Snowboarding

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Snowboarding, possibly the most dangerous, most frustrating winter sport. If you want to be a snowboarder, you have to be tough. Tough enough to take the falls because sometimes you could crash so bad that you could die or have serious injury. If you didnt already know, Snowboarding is a winter sport in which the rider is strapped to a snowboard using a binding to hold yourself on. When first starting out with Snowboarding, you first need the equipment.

First of all you need a snowboard. Most freestyle snowboards run anywhere from 10 cm.-180cm. When you are Snowboarding you need a board that is anywhere from your chin to your nose. When first starting out with Snowboarding you probably want a board that is a little bit shorter because shorter boards are easier to control and to do tricks with.

The next thing you need are boots. There are basically two different kinds of snowboard boots. Regular and step-in. Step-in boots are supposed to be easier to take on and off the binding but the regular boots have more support. Snowboard boots run a little bit smaller in size than a regular tennis shoe and are pretty much the same thing a a plain old snow boot. In fact, I have seen people ride down the mountain with regular snow boots. The real only difference is that snowboard boots are much stiffer than a regular snow boot.

Now for the bindings. Most bindings are very similar but very different in a way. You can choose between a step-in binding or a regular binding depending on what kind of boot you purchased. Some people prefer step-in bindings just to be able to put them on quicker and take them off faster when going on and off the lift. Other people prefer the regular bindings because the have more support on your feet and are more dependable. I personally prefer the regular bindings because the give you way more support and they arent as much of a hassle as step-ins. Step-ins might be quicker but they are a pain in the neck. It never seems like they are on properly. The rider needs to make sure that his boots fit properly into the binding or else disaster could happen.

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The next item of business is getting your clothing and safety equipment. Generally you want to have three layers when gliding down the mountain. These layers include one inside layer for warmth. One middle layer for insulation. And one outside layer for wind and water resistance.

The next equipment you need is your safety equipment. Safe may not be cool but is dying or seriously injuring yourself cool? I dont think so. One of the most important safety items is your brain and if that gets hurt, than you are pretty much done for and can't make smart decisions anymore. So to protect your brain, you need a helmet. I know helmets haven't been very fashionable in the past but now they are better than ever. The designs, the material, everything.

Beginning snowboarders would be smart to wear wrist guards and knee pads when first starting out. This would be smart because when you are first experimenting with snowboarding, to force yourself to fall a lot and most of the time boarders land on their wrists and their knees.

You not only need safe equipment but also a safe sense of where your going and to be cautious and prepared for the unxpected because the unexpexted can always happen. When your are crossing a traverse or intersection, always look both ways because some careless skier or rider could be coming fast down the mountain and could not look where they are going. Snowboarders always need to look up and pay attetion to their surroundings or else they could be in deep trouble with both them selves and other skiers and boarders.

Snowboarding takes place whereever skiing does however, in the 180's, only 10% of ski resorts let snowboarders into their

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Rewarding learning

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This paper will be evaluating and reflecting on two conflicting arguments. The first, by Paul Chance, seeks to convince the reader that learning is best facilitated by shaping the actions of individuals through positive reinforcement contingent on success. Alfie Kohn disagrees with this assessment saying that rewards decrease motivation and lead individuals to see learning as means rather than an end. Both have various strengths and weaknesses, which invariably lead the reader to their own conclusion.

The first article, The Rewards of Learning, champions the argument that by rewarding individuals, specifically students, learning can be facilitated. Paul Chance is of the belief that not only is some reinforcement needed in the classroom setting, but a lot of it. In these opening pages he argues that the American system vastly under uses reinforcement and lists several examples of why this is.

The heart of Chance's article seems to center around motivation, rewards, and learning. He acknowledges that if rewards do reduce interest than it is significantly important to classroom teachers (Chance, 1, in Slife). He refers here to findings that too many extrinsic rewards can reduce future motivation in the same tasks. The best predictor of this, the author argues, is the reward contingency. He reflects on research done by Alyce Dickinson and the three kinds of reward contingencies that she came up with and concludes that 'success-contingent' rewards are the most effective.

The author finds things like encouragement and intrinsic rewards as motivating, but not teaching and as less rewarding than say the intrinsic pleasure created from friend's laughter. He concludes his article with some guidelines for how to reward without stifling motivation. He recommends teachers do things like give the weakest reward possible, reduce the rate of rewards as time goes on, and reward only behavior they want repeated. He sees extrinsic reinforcement as one of the most powerful tools available to teachers.

