Edgar allen poe

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People often refer to Edgar Allan Poe as the father of the detective storyand to The Murders in the Rue Morgue as the first of that genreso it may seem appropriate that much of Poes life story remains mired in mystery. Rufus Griswold, his literary executor, wrote a scathing obituary of Poe, depicting him as a sadistic drug addict and alcoholic. This has lead many to falsely consider Poe as the origin of his own dark characters.

Upon his birth in Boston on January 1, 180, his parents regular members of the troupe then performing at the Federal Street Theaternamed him Edgar Poe. Shortly before his mothers death in Richmond, Virginia on December 8, 1811, his father abandoned the family. John Allana wealthy tobacco merchant in Richmondbrought Poe into the family (at his wifes request), and gave him the middle name Allan as a baptismal name, though he never formally adopted him. Allans treatment of Poe remains controversial. Some view him as abusive, while others view him as merely authoritarian, which would, however, prove severely detrimental to anyone with a poets sensitivity; still another, smaller group of biographers view him as the ideal guardian for a poet. Clearly, though, Allan never treated Poe with sensitivity.

In 1815, the Allan family moved to England on business. There, Poe entered the Manor-House School in Stoke-Newington, a London suburb. This school taught him Latin and French, but more importantly, the gothic architecture and historical landscape of the region made a deep imprint on his youthful imagination, which would effect his adult writings.

The Allans left England in June 180, and arrived in Richmond on August . Here, Poe entered the English and Classical School of Joseph H. Clarke, a graduate of Trinity College in Dublin. His studies in French and Latin continued, and though he lacked diligence in studying, he distinguished himself as an excellent classicist and the best reader of Latin verse. He wrote a volume of verse to the little girls of Richmond, joined the Thespian Society, engaged prominently in debate, and earned the rank of Lieutenant of the Richmond Junior Volunteers, who acted as a body guard during Lafayettes October 184 visit. Despite this, he never gained popularity among his schoolmatesperhaps his impoverished roots abraded the aristocratsbut rather he found his friends among the younger set, whom he could easily entertain with wild tales.

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On February 14, 186, Poe (then 17) entered the University of Virginia, taking classes in Latin, Greek, French, Spanish, and Italian. Though he spent more time gambling and drinking than studying and often arrived to class unprepared, he won top honors in French and Latin. On June 17, 186, he was elected to the Jefferson Literary and Debating Society, but he rarely presented his original works, preferring to give private readings in his room. He successfully painted himself as an aristocrateven fighting a duel with his former roommatebut at the end of the year left the university in disgrace, because Allan refused to pay his $,000 gambling debt (not due to expulsion as Griswold claimed).

On May 6, 187, Poe enlisted in the US Army under the name Edgar A. Perry. He joined Battery H of the 1st Artillery, then stationed at Fort Independence. While Poe served there, Calvin F.S. Thomas printed Poes first book, Tamerlane and Other Poemsa slim volume, which failed to earn any fame or money. On October 1, the Battery moved to Fort Moultrie in Charleston, South Carolina, and one year later moved to Fort Monroe in Virginia. His foster-mother died on February 8, 18, and on April 15likely at her requestAllan obtained Poes release from the army by providing a substitute.

Poe then visited Baltimore, and arranged for the printing of another slim volume, entitled Al Aaraaf, Tamerlane, and Minor Poems. Then, Allanconsidering it an honorable way to discharge of his wardobtained an appointment for him as a cadet, so on July 1, 180 he entered West Point Military Academy, making his residence at No. 8 in the South Barracks. While there, he portrayed himself as the hero of a romantic sea voyage; while most present-day biographers consider this merely a tale spun for his compatriots benefits, a few think that it may have at least a basis in an actual trip to Europepossibly Russia. Poes military career, however, flopped. The discipline and Allans failure to provide financial support (a poor man with literary ambitions could never find satisfaction in a military career) chafed him enough that he disobeyed orders to get himself court-martialed on January , 181, but to pay back the military he remained in the service until March 6. Immediately after his dismissal, he published a third volume of poetrythis one dedicated to the US Corps of Cadets, for he had taken a subscription from them to raise funds (as he left the service with 4 cents to his name).

He then settled in Baltimore with his impoverished aunt, Maria Clemm; her daughter, Virginia Clemm, a woman talented in music; and his older brother, William Henry Leonard, whom his grandfather, General Poe, had raised. At the time Leonard seemed more talented in writing than Poe, but he died in July. In 18, Philadelphias Saturday Courier published five of his short stories. More importantly, in 18, he won $100 in the Baltimore Sunday Visitors short story contest

After unsuccessfully seeking work as a teacher in Baltimore, returned in August, 185 to Richmond, where the Richmond Academy was advertising for a professor of English. After another person got that job, Thomas Willis White hired himat first on a temporary basisas an editor at The Southern Literary Messenger, in which he published short stories, poems, and ascerbic literary reviews. In October, the Clemms joined him, and in May he married Virginia, then 1-years old. After an 186 printers strike caused financial woes for the magazine, Poe and White quarreled over both the acidness of his criticism and the irresponsibility of his drinking.

