How does Pinter exploit the verbal and the visual in the Birthday Party Free Essays

The Birthday Party is a play in which the visual and the verbal are carefully put together to create certain effects in the spectators. Pinter exploits both the verbal and the visual to show the personalities of the characters as well as their relationships, often with much ambiguity as the visual and verbal do not always match. Indeed, the contrast between the visual and the verbal can at times be very disconcerting for the spectators, creating an atmosphere of uncertainty and secrecy. We will write a custom essay sample on How does Pinter exploit the verbal and the visual in the Birthday Party or any similar topic only for you Order Now Pinter also explores power, both verbal and visual, and how it is used to create fear and violence as well as the idea of secrecy. Obviously, the verbal and visual are very important for the characterisation, it is through what characters say and do that we are able to know more about them and the other characters. Petey is the first character that we see on stage, he is also probably the character that we doubt the least; for example, when he says that it is his chess night we are inclined to believe him. He is perhaps the only character, aside from Stanley, who is not taken in by Goldberg and McCann, which we see through his questioning their actions; â€Å"Where are you taking him?† He also is not seduced by Goldberg’s speeches the way Meg and Lulu are, all he says after Goldberg talks about his childhood is â€Å"Well, we all remember our childhood†. Petey’s blunt manner here shows that he is not really interested by the two newcomers, perhaps why he does not stay for the party. Petey is also quite blunt with his wife, Meg; he answers her questions but does not really elaborate what he is saying or take any interest in her, often just answering â€Å"yes† or â€Å"no†. The spectators get the impression that he would much rather be left alone, in fact the only things he seems to show any real interest in are the paper and his chess night, thus making it seem that he prefers the â€Å"outside† world to the community in the boarding house. Meg is almost the exact opposite to Petey. Unlike him, the boarding house community seems to be her world; the only time she leaves is to go shopping. She is also very proud of it, saying â€Å"this is a very good boarding house. It is. It’s on the list† to Petey. Meg seems to be quite simple, asking stupid questions and making obvious statements such as â€Å"But sometimes you go out in the morning and its dark†. She also seems to believe everything people tell her, for example, she believes that Stanley is a concert pianist despite this being very unlikely. She is a trusting character who latches on to others, perhaps because her own husband does not seem to care for her. She admires Goldberg and listens to what he says; it is he who suggests that she throw a party for Stanley’s birthday and she asks him what she should drink and whether she looks nice; she seems to want his approval. Sentence and Verbal Communication iframe class="wp-embedded-content" sandbox="allow-scripts" security="restricted" style="position: absolute; clip: rect(1px, 1px, 1px, 1px);" src="https://phdessay.com/sentence-and-verbal-communication/embed/#?secret=PHqae6xsAS" data-secret="PHqae6xsAS" width="500" height="282" title="#8220;Sentence and Verbal Communication#8221; #8212; Free Essays - PhDessay.com" frameborder="0" marginwidth="0" marginheight="0" scrolling="no"/iframe She also cares for Stanley, saying â€Å"he’s [her] Stanley now†, and despite the fact that he sometimes bullies her; she still cares about what he thinks, for example, on page 21 after he menaces her she says in a small voice â€Å"Didn’t you enjoy your breakfast Stan?† The audience gets the impression from what she says, and perhaps the nervous facial expressions we could imagine her to have at this moment, that she worries a lot about pleasing Stanley, an idea emphasised by her panic when she realises she has nothing to give him for breakfast on page 70. Overall, verbally and visually, Meg seems to be a simple and trusting character that cares a great deal about her guests and what they think. However, her last words, â€Å"Oh, it’s true I was. (Pause) I know I was.† perhaps show that she is not so trusting as she seems as the pause and repetition could mean that she is trying to convince herself that what she says is true while she knows that it is not. Meg’s uncertainty also appears at other points in the play where the stage directions say that she is uncertain or uneasy, such as on page 54. Perhaps this uncertainty is simple because she is not comfortable in social situations or maybe she thinks the others are making fun of her, for example, when Goldberg asks her to make a speech. The audience can get the impression that she chooses to believe the others because it is easier than confronting them, which could cause her whole world to fall apart. A lot of Meg and Petey’s characterisation is done through their relationship with each other. Indeed, Pinter exploits their dialogues to add humour to the play. The fast rhythm created by the short sentences shot back and forth can remind the audience of a tennis game while Meg’s constant questioning can make the audience laugh, for example on page 11: â€Å"Petey: Someone’s just had a baby Meg: Oh, they haven’t! Who? Petey: Some girl. Meg: Who, Petey, who? Petey: I don’t think you’d know her. Meg: What’s her name? Petey: Lady Mary Splatt. Meg: I don’t know her.† Their dialogue is full of pointless questions, obvious statements and vague words such as â€Å"nice† which is repeated 15 times throughout the dialogue. It seems obvious to the audience that they are speaking simply for the sake of it, to fill the gap created by silence, as Meg often asks a question after a lull in the conversation to try and keep it going. The way some of the dialogue is repeated in the third act also emphasises the routine of Meg and Petey’s lives as a married couple. Their actions also seem quite stereotypical, for example Petey, the husband, reads the paper while Meg, the wife, makes him breakfast, tidies the room, darns and goes shopping. Thus both the visual and verbal come together to show Meg and Petey as a comedic, stereotypical, old married couple. Lulu is a neighbour; she is the character who seems to care about visual appearance the most. The first time we see her in the play she starts putting on makeup and tells Stanley to take more care over his appearance. However, despite her saying that he looks â€Å"terrible† she still asks him to go for a walk with her. Thus showing that what she actually says is not always what she