Coursework Example | Topics and Well Written Essays - 1250 words - 2

Coursework Example The government also wants that the economy function at the full employment level, so that all the people who are capable and willing to work would be able to attain a job, however the natural rate of unemployment will never be zero due to seasonal, structural and other reasons. (McConnell & Brue, 1996) Zero inflation is considered bad for the economy; however, the inflation rate shouldn’t be too high or even too low in the economy and shouldn’t change rapidly. The government wants to sustain the inflation at a moderate and sustainable level. The prices and accordingly the demand of goods and services will vary according to the price level and therefore it is important that the general price level remain stable in the economy. Lastly, the government also aims at keeping their finances sound as well as the balance of payments account. (McConnell & Brue, 1996) However it is difficult to classify the objectives in order of their importance. And this makes the task of the go vernment difficult due to clashing objectives and a tradeoff needs to be made. Such as a policy that would perhaps stimulate overall demand or aggregate demand in the short run may reduce unemployment but that may increase inflation in the long run and go against the government’s objective of maintaining moderate inflation rate. This may also lead to a worsening of the balance of payment position and the government needs to make a choice as to what is more important. At the same time, growth and inflation are considered to be of utmost importance because growth is what improves the standard of living for people and controlling inflation also leads to general price levels being stable and thus attaining the goal of sustainable growth. Inflation is supposed to be the most important goal to achieve since it is believed that the other aims would be difficult to achieve in the long run if the sustainable inflation rate is missed. (McConnell & Brue, 1996) Governments can employ two policies in times of a recession, that is, a decline in GDP as well in times of expansion, that is, a rise in the GDP level. And these are: fiscal and monetary policies. Fiscal policies involve government expenditure and taxes to increase or decrease the economic activity. There are two types of fiscal policies: contractionary and expansionary fiscal policies. Contractionary fiscal policy is when the government spends less that the tax revenue, that is, the taxes are higher and government spends less on the economy to finance their debt. They also try to increase public sector borrowing requirement. An expansionary fiscal policy is used to expand the economy when it is in recession by the government spending increasing and a reduction in taxes. This leaves people with more disposable income and consumption and spending in the economy increases overall. The figure for an expansionary fiscal policy is shown below: A situation where G=T is one where the overall tax revenue funds the o verall government spending and this is called a neutral fiscal policy and is applied in an economy which is in equilibrium. Fiscal policies can help with the objectives of achieving a stable growth rate, full employment and price stability. However, government spending and borrowing can also lead to high interest rates, and when a debt is incurred, it may need to be facilitated from overseas, monetization or public borrowing. This can actually

