any peculiarities of taste or behaviour, he feels only estrangement, sick longings, terrible surges of power and devastation.Take for example, Heathcliff in ‘Wuthering Heights?. 12. Possession The popularity of belief in demonic possession seems to have originated within Christian Theology during the Middle Ages. During this time, Christians lived in fear concerning the war being waged between God and the Devil over every mortal soul. Hence, this fear of possession seemed to culminate into an act that could be viewed by t he mortal eye. This act is defined as the forced possession of a mortal body by the Devil or one of his demons.There are two types of possession and either can be voluntary or involuntary. Voluntary possession seems to involve a willing exchange in the form of some compact between evil spirit and mortal, often involving wealth, power or goods (eg. The pact Faustus makes); involuntary possession occurs when the devil randomly selects an unwitting host. The two types of possession consist of the transference of the Devil or demon directly into the mortal body or the sending of the Devil or demon into the body by a third party, usually a mortal dabbler in the dark arts.Following the act, the possessed is said to show many symptoms including abnormal strength, personality changes, fits, convulsions, bodily odours resembling sulphur, lewd and lascivious actions, the ability to levitate, the ability to speak in tongues or the ability to foretell future events. Many religions acknowledge t he act of possession still today, most notably the Catholic Church. There seem to be three ways in which to end a possession. 13. Revenance This is the return of the dead to terrorise or to settle some score with the living.4. Revenge Revenge is characterized as the act of repaying someone for a harm that the person has caused; the idea also points back generically to one of the key influences upon Gothic literature: the revenge tragedies of Elizabethan and Jacobean drama. Revenge may be enacted upon a loved one, a family member, a friend, an object or even an area. Within Gothic Literature, revenge is notably prominent and can be enacted by or upon mortals as well as spirits.Revenge can take many forms, such as harm to body, harm to loved ones, and harm to family. The most Gothic version of revenge in Gothic Literature is the idea that it can be a guiding force in the revenance of the dead. 15. Unreliable Narrator A narrator tells a story and determines the story?s point of view. A n unreliable narrator, however, does not understand the importance of a particular situation or makes an incorrect conclusion or assumption about an event that he/she witnesses.An important issue in determining the The Turn of the Screw. 16. Multiple Narrative/Spiral Narrative Method The story is frequently told through a series of secret manuscripts or multiple tales, each revealing a deeper secret, so the narrative gradually spirals inward toward the hidden truth. The narrator is often a firstperson narrator compelled to tell the story to a fascinated or captive listener (representing the captivating power of forbidden knowledge). (Note ‘Wuthering Heights?) 17. High, even overwrought emotion.The narration may be highly sentimental, and the characters are often overcome by anger, sorrow, surprise, and especially, terror. Characters suffer from raw nerves and a feeling of impending doom. Crying and emotional speeches are frequent. Breathlessness and panic are common. In the fi lmed gothic, screaming is common. 18. The Sublime: The definition of this key term has long been a contested term, but the idea of the sublime is essential to an understanding of Gothic poetics and, especially, the attempt to defend or justify the literature of terror.Put basically (and this really is basic – a fuller understanding of the Sublime would be useful to students of Wordsworth or any Gothic Literature), the Sublime is an overpowering sense of the greatness and power of nature, which can be uplifting, aweinspiring and terrifying, caused by experience of beauty, vastness or grandeur. Sublime moments lead us to consider the place of humanity in the universe, and the power exhibited in the world. 19. Darkness as intrinsic to humanity:Generally speaking, gothic literature delves into the macabre nature of humanity in its quest to satiate mankind's intrinsic desire to plumb the depths of terror. 0. Necromancy This is the black art of communicating with the dead. This is usually done to obtain information about the future, but can also be used for other purposes, such as getting the dead to perform deeds of which humans are not capable. The conjurer often stood in a circle, such as a pentagram, in order to protect himself from the dead spirit, yet he was often overpowered by the spirit. Examples: The most famous examples of necromancy can be found in literary renditions of the Faust legend, from Marlowe to Johann Wolfgang von Goethe to Byron with his Manfred.In these works, Faust not only speaks with the devil in order to strike a deal but necromantically invokes various dead, famous figures from the past for his amusement and edification. 