Evidence of achievement Essay Example | Topics and Well Written Essays - 2000 words

Evidence of achievement - Essay Example b. An understanding of work preferences is integral to developing a bond of understanding between the student, the mentor and the demands of the nursing profession itself. In addition to the outgrowth of trusting working relationships among professionals, the mentorship development program provides a 'safety net' to blunt the consequences of learners' errors. This supervision allows me to learn from my mistakes safely, while at the same time advancing to greater positions of responsibility to achieve integration. c. During internship, the practicalities of classroom fundamentals come into play as a physical reality. While it has long been said that hands-on training is the only means to achieve true comprehension of a functional task; having the intellectual background provides a stronger basis for 'jumping in' to new learning environments. It gives my supervisor-mentor an easier point of reference to begin the induction to new departments, and new learning environments as needed. .. . If the student has already completed a portion of a structured training program, and as the student progresses, the mentor will gain an appreciation for learning style, and be able to tailor instruction accordingly. b. Learning strategies are integral to academic success; but largely come from within the self, from the student's self-determination to advance themselves towards the purpose of becoming a true nursing professional. Having the added experience of having once been a beginner at the task at hand, the professional mentor has the ability to advise, and assist in the deployment of these strategies in a way that meshes most effectively with the particular demands of the position. c. A good mentor will be experienced with the inner workings of the learning process as it pertains to the nursing position at hand, and will be able to reflect on their own needs, questions, and uncertainties when the mentor was new at the position. This lets an effective supervisor-mentor to devise impromptu tests, questions, and brief quizzes, with no fore-knowledge of what was challenging for them personally. A strategy personally useful in learning is when the mentor/instructor gives a lesson, or hands-on demonstration followed by an immediate quiz. c. 3.) a. Professional growth is intertwined with personal growth within a modern nursing environment, as the student grows into a more complete person on an individual level, who becomes therefore also a competent nursing professional. Mentorship/supervision is essential in that it allows a safer means for the student to perform real medical procedures and care to gain an appreciation for the

Industrialisation and Identity Essay Example for Free

Industrialisation and Identity Essay In 1889 Chicago had the peculiar qualifications of growth which made such adventuresome pilgrimages even on the part of young girls plausible. Its many and growing commercial opportunities gave it widespread fame, which made of it a giant magnet, drawing to itself, from all quarters, the hopeful and the hopeless those who had their fortune yet to make and those whose fortunes and affairs had reached a disastrous climax elsewhere. (Dreiser 15f) At the turn of the 19th century, the industrialisation brought about tremendous change in the US. With innovations and inventions like the steam engine, railroads, electricity, telephones and telegraphing, the structure of American society shifted and evolved. People from the rural areas started flocking to the big cities in hopes of finding work and a better life, a dream many chased in vain. The protagonist in Theodore Dreiser’s novel Sister Carrie, 18-year old country girl Carrie Meeber, is one of the â€Å"hopeful†; she leaves her hometown to find happiness and success in the big city of Chicago. At first, she stays with relatives and experiences the miserable, tiresome day-to-day struggle of the working middle-class of job-hunting and then hard menial labour in a factory. However, she soon grows tired of her situation. She lets herself be mesmerised by the wealth displayed by others, which both intimidates her and fills her with an insatiable longing for money and status. With this desire growing in her heart, she is willing to make all the sacrifices to achieve her goal, leaving her safe, but unexciting home to live with Charles Drouet, a man whom she barely knows, but who offers her a comfortable lifestyle. Nevertheless, Carrie still is not satisfied, so she leaves him for the wealthier George Hurstwood and continues to search for a way to success and happiness by obtaining status and commodities, losing herself in the process. In his novel Sister Carrie, Theodore Dreiser illustrates how the industrialisation did not only change the structure of American society at the turn of the 19th century, but also have a deep impact on the consumer culture and individual consumer behaviour of the American middle-class, marking the beginning of the impossible quest of struggling to create one’s identity through consumption. The Industrialisation The inventions and innovations of the industrialisation brought about great change for American society and people’s everyday lives. Roughly before 1750, even though the Americans with their steadily advancing