thinks as if she attaches so much importance to appearance she would not want to go out with him. Lulu is also attracted to Goldberg because of his verbal power, indeed she says â€Å"That was a wonderful speech† and â€Å"you’re a marvellous speaker† to him. Therefore we can assume that speech is important to Lulu. The audience only finds out what happened between Lulu and Goldberg the next morning, although we are made aware that they are attracted to each other at the party when they embrace, by what they say. However, neither character says exactly what happened; we have to guess through hints that are made. Whereas the night before the two were physically very close, Lulu sitting on Goldberg’s lap, in the morning Lulu keeps away from him, it says in the stage directions that she backs upstage left and retreats to the back door, thus creating a visual reminder of their separation. What is actually said is quite ambiguous; Lulu insists that Goldberg is the one at fault, comparing him to Eddie, her â€Å"first love†, saying â€Å"he wouldn’t come into my bedroom at night with a briefcase† and â€Å"you made use of me by cunning when my defences were down†. However, Goldberg replies â€Å"Who opened the briefcase, me or you?† and â€Å"Who took them down?†, thus implying that Lulu can only blame herself for what happened. Despite the seriousness of this scene and Lulu’s being obviously upset there is also humour when Lulu says â€Å"You taught me things a girl shouldn’t know before she’s been married at least three times!†. This adds some humour to the otherwise serious dialogue but makes Lulu lose her credibility. The ambiguity remains about whether Goldberg did use Lulu against her will as in previous scenes Lulu has acted in a quite experienced manner. Lulu does seem like a character who is quite sure of herself at other times; she doesn’t mind saying what she thinks, for example she criticises Stanley, saying â€Å"you’re a bit of a washout, aren’t you?† As well as this, at the end she leaves the house without giving in to McCann and confessing. Indeed, she actually says â€Å"I know what’s going on. I’ve got a pretty shrewd idea.† it’s not certain whether this is true but either way it shows that she does possess a certain amount of intelligence as she knows Goldberg won’t want people finding out what they did to Stanley. Overall, Lulu shows through what she says that she is an intelligent character but her relationship with Goldberg shows that she may act in a more experienced way than she is. Stanley is another character who shows a lot of pretence, the way he speaks and acts changes depending on the characters he is with. Throughout the entire play we wonder who he really is and what he is doing in the boarding house. In a way he plays many different roles in the play. With Meg he is a son, a boarding house guest or a angry lover, with Lulu he tries to be a â€Å"real† man, with McCann and Goldberg he tries to be strong but he soon breaks down. Indeed, it is hard to work out exactly who Stanley is without looking at each of his relationships with the other characters. When we first see Stanley, he is dressed in pyjamas and is unshaven; he could seem like a stereotypical lazy teenager, especially as he has slept in. Indeed, before we see him Meg and Petey talk about him and Meg continually calls him â€Å"the boy†. She also says that she’d rather have a boy when Petey tells her that a Lady Mary Splatt has had a baby girl. This could lead the audience to believe that Stanley is their son. When Meg goes to wake him up we do not see what happens, we simply hear laughter from Meg and shouts from Stanley, and it is not certain exactly what is happening. Perhaps Meg is tickling Stanley (something that she later threatens to do), perhaps she is taking his covers or perhaps she is doing something of a more sexual nature as when she returns she is panting and her hair is messed up. The first dialogue we see between Meg and Stanley involves Meg continuing to treat him like a child, saying he can’t have his second course until he’s finished his first. However, Stanley does not act like a child; he threatens to leave Meg, saying â€Å"I’ll have to go down to one of those smart hotels on the front†. Later on, Stanley morphs back into a child, teasing Meg when she tells him to say sorry first, replying â€Å"Sorry first† instead of sorry, while Meg says he deserves the strap before becoming flirtatious, speaking â€Å"coyly†. The speed in which Meg changes both verbally and visually from treating Stanley like a son to a lover is quite startling, one second she is ruffling his hair and the next she is sensually stroking his arm. However, one thing remains constant, and that is Stanley’s reaction to her touching him, every time he recoils or pushes her away. He also criticises her verbally, saying she isn’t a good wife and doesn’t know how to make tea. It is due to all this changing that the audience does not know for certain what their relationship is, we do get the impression though that they have had a sexual relationship is the past as Meg says â€Å"I’ve had some lovely afternoons in [your] room† and asks him to give her a kiss on page 36. It seems as though Stanley is ashamed of what happened though, which is why he treats her so badly. Stanley’s relationship with Lulu is quite different. He tries to talk to her, talking about the weather in a way which echoes Meg and Petey’s conversation. This makes it seem as though he has very little contact with anyone else as this is the only way he knows how to talk, an idea emphasised by Lulu asking him if he ever goes out. He also lies to her, saying he went swimming â€Å"all the way to the headland† that morning, which we know to be untrue, and asks her to go away with him but does not know where to. This dialogue shows that Stanley is socially inept as well as emphasising his lack of contact with the outside world. Stanley’s relationship with McCann is hard to ascertain, we can not even be sure whether they knew each other before coming to the boarding house. Although, at the beginning of the second act McCann asks Stanley if they’ve met before and Stanley replies that they haven’t, Stanley later goes on to say that he’s â€Å"got a feeling† they’ve met before. They both whistle the same song, making it seem as though they do have a link. Stanley tries to act verbally powerful with McCann, mimicking Goldberg; he talks about his past and business, a theme which Goldberg made a speech about in the first act. However, Stanley soon falters in his speech, pausing and ending with the words â€Å"Do you know what I mean?