Modern Drama Essay Example for Free

Modern Drama Essay Restoration literature Restoration literature is the English literature written during the historical period commonly referred to as the English Restoration (1660–1689), which corresponds to the last years of the direct Stuart reign in England, Scotland, Wales, and Ireland. In general, the term is used to denote roughly homogeneous styles of literature that center on a celebration of or reaction to the restored court of Charles II. It is a literature that includes extremes, for it encompasses both Paradise Lost and the Earl of Rochesters Sodom, the high-spirited sexual comedy of The Country Wife and the moral wisdom of The Pilgrims Progress. It saw Lockes Treatises of Government, the founding of the Royal Society, the experiments and holy meditations of Robert Boyle, the hysterical attacks on theaters from Jeremy Collier, and the pioneering of literary criticism from John Dryden and John Dennis. The period witnessed news become a commodity, the essay developed into a periodical art form, and the beginnings of textual criticism. The dates for Restoration literature are a matter of convention, and they differ markedly from genre to genre. Thus, the Restoration in dramamay last until 1700, while in poetry it may last only until 1666 (see 1666 in poetry) and the annus mirabilis; and in prose it might end in 1688, with the increasing tensions over succession and the corresponding rise in journalism and periodicals, or not until 1700, when those periodicals grew more stabilized. In general, scholars use the term Restoration to denote the literature that began and flourished under Charles II, whether that literature was the laudatory ode that gained a new life with restored aristocracy, the eschatological literature that showed an increasing despair among Puritans, or the literature of rapid communication and trade that followed in the wake of Englands mercantile empire. Theatre The return of the stage-struck Charles II to power in 1660 was a major event in English theatre history. As soon as the previous Puritan regimes ban on public stage representations was lifted, the drama recreated itself quickly and abundantly. Two theatre companies, the Kings and the Dukes Company, were established in London, with two luxurious playhouses built to designs by Christopher Wren and fitted with moveable scenery and thunder and lightning machines.[10] Traditionally, Restoration plays have been studied by genre rather than chronology, more or less as if they were all contemporary, but scholars today insist on the rapid evolvement of drama in the period and on the importance of social and political factors affecting it. (Unless otherwise indicated, the account below is based on Humes influential Development of English Drama in the Late Seventeenth Century, 1976.) The influence of theatre company competition and playhouse economics is also acknowledged, as is the significance of the appearance of the first professional actresses (see Howe). In the 1660s and 1670s, the London scene was vitalised by the competition between the two patent companies. The need to rise to the challenges of the other house made playwrights and managers extremely responsive to public taste, and theatrical fashions fluctuated almost week by week. The mid-1670s were a high point of both quantity and quality, with John Drydens Aureng-zebe (1675), William Wycherleys The Country Wife (1675) and The Plain Dealer(1676), George Ethereges The Man of Mode (1676), and Aphra Behns The Rover (1677), all within a few seasons. From 1682 the production of new plays dropped sharply, affected both by a merger between the two companies and by the political turmoil of the Popish Plot (1678) and the Exclusion crisis (1682). The 1680s were especially lean years for comedy, the only exception being the remarkable career of Aphra Behn, whose achievement as the first professional British woman dramatist has been the subject of much recent study. There was a swing away from comedy to serious political drama, reflecting preoccupations and divisions following on the political crisis. The few comedies produced also tended to be political in focus, the whig dramatist Thomas Shadwell sparring with the tories John Dryden and Aphra Behn. In the calmer times after 1688, Londoners were again ready to be amused by stage performance, but the single United Company was not well prepared to offer it. No longer powered by competition, the company had lost momentum and been taken over by predatory investors (Adventurers), while mana gement in the form of the autocratic Christopher Rich attempted to finance a tangle of farmed shares and sleeping partners by slashing actors salaries. The upshot of this mismanagement was that the disgruntled actors set up their own co-operative company in 1695.[11]A few years of re-invigorated two-company competition followed which allowed a brief second flowering of the drama, especially comedy. Comedies like William Congreves Love For Love (1695) and The Way of the World (1700), and John Vanbrughs The Relapse (1696) and The Provoked Wife (1697) were softer and more middle class in ethos, very different from the aristocratic extravaganza twenty years earlier, and aimed at a wider audience. If Restoration literature is the literature that reflects and reflects upon the court of Charles II, Restoration drama arguably ends before Charles IIs death, as the playhouse moved rapidly from the domain of courtiers to the domain of the city middle classes. On the other hand, Restoration drama shows altogether more fluidity and rapidity than other types of literature, and so, even more than in other types of literature, its movements should never be viewed as absolute. Each decade has brilliant exceptions to every rule and entirely forgettable confirmations of it. [edit]Drama Main article: Heroic drama See also: She-tragedy Genre in Restoration drama is peculiar. Authors labelled their works according to the old tags, comedy and drama and, especially, history, but these plays defied the old categories. From 1660 onwards, new dramatic genres arose, mutated, and intermixed very rapidly. In tragedy, the