The rest of his life, Poe suffered from severe mental depression and declining physical health (possibly caused by malnutrition and severe drinking binges), but moments of intense creativity punched through this pain. In 188, he published his only novel, The Narrative of Arthur Gordon Pym, and one year later he became coeditor of Philadelphias monthly Burtons Gentlemans Magazine, where he printed The Fall of the House of Usher (18) and his sonnet, Silence (1840). In December, 18, his first collection of short stories, Tales of the Grotesque and Arabesque, appeared, but it sold less than 750 copies. Within a few months of this, he lost his jobagain due to the severity of his criticisms and excessiveness of his drinkingso he moved to an editorship with another Philadelphia monthly, Grahams Magazine, which in April 1841 printed The Murders in the Rue Morgue.

He left one year later to make a meager living off freelance stories, poems, and reviews. On January , 1845, the New York Evening Mirror printed The Raven, which created a sensation. Poe at last gained fame, but he remained impoverished.

That year, he also became editor of a New York Monthly, The Broadway Journal, which he eventually bought on credit. In a failed attempt to raise circulation, he wrote a series of 5 articles on plagiarisms on Longfellows work, which stirred up great controversy. By late 1846, financial woes and Poes own continuing decline ended the magazine.

In January 1847, his wife died in their cottage at Fordham. This wracked a Poe already assaulted by his poverty and instability. He continued to write, and engaged in unsuccessful publishing schemes and romances, until, on October , 184, Joseph W. Walker found him unconscious in the street. Poe remained hospitalizedoscillating between a somatic state and violent deliriumuntil his death at 5 am on the 7th.

Though Poe had earned a local reputation as a writer of grotesque horror stories, he had little reputation among the literati. His fierce reviews had earned him the ill will of many writers, and his arguments in favor of aestheticism over didacticism in literature went against the currents of the time. Indeed, sometimes the gothic terror he created failed to surpass the popular romantic fiction of the timebut then, he needed to earn money from his work. Even so, he has influenced writers ranging from Robert Louis Stevenson and Sir Arthur Conan Doyle to T.S. Eliot and William Faulkner. He also enjoys renown in France, wherein comparison to Americahe enjoyed a greater reputation in his life thanks to Baudelaires translations.

Poes literature hardly relates to the harsh realities of 1th century life. The dark, chaotic, romantic worlds he created represent an escape from the real, unromantic miseries of life to a place where miseries become grand, beautiful things.

His 18 poem, Lenore, demonstrates this, as he romanticizes a woman in her death. Rhyme and diction serve to formalize the tone into that of a romantic elegy, while the prose level meaning of the poem romanticizes death.

Poe uses couplet rhymes throughout the poem, with the exception of lines 5-7, where all three share an end-rhyme. He also includes several interior rhymes as in The sweet Lenore hath gone before, with Hope that flew beside (15) and The life still there upon her hair, the death upon her eyes (1). Such excessive rhyme typically makes a poem sing-song, but in a poem about death, it makes the theme stand out sharper in contrast.The couplet rhymes also formalize the tone into that of a romantic elegy.

Poes diction similarly formalizes the tone. In line , he addresses a Guy de Vere. Because this name sounds aristocratic, it raises poem to romanticism, as it follows the convention of relating tales of the upper class. Suggesting true, it resembles the names of heroes in the then-popular romantic fiction, and thus creates a subtext of passion. In line 10, Poe refers to the burial service as ritual. This underlines the ritualistic tone created by the rhymes and other diction. The Latin Peccavimus (1), and archaic Avaunt! (0), meanwhile, formalize the tone.

The prose meaning of the poem implicitly makes the dead woman, Lenore, the heroine of a romantic tale. And Guy De Vere, hast thou no tear?weep now or never more! (), suggests some sort of soured love affairwhich fits well with the implications of the name, for stories of the time typically involved romance with a male noble.

Betrayal also fits the genres conventions. One might simply blame this on de Vere, assuming that Poe continues to address him in lines 11-1 By youby yours, the evil eyeby yours the slanderous tongue / That did to death the innocence that died and died so young?. However, line ten refers to the singing of a requiem, which would require multiple voices. Also, line 0Avaunt!avaunt! to friends from fiends the indigent ghost is rivenrefers to her earthly tormentors in the plural. This suggests that while de Vere committed a final act of betrayal, but only because others spurred him to it. Because of this evil, death becomes desirable.

Thus, in Lenore, Poe romanticizes death. The poem, in fact, becomes the Paean [joyous song] of old days with which he promises to waft the angel on her flight (6). Likewise, Poes works represent a romanticization of darkness, an elevation of the misery and deprivation he sufferedas a child from lack of fatherly attention, as an adult from poverty and lack of recognition. Many critics see Poes works as attempts to discover the boundaries of the human mind, or the output of a romantics never-outgrown solitary youthdestroying the outer world for the inner. Poes circumstances of life, however, killed his ability to function in the world; woe eroded him, though a less sensitive soul might not have felt it as intensely. The world Poe wrote of reflected the misery, but turned it into something desirable, creating a mental refuge, which and a lens through he could reinterpret his misery.