† which McCann answers with an abrupt â€Å"No†. This shows the audience that McCann is not really interested in Stanley’s words, and perhaps that he is not taken in by his lies. The power of speech does not seem to work we ll with McCann as he refuses to answer Stanley’s questions about why they are here, thus making Stanley seem quite weak, especially compared to the threatening and violent Stanley we saw with Meg in the first act. It seems that Stanley knew Goldberg, or at least of him, prior to his arrival at the boarding house as he seems afraid of him before he has even spoken to him: In act one when Meg tells him Goldberg’s name he does not reply, just stays sitting still, the audience could think that this is because he is afraid as if he didn’t recognise the name he would’ve perhaps said so when Meg asked him. He also asks McCann questions about him, although he does not say Goldberg’s name but simply refers to him as â€Å"he†. Goldberg however says that he â€Å"hasn’t had the pleasure† when Meg asks him if he’s met Stanley, this fits with McCann’s refusing to acknowledge that Stanley may have known him before: the two characters try to hide any links they may have with Stanley. Stanley also tries to make Goldberg leave, again showing his fear of him, either because he is from some kind of organisation that Stanley has run away from or beca use Stanley is simply afraid of â€Å"outsiders†. Thus, Stanley shows his fear through what he says, despite never stating that he is actually afraid. Stanley’s relationships with Goldberg and McCann revolve around secrecy and power. Indeed, the characters of McCann and Goldberg themselves seem to be defined by their power as well as their origins, which are shown verbally and visually McCann is a typical Irish name, and the two Christian names he is called by in the play, Dermot and Seamus, are also typically Irish. As well as this we could imagine that the character speaks with an Irish accent. There are also certain humorous things to do with McCann’s â€Å"irishness†. Firstly, when Stanley asks him where he is from he replies â€Å"Where do you think?†, this could seem funny to the audience as it is plainly obvious that McCann comes from Ireland. Secondly, McCann refuses to drink Scotch whisky, pouring himself Irish whisky instead. McCann is also characterised by his physical power. It is always he who carries out physical actions, such as breaking the glasses, bringing Stanley downstairs and fighting physically with him. McCann’s physical power is easy to see but this power also causes him to act like a servant as he has to carry the suitcases and the alcohol. This is a visual reminder of Goldberg’s superiority to him, which is shown verbally by both characters in the play as well. For example in the first act McCann asks Goldberg many questions and needs assurance from Goldberg, making it obvious that it is he who is in charge. Unlike McCann, Goldberg is a Jewish character. He does not seem to take so much pride in his roots as McCann as he never actually mentions that he is Jewish. However, Goldberg and Simon (Simey) are typical Jewish names and throughout the play we are reminded of his origins through the use of Jewish words such as â€Å"gefilte (fish)†. His religion is also used in a humorous way when McCann says â€Å"You’ve always been a true christian† and Goldberg replies â€Å"In a way†, this could make the audience smile as the fact that Goldberg is Jewish is very obvious. Goldberg seems to try hard to show that he is integrated in the English â€Å"way of life†. He uses many idiomatic expressions and also creates an image of a cosy family life in the past. Goldberg is characterised by his verbal power instead of physical power. Indeed, except at one point in the play, when he tries to strangle McCann, he seems to be completely physically incapable of action; he is almost always sitting down and cannot defend himself when Stanley kicks him in the stomach during the interrogation scene. Goldberg’s physical inability is contrasted with his verbal ability. Whenever Goldberg speaks in the first two acts, whether it is about Stanley, the past or something else, the other characters are in his thrall. They cannot help but listen to him, and the results of this depend on how he uses his power, for example he causes Stanley to break down by interrogating him and seduces Lulu through his speeches. Sometimes when he speaks he uses complicated words, making it hard for the other characters to understand him, such as when he â€Å"explains† to McCann what they are going to do he says â€Å"The main issue is a singular issue and quite distinct from your previous work. Certain elements, however, might well approximate in points of procedure to some of your other activities†. It is unlikely that this explanation has helped McCann to understand. This complicated sounding explanation, however, would probably make Goldberg seem even more important to both McCann and the audience. Goldberg also uses idiomatic expressions such as â€Å"You’re getting on her wick† or â€Å"I gave her a peck†; he also changes a vulgar expression into a more polite version: â€Å"You’re getting on my breasts†. These expressions are used quite often in his long speeches with the occupants of the boarding house and Lulu which makes it seem that Goldberg is trying to make his language suitable for these people, while still keeping his verbal power. Goldberg’s manipulation using language is particularly obvious when the lights all go out as he stops using long speeches to make people do what he wants and instead gives plain orders, such as â€Å"Everyone quiet! Help him find the torch.† He is also very capable at questioning characters , as shown by his violent interrogation of Stanley but also the efficient, softer interrogation of Meg on page 31. However, in the last act, Goldberg seems to lose his power: He keeps pausing and seems unsure of what he wants to say, this uncertainty climaxes with the lines: â€Å"Because I believe that the world†¦ (Vacant.)†¦.Because I believe that the world†¦ (Desperate.) †¦ BECAUSE I BELIEVE THAT THE WORLD†¦(Lost.)†¦.