21. Blood -This is a prominent symbol in Gothic works often intimating the paradox of the human condition; blood can represent both life and death, or both guilt (e. g. , murder) and innocence (e. g. , redemptive blood). Consider references to blood in ‘Macbeth?, Byron's Manfred and Mary Shelley's Frankenste in. 22.Marriage as Resolution: The importance of marriage in this scheme cannot be overstated. Not only does movement toward matrimony in the Gothic's present trigger the appearance of the buried past, but that buried past itself always contains information tied to the institutions of matrimony or family interest. 23. Sadism : The word â€Å"sadism† was coined to describe the writings of Donatien-AlphonseFrancois, the Marquis de Sade. Sadism is a sexual perversion where one person gains gratification by inflicting physical or mental pain on others.It can also mean a delight in torment or excessive cruelty. (Heathcliff in ‘Wuthering Heights? / or the husband in ‘The Bloody Chamber?. 24. Strong Moral Closure: If de Sade is to be believed, the Gothic genre arose as a response to the brutality and bloodiness of Romantic society, and it as part of this response that Gothic fiction usually contains a strong moral. 25. The metonymy of gloom and horror. Metonymy is a subt ype of metaphor, in which something (like rain) is used to stand for something else (like sorrow).For example, the film industry likes to use metonymy as a quick shorthand, so we often notice that it is raining in funeral scenes. Note that the following metonymies for â€Å"doom and gloom† all suggest some element of mystery, danger, or the supernatural. wind, especially howling doors grating on rusty hinges footsteps approaching lights in abandoned rooms characters trapped in a room ruins of buildings thunder and lightning rain, especially blowing sighs, moans, howls, eerie sounds clanking chains gusts of wind blowing out lights doors suddenly slamming shut aying of distant dogs (or wolves? ) crazed laughter 26. The vocabulary of the gothic. The constant use of the appropriate vocabulary set creates the atmosphere of the gothic.Here as an example are some of the words (in several categories) that help make up the vocabulary of the gothic in The Castle of Otranto: Mystery dia bolical, enchantment, ghost, goblins, haunted, infernal, magic, magician, miracle, necromancer, omens, ominous, portent, preternatural, prodigy, prophecy, secret, sorcerer, spectre, spirits, strangeness, talisman, vision Fear, Terror, or Sorrow fflicted, affliction, agony, anguish, apprehensions, apprehensive, commiseration, concern, despair, dismal, dismay, dread, dreaded, dreading, fearing, frantic, fright, frightened, grief, hopeless, horrid, horror, lamentable, melancholy, miserable, mournfully, panic, sadly, scared, shrieks, sorrow, sympathy, tears, terrible, terrified, terror, unhappy, wretched Surprise alarm, amazement, astonished, astonishment, shocking, staring, surprise, surprised, thunderstruck, wonder Haste anxious, breathless, flight, frantic, hastened, hastily, impatience, impatient, impatiently, impetuosity, precipitately, running, sudden, suddenlyAnger anger, angrily, choler, enraged, furious, fury, incense, incensed, provoked, rage, raving, resentment, temper, wrath , wrathful, wrathfully Largeness enormous, gigantic, giant, large, tremendous, vast 27. Elements of Romance In addition to the standard gothic aspects, many gothic novels contain elements of romance as well. Elements of romance include these: Powerful love. Heart stirring, often sudden, emotions create a life or death commitment. Many times this love is the first the character has felt with this overwhelming power. Uncertainty of reciprocation. What is the beloved thinking?Is the lover's love returned or not? Unreturned love. Someone loves in vain (at least temporarily). Later, the love may be returned. Tension between true love and father's control, disapproval, or choice. Most often, the father of the woman disapproves of the man she loves. Lovers parted. Some obstacle arises and separates the lovers, geographically or in some other way. One of the lovers is banished, arrested, forced to flee, locked in a dungeon, or sometimes, disappears without explanation. Or, an explanation ma y be given (by the person opposing the lovers' being together) that later turns out to be false.Gothicism: In literary criticism, this refers to works characterised by a taste for the medieval or morbidly attractive. A gothic novel prominently features elements of horror, the supernatural, gloom, and violence: clanking chains, terror, charnel houses, ghosts, medieval castles, and mysteriously slamming doors. The term â€Å"gothic novel† is also applied to novels that lack elements of the traditional Gothic setting but that create a similar atmosphere of terror or dread. Mary Shelley's Frankenstein is perhaps the best-known English work of this kind. Grotesque 1) This term originated from oddly shaped ornaments found within Roman dwellings, or grottoes, during the first century. From a literary standpoint, this term implies a mutation of the characters, plants and/or animals. This mutation transforms the normal features and/or behaviours into veritable extremes that are meant to be frightening and/or disturbingly comic (Cornwell 273. (2) The term grotesque also defines a work in which two separate modes, comedy and tragedy, are mixed. The result is a disturbing fiction wherein comic circumstances prelude horrific tragedy and vice versa.