frontier were a very progress-oriented people, the general expectation was to die in a world not much different to the one one was born in. (Cross 53) However, during and after the industrialisation, the increased development of ground-breaking new technology did not only affect the economy, but also the way people viewed the world. The inventions of the steam engine and electricity, the new ways of travelling and communication over long distances and new forms of retail created new employment and consumption possibilities (Cross 53), allowing a more and more comfortable and luxurious lifestyle in the cities for the upper-class and those middle-class citizens who were able to afford to keep up with the latest trends and fashions. The steam engine is said to be the central invention of the industrialisation period from the 18th to the 20th century, as it inspired as many technological advances as no other invention before it. Invented in Britain at the beginning of the 18th century, Gary Cross explains it took quite some time until was imported, adapted and improved by the Americans to fit their needs. In the 18th century, he reasons, there was no need for an alternative source of energy, as vast forests, coal deposits and water energy were available. In the 19th century, however, this indifferent attitude towards the steam engine changed fundamentally and its potential as an energy source for manufacturing was exploited. Cross 84) By 1830, only about five per cent of the American factories used steam power; by 1900, it was over 80 per cent. (Cross 93) Steam also found its uses in the non-industrial sector as central heating for buildings. In Sister Carrie, Carrie delights in her modern New York apartment â€Å"supplied with steam-heat† and a â€Å"bath with hot and cold water† (307). In addition to that, the steam engine was applied in the area of transportation as energy source for street cars, steam boats, and locomotives. The railroad had a tremendous effect on both the American economy and society in the 19th century. Daniel W. Howe mentions three main consequences of the railroad (among many others): Firstly, it sped up the process of urbanisation by connecting rural areas to the big cities. (Howe 565) For example, Chicago, one of the main settings of Sister Carrie, evolved from a village of less than 100 inhabitants in 1830 to a city of 30,000 in 1850, which would have been absolutely â€Å"inconceivable [†¦] without the railroad. (Howe 567) In 1889, the time the story of the novel sets in, its population is greater than 50,000 (16). Secondly, allowing the efficient transport of commodities across the country by shortening waiting times and cutting costs, the railroad not only led to a tremendous change in trading business, but also provided the incentive for technological advancement in steel production as well as in the efficiency and safety of trains and tracks, laying the groundwork for f urther innovation of methods of transport later in history. Howe 566) Finally, as a comparatively convenient and affordable way of travelling, railroads also provided the opportunity for long-distance trips and vacations in far-away places even for the American middle-class. (Howe 565) There are two reasons for taking the train in Sister Carrie: for business purposes, and with the intent of moving to another city. Interestingly, there are no actual vacations taking place in the novel; merely plans of travel are mentioned, mostly overseas trips to Europe (142;357). Of far more interest are Drouet and his ambivalent feelings about business travel. He undoubtedly enjoys meeting and flirting with the ladies he meets on the road. He has no reservations of striking up a chat with Carrie on her first train journey from her hometown to Chicago, who (unsurprisingly) is very impressed by Drouet and his knowledge of the various places he has visited on business. (4ff) Drouet is a â€Å"drummer†, a travelling salesman, a job requiring the railway for fast long-distance travel. For him, train journeys hold no deep meaning; they are simply a necessary part of his work. In a short flirtation with a chambermaid, he reveals that he travels far, but does not care for travelling all that much, explaining, â€Å"You get tired of it after awhile. † (200) The same trip, merely a boring return of a business trip for Drouet, is a life-altering, exciting journey for Carrie. Never having travelled before, she is reassured by the thought that home will never be far away since the cities were â€Å"bound more closely by these very trains which came up daily† (3). The railroad shortened travel times drastically. While it took five weeks to travel from Chicago over the Appalachians to New York in 1790, seventy years later the distance could be crossed in merely two days. (Cross 104) Originally, Carrie moves from the countryside to the city because she is in need of work; however, her expectations for her future are far more ambitious. Her hopes of fortune and fame she projects on â€Å"[t]his onrushing train†, which â€Å"was merely speeding to get there. † (3) The second and by far most dramatic journey in Sister Carrie, however, is the elopement of Carrie and Hurstwood. Having stolen a large sum of money from his employers, he tricks Carrie into leaving Chicago with him on a train bound for Detroit, from where they continue to Montreal, Canada. Again, all