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Media

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HOW ARE ADVERTS DESIGNED TO ATTRACT A TARGET AUDIENCE?

This essay will show that adverts use a variety of methods to attract a targeted audience. I will tell you how a character, slogan, logo, copy, trademark, layout, colour, motive, image connotation and image denotation all work together to create an effect.

Characters are people or a person on the advert. The purpose is to attract the eye of audience and to make more realistic because their hoping that the audience will look at the character first but it depend on the advert. In my advert the character gives numerous impressions that she is sexy, feminine, and authoritative lady and that will attracts men by the way she look and will attracts the women because the advert is selling perfume and most of the women desire to be like her because of the image she gives and creates in the advert witch is that she can get any men she want.

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Colour is one of the first think the audience notices in the advert like if you see loads of bright colours in an advert the target audience will be younger people then older. It creates an image alongside with the character for the advert to make target audience. In my perfume advert the colours were red and black, this created an image of love and feeling sexy. This will make the audience think they will have more love and feeling sexy. And in my ellesse advert the colours were Red, Orange, Blue and white. This creates an image of strong, manly and a sentiment of sporty. And this advert makes the audience consider they will more maleness.

The slogan is the catchphrase where as the brand is the name of the product. It is incredible the audience can reflect of the character and colour. In my advert the slogan is " a rose by another name" and brand name is "red" this made the audience think that the character is a rose so why couldn't they be the same. The slogan for the ellesse is the "art of sport" the audience will consider that if they want to me a sports start when it beginnings with ellese.

Trademark is the name of the company that produces the product and logo is the symbol used for the product the purpose, of trademark and the logo is for the audience to know who made the artefact the trademark and logo are tow roses so audience know the company is red many people look at the band name if they were to by something e.g. ellesse

The layout is how the text or picture arranged on the advert and the font is how the words used make the audience felt and this is another way the advert. They create image because they are of apart of adverts that is notices and works with the rest. In my advert the layout was the lady at the top and product is beneath if. Font in the advert makes the audience feel sexy.

Audience is who the product is aimed at. Is important to give to them. Adverts have different audiences; in my advert the audience was intended at young and single ladies or ladies in love or looking for love because they will consider it will help their love life.

In conclusion, I have show that in advertising people use characters, slogans, logos, copy's, trademarks, layouts, image denotations to get the attention of the audience as well as creating an image for the product. Every advert tells the audience something different and has its own style. All of those mentioned above have an effect on the reader's opinions and shopping habits.

Please note that this sample paper on media is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on media, we are here to assist you. Your persuasive essay on media will be written from scratch, so you do not have to worry about its originality.

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Response to A Raisin in the Sun

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English 0G

July 11, 00

Response Paper II, Drama

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Response to A Raisin in the Sun, Act II, Scene III

While reading Lorraine Hansberry's A Raisin in the Sun, I could see a definite theme of social oppression and injustice. There were underlying, subtle references to slavery throughout the whole play. I think it was really brought into view in Act II, Scene III, when Mr. Lindner comes to call, in a seemingly innocent, welcoming visit, to the new community they were about to move into. He patronizingly speaks to the family, as though they were beneath the understanding of his kind, when he says, "…there's always somebody who is out to take advantage of people who don't always understand."(1404) That would probably be him.

I believe he is implying that, because they are Negroes, and apparently not as bright as he and his fellow whites, they could not possibly comprehend the meaning of all that is going on. He is there to inform them of the rules they have to live by in the white community. He constantly refers to them as "you people", but when he speaks of the neighborhood of whites, he calls them "our people" and "our community". (1404) When he says, "our Negro families are happier when they live in their own communities"(1404), I strongly got the feeling that "our" meant, in some way, that he was inadvertently implying ownership of these people, as in slaves, and that they should be kept to living with their own kind; not to mix with their betters. Rather like the slave boss, whose job was to keep them in their place.

Beneatha brings in religion when Mr. Lindner offers the family, "a very generous offer…" for their home. Beneatha says, "Thirty pieces and not a coin less!" (1405) Religion is one of the mediating structures that keep most African-American families together in hard times, and although she seems to denounce it in Act I, I believe she still strongly believes that God is a driving factor in their lives.

Mama also makes a subtle, and rather funny, reference to slavery in Act III, when she tells the moving man that her chair, "ain't no bale of cotton…"(141) Also in this part of the play, she has decided that Walter has become man enough to head the household. In African societies, this had to be proven by rites of passage. In her eyes, he has finally proven himself to be worthy of this honor. He can finally take his place.