Economics Commentary Essay

The collusive1 market structure that the Japanese traditional industry has traced over previous years has increasingly become to fail. The tendency of companies abandoning cross-shareholdings2 has generated a in deep economic loss resulting from a reduce in the total revenue of corporations in the country. The attempt of industries such as steel, paper and energy as well as car making companies and electronic firms3 to consolidate economic partnership through means of oligopoly, has decreased deliberately from 50% of the market values to 20% over the last 17 years. The benefits of share holding companies were determined in preceding times to maximize profits by jointly agreeing in a fixed price which will avoid â€Å"price wars† and therefore substantial revenues4. Also assuming the interdependent behaviors, cross-shareholding companies act together to establish high barriers of entry to the industry in order to preserve ascendancy and evade competitiveness to have a high indices of demand. As the extract mentions, there is a bought share between companies to prevent the overhaul of others and to regulate the number of firms within the market as it happened with Mitsubishi when 11 other companies had an acquisition of shares to â€Å"block the outsider†. As these companies were subdued to price controls of the industry, the demand curve will therefore be highly inelastic responding to the few amount of substitutes5 that the industry seeks to have in flow. However the concerns about the crumbling of the traditional tendency of cross-shareholding are given with the results in the change of behavior of the industry. Along with the abandonment of share holding companies, the industry becomes vulnerable to external entry and in the case of Japan foreign investments which increases competition. As there is increase in supply of same products, demand for products of individual firms will fall and the demand curve will shift to the left. Demand shifts to the left from D1 to D2 due to the increase in supply with the entry of new firms and the removal of a unique price of product in the whole industry. As the result in the shifting of the demand curve of any Japanese product prices of evidently reduce as shown in the previous figure. From P1, being the demand of a cross-holding alliance of the market, and P2 the consequent reduction of this model. Quantity produced also lessens from Q1 to Q2 as costs of production are directly proportional to the loss of profit6 with the diminishing prices. Due to price decline, total revenue also decreases as both quantity and price of products decrease considerately. The impacts of this phenomenon on Japanese economy is illustrated with losses of the questioned firms. Between March and September more than 160 shareholding companies lost a total of à ¯Ã‚ ¿Ã‚ ½300 billion in value. 610 Banks and monetary institutions have also been affected as these companies are part of the essential capital they lend against. Despite the increase in cross-shareholding companies since 2004, the evident economic impact of the â€Å"criss-crossed capitalism† are starting to arise. The Japanese government in response has been working on regulatory measures to prevent this phenomenon future repercussions. Works Cited – * Economic Basis: Demand and Supply. In the internet: http://www.investopedia.com/university/economics/economics3.asp, s.t. * Economic Basis: Monopolies, Oligopolies and Perfect Competition, s.t. In the internet: http://www.investopedia.com/university/economics/economics6.asp, s.t. * Introduction to economics * WHITTEN, Darrel. Japan: Japan’s System Of Interlocking Shareholdings. In the internet: http://www.mondaq.com/article.asp?articleid=24335, 2004. 1 A commonly accepted price determination of oligopolists to prevent competition of prices over similar products. 2 When to or more firms3 hold each other shares. 3 Institutions that employ production factors to produce and hence sell goods and services. 4 The resultant economic gains of multiplying the price of a good times the quantity of that good sold (TR=pxq). 5 Similar products with certain differentiations that determine price elasticity of demand. 6 Net income in gains of a businesses activity.