leading style in the early Restoration period was the male-dominated heroic drama, exemplified by John Drydens The Conquest of Granada (1670) and Aureng-Zebe (1675) which celebrated powerful, aggressively masculine heroes and their pursuit of glory both as rulers and conquerors, and as lovers. These plays were sometimes called by their authors histories or tragedies, and contemporary critics will call them after Drydens term of Heroic drama. Heroic dramas centred on the actions of men of decisive natures, men whose physical and (sometimes) intellectual qualities made them natural leaders. In one sense, this was a reflection of an idealised king such as Charles or Charless courtiers might have imagined. However, such dashing heroes were also seen by the audiences as occasionally standing in for noble rebels who would redress injustice with the sword. The plays were, however, tragic in the strictest definition, even though they were not necessarily sad. In the 1670s and 1680s, a gradual shift occurred from heroic to pathetic tragedy, where the focus was on love and domestic concerns, even though the main characters might often be public figures. After the phenomenal success of Elizabeth Barry in moving the audience to tears in the role of Monimia in Thomas Otways The Orphan (1680), she-tragedies (a term coined by Nicholas Rowe), which focused on the sufferings of an innocent and virtuous woman, became the dominant form of pathetic tragedy. Elizabeth Howe has argued that the most important explanation for the shift in taste was the emergence of tragic actresses whose popularity made it unavoidable for dramatists to create major roles for them. With the conjunction of the playwright master of pathos Thomas Otway and the great tragedienne Elizabeth Barry in The Orphan, the focus shifted from hero to heroine. Prominent she-tragedies include John Bankss Virtue Betrayed, or, Anna Bullen(1682) (about the execution of Anne Boleyn), Thomas Southernes The Fatal Marriage (1694), and Nicholas Rowes The Fair Penitent (1703) and Lady Jane Grey, 1715. While she-tragedies were more comfortably tragic, in that they showed women who suffered for no fault of their own and featured tragic flaws that were emotional rather than moral or intellectual, their success did not mean that more overtly political tragedy was not staged. The Exclusion crisis brought with it a number of tragic implications in real politics, and therefore any treatment of, for example, the Earl of Essex (several versions of which were circulated and briefly acted at non-patent theatres) could be read as seditious. Thomas Otways Venice Preservd of 1682 was a royalist political play that, like Drydens Absalom and Achitophel, seemed to praise the king for his actions in the meal tub plot. Otways play had the floating city of Venice stand in for the river town ofLondon, and it had the dark senatorial plotters of the play stand in for the Earl of Shaftesbury. It even managed to figure in the Duke of Monmouth, Charless illegitimate, war-hero son who was favoured by many as Charless successor over the Roman Catholic James. Venice Preservd is, in a sense, the perfect synthesis of the older politically royalist tragedies and histories of Dryden and the newer she-tragedies of feminine suffering, for, although the plot seems to be a political allegory, the action centres on a woman who cares for a man in conflict, and most of the scenes and dialogue concern her pitiable sufferings at his hands. Comedy Main article: Restoration comedy Restoration comedy is notorious for its sexual explicitness, a quality encouraged by Charles II personally and by the rakish aristocratic ethos of his court. The best-known plays of the early Restoration period are the unsentimental or hard comedies of John Dryden, William Wycherley, and George Etherege, which reflect the atmosphere at Court, and celebrate an aristocratic macholifestyle of unremitting sexual intrigue and conquest. The Earl of Rochester, real-life Restoration rake, courtier and poet, is flatteringly portrayed in Ethereges Man of Mode (1676) as a riotous, witty, intellectual, and sexually irresistible aristocrat, a template for posterity.s idea of the glamorous Restoration rake (actually never a very common character in Restoration comedy). Wycherleys The Plain Dealer (1676), a variation on the theme of Molià ¨res Le misanthrope, was highly regarded for its uncompromising satire and earned Wycherley the appellation Plain Dealer Wycherley or Manly Wycherley, after the plays main character Manly. The single writer who most supports the charge of obscenity levelled then and now at Restoration comedy is probably Wycherley. During the second wave of Restoration comedy in the 1690s, the softer comedies of William Congreve and John Vanbrugh reflected mutating cultural perceptions and great social change. The playwrights of the 1690s set out to appeal to more socially mixed audiences with a strong middle-class element, and to female spectators, for instance by moving the war between the sexes from the arena of intrigue into that of marriage. The focus in comedy is less on young lovers outwitting the older generation, more on marital relations after the wedding bells. In Congreves plays, the give-and-take set pieces of couples still testing their attraction for each other have mutated into witty prenuptial debates on the eve of marriage, as in the famous Proviso scene in The Way of the World (1700). Restoration drama had a bad reputation for three centuries. The incongruous mixing of comedy and tragedy beloved by Restoration audiences was decried. The Victorians denounced the comedy as too indecent for the stage,[12] and the standard reference work of the early 20th century, The Cambridge History of English and American Literature, dismissed the tragedy as being of a level of dulness and lubricity never surpassed before or since.[13] Today, the Restoration total theatre experience is again valued, both by postmodern literary critics and on the stage. The comedies of Aphra Behn in particular, long condemned as especially offensive in coming from a womans pen, have become academic and repertory favourites.