Off the record

I must say that I really related to this play, in a big, sympathetic way. I grew up in the South during the 50's and 60's. I came from a family that treated everyone the same; no matter what color their skin or religious beliefs. We were rather odd, I guess. I was totally appalled by the treatment of the black people then. I came from a middle-class family, and I had friends that were "Negroes". My parents didn't care, because they also had friends of every color. I went to many places that "Negroes" were not allowed to be in. It did then, and it does now, disgust me. They were not allowed to look at or speak to me, in public, because I was a young, white girl. They could be hurt because of it. They could not go into the same bathroom or drink from the same fountain. They could not attend my schools. I have seen crosses burned in friend's yards and bricks thrown through their windows. I was young and didn't understand that there is supposed to be a difference. Thank goodness, I still don't see it.

I also think that Beneatha is a terrible name for anyone, especially for a black girl. To me, it implies that she is not above anything or anyone.

Works cited Our text

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Explore the relationship between Antony and Cleopatra and why it leads to tragedy.

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The relationship between Antony and Cleopatra is one of great complexity. Both Antony and Cleopatra have personal faults, which contribute both to the downfall of their relationship and eventually the true tragedy, of their deaths. Many events are called tragedies but few deserve this title. A tragedy occurs when a noble character falls from a position of grace due to faults inherent in his/her own character or that of the society in which he/she live. Unfortunately once the events are put in motion nothing can stop the inevitable consequences. There is no question about the extent of their love towards each other as it is clearly evident that they adore and crave the other, it is just their inability to commit that creates the ultimate problem. Their love is apparent from the very first occasion on which Cleopatra initially attracted Antony. Her true beauty could be no better displayed than on that night as Enobarbus describes.

The barge she sat in, like a burnished throne

Burned on the water. The poop was beaten gold;

Enobarbus describes it as though it was a magical, charming event and is complimentary towards Cleopatra. Agrippa, however, views the queen as some what different to that

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He ploughed her, and she cropped.

These two contrasting views truly reflect the conflicting personalities of Cleopatra which eventually eradicate their relationship. One description being of a charming nature, the other of Cleopatra being nothing more than a sexual object. Agrippa is commenting on Cleopatra's relationship with Julius Caesar, and is well aware of her seductive nature and has little true respect for her

Royal Wench!

Antony is a figure of great importance to the entire Roman Empire as well as Cleopatra and therefore has many commitments, all of which are demanding on his time. Antony won his position as one of the three rulers of the world by conquering the deceitful Brutus and Cassius. One aspect of Antony's appeal is that of his reputation. Just as Caesar portrays, Antony as a great man at war, Cleopatra views Antony as a hero and a superior man in comparison to others

… Thou didst drink

The stale of horses and the gilded puddle

Which beasts would cough at.

.Throughout "Antony and Cleopatra" Antony prioritises his time inappropriately, devoting more time to that of pursuing his love, Cleopatra. Even when Antony is concentrating on matters such as war, Cleopatra interferes with his judgement and distracts him. Such concerns are echoed by Enobarbus

"Your presence needs must puzzle Antony"

Enobarbus is proven correct when Antony decides to fight at sea instead of at land which he is strongest at. Cleopatra of course supports this because the Egyptians are strongest at sea and Cleopatra, although with her inexperience of tactical ability at war wishes to be a part of Antony's cause. The result of this was to have Cleopatra sail away from war knowing all too well that Antony shall follow. When Antony confronts her she behaves in an innocent manner. Cleopatra, one of many different aspects of her character which are to be displayed throughout

O my lord, my lord, forgive my fearful sails!

I little thought that you would have followed

Antony has an uncontrollable passion for Cleopatra, and he uses the language of affection when talking about her and to her

Now, my dearest queen...

Most sweet queen…

It is this passion which clouds his reasoning, resulting in him deserting his duties to his people. Antony is throughout most of the tragedy dividing his time between being in Rome and then in Egypt. This is true to such an extent that sometimes even within one scene Antony has made the trip from Rome to Egypt and vice versa. Whenever he demonstrates such passion towards Cleopatra he degenerates into a love struck fool. It isn't that Antony is incapable of balancing both duties, it is because such a task would require super natural powers, and however great Antony is perceived he is only human. Cleopatra has such a demanding nature that it would take all of Antony's efforts to please her. Controlling an empire is equally as demanding. Instead of focusing his efforts on one of the two tasks Antony attempted to juggle them both, this is a key factor in the breakdown of their relationship. Antony complicates his mind as he is unable to decide who to devote himself to. Consequently he is torn between a world of love and passion with the queen of Egypt and his role as a Triumvir.

Cleopatra is a very glamorous and regal queen; she has a sincere obligation to "her" Egypt so much so that she is at times unable to even recognise the intentions and needs of Antony. Externally it appears that Cleopatra is not concerned about the love interest of Antony, but she is of course infatuated with him from the very start as in Act 5 Scene 1. Cleopatra is missing Antony madly and talks of her love for him

"Note him, good Charmian, 'tis the man but note him!"