The second article was written as a direct response to Paul Chance. Its author, Alfie Kohn, argued against the manipulating punishments and rewards endorsed by Chance. The premise of his paper, besides a complete refutation of Chance's work, is that rewards can get people to do what one wants for a while, but the effect is short-term and actually detrimental over time to those being rewarded.

The bulk of his paper is concerned with proving four points that rewards are inherently controlling, are ineffective, make learning less appealing, and ignore curricular questions. He sees applied behaviorism as a technique to control people, or do things to them instead of working with them (Kohn, 1, in Slife). Kohn desires learning to be more reliant on mutual problem solving than control. He defends his argument that rewards are ineffective through a wide variety of cited research and example, including the failures of the token economy.

The purpose of Kohn's article seems to be that contrary to all of the evidence that Chance and other authors like Dickinson, bring forth, rewards feel controlling and do reduce interest. As Kohn says, getting children to think about learning as a way to get a prize, can turn learning from an end into a means (Kohn, 1, in Slife).

Although part of a minority group of thinkers, Paul Chance does raise some good points in his piece. Chance took a holistic approach and recognized the importance of taking a long-term view of learning. An argument of strength that Chance presents and even Kohn recognizes, is that learning should be fun and interesting. He argues that extrinsic rewards can help people learn and make it not seem to be a boring, yet expected process. Another strong insight is the fact that punishments outnumber rewards. A society or classroom built on fear and avoidance does not promote positive conducive atmosphere.

Even with the as stated strengths, Chance presents an argument lacking in uniformity and general persuasiveness. His primary point was that success-contingent rewards work best. This argument was weakened by his example where students who already enjoyed an activity, were given a prize if they completed it. Weeks later the prize was no longer given on completion and they still continued to do the task. Imagine that, students continued doing something they had already enjoyed! It seems like Chance's sources were incomplete, his detractors many, and that he was not entirely confident or complete in his own argument.

The argument that Alfie Kohn presented was shorter, but raised a lot of good points that strengthened his side. Referring to directly to Chase's sources, namely Dickinson, and highlighting their weaknesses and inconsistencies worked very well for Kohn. He also did a good job of diminishing Chance's behavior arguments by showing potentially uniformed readers that the token system, a behavior modification landmark, has been discredited because subjects revert back to old behavior upon withdrawal of rewards.

A weakness of Kohn's argument is that even though he wants parents and educators to do everything that they can to get students to forget that grades exist and focus on working relationships he does not leave any room for rewards to act in a positive manner. Passer & Smith (5, 001) show that applied behavior analysis can be used to target specific problems, which may be detrimental to the learning process. This absence may be due to the specific question he was addressing, but limited his argument.

Being relatively uniformed about the larger debate involving this issue, this author found himself persuaded by the clarity, confidence, and knowledge that Alfie Kohn presented in his article. This author would argue that while it is virtually impossible to avoid a rewards/punishment reinforcing system, it is possible to limit this activity in a structure like school. Both authors argue for a more interesting and student-relative system where individuals can have fun and be attached to the learning process. Kohn argues this better and effectively counters the general reward-contingent argument.

Rewards should not be solely relied upon to reinforce behavior, yet there is a place for them and in the current grades-oriented system they won't soon disappear. While it would take more work for the teacher and require extensive targeting, a new style of learning could emerge where students are targeted based on individual interests and strengths and a curriculum organized and playing off of these. Students must become attached to the learning process and as Kohn and others have shown, rewards only have a short-term answer for this.

In conclusion, the question addressed leaves more questions than answers. If the whole concept of learning was narrowed down to a simple 'do rewards facilitate learning?' than the answer, based solely upon the readings reviewed would be, no it does not. The definition of learning is to acquire knowledge in the area being taught. Not only acquire, but also remember. Kohn shows that not only do rewards create short-term results; they decrease motivation needed for later learning processes. Learning must be seen as engaging and fun, not as a simple chore to be performed for a prize.