u me nad the people essays

u me nad the people essays 1. The eyes whispers I love you dear, the lips move, no words appear, when your love is true, sincere and real, what the lips hide, the eyes reveal. 2. Im glad friendship doesnt come with price tags. For if it did, I would never afford someone great as you. Thanks for being my friend. 3. In life, try not to expect anything from anybody. This way, you wont be disappointed if they dont live up to your expectations. Accept any blessings with a smile. 4. The more friends you have, the more treasure you have. Thats why I want to make friends. Can I? 5. No special season, no special reason...just taking the time to say Im glad youre my friend! 6. The miracle of friendship speaks from one heart to another, listens for unspoken needs, recognizes secret dreams, understands silent things. 7. You can close your eyes on things you want to see, but you can never close your heart on things you dont want to hear. 8. Seems like the only time I see you near is when I close my eyes. Should I keep it t hat way? Because its the only way I can make you stay. 9. When we get hurt, it is one way that God is telling us that not all thats painful is bad or wrong. We get hurt so we would never hurt others the way we were hurt. 10 . A friend is the voice when you cant speak, the strength when youre weak, the hope when youre sad and the joy when youre gloomy. 11. Dance like nobodys watching. Sing like nobodys listening. Love like youll never get hurt. Live like its heaven on earth. 12. This much I know is true, that God blessed the broken road that lead me straight to you. 13. When I saw you, I was afraid to look at you. When I looked at you , I was afraid to touch you. When I touched you, I was afraid to kiss y...

Correct Use of the Adjective Reincarnate

Correct Use of the Adjective Reincarnate Correct Use of the Adjective Reincarnate Correct Use of the Adjective Reincarnate By Maeve Maddox The word reincarnate used as an adjective is extremely popular with writers who comment on politics and entertainment. Many of the ways in which the word is used, however, are questionable. First, some definitions. Incarnate is related to the Latin word for flesh (caro). To incarnate is to enter into a fleshly body. The Incarnation is the Christian doctrine that God inhabited a human body as Jesus. Pre-Christian belief included the belief that a god could walk the earth in human form. The religious concept of reincarnation is the belief that when a human body dies, the spirit that inhabited it is reborn into another body. As an adjective, incarnate often follows a noun and means in the flesh. Ex. Some regarded Hitler as the devil incarnate. Like incarnate, the adjective reincarnate is almost always placed after the noun it describes. Ex. Many believed that John the Baptist was Elijah reincarnate. As an adjective reincarnate means reincarnated. Here are some examples of reincarnate from the web. Some are used incorrectly. 1. Palin may well be Dick Cheney’s reincarnate. 2. The big question: Is G.W. Bush the reincarnate of our lord and savior? 3. Look at GOP’s embrace of Sarah Palin – a Bush reincarnate – as its future savior. 4. Bush essentially describes himself as a reincarnate of Harry Truman. 5. But what if shes pregnant with the Michael Jackson reincarnate? 6. I dont know anyone, liberal or conservative, that thinks Michelle Obama is some kind of Jackie Kennedy reincarnate. 7. Hoping in vain to be perceived as John F. Kennedy reincarnate, in the summer of 1999 Bill Clinton†¦ 8. From the beginning I have said that this hot young man must be Elvis reincarnate. 9. If Bush pardoned someone who re-offended, the Times would run 47 front page stories on the person and act like he was Son of Sam reincarnate. 10. Bush’s agenda to reincarnate NATO, inspired by the Wolfowitz document, is key to this oil strategy. Comments Items 1-5 use reincarnate as if it were a noun. The noun form is reincarnation. Corrections: Dick Cheney’s reincarnation (the possessive calls for a noun) the reincarnation of our lord and savior (the article the calls for a noun) a Bush reincarnation (the article a calls for a noun) a reincarnation of Harry Truman. (ditto) the reincarnation of Michael Jackson (see number 2.) NOTE: Strictly speaking, for a person to be somebody else reincarnate, the somebody in question should be dead. We can suggest that someone is Truman reincarnate, or Michael Jackson reincarnate, because Truman and Jackson are dead. In the case of the living, like Cheney and Bush, a play on the word clone might be more apt. To suggest that someone is a living person reincarnate conjures up the spooky idea of two spirits inhabiting one body. Items 6-8 use the adjective reincarnate correctly. Item 9 is iffy. In one sense Son of Sam is still alive in the person of lifer David Berkowitz. On the other hand, the murderer Son of Sam is presumably dead, i.e., off the streets. Son of Sam reincarnate works, but the writer could have come up with a murderer who, like the Wicked Witch of the East, is not only merely dead, but really most sincerely dead. Item 10 uses reincarnate as a verb. The questionable use here is not that NATO is not a fleshly body inhabitable by a spirit. Reincarnate and its forms are often used figuratively. Whats wrong here is that NATO never died. If NATO had been dissolved and then a new organization formed under a new name to include the old Soviet bloc, reincarnate would be appropriate. ACORN (Association of Community Organizations for Reform Now), for example, is busily reincarnating under various new names in the different states. Bottom line: dont confuse the post-positional adjective reincarnate with the noun reincarnation. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Misused Words category, check our popular posts, or choose a related post below:50 Synonyms for â€Å"Leader†Select vs. Selected10 Humorous, Derisive, or Slang Synonyms for â€Å"Leader† or â€Å"Official†