hope is set on the train as the (only) way to a better future. In this case it is Hurstwood, who in his desperation loses all eloquence, who considers the only possible future as â€Å"a thing which concern[s] the Canadian line. † (275) Making the train his lifeline, he hopes to cross the border as soon as possible, since abroad he will be safe from the legal repercussions of his crime. Hurstwood manages to persuade Carrie to stay with him, but since life in Montreal does not seem worthwhile to either of them, they soon decide to move on to New York, again with the hope of a promising future awaiting them once they get off the train. The invention of the telegraph revolutionised long-distance communication thoroughly, possibly even more so than the railroad did long-distance transportation. Professor Samuel Finley Breese Morse and his team were the first to develop a commercially viable kind of electric telegraph in America; by 1848, the system of wires reached Chicago. Howe 695) Research and experiments led to Thomas Edison finding a way of sending messages back and forth over one wire at the same time in the 1870s and to his invention of the phonograph, with which messages could be recorded. (Cross 176) Unlike the telephone, which was invented by Alexander Graham Bell in 1876 and was mainly used for social purposes (Cross 181), the telegraph was mostly used for commercial purposes and information transmission. It also found its use in communication on the railroad, improving the safety and efficiency of trains. Cross 102) In Sister Carrie, the telegraph and even the telephone have short appearances at crucial points in the story, both concerning Hurstwood’s crime and dramatic escape. Coming across a â€Å"famous drug store† with â€Å"one of the first private telephone booths ever erected† (271), Hurstwood phones the train station to obtain information regarding the train times, as he wishes to leave as soon as possible. Opposed to the novelty of the telephone so explicitly stressed by Dreiser, the already well-established telegraph is casually integrated in the story. On the train bound for Detroit, Hurstwood worries that the afternoon papers might already cover his theft and wonders â€Å"what telegraphs might come† (282), indicating his fear of not being able to escape fast enough. The telegraph was a useful tool for the police to coordinate searches and catching criminals before they were beyond reach, apparently leading to a few successful arrests. (288) Once in Canada, Hurstwood anxiously checks the newspaper, and, â€Å"among the riff-raff of the telegraphed murders, accidents, marriages and other news items from out the length and breadth of the land† (297), he discovers a small notice of his own crime. Because he cannot see himself staying abroad, he tries to negotiate with his former employers the return of the money and a possible rehiring, the latter of which obviously eliciting a much colder response than the first–also via telegraph. (302) Electricity was one huge step towards a modern economy and society. At first mainly used to replace gas lighting, its uses expanded rapidly with every new innovation and improvement of existing technology; as mentioned, the telegraph and telephone depended on electric energy, and the electronic signal for the railway introduced in 1872 greatly improved the safety of trains. Cross 102) However, in the first years, electricity was mainly used to making America a brighter place–in the literal sense. (Cross 157) Brighter and cleaner than gas lighting, the electric light bulb invented by Thomas Edison in 1879 gradually took over homes, offices, and city streets. (Cross 158) In the late 1880s, steam-powered street cars in many cities were replaced by electric ones, as they were a faster alternative to get the workers from their homes to their work places and back. They were also less expensive, and the inevitable pollution was concentrated in the area the energy was generated and not spread throughout the city; electric streetcars did, however, increase noise pollution. (Cross 159; 168) Light is the element creating the most obvious distinction between places of luxury and places of suffering in Sister Carrie: The former are all bathed in light, while the latter are cast in shadow or are dimly lit at best. For example, the shoe factory Carrie works in in the beginning is xtremely poorly lit (36f), while the department stores as temples of consumption and the streets as their runways are practically aglow (30). As their financial situation in New York becomes irreversibly dire, Hurstwood one day finds Carrie â€Å"reading, quite alone. It was rather dark in the flat, shut in as it was. † (358) Bright lights, on the other hand, are abundant in places Carrie enjoys being; she quite literally experiences the â€Å"bright side of life† when she dines out with friends at Sherry’s, a very popular and expensive restaurant the high society of New York likes to dine at. She marvels at the splendid dining chamber, all decorated and aglow, where the wealthy ate, [with its] incandescent lights, the reflection of their glow in polished glasses, and the shine of gilt upon the walls [†¦]. On the ceilings were colored traceries with more gilt, leading to a centre where spread a broad circle of light–incandescent globes mingled with glittering prisms and stucco tendrils of gilt.