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Compare The Awakening to Madame Bovary

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Compare The Awakening to Madame Bovary

Kate Chopins The Awakening and Gustave Flauberts Madame Bovary are both tales of women indignant with their domestic situations; the distinct differences between the two books can be found in the authors unique tones. Both authors weave similar themes into their writings such as, the escape from the monotony of domestic life, dissatisfaction with marital expectations and suicide. References to fate abound throughout both works. In The Awakening, Chopin uses fate to represent the expectations of Edna Pontelliers aristocratic society. Flaubert uses fate to portray his characters compulsive methods of dealing with their guilt and rejecting of personal accountability. Both authors, however seem to believe that it is fate that oppresses these women; their creators view them subjectively, as if they were products of their respective environments.

Chopin portrays Edna as an object, and she receives only the same respect as a possession. Ednas husband sees her as and looks, ...at his wife as one looks at a valuable piece of personal property which has suffered some damage. (P The Awakening) Chopin foils their marriage in that of the Ratignolles who, ...understood each other perfectly. She makes the classic mistake of comparing ones insides with others outsides when she thinks, If ever the fusion of two human begins into one has been accomplished on this sphere it was surely in their union. (P 56 The Awakening) This sets the stage for her unhappiness, providing a point of contrast for her despondent marriage to Mr. Pontellier. She blames their marriage for their unhappiness declaring that, ...a wedding is one of the most lamentable spectacles on earth. (P 66 The Awakening) She sees their lifetime pledge to fidelity and love as merely a social trap; the same forces that bind them oppress her.Buy custom Compare The Awakening to Madame Bovary term paper

Simultaneously, Mademoiselle Reisz, who ...sent a keen tremor down Mrs. Pontelliers spinal column... which perhaps is the tremor that marks the beginning of Ednas self discovery. A certain light was beginning to dawn dimly within her, - the light which, showing the way, forbids it. (P 1 The Awakening) As she explores her world, other men, swimming, and her other romantic pursuits, she experiences her epiphany; she finds that the world has much to offer and kills herself in the lamentation of that which she cannot truly have.

Edna finds herself filled with An indescribable oppression, which seemed to generate in some unfamiliar part of her consciousness...She did not sit there inwardly upbraiding her husband, lamenting at Fate, which had directed her footsteps to the path which they had taken. (P 6 The Awakening) Edna takes an active part in finding happiness within her world. She pursues her swimming and other men in the interest of ending the monotony she lives with as a result of her being confined into her aristocratic society.

Emma Bovary, being both protagonist and antagonist, by contrast experiences her epiphany solely at death. She takes the arsenic when she realizes all that she will not get from what she already has. Her light of discovery is found only in the darkness of her death. She laments not what she does not possess, but what happiness her world does not give her. Hers is a story of spiritual emptiness and foolish idealism. ...Emma tried to find out what one meant exactly in life by the words bliss, passion, ecstasy, that had seemed to her so beautiful in books. (P 4 Madame Bovary) She searches for that which is found in the fantasy world of books in her own world and falls short of her expectations. Charles, her husband, she takes for granted as She would have done so to the logs in the fireplace or to the pendulum of the clock. (P 44 Madame Bovary) Flaubert allows her to see Charles as an object just as Mr. Pontellier sees his wife as an object. Although the characters are of the opposite sex, leaving both of the women displeased with their men, and moreover, their lives. Edna and Emma both use people (Emma is also used herself) when needed, and are discarded when they have outlived their usefulness Charles was someone to talk to, an ever-open ear, an ever-ready approbation. She even confided many a thing to her greyhound! Emma treats Charles as her personal dog, she uses him as she uses everyone else in the book. Perhaps it is because of her antagonistic nature that, She would open his letters, spy on his whereabouts, and listen behind the partition when there were women in his consulting room. (P 5 Madame Bovary) It is ironic that she would do these things, as she is the adulterer, searching to assure herself that he is not doing the same harm to her which she is doing to him. Through this paranoia, Once lively, expansive, and generous, she had become difficult, shrill voiced, and nervous as she grew older, like uncorked wine which turns to vinegar. (P 0 Madame Bovary) As she sours in her downward spiral she takes those from whom she would reap happiness with her. Both women indulge in their new findings, and subjectively fall into their desires.