History Of The Bahai Faith Religion Essay

History Of The Bahai Faith Religion Essay The Bahai Faith is an independent monotheistic religion. The Bahai Faith is an independent religion in the sense that it has its own scriptures, own laws, own holy days as well as its own calendar. This faith is known to be one of the fastest growing religion in the world and is spread to at least 250 independent nations in the world. The Bahai Faith represents approximately 2112 ethnic and tribal groups and is composed of as many as over six million people who have declared themselves as followers of the Bahai Faith. This faith is distinct in terms of the diversity of the believers of the faith. The Bahai Faith is a global religion as the believers come from different cultural, ethnic, professional and social class background. The second figure, Bahaullah (Glory of God) was known to be the founder of the Bahai Faith. Bahaullah was born as Mirza Husayn- Ali Nuri in Tehran, Persia who was the son of a prominent Iranian noblemen. He was one of Babs first disciples as well as the most renowned one. In his 20s, he renounced a life filled with wealth, privilege and high social standing in order to join the Babis and fight for humanitarian rights. When the Babis were being persecuted after the death of the Bab, Bahaullah also suffered and was thrown into the Siyah-Chal which is a black pit. It was during his imprisonment here where he received revelations through a maiden from God of him being a Messenger of God and him being the prophet of which the Bab had predicted. While most of the Babis were being killed, he was spared and released from prison but he was consequently exiled from Iran by the government. Bahaullah then made his way to Baghdad and began the quest to revive the Babi community there. Due to this , he was again exiled to Constantinople but before his departure, he revealed to his followers that he was the manifestation of God. This incident marked the birth of the Bahai Faith. After his stay in Constantinople, he was again asked to depart for Adrianople, Turkey. Here, he openly revealed his claim of being the messenger of God and began proclaiming his station openly to the world at a larger scale. It was here also when Bahaullah sent a series of letters to the leading monarchs of his time to inform them about his faith. The monarchs included Pope Pius IX and Queen Victoria. Bahaullah was subsequently sent to Akka which is the modern day Acre, Israel. His final years were spent here but before his death, he assigned and declared his son, Abdul-Baha as the Centre of the Covenant, successor and interpreter of Bahaullahs writings. The third figure, Abdul-Baha known as the Servant of God was the oldest son of Bahaullah and the successor of the leader of the Bahai community. His appointment was stated in the will of Bahaullah. Abdul-Baha was born as Abbas Effendi in Tehran. His birth was special as that day marked the start of the mission of the Bab. From a very young age, he experienced the sufferings of exile and imprisonment alongside his father. Under his leadership, the Bahai Faith expanded beyond the Middle East and found its way to Europe as well as North America.

Free Essays - Comparing Time in Macbeth and As You Like It :: comparison compare contrast essays

A Comparison of Time in Macbeth and As You Like It  Ã‚     In Shakespearean drama, a dynamic and explosive fusion of jealousy, pride, anger and ambition is characteristic for heroes’ behaviour. The tragedy was caused by the excessive flaw in character - self-respect and dignity combined with the feelings of hate and revenge. A disaster usually occurred to lead to destruction of the protagonist. Due to divine justice, punishment is inevitable and therefore no happy ending is possible. Therefore, time is the hero’s main enemy, mercilessly working against him. The mystery of tragedy is that once the protagonist has learnt a lesson of how to renew the order in himself, death is the only outcome /no memento mori, however/. Comedy differs in the mood it approaches and addresses life. It presents situations which deal with common ground of man’s social experience rather than limits of his behaviour – it is not life in the tragic mode, lived at the difficult and perilous limits of the human condition. In â€Å"Macbeth† the first scene presents a meeting of three witches during stormy weather. Shakespeare shows disturbed, angry nature - thunder and lighting represent light - daytime and dark – night-time. Light is the metaphor for innocence, purity, truth, and goodness as opposed to dark - evil. It is also a suggestion that the innocent will suffer as well as the guilty. The fog and filthy air signify moral and spiritual obscurity and â€Å"the set of sun† means the end of the reign and kingship. The sun appears only twice – when Duncan sees the swallows flying around the castle of death and during the army gathering to purify the earth of its shame (traitors). There is very strong sense of predestination (‘when’ instead of ‘if’) while in â€Å"As You Like It† Orlando’s flight is pathless and the meeting of lovers – an act of Fate. In both plays the succession of the scenes is very swift; in tragedy the impression is that longer time elapsed than provided for because passage from thought to a critical resolution is difficult. The outcome of the comedy is obvious while Macbeth enters the spiral of decline within his imagination. Sleep has been banished – the protagonist is aware of the nightmare; his only one dream is the murder which would break the cycle and show the way out of the nightmare – liberation.