†. It is as though he has used up all his verbal power the night before and has none left. We also notice that Petey, unlike Lulu and Meg, talks back to Goldberg, telling him to do things, thus emphasising his loss of power. In order to get his power back, Goldberg orders McCann to blow in his mouth on page 79. This shows how despite being a powerful character, Goldberg relies on McCann to act for him and to keep him in power. Goldberg and McCann have used their verbal and visual powers not only to control Stanley but also to â€Å"break† him. By the end of the play he is incapable of speech and his appearance is completely changed. He â€Å"is dressed in a dark well-cut suit and white collar and â€Å"he is clean-shaven†. This change in Stanley’s visual appearance is a sign of his inner change. Another sign of this change is his lack of comprehensible verbal reactions to Goldberg and McCann’s goading him. Indeed, he simply makes noises such as â€Å"Uh-gug†¦uh-gug†¦eeehhh-gag†¦Caahh†¦Ã¢â‚¬  before visually showing his resignation by shuddering and dropping his head. Thus, the power struggles in this play, and perhaps also in real life, are shown through the verbal and the visual aspects of the play and its characters Violence and fear are two very important themes in the play that are linked to power. Pinter exhibits these themes through the verbal and the visual. Indeed, there is a sort of crescendo of violence and fear in the play involving dialogues, language and images. In the first act, the violence is kept minimal until the end, and the majority of this violence is directed from Stanley towards Meg. There are many exclamations and Stanley swears, saying â€Å"Not the bloody table†, he also â€Å"throws her arm away† when she goes to ruffle his hair. These small things soon become larger, with Stanley menacing Meg: â€Å"Tell me, Mrs Boles, when you address yourself to me, do you ever ask yourself exactly who you are talking to?† and scaring her by talking about a wheelbarrow. The last image from the act involves Stanley and Meg again, in the stage directions it says â€Å"beating [the drum] regularly, he begins to go round the table a second time. Halfway round the beat becomes erratic, uncontrolled, Meg expresses dismay. He arrives at her chair, banging the drum, his face and the drumbeat now savage and possessed.† The crescendo of the drumbeat could represent the crescendo of the violence in the play itself and this v iolent image also sets Stanley up to commit violence later on in the play. The second act opens with a menacing image; McCann tearing up strips of newspaper. We can imagine a violent tearing sound to accompany his actions. After this threatening image McCann and Stanley’s conversation soon turns violent, with Stanley grabbing hold of McCann’s arms and McCann speaking â€Å"savagely [and] hitting his arm†. Stanley is obviously afraid, asking McCann questions such as â€Å"Has he told you anything† in a â€Å"hissing† voice. Their dialogue ends when Goldberg enters with Petey however the violent and menacing atmosphere starts up again once Stanley is alone with Goldberg and McCann. The violence starts verbally, with many questions asked quickly and exclamations, with accusations such as â€Å"He’s killed his wife!† The violent dialogue soon becomes visual as shown by the stage directions, â€Å"[Stanley] looks up slowly and kicks Goldberg in the stomach, Goldberg falls. Stanley stands. McCann seizes a chair and lifts it above his head. Stanley seizes a chair and covers his head with it. McCann and Stanley circle.† This shows how the fight with words (the interrogation) has become a physical fight. It is obvious, however, that Stanley has lost the fight as he is incapable of speech, he can only grunt and make animal sounds. It is also McCann who has the last word, shouting, â€Å"The bastard sweat pig is sweating† before the scene calms down abruptly due to Meg’s arrival. The violence of the act is kept at bay for a while; however, there is a disconcerting image, which can remind us of the interrogation scene. This is when a toast is made to Stanley with the lights off and a torch shining into his face, just like a stereotypical interrogation scene. The violence of the act is continued in the game of blind man’s buff; this violence is visual and is only punctuated by the characters’ asking questions and their fearful exclamations. It involves Stanley, who is playing the â€Å"blind man†, first McCann breaks his glasses and Stanley treads on the drum, he then tries to strangle Meg when the lights all go out. The darkness of the stage creates more fear, both amongst the characters but also perhaps among the audience. The sounds that are heard; grunts, a drumbeat, whimpers and then a scream add to this fear and alarm. The act ends with Stanley seeming to try to rape an unconscious Lulu and then Stanley backing away against the wall while everyone else walks menacingly towards him. This is the climax of the violence and menace of the play and this image emphasises how Stanley has had a break down, while also showing his inner feelings: he hates Meg, so tries to kill her; he is attracted to Lulu but the only way he can show his â€Å"manliness† is to rape her. In the last act, there is a lot less violence than in the second. However, there are reminders of the violent second act in the broken drum and glasses. There is also a scene between Goldberg and McCann in which we see Goldberg act violently for the first time, instead of speaking violently: he yells murderously â€Å"Don’t call me that! NEVER CALL ME THAT† and seizes McCann by the throat†¦ McCann also yells at Lulu â€Å"savagely† to confess. The audience can notice that the violence perpetuated in this act seems to have less meaning than in the first and second. In the first, the violence helps to characterise Stanley and make us understand what he is capable of whereas in the second it is part of McCann and Goldberg’s â€Å"breaking† Stanley, but in the third act it seems to be more associated with the anger of the characters and have less of a real aim. The only violence that does have an aim is the violence that happened upstairs; this violence is mentioned by McCann and Goldberg without referring to it directly. We understand that McCann and Goldberg are actually afraid of what happened through what they say, for example McCann says on page 73 â€Å"I’m not going up there again†. This non visual violence that we are left to imagine seems worse than the violence we saw on stage because of our lack of knowledge of it. All of the visual violence in the play seems quite serious, however at times this is contrasted with humour in the characters’ speech. A good example of this is during the interrogation scene in which serious questions and accusations are interspersed with comic lines and expressions, such as McCann saying â€Å"Mother defiler† followed by Goldberg asking why Stanley picks his nose. Stanley himself joins in with this humour at times, saying â€Å"No hands† when Goldberg asks him how many fingers he uses to play the piano. The verbal humour placed alongside violence and seriousness can be quite disconcerting for the spectators and could cause them to take the violence a little less seriously. Much of the characters’ fear is caused by the violence of other characters, however, it is also caused by the unknown or secrecy which is shown through verbal communication, or lack of verbal communication, between