Flaubert compares Emma with a martyr as, ...she looked at the pious vignettes edged in azure in her book, and she loved the sick lamb, the Sacred heart pierced with sharp arrows, and poor Jesus stumbling as He walked under His cross... She attempted to think of some vow to fulfill. Emma indeed carries her own cross, but she does not stand for anything but her own greed; ...she stays home darning his socks. And so bored! Longing to live in town and dance a polka every night. Poor little woman. Gasping for love, like a carp on a kitchen table gasping for water. Indeed, Emma has almost as much sense as the carp, her mind reduced to only fulfilling her carnal desires. She wants to feel nothing She was in a blissful state of numbness. Her soul sank deeper into this inebriation and was drowned in it... (P 188 Madame Bovary) Because living brings her only disappointment she is only pacified when she is comfortably numb. When she finally discovers that her feelings are as empty as her desires and that her desires are as empty as her relationships she kills herself.

The Awakening and Madame Bovary both have nearly identical subject matter; distinct from one another only by the authors tones. Two passive women are subjected to situations where they feel oppressed and constrained. They have extramarital affairs and explore their worlds. At the ends, they die at their own hands. Chopin sees her protagonist in the light of sympathy, using literature as a device portraying her characters in a sympathetic light. Flaubert, using nearly the same characters, produced a 00-page soap opera, having once described literature as Athe dissection of a beautiful woman with her guts in her face, her leg skinned, and half a burned-out cigar lying on her foot (http//mchip00.med.nyu.edu/lit-med/lit...docs/webdescrips/flaubert11-des-.html); his tone is apparent in his commentary. The two stories are actually quite identical, as if two different narrators had told the same tale.

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Wow

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ColorSet-1ColorPos-1StyleSet-1StylePos-1Larry Stevens, Jr.

English Humanities

8/0/0

The Scarlet LetterWrite my Essay on wow cheap

In the Scarlet Letter, Hester's apparent madness with constant refusal to acknowledge her experience with Dimmesdale, she reveals a divine sense with her restraint as to uphold a man's honor. The main symbol of the Scarlet Letter is the red "A" that Hester Prynne was sentenced to wear on her chest. Symbolism is traditionally a sign or token of something. Nathaniel Hawthorne's intention was to make the meaning of the crimson token worn on the bosom of Hester Prynne is highly obscure.

Nathaniel Hawthorne uses symbolism to portray Hester's apparent madness. In this he was successful. Although the "A" means "adulteress" to the people of Boston, to reader the "A" may have other meanings such as "American" or "able." To the townspeople, author, and reader clearly the original intention of the "A" was to stand for "adulteress." When Hester Prynne became pregnant during the absence of her husband she was accused and convicted of adultery. Her sentence was to wear a scarlet letter "A" on her bosom to let everyone know that she was an adulteress, forevermore. For this permanent mark on her chest she was stained a adulteress, and thus the people treated her that way. Her escapade with the unknown gentleman had marked her crazy and unusual. So the society condemned her for her sin, without knowing anything else. Being a seamstress she used her skills to decorate the "A" on her chest, which only deepened the hole she was in, further labeling her more and more extreme to be an adulteress, or proud to be one. People thought this was an act of madness. The letter has a relation to the word, "American" in various ways. For one, America is a melting pot of many peoples and ideas, as was Hester's "A." She earned that "A" under certain situations. She was in a loveless marriage, she had been under separated from her husband for yrs. She was perceived and punished under a strict Puritan eye. Like the development of America, there were many conditions that led to the development to earn Hester her insanity, the "A" on her chest.

In a contradicting manner, her label on her chest also stood for the word "able." Hester Prynne was a very able woman. She was too strong of a woman for Puritan Boston right from the start. That was known from the very beginning of the novel when she faced the people of Boston with her sentence and her dignity. She always held her head high. She was able to accept her punishment. She was able to take with pride all the torment the townspeople could throw at her, giving her a divine sense of pride and self-importance. Hester was also an able mother, nurse and seamstress. Despite everyone's talk about Pearl, Hester never let that interfere with her mothering Pearl. She was able to bring up a strong daughter. Hester had a strong devotion to her work as a nurse. She also went on with her work as a seamstress. Hester's most important accomplishment was her ability to overcome her sentence. She accepted her sin and accepted herself. She learned to love who she was. By accepting herself other people began to follow her example and embrace who she was, not what she was labeled and thus the "A" she had worn converted from "adulteress" to "able" once she excepted who she was and the people had embraced that.

