Sunday, May 17, 2020

Biography of Lady Jane Grey, the 9 Day Queen of England

Lady Jane Grey (1537 - February 12, 1559) was a young woman who was briefly the Queen of England for a total of nine days. She was put on the throne of England after the death of Edward VI by an alliance of her father, Duke of Suffolk, and her father-in-law, Duke of Northumberland, as part of a struggle between factions within the Tudor family over the succession and over religion.  She was executed as a threat to the succession of Mary I. Background and Family Lady Jane Grey was born in Leicestershire in 1537, to a family well-connected to the Tudor  rulers. Her father was Henry Grey, marquess of Dorset, later duke of Suffolk. He was a great-grandson of Elizabeth Woodville, Edward IVs queen consort, through a son of her first marriage to Sir John Grey. Her mother, Lady Frances Brandon, was the daughter of Princess Mary of England, sister of Henry VIII, and her second husband, Charles Brandon.  She was thus through her maternal grandmother related to the ruling Tudor family: she was a great-granddaughter of Henry VII and his wife Elizabeth of York, and through Elizabeth, a great great granddaughter of  Elizabeth Woodville  through her second marriage to Edward IV. Well-educated as was fit for a young lady who was even distantly in line for succession for the throne, Lady Jane Grey became the ward of Thomas Seymour, fourth husband of Henry VIIIs widow, Catherine Parr. After his execution for treason in 1549, Lady Jane Grey returned to her parents home. Family at a Glance Mother: Lady Frances Brandon, daughter of Mary Tudor who was the sister of Henry VIII, and her second husband, Charles BrandonFather: Henry Grey, Duke of SuffolkSiblings: Lady Catherine Grey, Lady Mary Grey Reign of Edward VI John Dudley, Duke of Northumberland, in 1549 became head of the council advising and ruling for the young King Edward VI, son of King Henry VIII and his third wife, Jane Seymour. Under his leadership, Englands economy improved, and the replacement of Roman Catholicism with Protestantism progressed. Northumberland realized that Edwards health was fragile and probably failing and that the named successor, Mary, would side with the Roman Catholics and probably would suppress Protestants. He arranged with Suffolk for Suffolks daughter, Lady Jane, to marry Guildford Dudley, son of Northumberland. They were married in May of 1553. Northumberland then convinced Edward to make Jane and any male heirs she might have the successors to Edwards crown. Northumberland gained the agreement of his fellow council members to this change in the succession. This act bypassed Henrys daughters, the princesses Mary and Elizabeth, whom Henry had named his heirs if Edward died without children. The act also ignored the fact that the Duchess of Suffolk, Janes mother, would normally have precedence over Jane since Lady Frances was the daughter of Henrys sister Mary and Jane the granddaughter. Brief Reign After Edward died on July 6, 1553, Northumberland had Lady Jane Grey declared Queen, to Janes surprise and dismay. But support for Lady Jane Grey as Queen quickly disappeared as Mary gathered her forces to claim the throne. Threat to the Reign of Mary I On July 19, Mary was declared Queen of England, and Jane and her father were imprisoned. Northumberland was executed; Suffolk was pardoned; Jane, Dudley, and others were sentenced to be executed for high treason. Mary hesitated with the executions, however, until Suffolk participated in Thomas Wyatts rebellion when Mary realized that Lady Jane Grey, alive, would be too tempting a focus for further rebellions. Lady Jane Grey and her young husband Guildford Dudley were executed on February 12, 1554. Lady Jane Grey has been represented in art and illustrations  as her tragic story has been told and retold.