Machiavelli’s The Prince as a Modern Political Guidebook Essay

The Prince as a Modern Political Guidebook       "Uneasy lies the head that wears a crown."  Ã‚  Ã‚  Ã‚  Ã‚   (Shakespeare, 2 Henry IV 111.1.31) Kingship and leadership is a human concept.   Contraptions and   fiction invented by human beings that hold the fabric of   society together.   It is the job of the leader to make the fiction work for the good of all.   The quote above evokes the overall feeling about kingship held by both Prince Hal and his father in Shakespeare's Henry plays.   Being a leader is perhaps the most difficult position one can ever attain.   And in the same vein that King Henry IV says this above line, so does his son King Henry V offer this lament:      The slave, a member of the country's peace, Enjoys it; but in gross brain little wots What watch the King keeps to maintain the peace, Whose hours the peasant best advantages.   (Henry V:   IV.i 280-4)    Shakespeare was acutely aware that there was little difference between a real king and a player-king.   He gives us Henry V, a prince who knows how to be both.   We see him as a politician dealing with ambassadors and a diplomat dealing with his advisors.   He dispenses justice and mercy.   He must know when to execute traitors and thieves and when to free drunks who insult him in the streets.   He is a warrior and an oratorical wizard.   He inspires courage in the face of desperate circumstances and perhaps most importantly he knows how to seem one thing while he is another.   All these qualities make Hal Shakespeare's quintessential prince and these are the qualities that Niccolo Machiavelli saw as necessities for any "good" leader of a people.        Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The Prince, written in Florence in the year 1513, by Machiavelli, is one of t... ...cause he didn't teach anything that wasn't already known to powerful leaders.   In fact, in his address to Lorenzo de Medici, as I noted earlier, he states that the conclusions he makes are drawn from his knowledge of history.   Throughout the book he makes references to historical situations and events that employ the very means to political success he describes.   What is great about The Prince is not its original content but that it mirrors the politics of his time as well as our time.   The book is a product of the Italian Renaissance in that it attempts to explain how things really are rather than how they are perceived.    WORKS   CITED Machiavelli, Niccolo.   The Prince.   Trans.   Christian E. Detmold.   New York:   Airmont, 1965. Strauss, Leo.   "Machiavelli the Immoralist."   The Prince:   A Norton Critical Edition.   New York:   W.W. Norton, 1977.   180-185.