characters. Stanley’s fear in the first act is the main example of this, when Meg mentions the two men that are coming Stanley shows fear, through his actions and his words. He repeats things such as â€Å"It’s a false alarm. It’s a false alarm† and paces the room, which indicates worry. Stanley is also afraid because he doesn’t know why the two men are there, something which is shown by his frantic questioning of McCann. McCann himself also worries about the unknown. We see him question Goldberg about what the job will involve and what he will have to do, his worry is shown particularly through Goldberg ‘s mentioning it. He tells him first to stop worrying and then to stop being so nervous. This shows that fear of the unknown is not simply limited to weaker characters such as Stanley but also physically strong ones; an idea which could also apply to real life. The audience itself never finds out who Goldberg and McCann are and why they are here. Indeed, much of what we know about Goldberg and is past is what he has decided to tell the other characters and we find it impossible to believe him. This is for several reasons: Firstly, he paints a picture of a good, family life which is hard to connect with his seduction of Lulu and his behaviour towards Stanley. Secondly, the way he describes his mother is almost identical to the way he describes his wife; the echoes in his description of them make it seem as though he is almost making them up. Lastly, we know Goldberg lies, for example he tells Petey that McCann is called Dermot and later on in the book he calls him Seamus, he also tells Petey that Stanley is alright. Lies seem to be quite important in this play, especially when talking about the past. Many of the characters lie to each other or at least say something which we could think was a lie. Stanley talks about being a concert pianist and his business, Goldberg talks about his family and Meg talks about hers, while Petey lies to Meg at the end about Stanley still being upstairs. Many of these lies do not seem to do any harm; in fact they seem to make the characters feel better about themselves as they become nostalgic and reflective. However, they add to the level of uncertainty which we find in the play and make it even harder for the audience to know what is going on. To conclude, Pinter takes advantage of both the verbal and the visual to emphasise certain things and explain them completely, such as the characters and their relationships, while also using them to show the themes of the play: Power, violence, fear and secrecy. He also uses it to relax the tension at times through humour but most of all it is used to create ambiguity. The audience can be sure of very few of the things that are said in this play which leads to many varied interpretations of the events and the characters. Perhaps this is what Pinter was hoping for. How to cite How does Pinter exploit the verbal and the visual in the Birthday Party, Papers

My Mother and Unconditional Love Essay Example For Students

My Mother and Unconditional Love Essay Friends and family play an important part in our lives and make us who we are today. One of the biggest influences in our lives can be our own family. If I had to pick one person who has had the greatest impact in my life it would be without a doubt, the woman who had me. She’s taught me everything I know, she taught me how to eat right and dress myself, to how to react to any situation. She taught me little things like how to tie my shoes and to be polite and respectful to adults. I would be lost without her, I can trust her, and she’s very important to me. Here’s why, first of all, she listens to me. When I have no one else to talk to and I’m going through stuff she’s always there, she’s always been here for me. She’s my security blanket. No matter how bad of a day she had, she will always be there to listen to me. I talk to her about everything, even things that aren’t always easy to talk about. I know that whatever I tell my mom she’ll understand, and that she won’t go letting other people know, she might get upset about it at first but she’ll comprehend. No matter the amount of times you screw up, your parents will always learn to forgive you and are always going to love you the same way. That’s something I’ve had to learn the hard way, but my parents were always there Even when she’s had a bad day at work and things aren’t going her way she still somehow finds the time to sit down and talk to myself and my brother, she always makes time for us. She puts up with my mood swings, my constant chatter, nonstop requests, and still manages to keep our home, and everyone in it, in order. She always manages a way to calm me down when no one else can. Whenever something becomes too much for me to handle on my own, she’s always there helping me through it and making up a game plan. She always seems to have the answer to my problems. No matter what the situation is she always makes me feel better. And she does this all with a smile, even when I forget to say thank you. This woman loves me so much that I sometimes get frustrated at her for not letting me make my own decisions, but she knows what’s best for me. A parent always knows what’s best for their child. And that honest stinks because I don’t always agree with their decisions but you just have to honor your parents and do what they ask you to. We have our moments, it’s not all nice and peachy all the time, and we definitely have our ups and downs. But it’s just a matter of knowing how to apologize. Her love is unconditional, so she is forgiving. One of the great things about her is that she understands that I’m my own person, I’ll always be her little girl, but I’m a young women now and right now I have to focus on myself and think about my future and what I want to do with my life. I have to be a little selfish right now. And she forgives because she understands that. She’s an adult, and she’s been there. It can be hard to remember sometimes, but it’s something I won’t forget. She’s a good Influence, she is always encouraging me to reach my full potential. She supports me and always encourages me to go after my dreams. She has taught me what is right and what is wrong, and what I should do when I make a bad decision. She is always a voice of reason in the back of my head, which helps me get through my bad days and make my good days even better. Most of all, she teaches me how to be compassionate and loving. It’s important to have someone like that in your life; it will help you become the best person you can be. Since our families are there with us from the start, they know everything about us and they’re the ones who truly help shape our values and personalities.