Cleopatra is aware of the power that she holds over Antony and the whole tragedy consists of Cleopatra domineering Antonys emotions. Always over dramatising events, but this is of course, what entices Antony

Antony Now my dear queen

Cleopatra Pray you stand further from me

This is Cleopatra's skill, at times she has Antony at the edge of anger and then at the tip of love itself, but Cleopatra is only content if she is in charge, she does not wish for the relationships control to be out of her reach. It is not just Antony who Cleopatra has as an admirer, many who meet her are captivated by the extent of her regal personality and majestic ways. As conveyed by Enobarbus

…… Other women cloy

The appetites they feed

But she makes hungry

Where most she satisfies

This is the first introduction of the imagery of food being used in connection with Cleopatra. As though once introduced to the queen your appetite for her is endless, this is so for Antony. Cleopatra talks of herself

My Salad days,

When I was green in judgement, cold in blood

Salad being used to represent her fresh and healthy personality, whilst "cold in blood" suggests she is unconsciously talking of her temperament of going from hot to cold so quickly on Antony. Cleopatra's appearance is mentioned by the talk of food, her attractiveness being obvious as reference of Cleopatra being a "yummy" food.

He will to his Egyptian dish again

Antony and Cleopatra both have the same problem in terms of their relationship, neither one of them is willing to sacrifice their commitments and allow them to devote their attentions to the other. Their love was continuously flawed by responsibilities elsewhere. This is due to Antony having the Empire to govern and Cleopatra having Egypt to care for. For the love of two such important figures to be successful, there can be no interference. Throughout the tragedy there are such enormous gestures of love from Antony to Cleopatra and vice versa. An example is when at sea during the war Antony follows Cleopatra away from the battle despite being well aware he should not. Theses gestures, however are never carried over and used as a solid platform to allow their love to develop, instead they squander the opportunity for eternal happiness and continue with the on going "cat and mouse" saga which is their relationship. They willingly talk of their love, as being on scale to the rest of the world if not bigger, seeing nothing as important enough to interfere with their love. This can be no truer than when Antony is married to Octavia for the sake of peace, yet it is clear where he longs to be. This is ironic, seeing how their love seems stronger when they are apart.

And though I make this marriage for my peace, I'th' East my pleasure lies

In Act I scene 1 Antony talks to Cleopatra about their love and dismisses the duties he has neglected for her sake.

"Let Rome in Tiber melt and the wide arch

Of the ranged empire fall; here is my space"

This use of cosmic imagery is popular with both Antony and Cleopatra, with it being an ideal way to express their feelings towards each other. It is most commonly when apart that they express their true feelings, with a slight suggestion that when together all is not what they anticipated. This could be a result of two such dominant characters not always being able say the words of love with the presence of the other placing a block on their hearts freedom of speech.

It would appear that he places Cleopatra above his duties to Rome. But it is evident that Antony is unable to prioritise and instead attempts to manage both commitments. If blame was to be found anywhere then it would fall at the feet of Cleopatra, with her unpredictable mood swings and such a diverse range of characteristics. This can be demonstrated through the different titles used by people when regarding her. In Act 1 Scene 1 (I.i.10) Philo and Demetrius refer to Cleopatra as a lustful "gipsy". (I.i.50) Cleopatra is labelled a "wrangling queen", (I.iv.1) an "Egyptian dish", ( II.vi.1) all of these labels are part of the problem. Antony doesn't know who he loves let alone who doesn't love him. Cleopatra's sometimes heartless attitude towards Antony is destructive to them both. Instead of welcoming such attention from one of the rulers of the world, Cleopatra attempts to play a game, a game where there can be no victor.

If you find him sad, say I am dancing; if in mirth, report That I am sudden sick.

Whilst Antony unwillingly participates, he is tormented throughout, with his death perhaps being an escape from the anguish of being unable to have Cleopatra to himself.

Commitment is a big issue for both Antony and Cleopatra, neither one was able or maybe willing to make a definite decision on what they want from the relationship, it was also the fear of the unknown. Although they were both figures of great importance, they still had the human emotions that everybody else had to deal with. This is the cause of the tragedy. Neither Antony nor Cleopatra was able to satisfy both their personal and work needs. Nobody could predict the outcome of them coming together although it was strongly believed that it would be a great triumph for love. Evidently, it could be claimed, that they were unable to overcome such uncertainties

Both Antony and Cleopatra had reputations, it is evident that neither was willing to risk damaging this. By allowing their true emotions to be displayed to one another. This was of course a tragedy in itself, if either one of them had of gone that step further and sacrificed their other commitments then maybe their love could have flourished instead of their life's ending. However I don't believe their love would have flourished the initial appeal was that of Antony having his empire and Cleopatra her Egypt and the consequential power and respect. Take these away and both wouldn't have appeared so attractive to the other. One cannot claim that their love would have been strong enough to succeed in different circumstances because if their love really was that strong then why didn't it work. Although they loved each other, their love was based on adversity and conflict, and this is always a dangerous platform for any relationship.