Macbeth †Discuss the ways in which the play presents to us the picture Essay

Discuss the ways in which the play presents to us the picture of a man caught between the promptings of his worldly ambition and an acute awareness of moral and religious values. The tragedy of Macbeth is that we watch the downfall of a great man because of a flaw in his character. The play begins with the description of the battle between the Scottish forces led by Macbeth and Banquo, and the rebels led by Macdonald and the traitor Cawdor, and the Norwegian forces. The captain says, â€Å"brave Macbeth – well he deserves that name†, and describes how he mercilessly beat of the rebels and the Norwegians against the odds. He is a hero among the king’s court, and as he later says, he â€Å"hath brought golden opinions from all sorts of people†. However, even at this early stage, we see an undesirable side of the character, as described by the bloody captain; he says that Macbeth and Banquo fought so viciously that they â€Å"meant to bathe in reeking wounds, or memorise another Golgotha†. This reference to Golgotha would have had a much greater impact on the deeply Christian audience of the early 17th Century, when everyone would have known that this was the name of the hill on which Jesus was crucified. Therefore, with this reference Shakespeare must be aiming to show that Macbeth is not all good, and that although he is a brilliant general, and the hero of Scotland, he is also ruthless, and bloody. However, this is not the main flaw that is what brings about Macbeth’s destruction, his greatest flaw is â€Å"vaulting ambition which o’erleaps itself, and falls on th’other†, and Shakespeare introduces this in Act 1, scene 3. The witches have already declared in scene 1, that they will next come together Upon the Heath. There, to meet Macbeth. so when they appear in thunder (rather then lightening or rain), on the heath we know that they are there to meet Macbeth. We also know from their conversation that precedes Macbeth’s entrance that they are very malicious; the first witch has vowed to sail to out to a ship called the Tiger to stop its captain from sleeping, and to keep the ship almost wrecked for 567 days, all because the captain’s wife wouldn’t give her a chestnut, while the second witch has been â€Å"killing swine†, presumably for fun. This gives a sense of dramatic irony when the witches tell Macbeth of his future, and he assumes that these predictions are going to be to his benefit, but we know that the witches are malicious, and are out to destroy Macbeth. He does not realise this until Act 5 scene 5, when he â€Å"begin(s) to doubt th’equivocation of the fiend, that lies like truth†. The ambition that I was talking about is introduced when the witches greet Macbeth first with a title that everyone knows he has, then with a title that the audience knows he has, but he does not, and finally with the greatest title of all. To this, Macbeth â€Å"start(s), and seem(s) to fear†, and so shows us that he had a guilty conscience, and suggests that he had long been harbouring a deep desire to become king, even before he met the witches. This means that the predictions have a huge effect on him, and begin to take over his mind. Therefore, over the next few scenes, we see the conflict in himself between his ambition, and his conscience. His personality becomes divided, and becomes very confused. He is spurred on by his wife, but then he didn’t have to tell her about the witch’s predictions, as he must have known that she would encourage him to do something rash. And the fact that he did shows that much of him wants her to encourage him towards a terrible deed, Whose horrid image doth unfix (his) hair And make (his) seated heart knock at his ribs Against the use of nature but yet he is â€Å"too full o’th’milk of human kindness† to be able to decide for himself whether or not to kill Duncan. You may note that he says that this image is â€Å"against the use of nature† this refers to the idea of there being a natural order of things, which would be totally upset, and turned on its head by regicide. The aside in Act 1 scene 3 shows how his feelings are in turmoil, and how he has become confused; each line of thought ends with a paradox, such as â€Å"nothing is, but what is not†. He then moves on to hope that â€Å"chance may crown him without (his) stir†, and concludes that he will let whatever happens happen. However, only a scene after this, moments after declaring his allegiance to Duncan, he hears that Malcolm is to be the heir to the throne, and says that this â€Å"is a step on which (he) must fall down, or else o’erleap†. However he is partly so horrified at his own thoughts, that he asks the stars not to let light see his â€Å"black and deep desires†, but he also wants this because he wants to get away with the deed that is lurking at the back of his mind. He obviously realises that his ideas about regicide are very wrong, and he judges himself severely. However, the next scene involves Macbeth and his wife, and in it, we see how with very little persuasion, only a few hints and double meanings, she is able to quickly persuade him to kill Duncan. She tells him to â€Å"look like th’innocent flower, but be the serpent under’t†, as if he needed tips in how to deceive and equivocate. I say this because in scene 4, he publicly declared his loyalty to Duncan, and then a few lines later (in an aside) begins to show signs that the idea of murder is building up inside his head. Shakespeare deliberately puts these lines close together to mark the contrast between his outward appearance, and his inner feelings. It is ironic that Macbeth’s appearance, and feelings should be so different, and so treacherous, when Duncan is on stage, and in the same scene as he claimed â€Å"there’s no art to find the mind’s construction in the face.