The most important symbol of the story, helped prove a once thought letter, existing to ensnare Hester in a never-ending circle of deception, to become something for more intimate and honorable. The protagonist, Hester Prynne wore the letter throughout the story, and the letter took every road that the story did. The letter became one with Hester and Hester became the meaning of the scarlet letter.

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

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Revenge in the play Medea

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When Juvenal said, For revenge is also the delight of a mean spirit, of a weak and petty mind! You may immediately drawproof of this- - that no one rejoices more in revenge than a woman. He was wrong. Medeas violent act of killing her own children in the play Medea, was without a doubt brought on by her husband Jason, who was the one that committed the act of revenge.

In the times of Medea and Jason, women were thought to be feeble minded, and only good for two things child bearing and housework. With the myth of Medea comes a story that changed the whole perception of the common woman. Instead of being ignorant

and helpless, Medea saved the life of Jason, and ultimately brought him his victory on a silver platter. It could be argued that

Jason was the one that had to go through all the fighting and danger, but Medea was the brains of the group, and no one couldOrder custom research paper on Revenge in the play Medea

argue that she was not the hero of the story.

People throughout the land that Jason and Medea lived in could probably tell that she had the upper hand in the relationship, and

they couldnt perceive that as a good thing. To them, Jason was a weak man, who was being controlled by an even weaker thing a

woman. Jason could probably tell that he wasnt getting the proper respect that he deserved, and became resentful of Medea for

being such a strong minded, natural born leader, and causing him to be the laughingstock of Corinth. In his mind, no woman was

supposed to control him, and so he plotted a revenge on her by choosing to destroy her self-confidence and gain respect at the

same time. His way of doing this was by leaving her and marrying a younger woman, therefore causing Medea to come running back to

him, and attaining a trophy wife, who happened to be a princess. It worked. Medea was thrown into a fit, and Jason was engaged to

be married to the princess, which he explained to Medea as a way to further their status.

I wanted to bring up the children in a style worthy of my house, and, begetting other children .to bring them all together and

unite the families. Then my happiness would be complete.(Euripides, 44)

Anyone who is smart knows that Jason is lying, and that he really isnt trying to give Medea and the children a better life. He

just wants to improve his own self with a pretty wife that does everything he pleases. He finds the way that Medea acts with him

to be outlandish, and because many people thought that people from other countries were backwards, he might have even started to

feed into their thoughts, and believe she was barbaric.

Euripides should have chosen to break all stereotypes with his story, but with all the positive things being said about a woman,

there was no way that the men that were reading this story could understand it. Few of them had probably ever seen or met a woman

of this caliber, and thought that it was all a bunch of made up garbage. To be reviewed as a good author, Euripides had to offset

the obvious heroism of Medea with a gruesome ending, which is her killing her two children. How and why he did this is actually

very interesting. If you look into history a little bit more, you will find that Medea actually had 14 children, and after she

killed Cruesa, the princess that Jason was to marry, Creon killed 1 of her children and hung them in the marketplace for

everyone to see. Even after four hundred years, tourists refused to visit Corinth, Euripides was hired to write a version in

which Medea killed her own children. This version was widely spread, and many people actually did start to visit Corinth

because of this alteration of history.

Medea was in fact, not the one that committed the act of revenge. She was a strong willed woman that contrary to social belief,

ran her household, and threatened her husbands reputation by putting him in a position that he couldnt rule. This is why he

planned to cast her to the side and rid himself of her, because he was getting her back for making him look like a coward. Jason

is the one with the Weak and petty mind. and the one that ultimately rejoices in the revenge. He loves to see Medea begging him

to take her back, and wondering why she cant stay in Corinth with her children. This is why Medea was looked down upon, because

she was the man in the story. She was the hero, and the one who ultimately won out in the end. In this story, the victory that

was usually given to the men was given to her, and that is what provoked Jason in his spiteful revenge plot.

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Bertolt brecht

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Bertol Brecht was a playwright from the late 1800's who sought to put a message out through his theatre performances. Brecht used many dramatic devices and techniques to do this in a very different and individual process, so that the audience would not become attached to the characters he used in his scripts. Why you ask is it important for the audience to remain unattached to the characters? Using the Caucasian chalk circle as an example to explain why this is important, how its works, and what other dramatic devices Brecht uses.