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Tone Of Miss Brill

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The Pain of Loneliness

The central idea of Katherine Mansfield's "Miss Brill" is the pain of loneliness. Throughout the story, Mansfield reminds us constantly of Miss Brill's pain by letting us see life through Miss Brill's eyes, which allows us to feel pity for Miss Brill. Miss Brill sadly attempts to experience life through strangers. Mansfield creates the tone by showing readers Miss Brill's naivety of life. This brings about a sad, painful, and pitiful tone to take over the entire story. The tone of loneliness is developed by Miss Brill's attempts for warmth and companionship, her fantasizing about the life she would like to live, and her final realization of what her life truly is.

Miss Brill's loneliness and the need for warmth and companionship is obvious. In the beginning of the story she treats her fur as if it were her favorite pet. She rubs "the life into the dim little eyes." Also, when the band is playing, she feels like she is who the band is playing for, "it was like someone playing with only the family to listen." She incorporates herself as part of that "family." Miss Brill finds comfort in believing that her furs are alive, and that she is a part of all the activities around her. As a reader, knowing that the fur is not alive in any way, and that the band merely thinks of her as an old woman with nothing better to do, there is a sure feeling of pity and pain for the woman, adding to the loneliness.

Along with her longing for companionship, Miss Brill tries to live her life through complete strangers. The fact that she can't live her own life and keep to herself also impresses the tone of loneliness on the reader. Miss Brill looks forward to eavesdropping on people's conversations. She thinks they don't notice her. Sometimes she becomes hostile towards the women she listens to, like the patient Englishman's wife. She said she "wanted to shake her." Her interest in others' lives only makes the tone more clear that she is lonely and has no life of her own to live.

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When more is discovered about Miss Brill's life, the more evident it is that she is lonely. When she describes the other people at the park as "odd, silent, nearly all old people, and from the way they stared they looked as though they'd just come from dark little rooms or even even cupboards!" It's obvious she is one of those very people she's describing. Then later in the story, her own room is described as a "dark room, like a cupboard." Then, the remarks of the young couple give her a little more self-awareness. At the end, "she thought she heard something crying." Which is most likely herself, but she's refusing to accept herself once again. All of these factors come together to form a stronger sense of loneliness than before when she hadn't gained any self-awareness of herself.

The tone of "Miss Brill" is the same throughout the entire story. She suffers in the beginning because she longs for warmth and companionship. Later on she becomes self-aware of some of her problems and then goes right back to denying them. The tone of the story remains consistent throughout and leaves the reader feeling pity for Miss Brill. Mansfield creates the tone through Miss Brill's thoughts, acts, and feelings.

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Manchester Science and Industry Review

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The Museum of Science and Industry covers seven acres and occupies a number of historic buildings, it is situated in the oldest passenger railway buildings in the world, and the Museum tells the story of the history, science and industry of Manchester. There are lots of exhibitions to see which are both the good and bad points of the museum it is several museums in one and no visitor has a hope of taking it all in on one afternoon visit. Exhibitions cover steam engines, space, cotton, gas, water, electricity, computers, photography and the history of Manchester.

The most recent exhibition added to the museum is the Xperiment area. This is an interactive science gallery where you can get hands on with the exhibits, such as hoisting a car off the ground or look at the parts of a giant eyeball. Without doubt this is probably the best part of the museum, even if the interactive bits are looking a bit worn and tatty. It is obviously aimed to keep children entertained but as I don't really enjoy museums it gives you something to do.

Across the road from the Xperiment area is the Air and Space Exhibition. Inside there are a large number of aircraft on display. It highlights how Manchester was involved in the history of aviation. The aircraft are impressive but who hasn't seen a plane before, a plane is a plane, they fly around a bit and that's about it. The simulator that they have there is reasonable but not the rollercoaster ride I was hoping for but museums aren't really the place to go if you want an adrenaline rush. There is also an exhibition devoted to space exploration, personally I am quite interested in space but this exhibit was lacking and for something as important as space exploration the exhibit could have been a lot superior.

At the lower end of the site there are the Underground Manchester and Making of Manchester exhibitions. Underground Manchester takes the visitor into a history of sanitation and health. The Making of Manchester follows the development of the city which is thorough but lacks excitement and gets mind-numbing after a while.The biggest negative of the museum, as stated above, is the sheer size of it, it's far too much to cover in one day unless you're really into your science and industry. Some of the exhibits are not worth looking at so either the museum should scrap them or make them a lot smaller so not so much time is wasted on them. This would allow people to appreciate the superior parts of the museum in far greater detail and make it a much more satisfying visit. There are some positives to this museum; the main one is Xperiment area with all the interactive exhibits which not only can teach people about certain issues but makes it that little bit more attention-grabbing. Some areas of the museum are good but could be made better, especially the space exploration exhibit. In other museums, especially down in London, exhibits based around Space attract a lot of interest and can normally be the focal point of the museum but this one didn't compare to what is available elsewhere. I am convinced that if this was improved on with interactive features and a greater feel of being in Space then the museum would get a lot more business.