Social & Cultural Influences on Society Essays - Menstrual Cycle

I have learned that certain social and cultural traditions and beliefs throughout history have played a huge role in the way society behaves today. As women began entering the workforce, due to economic demands, they realized that they could have a life outside of the social norm of being just "housewives." Women began to gain independence. They also found that they were no longer inferior to men, and were expressing how they felt more openly. These and many other factors led to the feminist movement of the 60's. And with the feminist movement came other movements, such as the Black Movement, the ERA, the Mexican-American movement, etc. Groups with common concerns began to join together and make a statement. On the other hand, cultural beliefs have suppressed some societies. The Dogons, for example, still practice the tradition of the "menstrual huts" as a way for the men to control the women of their society, and to better identify the paternity of the children born. The Dogon men have instilled in their women that they must enter a hut at the onset of their menstrual cycle and remain there until the cycle is completed. If the women choose not to do this, they are made to believe that bad luck will fall upon the village and crops will be ruined, therefore ostracizing them from the village. Although reluctant, women continue to follow the traditional beliefs out of a fear that they will have no financial support for themselves and their children if they go against the men.

Christmas Tree Worm Facts

Christmas Tree Worm Facts The Christmas Tree Worm is a colorful marine worm with beautiful, spiraling plumes that resemble a fir tree. These animals can be a variety of colors, including  red, orange, yellow, blue and white. The Christmas tree shape shown in the image is the animals radioles, which can be up to about 1 1/2 inches in diameter. Each worm has two of these plumes, which are used for feeding and respiration. The rest of the worms body is in a tube in the coral, which is formed after the larval worm settles on the coral and then the coral grows around the worm.The worms  legs (parapodia) and bristles (chatae) protected within the tube are about twice as large as the portion of the worm visible above the coral.   If it worm feels threatened, it can withdraw into its tube to protect itself. Classification: Kingdom: AnimaliaPhylum: AnnelidaClass: PolychaetaSubclass: CanalipalpataOrder: SabellidaFamily: SerpulidaeGenus: Spirobranchus Habitat of the Christmas Tree Worm The Christmas tree worm lives on tropical coral reefs throughout the world, in relatively shallow waters less than 100 feet deep. They seem to prefer certain coral species.   The tubes that Christmas tree worms live in can be up to about 8 inches long and are constructed of calcium carbonate.The worm produces the tube by excreting calcium carbonate that it obtains from ingesting sand grains and other particles that contain calcium. The tube may be much longer than the  worm, which is thought to be an adaptation that allows the worm to withdraw fully into its tube when it needs protection. When the worm withdraws into the tube, it can seal it tight using a trapdoor-like structure called an operculum. This operculum is equipped with spines to fend off predators. Feeding The Christmas tree worm feeds by trapping plankton and other small particles on their plumes. Cilia then pass the food to the worms mouth. Reproduction There are male and female Christmas tree worms. They reproduce by sending eggs and sperm into the water. These gametes are created within the worms abdominal segments. Fertilized eggs develop into larvae that live as plankton for nine to 12 days and then settle on coral, where they produce a mucus tube that develops into a calcareous tube. These worms are thought to be capable of living over 40 years. Conservation Christmas tree worm populations are thought to be stable. While they arent harvested for food, they are popular with divers and underwater photographers and may be harvested for the aquarium trade. Potential threats to the worms include habitat loss, climate change and ocean acidification, which could affect their ability to build their calcareous tubes. The presence or absence of a healthy Christmas tree worm population can also indicate the health of the coral reef.   Sources De Martini, C. 2011. : Christmas Tree WormSpirobranchus sp.. Great Barrier Reef Invertebrates. University of Queensland. Accessed November 29, 2015Frazer, J. 2012. The Overlooked Joy of the Christmas Tree Worm. Scientific American. Accessed November 28, 2015.Hunte, W., Marsden, J.R. and B.E. Conlin. 1990. Habitat selection in the tropical polychaete Spirobranchus giganteus. Marine Biology 104:101-107.Kurpriyanova, E. 2015. Exploring the Diversity of Christmas Treet Worms in Indo-Pacific Coral Reefs. Australian Museum. Accessed November 28, 2015.Nishi, E. and M. Nishihira. 1996. Age-estimation of the Christmas tree worm Spirobranchus giganteus (Polychaeta, Serpulidae) living buried in the coral skeleton from the coral-growth band of the host coral. Fisheries Science 62(3):400-403.NOAA National Ocean Service. What Are Christmas Tree Worms?NOAA Encyclopedia of the Sanctuaries. Christmas Tree Worm.SeaLifeBase. (Pallas, 1766): Christmas Tree WormSpirobranchus giganteus. Accessed November 29, 2015. University of Queensland.  Great Barrier Reef Invertebrates: Spirobranchus giganteus.