Original name Eugen Berthold Friedrich Brecht, born. Feb. 10, 188, Augsburg, Germany. German poet, playwright, and theatrical reformer whose epic theatre departed from the conventions of regular theatre and developed the drama as a social and ideological forum for Marxist causes. Brecht was, first, a superior poet, with a command of many styles and moods. As a playwright he was an hard worker, a restless piecer-together of ideas not always his own (The Threepenny Opera is based on John Gays Beggars Opera, and Edward II on Marlowe), a sarcastic humorist, and a man of rare musical and visual awareness; but he was often bad at creating living characters or at giving his plays tension and shape. As a producer he liked lightness, clarity, and firmly knotted narrative sequence; a perfectionist, he forced the German theatre, against its nature, to underplay. As a scholar he made principles out of his preferences, and even out of his faults.

Brecht was opposed to Aristotelian drama and its attempts to attract the Audience into a total identification with the hero, resulting in feelings of terror and pity and, ultimately, an emotional bond. Brecht didnt want his audience to feel emotions, but instead to think. Brecht argued that plays should not try to make the audience believe in or identify with the characters on the stage; instead, a play should follow the method of epic poetry, which is to make the audience realize that what it sees on the stage is merely an account of past events that it should watch with critical detachment. Brechts epic (narrative, non-dramatic) theatre is based on detachment, on the alienation, to disrupt the viewers normal or run of the mill perception by introducing elements that will suddenly cause the viewer to see familiar objects in a strange way and to see strange objects in a familiar way (Fuegi, p8). This was achieved through techniques that reminded the audience that they were being shown a demonstration of human behaviour in scientific spirit rather than an illusion of reality. The audience must be reminded that it is watching a play, and that the theatre is only a theatre and not the world itself. The clearest of his alienation devices was the projection of captions preceding the scene so that the audience knew in advance what would happen and could therefore concentrate on how it happens.

Some of the techniques of Brechts staging included music as an important part of the performance; actors whose songs were intended to narrate rather than emote; an overt moral purpose to the production underscored by clear and realistic physical acting. Brecht insisted that actors demonstrate their social attitudes through the physical disposition of their bodies.

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Three-dimensional set pieces, machinery and in particular the revolving stage were used, although lighting often used to trick the audience was refrained from.

The audience was free to come and go at will. Spectators were actually free to watch rehearsals Often Brecht would ask such casual observers for their suggestions and if they were good ones he would adopt them (Fuegi, p ). Indeed, before rehearsals Brecht did not have a final text of the play but he did have a clear notion of the style he wished to impose (Fuegi, p 0).

Brechts influence on twentieth-century theatre was greater than other key Dramatists except Stanislavski. Modern theatre has been most influenced by the settings and costumes of Brechts productions, and contemporary design shows the influences of his staging. Brecht attempted to reform theatre by departing from the conventions of theatrical fantasy and using drama as a social and ideological forum for his Marxist views. However, these views have reduced Brechts influence in Western theatre, and his Formalist techniques became unpopular with Stalin and his artistic advisor, Zhadanov. It would become ever clearer that Brechts stage work was basically opposing to Stalins conservative cultural policy with its strong endorsement of Stanislavski and literal realism (Fuegi, p 84). Furthermore, Nazi Germany was opposed to Brecht as a decadent and had his citizenship revoked. Therefore, Brecht lived in exile, and his influence on contemporary theatre is problematic.

Written in exile during the Second World War, the story subverts an ancient Chinese tale - echoed in the Judgement of Solomon - in which two women claim the same child. The message of Brechts parable is that resources should go to those who will make best use of them. Thanks to the naughty judge, Azdak, one of Brechts most vivid creations, this story has a happy outcome the child is entrusted to the peasant Grusha, who has loved and nurtured it.

The excerpt introduced, is found toward the end of the play. There are obvious part that exemplify Brechtian techniques, such are; The singer and chorus tell the audience what is to come in the play so they expect it, and are not as much wondering what will happen, more so how will it get to that point, and why. When Azdak has two cases going on at once, people become distracted from the real cause of the play and are not so sympathetic toward the people involved. There is a song of chaos, this is an alienation technique, which entertains the audience with its humour, as it is an unnecessary place to have the cast break out in song.