† However, his inner conflict is shown in scene 7, when he debates with himself, and identifies what is stopping him, and what is driving him on. This soliloquy has a great dramatic importance, because it shows just how tormented Macbeth is by the predictions of the witches and his ambition, in contrast to the awareness of how wrong the murder would be. He begins by saying that he would skip the afterlife if only it meant that he could succeed in becoming king. This is a measure of just how ambitious he is; he is a man who is always aware of the afterlife, he mentions it so often, yet says here that he would rather be successful in this one act, than live for ever at God’s side. He then begins to state the arguments against murder, beginning with the knowledge that the murderer will have justice eventually. He says that he shouldn’t kill him because he is his relation, king and host. He then uses very vivid and apocalyptic imagery to describe how Duncan’s virtues will â€Å"plead like angels against† his own lesser virtues, in heaven, because Duncan is such a saintly king. This implies that Macbeth does not think that highly of himself, because he recognises that Duncan is a far better king than he ever could be, and is a far better person than he. The image of the â€Å"naked newborn babe striding the blast† is another example of how vivid Macbeth’s imagination is, while giving another reason not to carry out the murder; the pity that he should feel for the old man. This is the most powerful reason for me, because of the way it is explained, and because I know how the murder will torment Macbeth and his wife for the rest of their lives. Therefore, Macbeth undergoes the change from a larger-than-life general, who is the hero of Scotland, to the guiltily ambitious thane, to the morally self-critical host, and then finally, in the rest of this scene, he turns into a poodle of his wife, and lets all his good sense be knocked down a combination of their ambition, and decides to kill Duncan. Act 2 sees Macbeth carrying out the murder of Duncan (offstage). This alienates him from the audience, so that whereas in Act 1 we saw everything about him, including all of his inner conflict, he is now distanced from the audience. This idea is also present scene when the murderers come on; he mentions that they have already spoken on the subject of Banquo’s murder, and so that what the audience may have thought was just another dark thought in the back of his mind, suddenly is a reality. Thus, Shakespeare creates a sort of tension between the audience and Macbeth, because they no longer respect him. This process of alienation continues, and worsens as the play continues, and reaches its peak in Act 4, scene 2, in which Macduff’s â€Å"castle is surprised, his wife and babes savagely slaughtered. This happens on stage, and the horror of infanticide would shock any audience, and so make them hate and recoil from Macbeth. I think that to a modern day audience, this murder condemns Macbeth, because child killings for their parent’s â€Å"crimes† is a terrible thing, and in modern society there is little worse. However, in the early 17th Century, there had been no Civil War, or French Revolution, so people still believed that kings were sacred, and had been put there by God. This meant that regicide was not only murder, but also treason, and an act against God, and the natural order, so was a deeply sacrilegious thing to do. The relationship between Macbeth and his wife deteriorates in a similar way to the relationship between him and the audience; in Act 1, they were â€Å"partners in greatness†, with her spurring him on to further achievements, but by Act 3, scene 2, she asks, â€Å"why do you keep alone?