Wednesday, May 6, 2020

Critically Examine How Black Feminism Emerged And Assess

Critically examine how Black feminism emerged and assess its impact on contemporary feminist theory. Answer with reference to intersectionality and ‘difference . feminism means the equality between men and women in social, political and social standing. There are many different types of feminism that women have adopted that they best feel aligns with their perspectives of the world. This essay will mainly be focusing black feminism that was developed in the 1960s. The essay will examine why the black feminism movement and theories emerged and how it impacts on the contemporary feminist movement. Since the very beginning the mainstream feminist movement which is led by middle class white women has been criticised for erasing women†¦show more content†¦The black liberating movement was dominated by and fought for the liberation of black men. Black women faced constant and consistent misogyny within the black liberation movement. The black liberation movement equated with manhood and the freedom of black people with the redemption of hyper black masculinity. The movement tackled one type of oppression which was racial segregation whilst simultaneously perpetrating violent misogyny. Both of the movements failed to see the different intersections of the black woman’s life. The black feminist movement emerging helped black women understand their own womanhood. According the Black Feminist writer Barbara Smith , the Black Feminist movement that emerged in in 1960s focused on reproductive issues, equality in the healthcare system, harassment, amongst many others. The black feminist movement actively fought against the structural and institutional racism that was deeply overlooked by the mainstream feminists. Black feminism for black women argues for their intersectionality of sexism, racism and class oppression and it actively fought against the structural and institutional racism faced by black women. It was during the emergence of the black feminist movement that black feminist write and professor Kimberlà © Crenshaw coined the popular term ‘ intersectional feminism’. Intersectional feminism focused on the different intersections( sexuality,Show MoreRelatedConstructing My Cultural Identity6012 Words   |  25 PagesI attended colonial school, to making the transition to high school in the Canadian context. I examine the elements that have influenced my cultural/racial identity as a person of African ancestry living in the diaspora. I ask questions such as how has colonial education influenced my cultural identity and how I see myself? I address the complexity of my racial and gender identity drawing on a Black feminist theoretical framework and anticolonial thought to inform this work. Cet article prà ©senteRead MoreOrganisational Theory230255 Words   |  922 PagesOrganizational Theory takes you on a joyful ride through the developments of one of the great enigmas of our time – How should we understand the organization? Jan Ole Similà ¤, Assistant Professor, Nord-Trà ¸ndelag University College, Norway I really enjoyed this new text and I am sure my students will enjoy it, too. It combines rigorous theoretical argument with application and consideration of how managment practice is formed and shaped by ideas and concepts. The authors have brought their wealth of experience