Ecosystems at Risk

The negative nature and rate of change that is occurring within the Great Barrier Reef(GBR) is largely due to human induced activity. Coral reefs are vulnerable to the slightest of human impacts and the frequency in which we are doing so has dramatically increased over the years, increasing it to a global scale. Climate change along with pollution, overfishing and tourism are affecting the vulnerable ecosystems existence. Climate change is affecting the globe at an increasing intensity.The Great Barrier Reef is experiencing many changes that it is unable to adapt to such as a rise in the average water temperature. The unnatural change physiologically stresses the corals and upset the critical balance that maintains their symbiotic relationship with algae that inhibits it. When this process occurs the corals lose their colour becoming bleached, the recognized biological effects reduce the calcification rates, weakening the skeletons and eventually eroding coral communities.Polar ice c aps are also melting due to global climate change, having serious impacts on the nature and life span of coral reefs. As the levels slowly rise, fresh water inlets will be contaminated with salt water affecting the biodiversity of terrestrial vegetation in these fragile environments. Humans impact the GBR is through numerous paths of pollution, all of which can cause serious damage. Although not directly, deforestation has many long-term impacts, as well as sedimentation, fertilizers and pesticides, runoff and plastic build up. 2% of the world’s coral reefs are threatened by land-based pollution; both chemical and nutrient based e. g. fertilizers, herbicides, human derived sewage and pesticides. 80% of the GBR’s adjacent land is farmland that supports agricultural production. The chemicals used to maintain the farmland pose long term damage to the ecosystem due to their high levels of phosphorus and nitrates. This runoff affect occurs when the farmer uses too much of t he product to maintain his land, or it is lost to ground water.Sediments that flow out from rivers with large amounts of eroded material carry with it many of the pollutants stated previously from farms that border the reef at risk. Tourism is vital to help people recognize and promote the value of protecting the Great Barrier Reef, but at the same time has certain elements involved with it, that are slowly taking toll on the environment, which will if not looked at closer, or eliminated all together destroy it for generations to come.Tourism is listed a s a major management issue to the GBR, because of the large amount of tourists and its value to the economy. The impacts range from low to high priority, and often trigger large infrastructure developments on islans and coastal communities, leading to further problems involving runoff and other pollutants mentioned earlier. Also associated with tourism, is the souvenir, ornamental and aquarium trade that severely affects the livelih ood of the GBR.People taking home a small piece of the reef cause significantly widespread damage to the ecosystem and its biodiversity. For the Great Barrier Reef to be enjoyed for generations to come, protections laws need to be set, understood and most of all abided by. The nature and rate of change is fast increasing the decline of one of Australia’s most beautiful ecosystems that should be enjoyed without disturbances. The fragile ecosystem is able to adapt to natural fluctuations and subtle changes in the ecosystem, but human activity is fast destroying it. Ecosystems at Risk The negative nature and rate of change that is occurring within the Great Barrier Reef(GBR) is largely due to human induced activity. Coral reefs are vulnerable to the slightest of human impacts and the frequency in which we are doing so has dramatically increased over the years, increasing it to a global scale. Climate change along with pollution, overfishing and tourism are affecting the vulnerable ecosystems existence. Climate change is affecting the globe at an increasing intensity.The Great Barrier Reef is experiencing many changes that it is unable to adapt to such as a rise in the average water temperature. The unnatural change physiologically stresses the corals and upset the critical balance that maintains their symbiotic relationship with algae that inhibits it. When this process occurs the corals lose their colour becoming bleached, the recognized biological effects reduce the calcification rates, weakening the skeletons and eventually eroding coral communities.Polar ice c aps are also melting due to global climate change, having serious impacts on the nature and life span of coral reefs. As the levels slowly rise, fresh water inlets will be contaminated with salt water affecting the biodiversity of terrestrial vegetation in these fragile environments. Humans impact the GBR is through numerous paths of pollution, all of which can cause serious damage. Although not directly, deforestation has many long-term impacts, as well as sedimentation, fertilizers and pesticides, runoff and plastic build up. 2% of the world’s coral reefs are threatened by land-based pollution; both chemical and nutrient based e. g. fertilizers, herbicides, human derived sewage and pesticides. 80% of the GBR’s adjacent land is farmland that supports agricultural production. The chemicals used to maintain the farmland pose long term damage to the ecosystem due to their high levels of phosphorus and nitrates. This runoff affect occurs when the farmer uses too much of t he product to maintain his land, or it is lost to ground water.Sediments that flow out from rivers with large amounts of eroded material carry with it many of the pollutants stated previously from farms that border the reef at risk. Tourism is vital to help people recognize and promote the value of protecting the Great Barrier Reef, but at the same time has certain elements involved with it, that are slowly taking toll on the environment, which will if not looked at closer, or eliminated all together destroy it for generations to come.Tourism is listed a s a major management issue to the GBR, because of the large amount of tourists and its value to the economy. The impacts range from low to high priority, and often trigger large infrastructure developments on islans and coastal communities, leading to further problems involving runoff and other pollutants mentioned earlier. Also associated with tourism, is the souvenir, ornamental and aquarium trade that severely affects the livelih ood of the GBR.People taking home a small piece of the reef cause significantly widespread damage to the ecosystem and its biodiversity. For the Great Barrier Reef to be enjoyed for generations to come, protections laws need to be set, understood and most of all abided by. The nature and rate of change is fast increasing the decline of one of Australia’s most beautiful ecosystems that should be enjoyed without disturbances. The fragile ecosystem is able to adapt to natural fluctuations and subtle changes in the ecosystem, but human activity is fast destroying it.