† but it is too late, and they continue to drift apart, and do not speak to each other after Act 3, scene 4. This deterioration of all of Macbeth’s relationships characterises his descent form the â€Å"most worthy thane† that we see at the beginning of the play, into the â€Å"abhorred tyrant† at the end. He cuts himself off from everything worthwhile in life because of his selfishness. In Act 4, scene 1, he seeks out the witches because he longs know what more lies in store for him. Now that all three of their original predictions have come true, he has nothing left to hang on to, and his ambition is restless. We already know how great his ambition is, so this may explain why he is so desperate to know more. However, when he goes to the witches this time, their predictions are not about his future successes, but instead are about his downfall. The speech in which he begs them for answers shows just how low he has sunk: His first words are â€Å"I conjure† this shows that he is using the language of witchcraft, and so is evil. There was another reference of this sort, when he said, â€Å"so foul and fair a day I have not seen†, as opposed to the witches, who said â€Å"fair is foul, and foul is fair†, but he wasn’t dabbling in witchcraft then, and perhaps that speech was only intended to reinforce the idea that throughout this play, all is not as it seems. He then says that if he gets his way, he is prepared for corn and trees to be blown down, so that there would be famine and destruction in nature. For castles, which were then the definition of stability, and strength, especially for kings, to fall down killing their warders, and for palaces and pyramids, which were more splendid side of being a monarch, to fall down. Finally, he says that the seeds of all life can cease to live, and destruction can continue until it grows tired of destroying, if it means he can find out about his future. This shows that he has completely lost his earlier sense of right and wrong and of his importance in the world, because of his terrible solipsism. In Act 1, he was able to realise that he shouldn’t kill Duncan, because Duncan was a better person than him, and a better king. But by this stage, he has lost all sense of proportion, and is just desperate. He says, â€Å"for mine own good all causes shall give way†, and seems to be so much engrossed in solipsism, that he refuses to acknowledge that other people exist. Soon after this, he revisits the witches, and then goes on to murder all Macduff’s children. This is a good example of how he changes through the play, and how his ambition has got the better of his awareness of right and wrong. However, this does not meant that his awareness of moral and spiritual values is dead; we can see that his imagination is still very active, and that is why his murder of Duncan affects him so deeply. In Act 1 Lady Macbeth told him to â€Å"consider it not so deeply† after he was terrified by his inability to say â€Å"amen†, but yet this is the type of thing that haunts him to the end of his life, and drives him to isolate himself from everything that he holds dear. Once he knows that he has â€Å"forsaken the life to come†, he cuts himself off from all moral and spiritual values, and though he is still very aware of these values, he just ignores them. As Macbeth himself said, I am in blood Stepped in so far that should I wade no more, Returning were as tedious as going o’er. In this horrific and apocalyptic imagery, he conveys that he might as well continue to be bad, rather than admit his mistakes, and try to be forgiven. This idea is repeated, when the doctor says that the patient must help itself to be healed from a disease of the mind, and he basically says that he can’t be bothered with this. He has a deeply troubled mind, but yet his pride stops him from admitting that he ever made a mistake. By Act 5, scene 3, he knows that it is over, and begins to mourn himself. He says, again with imaginative imagery, that his way of life is slowly dying, And that which should accompany old age, As honour, love, obedience, troops of friends, I must not look to have.

Planning Theory & Practice Essay

The creation of a whole new type of community, the `virtual community’, has done much to highlight the potential for communities to form beyond the confines of geographic space (Rheingold, 1993). Technological utopians have found community in cyberspace. Largely anecdotal evidence emphasizes the ability of computer networks to connect people across time and space in strong supportive relationships, blindly extending beyond characteristics of ethnicity, religion or national origin. Guilty of Plagiarism  The creation of a new community, which is called a virtual community, has allowed people to live beyond geographic space. Cyberspace is where technological people have found a sense of community. Computers can connect people across time and space no matter what their characteristics (Hampton, 2002). Not Guilty of Plagiarism Keith Hampton (2002), has coined the term â€Å"virtual community† to refer to a place where people can form social groups â€Å"beyond the confines of geographic space† (p. 228). This â€Å"cyberspace† provides a chance for individuals of varying races and religions to meet and interact via computer. Many technologically savvy people now have a place to meet other without having to physically travel (Hampton, 2002). Not Guilty of Plagiarism. Computers have allowed for people to meet those of other nationalities and cultures worlds away from one another through the computer. The networking capabilities of computers allow for people to build social groups, or communities, in cyberspace rather than in person. An ocean or a mountain will no longer be able to keep these technologically savvy pioneers apart (Hampton, 2002).