Tuesday, May 5, 2020

Summary of the Poem an Ode to Autom free essay sample

AN ODE To Autumn Summary Keats’s speaker opens his first stanza by addressing Autumn, describing its abundance and its intimacy with the sun, with whom Autumn ripens fruits and causes the late flowers to bloom. In the second stanza, the speaker describes the figure of Autumn as a female goddess, often seen sitting on the granary floor, her hair â€Å"soft-lifted† by the wind, and often seen sleeping in the fields or watching a cider-press squeezing the juice from apples. In the third stanza, the speaker tells Autumn not to wonder where the songs of spring have gone, but instead to listen to her own music. At twilight, the â€Å"small gnats† hum among the the river sallows, or willow trees, lifted and dropped by the wind, and â€Å"full-grown lambs† bleat from the hills, crickets sing, robins whistle from the garden, and swallows, gathering for their coming migration, sing from the skies. We will write a custom essay sample on Summary of the Poem an Ode to Autom or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page For s form and descriptive surface, â€Å"To Autumn† is one of the simplest of Keats’s odes. There is nothing confusing or complex in Keats’s paean to the season of autumn, with its fruitfulness, its flowers, and the song of its swallow gathering for migration. The extraordinary achievement of this poem lies in its ability to suggest, explore, and develop a rich abundance of themes without ever ruffling its calm, gentle, and lovely description of autumn. Where â€Å"Ode on Melancholy† presents itself as a strenuous heroic quest, â€Å"To Autumn† is concerned with the much quieter activity of daily observation and appreciation. In this quietude, the gathered themes of the preceding odes find their fullest and most beautiful expression. â€Å"To Autumn† takes up where the other odes leave off. Like the others, it shows Keats’s speaker paying honor to a particular god desssin this case, the deified season of Autumn. The selection of this season implicitly takes up the other odes’ themes of temporality, mortality, and change: Autumn in Keats’s ode is a time of warmth and plenty, but it is perched on the brink of winter’s desolation, as the bees enjoy â€Å"later flowers,† the harvest is gathered from the fields, the lambs of spring are now â€Å"full grown,† and, in the final line of the poem, the swallows gather for their winter migration. The understated sense of inevitable loss in that final line makes it one of the most moving moments in all of poetry; it can be read as a simple, uncomplaining summation of the entire human condition. Despite the coming chill of winter, the late warmth of autumn provides Keats’s speaker with ample beauty to celebrate: the cottage and its surroundings in the first stanza, the agrarian haunts of the goddess in the second, and the locales of natural creatures in the third. Keats’s speaker is able to experience these beauties in a sincere and meaningful way because of the lessons he has learned in the previous odes: He is no longer indolent, no longer committed to the isolated imagination (as in â€Å"Psyche†), no longer attempting to escape the pain of the world through ecstatic rapture (as in â€Å"Nightingale†), no longer frustrated by the attempt to eternalize mortal beauty or subject eternal beauty to time (as in â€Å"Urn†), and no longer able to frame the connection of pleasure and the sorrow of loss only as an imaginary heroic quest (as in â€Å"Melancholy†). In â€Å"To Autumn,† the speaker’s experience of beauty refers back to earlier odes (the swallows recall the nightingale; the fruit recalls joy’s grape; the goddess drowsing among the poppies recalls Psyche and Cupid lying in the grass), but it also recalls a wealth of earlier poems. Most importantly, the image of Autumn winnowing and harvesting (in a sequence of odes often explicitly about creativity recalls an earlier Keats poem in which the activity of harvesting is an explicit metaphor for artistic creation. In his sonnet â€Å"When I have fears that I may cease to be,† Keats makes this connection directly: When I have fears that I may cease to be Before my pen has glean’d my teeming brain, Before high-piled books, in charactry, Hold like rich garners the full ripen’d grain In this poem, the act of creation is pictured as a kind of self-harvesting; the pen harvests the fields of the brain, and books are filled with the resulting â€Å"grain. † In â€Å"To Autumn,† the metaphor is developed further; the sense of coming loss that permeates the poem confronts the sorrow underlying he season’s creativity. When Autumn’s harvest is over, the fields will be bare, the swaths with their â€Å"twined flowers† cut down, the cider-press dry, the skies empty. But the connection of this harvesting to the seasonal cycle softens the edge of the tragedy. In time, spring will come again, the fields will grow again, and the birdsong will return. As th e speaker knew in â€Å"Melancholy,† abundance and loss, joy and sorrow, song and silence are as intimately connected as the twined flowers in the fields. What makes â€Å"To Autumn† beautiful is that it brings an engagement with that connection out of the realm of mythology and fantasy and into the everyday world. The development the speaker so strongly resisted in â€Å"Indolence† is at last complete: He has learned that an acceptance of mortality is not destructive to an appreciation of beauty and has gleaned wisdom by accepting the passage of time. 1. What are some of the recurring motifs that appear throughout the six odes? Given the chronological problems with the usual ordering of the odes (â€Å"Indolence,† often placed first in the sequence, was one of the last odes to be written), to what extent do you think the odes should be grouped as a unified sequence? 