Whitmans Song of Myself Spirituality and Religion

Whitman's Song of Myself Spirituality and Religion Spirituality is a mixed bag for the great American  poet, Walt Whitman.  While he takes a great deal of material from Christianity, his conception of religion is much more complicated than the beliefs of one or two faiths mixed together. Whitman seems to draw from the many roots of belief to form his own religion, putting himself at the center. Examples From the Text Much of Whitmans  poetry resounds with Biblical allusions and innuendo. In the very first cantos of Song of Myself, he reminds us that we are formed from this soil, this air, which brings us back to the Christian Creation story. In that story, Adam was formed from the dust of the ground, then brought to consciousness by the breath of life. These and similar references run throughout Leaves of Grass, but Whitmans intent seems rather ambiguous. Certainly, he is drawing from Americas religious background to create poetry that will unify the nation. However, his conception of these religious roots seems twisted (not in a negative way) - changed from the original conception of right and wrong, heaven and hell, good and bad. In accepting the prostitute and murderer along with the deformed, trivial, flat, and despised, Whitman is trying to accept all of America (accepting the ultra-religious, along with the godless and un-religious). Religion becomes a poetic device, subject to his artistic hand. Of course, he also seems to stand apart from the grime, putting himself in the position of the  observer. He becomes a creator, almost a god himself, as he speaks America into existence (perhaps we could say that he really sings, or chants, America into existence), validating every element of the American experience. Whitman brings philosophical significance to the most simple objects and actions, reminding America that every sight, sound, taste, and smell can take on a  spiritual importance to the fully aware and healthy individual. In the first cantos, he says, I loafe and invite my soul, creating a dualism between matter and spirit. Throughout the rest of the poem, though, he continues this pattern. He constantly uses the images of body and spirit together, bringing us to a better understanding of his true conception of spirituality. Divine am I inside and out, he says, and I make holy whatever I touch or am touchd from. Whitman seems to be calling to America, urging the people to listen and to believe. If they wont listen or hear, they may be lost in the perpetual Wasteland of the modern experience. He sees himself as Americas savior, the last hope, even a prophet. But he also sees himself as the center, the one-in-one. Hes not leading America toward  T.S. Eliots  religion; instead, he is playing the part of the Pied Piper, leading the masses toward a new conception of America.