Animals in American History Essay Example | Topics and Well Written Essays - 250 words

Animals in American History - Essay Example Slideshow 4:2 contain a dog and horses coexisting with human beings. The picture demonstrates a democratic society where even animal rights are observed. The crowd seems to be busy with their own agenda and no one interferes with the freedom of the dog. Further, slideshow 4:3 demonstrates a free dog in the middle of a crowd. The picture is also an exclusive indication of a democratic society where animal rights are observed as those of humans. In the gilded age is characterized by championing the rights of children and animals in the society. The pictures in slideshow 7:33 of a child holding a horse statue, portrays the defenseless in the society. Children and animals needed protection from abuse in the eve of nineteenth century and in modern American society. In the slideshow 9:27, there is a police dog near a policeman inspecting a car. The presence of the dog in the picture resonates with safety claim of the car model. Dogs have been for a long period considered as a source of

Non-Human Value Essay Example | Topics and Well Written Essays - 250 words

Non-Human Value - Essay Example This is because of the spillover of the larvae that do not generate in the plantations (Lucey & Hill 2012). By contrast, species that cannot breed in the plantation increase near the forest. These have a negative impact on the plantations, to rectify the result; preservation of the forest around the plantation in the scattering of some species through the countryside. The world is experiencing rapid population growth of about 6 billion, which is significantly a large number. Moreover, with these large populations of humans on earth overwhelming the energy and resources generated, it is raising alarm of environmental challenges (Lucey & Hill 2012). These are leading to excessive exploitation of resources in order to sustain the population. In this regard, survival for the fittest is becoming a trend in the world to curb the world hunger. Due to these, the world is experiencing a number of changes fuelled by the population action. In order to control the population, there have been strategies to regulate the world’s population. In this context, there has been the introduction of contraceptive pills and educating the women on the need to have few children. On the other hand, these will help in the conservation of the environment (McKibben, 2012) McKibben, B. (2012). A special moment in history: The challenge of overpopulation and overconsumption. In L.P. Pojman & P. Pojman (Eds.), Environmental ethics: Readings in theory and application, (6th ed., pp. 260-271). Boston, MA: Wadsworth,