2. Taken together, do the odes tell a â€Å"story,† or do they simply develop a theme? Do you think the speaker is the same in each ode? 3. How does the â€Å"Ode on Indolence† anticipate the themes and images of the other five poems? Given the speaker’s later confrontations with Love, Ambition, and Beauty—as well as with such themes as mortality and the creative imagination—does the conclusion of the Indolence ode seem ironic? 4. In what ways is â€Å"Ode to Psyche† different from the other odes? How do these differences affect the poem’s attempt to describe the creative imagination? Why might the speaker want to use his imagination for Psyche’s worship? 5. From Psyche’s bower to the nightingale’s glade to the warm luxury of Autumn, the odes contain some of the most beautiful sensory language in English poetry. But many of the odes intentionally limit the senses they inhabit. With particular reference to â€Å"Nightingale† (which suppresses sight) and â€Å"Grecian Urn† (which suppresses every sense but sight), how do the odes create an abundance of believable sensation even as they limit it? 6. The odes are full of paradoxical and self-contradictory ideas—the attribution of human experience to the frozen figures on the urn, for instance. But the â€Å"Ode on Melancholy† builds its entire theme on an apparent paradox—that pleasure and pain are intimately connected and that sadness rests at the core of joy. How does the language of â€Å"Melancholy† strengthen that sense of paradox? What does it mean for trophies to be cloudy, pleasure to be aching, a lover’s anger to be soothing, and â€Å"wakeful anguish† a thing to be desired? 7. On its surface, the ode â€Å"To Autumn† seems to be little more than description, an illustration of a season. But underneath its descriptive surface, â€Å"To Autumn† is one of the most thematically rich of all the odes. How does Keats manage to embody complex themes in such an apparently simple poem? According to Keats, Autumn is a season of mists; a cloudlike aggregation of minute globules of water suspended in the atmosphere at or near the earths surface, reducing visibility to a lesser degree than fog; and mellow; soft, sweet, and full-flavored from ripeness, as fruit: well-matured, as wines: soft and rich, as sound, tones, color, or light: made gentle and compassionate by age or maturity; softened: friable or loamy, as soil: mildly and pleasantly intoxicated or high: pleasantly agreeable; free from tension, discord, etc. : affably relaxed; easygoing; genial; fruitfulness and a close friend of the maturing sun. It conspires; to agree together, esp. secretly, to do something wrong, evil, or illegal: to act or work together toward the same result or goal: to plot; with him in a unique manner to load and bless with fruits the vines that round the thatch-eaves run; overhanging thatched roofs; To bend with apples the moss’d cottage trees and fill all fruit with ripeness to the core. To swell the gourd and plumb the hazel shells with a sweet kernel; the softer, usually edible part contained in the shell of a nut or the stone of a fruit: the body of a seed within its husk or integuments: a whole seed grain, as of wheat or corn: the pit or seed of peach, cherry, plum, etc: the central or most important part of anything; essence; gist; core: to set budding more and still even more later flowers for the bees. Until the moment they think warm days will never end; for summer has over-brimmed; the softer, usually edible part contained in the shell of a nut or the stone of a fruit: the body of a s eed within its husk or integuments: a whole seed grain, as of wheat or corn: the pit or seed of a peach, cherry, plum, etc: the central or most important part of anything; essence; gist; core: their clammy cells; covered with a cold, sticky moisture; cold and damp: sickly; morbid. Who had not seen autumn at the peak of its own season? ; autumn is personified and represented as successively identifiable with women working at the granary fields or at a cider press; Sometimes whoever seeks autumn beyond the boundaries of time may find it sitting carelessly on a granary floor; a storehouse or repository for grain, esp. after it has been threshed or husked: a region that produces great quantities of grain; its hair lifted softly by the winnowing wind; to free (grain) from the lighter particles of chaff, dirt, etc. , esp. y throwing it into the air and allowing the wind or a forced current of air to blow away impurities: to drive or blow (chaff, dirt, etc. ) away by fanning: to blow upon; fan: to subject to some process of separating or distinguishing; analyze critically; sift: to separate or distinguish (valuable from worthless parts) (sometimes fol. by out ): to pursue (a course) with flapping wings in flying: to fan or stir (the air) as with the wings in flying: to free grain from chaff by wind or driven air: to fly with flapping wings; flutter; or sound asleep in a half reaped furrow. Drowsed with the fumes of poppies, while its hook spares the next swath and all its twined flowers. Sometimes like a gleaner; to gather slowly and laboriously, bit by bit: to gather (grain or the like) after the reapers or regular gatherers: to learn, discover, or find out, usually little by little or slowly: it does keep steady its laden head across a brook or with a patient look it watches a cyder press the last oozing for the next few hours. The Composition of To Autumn Keats wrote To Autumn after enjoying a lovely autumn day; he described his experience in a letter to his friend Reynolds: How beautiful the season is nowHow fine the air. A