For a person who doesn't really enjoy museums this was no different, although some of the buildings were quite pleasing to look at it still made me bored to tears and the amount of walking was just infuriating.

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Vietnam

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The initial reasons for U.S. involvement in Vietnam seemed logical and compelling to American leaders. Following its success in World War II, the United States faced the future with a sense of moral rectitude and material confidence. From Washingtons perspective, the principal threat to U.S. security and world peace was monolithic, dictatorial communism emanating from he Soviet Union. Any communist anywhere, at home or abroad, was, by definition, and enemy of the United States. Drawing an analogy with the unsuccessful appeasement of fascist dictators before World War II, the Truman administration believed that any sign of communist aggression must be met quickly and forcefully by the United States and its allies. This reactive policy was known as containment.

In Vietnam the target of containment was Ho Chi Minh and the Vietminh front he had created in 141. Ho and his chief lieutenants were communists with long-standing connections to the Soviet Union. They were also ardent Vietnamese nationalists who fought first to rid their country of the Japanese and then, after 145, to prevent France from reestablishing its former colonial mastery over Vietnam and the rest of Indochina. Harry S. Truman and other American leaders, having no sympathy for French colonialism, favored Vietnamese independence. But expanding communist control of Eastern Europe and the triumph of the communists in Chinas civil was made Frances war against Ho seem an anticommunist rather than a colonialist effort. When France agreed to a quansi-independent Vietnam under Emperor Bao Dai as an alternative to Hos DRV, the United States decided to support the French position.

The American conception of Vietnam as a cold war battleground largely ignored the struggle for social justice and national sovereignty occurring within the country. American attention focused primarily on Europe and on Asia beyond Vietnam. Aid to France in Indochina was a quid pro quo for French cooperation with Americas plans for the defense of Europe through the North Atlantic Treaty Organization. After China became a communist state in 14, the stability of Japan became of paramount importance to Washington, and Japanese development required access to the markets and raw materials of Southeast Asia. The outbreak of war in Korea in 150 served primarily to confirm Washingtons belief that communist aggression posed a great danger to Asia . Subsequent charges that Truman had lost China and had settled for a stalemate in Korea caused succeeding presidents to fear the domestic political consequences if they lost Vietnam. This apprehension, an overestimation of American power, and an underestimation of Vietnamese communist strength locked all administrations from 150 through the 160s into a firm anticommunist stand in Vietnam.

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Because American policy makers failed to appreciate the amount of effort that would be required to exert influence on Vietnams political and social structure, the course of American policy led to a steady escalation of U.S. involvement. President Dwight D. Eisenhower increased the level of aide to the French but continued to avoid military intervention, even when the French experienced a devastating defeat at Dien Bien Phu in the spring of 154. Following that battle, an international conference at Geneva, Switzerland, arranged a cease-fire and provided for a North-South partition of Vietnam until elections could be held. The United States was not a party to the Geneva Agreements and began to foster the creation of a Vietnamese regime in South Vietnams autocratic president Ngo Dinh Diem, who deposed Bao Dai in October 155, resisted holding an election on the reunification of Vietnam. Despite over $1 billion of U.S. aid between 155 and 161, the South Vietnamese economy languished and internal security deteriorated. Nation building was failing the South, and, in 160, communist cadres created the National Liberation Front (NLG) or Vietcong as its enemies called it, to challenge the Diem regime.

President John F. Kennedy concurred with his predecessors domino theory and also believed that the credibility of U.S. anticommunist commitments around the world was imperiled in 161. Consequently, by 16 he had tripled American aid to South Vietnam and expanded the number of military advisers there from less than seven hundred to more than sixteen thousand. But the Diem government still failed to show economic or political progress. Buddhist priests, spiritual leaders of the majority of Vietnamese, staged dramatic protests, including self-immolation, against the dictatorship of the Catholic Diem. Ngo Dinh Nhu, Diems brother, led a brutal suppression of the Buddhist resistance. Finally, after receiving assurances of noninterference from U.S. officials South Vietnamese military officers conducted a coup that ended with the murders of Diem and Nhu. Whether these gruesome developments would have led Kennedy to redirect or decrease U.S. involvement in Vietnam is unknown, since Kennedy himself was assassinated three weeks later.

Diems death left a leadership vacuum in South Vietnam, and the survival of the Saigon regime was in jeopardy. With a presidential election approaching, Lyndon B. Johnson did not want to be saddled with the charge of having lost Vietnam. On the other hand, an expansion of U.S. responsibility for the war against the Vietcong and North Vietnam would divert resources from Johnsons ambitious and expensive domestic program, the Great Society. A larger in Vietnam also raised the risk of a military clash with China. Using as a provocation alleged North Vietnamese attacks on U.S. Navy vessels in the Gulf of Tonkin in August 164, Johnson authorized limited bombing raids on North Vietnam and secured a resolution from Congress allowing him to use military forces in Vietnam. These actions helped Johnson win the November election, but they did not dissuade the Vietcong from its relentless pressure against the Saigon government.