Definition and Examples of Paragraph Breaks in Prose

Definition and Examples of Paragraph Breaks in Prose A paragraph break is a single line space or an indentation (or both) marking the division between one paragraph and the next in a body of text. It is also known as a  par break. Paragraph breaks conventionally serve to signal the transition from one idea to another in a stretch of text, and from one speaker to another in an exchange of dialogue.  As Noah Lukeman observes in A Dash of Style, the paragraph break is one of the most crucial marks in the  punctuation  world. History Few readers would think of the  paragraph break  as a  punctuation mark, but it certainly is, says Lukeman: In ancient times there were no paragraphs- sentences simply flowed into one another without interruption- but over time text became segmented into paragraphs, first indicated by the letter C. During medieval times, the mark evolved into the paragraph symbol  [ ¶] (called a  pilcrow or a paraph) and eventually became the modern-day paragraph break, which is now indicated by only a line break and indentation. (By the  17th century, the  indented  paragraph had become  the standard paragraph break in Western  prose.) The indentation was originally inserted by early  printers so that they would have space for the large illuminated letters that used to herald paragraphs. Purpose Today, the paragraph break is used not for the convenience of printers but to give readers a break.  Paragraphs that are too long leave readers with dense blocks of text to wade through. To fully understand when to insert a paragraph break or paragraph breaks, its helpful to know that a  paragraph  is a group of closely related sentences  that  develop  a central idea. A paragraph conventionally begins on a new line. Paragraphs are generally two to five sentences- depending on the type of writing you are doing or context of your essay or story- but they can be longer or shorter. The art of creating paragraphs is called  paragraphing, the practice of dividing a  text  into  paragraphs. Paragraphing  is a kindness to your  reader because it divides your thinking into manageable bites, say  David Rosenwasser and Jill Stephen in Writing Analytically. They add, More frequent paragraphing provides readers with convenient resting points from which to relaunch themselves into your thinking. Paragraphs used to be longer, but with the advent of the internet, which gave readers access to literally millions of sources of information from which to choose, paragraphs have become increasingly briefer. The style for this website, for example, is to make paragraphs no more than two to three sentences. The Little Seagull Handbook, a grammar and style reference book widely used at many colleges, includes mostly two- to four-sentence paragraphs. Using Paragraph Breaks Correctly Purdue OWL, an online writing and style resource published by Purdue University, says you should start a new paragraph: When you begin a new idea or pointTo contrast information or ideasWhen your readers need a pauseWhen you are ending your introduction or starting your conclusion For example, a story published in the  New York Times  on July 7, 2018 (North Korea Criticizes ‘Gangster-Like’ U.S. Attitude After Talks With Mike Pompeo) covered a complex subject- high-level talks between U.S. and North Korean officials regarding the denuclearization of North Korea. Yet the story contained paragraphs that were no more than two or three sentences, each providing self-contained units of information and linked by transition terms. For example, the second paragraph of the article reads, Despite the criticism, North Korea’s Foreign Ministry said the country’s leader, Kim Jong-un, still wanted to build on the friendly relationship and trust forged with President Trump during their summit meeting in Singapore on June 12. The ministry said Mr. Kim had written a personal letter to Mr. Trump, reiterating that trust.​ And the third paragraph reads, The two sides have a history of veering between harsh talk and conciliation. Mr. Trump briefly called off the Singapore summit meeting over what he called North Korea’s open hostility, only to declare it back on after receiving what he called a very nice letter from Mr. Kim. Note how the first paragraph contains a self-contained information topic: that despite some kind of criticism (described in the opening paragraph of the article), there are two sides involved in denuclearization talks and at least one of the sides, North Korea, wants to retain friendly relations. The next paragraph is joined to the first with transition phrases- the  two sides and the letter- but it covers a totally different topic, the history of tense relations between the two sides. The paragraphs are also roughly equal in size- they are both two sentences long, while the first contains 52 words and the second is made up of 48. Breaking up the paragraphs in any other way would have been jarring to readers. The first paragraph clearly refers to the present situation between the two countries, while the second talks about their up-and-down history. Thoughts on Paragraph Breaks Paragraph breaks allow the writer to change the subject and give the readers eye a rest, says  John Foster, author of Writing Skills for Public Relations: Style and Technique for Mainstream and Social Media. He says that when the text moves from one point to another, that is the time for a paragraph break: However, much will depend on the style of the publication or document and on the column width. For news-style print jobs, using double or multicolumn format, paragraph breaks are usually needed after every second or third sentence- say about every 50 to 70 words. Foster says that for single-column reports, books, manuals, leaflets, and  brochures, it is usually better to have slightly longer paragraphs with perhaps four or five sentences. Much depends on the context, your audience, and the medium in which the work is published. If you remember that each paragraph should discuss one unified topic and that you should use a paragraph break before each new topic, your writing will flow and youll help the reader proceed through your writing in a logical fashion and without straining to get to the last line. Source Rosenwasser, David. Writing Analytically. Jill Stephen, 8th Edition, Cengage Learning, January 1, 2018.