There are no real relevance to the people in this excerpt of the play, as they are merely something to make a break in the play and to show that Azdak is not always a fair judge. Azdak is the only character who really is relevant to the play, this is shown as he is in the text for quite some time before Grusha re-enters the scene. The characters are not given names otherwise the audience would no longer see them as one dimensional characters and they would feel they got to know them.

There are two opposing forces in the play which help to alienate the audience this is the singing and the dialogue, also the humour and the seriousness of the message that Brecht is trying to put across. With the dialogue in the excerpt Brecht has used the upper class accent and the lower class accent, you can tell that there are differences in the people.

Sometimes the effects aren't reasonable and don't always turn out the way you wanted them to, and Brecht shows this in his text. The message Brecht is putting across in his play is that resources should go to those who will make best use of them.

Brecht used many dramatic devices and techniques to do this in a very different and individual process, so that the audience would not become attached to the characters he used in his scripts. Why you ask is it important for the audience to remain unattached to the characters? I have shown you within this essay that the reason for Brechts plays were to get a massage across and if people are reading into characters and story lines they miss the message entirely.

Bibliography

Fuegi, John (187). Bertolt Brecht Chaos, According to Plan. Cambridge Cambridge University Press, 187.

Brecht on Theatre. Ed. John Willet. London Eyre Methuen Ltd, 17.

International Brecht Society http//polyglot.lss.wisc.edu/german/brecht

Moonstruck Drama Bookstore http//www.imagi-nation.com/moonstruck/clsc15.htm

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Depressive Illnesses

People that have a difficult time dealing with the forever-changing world often fall into psychological depression. Psychological depression is on the rise and many of the world's population have no idea that a problem exists. Depression is the "common cold" of mental illness and can occur in any group of people at any age. Without professional help, the type of depression one has is hard to determine. Major depression, dysthymia, and manic-depression are the most common of the many types of depressive disorders. Major depression, also known as clinical depression, is the most severe type of depressive disorders. Dysthymia and manic-depression are not as severe but do consist of long term chronic symptoms. All depressive illnesses are associated with a variety of symptoms such as suicide, fatigue, and feelings of hopelessness.

Major depression is the most severe depressive illness and affects the whole body. It is a disorder that involves one's physiology, biochemistry, mood, thoughts and behavior. Major depression causes subtle changes in the brain's chemistry and can create a terrible dissatisfaction affecting every dimension of one's being. Several symptoms for major depression include sad or empty mood, suicide attempts and fatigue. Sleep disturbances such as insomnia, early morning walking or oversleeping are also symptoms. Decreased energy, slurred speech, eating disturbances and feelings of hopelessness are indications that a psychological disorder exists.

Dysthymia, another common depressive disorder, is far less severe than major depression. This disorder is often undiagnosed or dismissed as a case of psychosomatic illness, which is the same as the saying "all in your head." Dysthymic people do well in psychotherapy and also under medication because dysthymia does not hinder a person like major depression. Dysthymia consists of persistent symptoms that do not disable, but keep a person from functioning at their full capacity. The most outstanding symptoms for dysthymia are difficulties sleeping, a hopeless outlook, fatigue, low self-esteem, and depressed mood for most of the day. Headaches, digestive disorders or chronic pain are persistent physical disturbances that do not respond to treatment.Order custom research paper on Depressive Illnesses

Manic-depressive illness, also among the three most common types of depression, is also known as bipolar disorder. This affective disorder is a mood disorder characterized by mood swings from mania to depression. Mania is the exaggerated feeling of well being in which a person can lose touch with reality while depression is the overwhelming feelings of suicidal thoughts and suicide attempts. This disorder usually appears around the age of 5 and affects both male and female equally. The cause of this disorder is unknown and seems to be genetically involved. Symptoms occur in two different phases switching from depressive to manic. In the depressive phase, a person may feel a loss of self-esteem, or may have difficulty concentrating and making decisions. The symptoms for the manic phase are almost opposite. Elevated mood, inflated self-esteem, hallucinations and decreased need for sleep are among these symptoms. Maintaining good and regular sleep habits can prevent the manic-depressive illness from reoccurring.

Major depression, dysthymia and manic-depression are the three most common types of depressive disorders. Depression is complex and its symptoms are expressed on many levels. This illness can create physical problems, behavior problems, troubled relationships or even changes in emotional well being. Getting proper diagnosis for a depressive illness can lead to the appropriate help needed for treatment.

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