temperate sharpness about it. Really, without joking, chaste weatherDian skiesI never likd stubble fields so much as nowAye better than the chilly green of the spring. Somehow a stubble plain looks warmin the same way that some pictures look warmthis struck me so much in my Sundays walk that I composed upon it. General Comments This ode is a fa vorite with critics and poetry lovers alike. Harold Bloom calls it one of the subtlest and most beautiful of all Keatss odes, and as close to perfect as any shorter poem in the English Language. Allen Tate agrees that it is a very nearly perfect piece of style; however, he goes on to comment, it has little to say. This ode deals with the some of the concerns presented in his other odes, but there are also significant differences. (1) There is no visionary dreamer or attempted flight from reality in this poem; in fact, there is no narrative voice or persona at all. The poem is grounded in the real world; the vivid, concrete imagery immerses the reader in the sights, feel, and sounds of autumn and its progression. 2) With its depiction of the progression of autumn, the poem is an unqualified celebration of process. (I am using the words process, flux, and change interchangeably in my discussion of Keatss poems. ) Keats totally accepts the natural world, with its mixture of ripening, fulfillment, dying, and death. Each stanza integrates suggestions of its opposite or its predecessors, for they are inherent in autumn also. Because this ode describes the process of fruition and decay in autumn, keep in mind the passage of time as you read it. Analysis Stanza I: Keats describes autumn with a series of specific, concrete, vivid visual images. The stanza begins with autumn at the peak of fulfillment and continues the ripening to an almost unbearable intensity. Initially autumn and the sun load and bless by ripening the fruit. But the apples become so numerous that their weight bends the trees; the gourds swell, and the hazel nuts plump. The danger of being overwhelmed by fertility that has no end is suggested in the flower and bee images in the last four lines of the stanza. Keats refers to more later flowers budding (the -ing form of the word suggests activity that is ongoing or continuing; the potentially overwhelming number of flowers is suggested by the repetition And still more flowers. The bees cannot handle this abundance, for their cells are oer-brimmd. In other words, their cells are not just full, but are over-full or brimming over with honey. Process or change is also suggested by the reference to Summer in line 11; the bees have been gathering and storing honey since summer. Clammy describes moisture; its unpleasant connotations are accepted as natural, without judgment. Certain sounds recur in the beginning liness, m, l. Find the words that contain these letters; read them aloud and listen. What is the effect of these soundsharsh, explosive, or soft? How do they contribute to the effect of the stanza, if they do? The final point I wish to make about this stanza is slight and sophisticated and will probably interest you only if you like grammar and enjoy studying English: The first stanza is punctuated as one sentence, and clearly it is one unit. It is not, however, a complete sentence; it has no verb. By omitting the verb, Keats focuses on the details of ripening. In the first two and a half lines, the sun and autumn conspire (suggesting a close working relationship and intention). From lines 3 to 9, Keats constructs the details using parallelism; the details take the infinitive form (to plus a verb): to load and bless, To bend and fill, To swell and plump, and to set. In the last two lines, he uses a subordinate clause, also called a dependent clause (note the subordinating conjunction until); the subordinate or dependent clause is appropriate because the oversupply of honey is the result ofor dependent uponthe seemingly unending supply of flowers. Stanza II The ongoing ripening of stanza I, which if continued would become unbearable, has neared completion; this stanza slows down and contains almost no movement. Autumn, personified as a reaper or a harvester, crosses a brook and watches a cider press. Otherwise Autumn is listless and even falls asleep. Some work remains; the furrow is half-reapd, the winnowed hair refers to ripe grain still standing, and apple cider is still being pressed. However, the end of the cycle is near. The press is squeezing out the last oozings. Find other words that indicate slowing down. Notice that Keats describes a reaper who is not harvesting and who is not turning the press. Is the personification successful, that is, does nature become a person with a personality, or does nature remain an abstraction? Is there a sense of depletion, of things coming to an end? Does the slowing down of the process suggest a stopping, a dying or death? Does the personification of autumn as a reaper with a scythe suggest another kind of reaperthe Grim Reaper? Speak the last line of this stanza aloud, and listen to the pace (how quickly or slowly you say the words). Is Keats using the sound of words to reinforce and/or to parallel the meaning of the line? Stanza III Spring in line 1 has the same function as Summer in stanza I; they represent process, the flux of time. In addition, spring is a time of a rebirth of life, an association which contrasts with the explicitly dying autumn of this stanza. Furthermore, autumn spells death for the now full-grown lambs which were born in spring; they are slaughtered in autumn. And the answer to the question of line 1, where are Springs songs, is that they are past or dead. The auditory details that follow are autumns songs.