MAGE genes Essay Example | Topics and Well Written Essays - 750 words

MAGE genes - Essay Example Although no MAGE homologous sequences have been identified in Caenorhabditis elegans, Saccharomyces cerevisiae or Schizosaccharomyces pombe, MAGE sequences have been found in several vegetal species, including Arabidopsis thaliana. A database screening was performed to identify all of the recorded members of both classes of human MAGE genes. This report provided an overview of the MAGE family and proposed a general nomenclature for all of the MAGE genes identified thus far. The MAGE-D genes were particularly well conserved between man and mouse, suggesting that they exert important functions. In addition, the genomic structure of the MAGE-D genes indicates that one of them corresponds to the founder member of the family, and that all of the other MAGE genes are retrogenes derived from that common ancestral gene. MAGE-A1 belongs to a group of germline-specific genes that rely primarily on DNA methylation for repression in somatic tissues. In many types of tumors, the promoter of these genes becomes demethylated and transcription becomes activated. MAGE-A1 acts as a transcriptional repressor. MAGE -A1, the first characterized cancer-germline gene, belongs to a family of twelve genes located on the X chromosome in region q28 (5,6). Genes of the MAGE family have their entire coding sequences located in the last exon, which shows 64 to 85% identity with that of MAGE 1 (De Plaen et al., 1994). (An exception is MAGE D2, 300470). The coding sequences predict the main structural features of all MAGE proteins, in contrast, the promoters and first exons of the MAGE genes show considerable variability, possibly enabling the same function to be expressed under different transcriptional controls. In their annotation of the DNA sequence of the human X chromosome and the predicted proteome, Ross et al. (2005) noted that the MAGE domain was present in 32 genes. In comparison, only 4 other MAGE genes had been reported in the rest of the genome: MAGE F1 (609267) on chromosome 3, and MAGE L2 (605283), NDN (602117), and NDNL2 (608243) in the proximal portion of the long arm of chromosome 15. The MAGE gene products are members of the cancer-testis (CT) antigen group, which are characterized by their expression in a number of can cer types, while their expression in normal tissues is solely or predominantly in testis. This expression profile had led to the suggestion that the CT antigens are potential targets for tumor immunotherapy. Ross et al. (2005) stated that the X chromosome gene set they described contained 99 CT antigen genes, including novel members of the MAGE, GAGE, SSX, LAGE, CSAGE, and NXF families. Ross et al. (2005) predicted that approximately 10% of the genes on the X chromosome are of the CT antigen type. The remarkable enrichment for CT antigen genes on this chromosome relative to the rest of the genome may be indicative of a male advantage associated with these genes. Recessive alleles that are beneficial to males are expected to become fixed more rapidly on the X chromosome than on an autosome. If these alleles are detrimental to females, their expression could become restricted to male tissues as they rise to fixation. The CT antigen genes on the X chromosome are also notable for the ex pansion of various gene families by duplication. This degree of duplication is perhaps an indication of selection in males for increased copy number. In this

The Culture Effects in Women Performance at the Public Agencies in Research Proposal

The Culture Effects in Women Performance at the Public Agencies in Saudi Arabia - Research Proposal Example The rulers enforce the Islamic law in handling the state’s executive, administrative and judicial functions. The country’s most significant natural resource is oil and the main business areas are oil refinery, jewels etc. Development plans and policies are based on the Islamic values. Background of the Study: All Saudi Arabians are Muslims and some are included in a minority of Shia. They are following Handbali School of Islamic law. The women may not have any rights like men in the society. They have limitations to enter in to the society. They are not allowed to drive and without permission of male guardian (Muharam) they will not travel abroad. â€Å"Women are employed in girls' schools and the women's sections of universities, social work and development programs for women, banks that cater to female clients, medicine and nursing for women, television and radio programming, and computer and library work. Sections of markets are set aside for women sellers. However, only about 7 percent of Saudi Arabia's formal workforce is female† (Saudi Arabia, 2011). The separation is considered as the mechanism for sexual modesty. Their status is high in the family, in their role like mother or sister. A significant number of women are succeeding in academic, business, literary production etc, even when facing restrictions to public. This is because of the gaining popularity of women’s literature than earlier times.... The social and cultural rights of Saudi females are circumscribed by the values of sexual segregation that leads to restrain or limit their activity. Working in Saudi Arabia is a challenging factor, especially for women. Saudi Arabian culture and values are different it is highly oriented with Islamic religion. Their dresses also express religious piety. It must not be very fit for body and it must not attract any attentions. â€Å"Like a woman's clothing, a woman's role in Saudi Arabia culture is largely dictated by the prevailing religious beliefs. Unlike in the West, where a woman's equal partnership with her husband is at least given lip service, a Saudi marriage is often arranged† (A Women’s Perspective on Saudi Arabia Culture, 1995). Aim and Objectives: 1) To identify the various cultural barriers faced by the women in performing the public agencies in Saudi Arabia. 2) To identify the how the cultural values of Saudi Arabia affect the performance of women in publi c agencies? 3) To identify the various problems faced by the women in Saudi Arabia. Significance of Study: Saudi Arabian women are facing a big challenge to perform in public agencies. They feel like tied in the home. They do not have permission to enter in to the society or to be active in any economical or political field. The traditional culture and law make them feel bad for themselves. Western countries are giving high consideration to women’s opinion and participation. They do not face any restraints in entering in to the society and can travel at night also. They are self-sufficient and work in high positions in various organizations. Saudi women, also, have the urge to become independent and self-sufficient and they yearn for those things. But there are