By July 165, Johnson faced the choice of being the first president to lose a great war or of converting the Vietnamese War into a massive, U.S. directed military effort. He chose a middle course that vastly escalated U.S. involvement but that stopped short of an all-out application of American power. Troop levels immediately jumped beyond 00,000 and by 168 the number exceeded 500,000. Supporting these ground troops was a tremendous air bombardment of North Vietnam that by 167 surpassed the total tonnage dropped on Germany, Italy, and Japan in World War II.

Gen. William Westmoreland, the U.S. commander in Vietnam, pursued an attrition strategy designed to inflict such heavy losses on the enemy that its will to continue will be broken. By late 167, his headquarters was claiming that the crossover point had been reached and that enemy strength was being destroyed faster than it could be replenished. But the communists Tet offensive launched in January 168 quickly extinguished the light at the end of the tunnel. The Vietcong struck throughout South Vietnam, including a penetration of the U.S. embassy compound in Saigon. American and South Vietnamese forces eventually repulsed the offensive and inflicted heavy losses on the Vietcong, but the fighting had exposed the reality that a quick end of the war was not in sight.

Following the Tet offensive, the American leaders began a slow and agonizing reduction of U.S. involvement. Johnson limited the bombing, began peace talks with Hanoi and the NLF, and withdrew as a candidate for reelection. His successor, Richard M. Nixon, announced a program of Vietnamization, which basically represented a return to the Eisenhower and Kennedy policies of helping Vietnamese forces fight the war, Nixon gradually reduced U.S. ground troops in Vietnam, but he increased the bombing; the tonnage dropped after 16 exceeded the already prodigious levels reached by Johnson. Nixon expanded air and ground operations into Cambodia and Laos in attempts to block enemy supply routes along Vietnams borders. He traveled to Moscow and Beijing for talks and sent his aide Henry A. Kissinger to Paris for secret negotiations with the North Vietnamese. In January 17, the United States and North Vietnam signed the Paris Peace Agreement, which provided for the withdrawal of all remaining U.S. forces from Vietnam, the return of U.S. prisoners of war, and a cease-fire. The American troops and POWs came home, but the war continued. Nixon termed it peace with honor, since a separate government remained in Saigon, but Kissinger acknowledged that the arrangement provided primarily for a decent interval between U.S. withdrawal and the collapse of the South. In April 175, North Vietnamese troops and tanks converged on Saigon, and the war was over.

Why did the United States lose the war? Some postmortems singled out media criticism of the war and antiwar activism in America as undermining the will of the U.S. government to continue fighting. Others cited the restrictions placed by civilian politicians on the militarys operations or, conversely, blamed U.S. military chiefs for not providing civilian leaders with a sound strategy for victory. These so-called win arguments assume that victory was possible, but they overlook the flawed reasons for U.S. involvement in Vietnam. Washington had sought to contain international communism, but this global strategic concern masked the reality that the appeal of the communists in Vietnam derived from local economic, social, and historical conditions. The U.S. response to the Vietnamese communism was essentially to apply a military solution to an internal political problem. Americas infliction of enormous destruction on Vietnam served only to discredit politically the Vietnamese that the United States sought to assist. Furthermore, U.S. leaders underestimated the tenacity of the enemy. For the Vietnamese communists, the struggle was a total war for their own and their causes survival. For the United States, it was a limited war. Despite U.S. concern about global credibility, Vietnam was a peripheral theater of the cold war. For many Americans, the ultimate issue in Vietnam was not a question of winning or losing. Rather, they came to believe that the rising level of expenditure of lives and dollars was unacceptable in pursuit of a marginal national objective.

The rhetoric of U.S. leaders after World War II about the superiority of American values, the dangers of appeasement, and the challenge of godless communism recognized no limit to U.S. ability to meet the test of global leadership. In reality, neither the United States nor any other nation had the power to guarantee alone the freedom and security of peoples of the world. The Vietnam War taught Americans a humbling lesson about the limits of power.

The domestic consequences of the war were equally profound. From Truman through Nixon, the war demonstrated the increasing dominance of the presidency within the federal government. Congress essentially defaulted to the imperial presidency in the conduct of foreign affairs. Vietnam also destroyed credibility within the American political process. The public came to distrust its leaders, and many officials distrusted the public. In May 170, Ohio National Guardsmen killed four Kent State University students during a protest over U.S. troops invading Cambodia. Many Americans were outraged while others defended the Ohio authorities. As this tragic example reveals, the war rent the fabric of trust that traditionally clothed the American policy. Vietnam figured prominently in inflation, unfulfilled Great Society programs, and the generation gap. The Vietnam War brought an end to the domestic consensus that had sustained U.S. cold war policies since World War II and that had formed the basis for the federal governments authority since the sweeping expansion of that authority under Franklin D. Roosevelt.

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