Sunday, April 19, 2020

Letranger Essays - Absurdist Fiction, The Stranger, Meursault Wine

L'etranger The murder of the Arab is clearly the central event of the novel. Camus placed it in fact right in the middle of the book. It is the last incident recounted in part 1, so its importance is underscored by a structural break in the story. It is related in one of the longer chapters, which records in fine detail the events of the day, even when their relevance is not obvious - for example, several paragraphs are devoted to describing how Marie and Meursault frolic in the sea. The murder marks an obvious change in Meursault's life, from free man to prisoner, and some more subtle associated changes, such as his increasing introspection and concern with memory. Meursault himself describes the shooting in terms that emphasise both the destruction of a past and the start of something new: "and there, in that noise, sharp and deafening at the same time, is where - 'it all started' - I shook off the sweat and the sun. I knew that I had shattered the harmony of the day, the exceptional silence of a beach where I'd been happy". This violent crime also interrupts the routine flow of the story. Until the murder, nothing very dramatic has happened and nothing dramatic seems likely to happen. Partly, of course, this air of normality results from the way Meursault tells the story. His mother's death could have been a momentous event, but he begins the novel with the statement: 'Mother died today. Or maybe yesterday, I don't know'. The matter-of-fact tone and the uncertainty combine to make us feel that this is not a significant event. In many stories the first moments of love seem portentous. Of his first night with Marie Meursault says, 'Toward the end of the show, I gave her a kiss, but not a good one. She came back to my place. When I woke up, Marie had gone'. One could hardly be farther from romantic rapture. A few days later Meursault agrees to marry Marie, and that too could have been presented as a turning point in his life; but he relates their engagement as if it were a routine decision: 'That evening Marie came by to see me and asked me if I wanted to marry her. I said it didn't make much difference to me and that we could if she wanted to'. In narrating the murder itself, Meursault expresses very much the same attitude as he has previously; his actions have no conscious motives. The stage is set as if by accident, and that impression is reinforced by the accumulation of details. Meursault tells this day almost moment by moment. He tells of his headache and a bitter taste in his mouth, of Marie's white dress and Raymond's blue trousers, of their decision to take a bus rather than walk. Some of the details have symbolic functions. Marie remarks that he has a 'funeral face', alluding both to the funeral and to the impending murder. They bang on the Raymond's door to summon him, foreshadowing the gunshot raps 'on the door of unhappiness' at the time of the murder. The impression that this is just another day dominates the first part of this chapter, right up to the first confrontation with the Arabs. Meursault's role in this initial fracas is very passive. He accepts the task assigned to him by Raymond, to stand by to help 'if another one shows up'. He tries to shout a warning to Raymond, but too late. In the aftermath the three men return to the bungalow, and Masson then takes Raymond to a doctor, leaving Meursault, as he puts it, 'to explain to the women what had happened. I didn't like having to explain to them, so I just shut up, smoked a cigarette, and looked at the sea'. As usual, he gives no clue as to the content of his thoughts, and nothing is reported of his conversation with the two women. Masson and Raymond return from the doctor at one thirty, two hours after the walk first began. Raymond is in a surly mood and eventually announces that he is 'going down to the beach . . . to get some air'. Masson and Meursault both propose to go with him, but he tells them to mind their own business. Masson complies, but not Meursault: 'I followed him anyway'. This is Meursault's first rejection of authority, almost his first wilful act of the novel. The two men come upon the two Arabs

Sunday, March 15, 2020

French Love Vocabulary

French Love Vocabulary French is often called the language of love. Here is some love related French vocabulary. To know how to say I love you in French - its more complicated than what it seems and not knowing exactly what you are saying could lead to a huge embarrassment, I suggest you check out my lesson about How To Say I Love You in French. French Love Vocabulary Lamour - loveLamitià © - friendshipMon amour - my love (could be used as a French term of endearment, either for a man or a woman)Mon chà ©ri, ma chà ©rie - darling (note the i sound at the end)Je taime - I am in love with youJe laime - I am in love with him/herJe suis amoureux / amoureuse de toi, lui, elle, vous... - I am in love with you, him, her, you (formal or... plural !)Tomber Amoureux / amoureuse - to fall in love (not tomber en amour which is used in Canadian French but not in France)Est-ce que tu veux sortir avoir moi - would you like to go out with me ?Est-ce que tu veux bien mà ©pouser - would you marry me? The bien here means are you willing to marry me, but its what we traditionally say.To kiss - embrasser, sembrasser. WATCH OUT !!! Not baiser... Im sorry to be vulgar but you need to be aware that un baiser is fine, it a kiss, but baiser as a verb nowadays means to f..k.A kiss - un baiser, un bisou - I wrote a whole article on the subject of  French kisses.Les fia nà §ailles - engagement Se fiancer - to get engagedUn fiancà ©, une fiancà ©e - someone you are engaged to. But sometimes used to say someone you are just dating.Le mariage - marriage, wedding (only one R in French)Se marier avec qqun - to get married with someoneÉpouser quelquun - to marry someoneLa lune de miel  - HoneymoonUn mari - a husbandUne femme - a wifeUn petit-ami - a boyfriendUne petite-amie - a girlfriend If you liked this article, I suggest you take a look at my  French terms of endearment audio article, and also the  French dating system explained  on my own site French Today. You may also like: Dialogue About Kissing - Easy Bilingual StoryHow To Say I love You in FrenchFrench Canadian Love ExpressionsFrench Valentines Day Traditions and Vocabulary - Easy Bilingual Story

Thursday, February 27, 2020

Changes in Leadership and CEO Succession Essay Example | Topics and Well Written Essays - 1000 words

Changes in Leadership and CEO Succession - Essay Example Founded in 1839 by Oliver Chace, the Valley Falls Company specialized in textile manufacturing. Its 1889 merger with Berkshire Cotton Manufacturing saw the company’s name change to Berkshire Fine Spinning Associates. The company’s final merger then followed this in 1955 with Hathaway Manufacturing Company, which resulted in its new name Berkshire Hathaway. Initially, the company had been successful expanding its operations across the US. However, after the World War I, a decline in the textile industry led the company shutting down several of its mills. This was when (1962) Warren Buffet began buying stock in the company. By 1964, Buffet had acknowledged that the waning textile industry would not lead to an improvement in the company’s finances; therefore, he agreed to sell his shares when he received an oral tender offer from Seabury Stanton (the company’s owner). Stanton’s failure to uphold his end of the bargain rendered the deal void, which moti vated an aggrieved Buffet to purchase more shares from the company to become majority shareholder. In 1967, Buffet set his sights on insurance, and decided to purchase the National Indemnity Company. Since then, he shut down the remaining textile mills and continued to acquire subsidiary companies while investing in the stock market. Currently, Forbes magazine ranks Berkshire Hathaway as the fifth biggest public company in the world. Presently, Buffet serves in the capacity of CEO, Chairman, Chief Investment Officer (CIO) and majority shareholder. As such, the company must find an individual or group of individuals with the expertise required to perform the diverse functions. The proposed succession plan is split into five parts whereby three parts focus on personnel, one on corporate culture and the last on institutional ownership. The company’s Board of Directors proposes that

Tuesday, February 11, 2020

Environment Essay Example | Topics and Well Written Essays - 500 words

Environment - Essay Example The air, the water, and the health of the planet are the right of all men, and the purpose of government is precisely to protect these human rights. Yet, the current administration's policy has been called a, "Christmas tree for oil interests, a license for industry profiteering, or a wide-ranging assault on the environment" (Cohen). Current policy gives business no incentive to save energy or seek alternate sources. Man did not inherit the planet, mankind did and free enterprise does not mean the freedom to destroy or deplete these scarce and vital resources to cater to a business's bottom line. The clearest and most effective way to coerce a business into taking responsibility for the environment is to make it financially beneficial. Public awareness, boycotts, and political activism can be effective. During a four day period of protests at the 1999 WTO meeting, businesses lacking a favorable social responsibility reputation had declined by 2.36%, while those having a positive reputation were down by less than half that amount (Schnietz & Epstein, 2004).