Nvq Level 3

Google search Keeping sheltered and shielding defenseless grown-ups from mischief and misuse All grown-ups ought to have the option to live liberated from dread or hurt and have their privileges and decisions regarded. To help individuals who might be being mishandled or suspect that misuse is happening,â we have published ‘Keeping Safe and Protecting Adults' which you can download from this page. It gives more data about sorts of abuseâ and what to do in the event that you speculate misuse. You can alsoâ visit the York Safeguarding Adults site What is grown-up misuse? There are a wide range of kinds of misuse, see pdf on this page.It may: * be physical or sexual * include taking cash without authorization * incorporate harassing or embarrassing * incorporate not permitting contact with loved ones * include retaining food or medicine Abuse can be the consequence of a solitary demonstration or may proceed over numerous months or years. Misuse can be unintentional, or a cons cious demonstration. An abuser may beâ †a family member, an accomplice, somebody paid to give care and administrations, a volunteer, a neighbor, a companion or outsider. Misuse can happen anyplace: * at home * in a consideration home * in emergency clinic * in protected lodging * in bolstered living focuses at day focuses and other day administrations * outside in an open spot How would i be able to tell if misuse might be going on? Grown-up misuse isn't in every case simple to distinguish as in some cases the idea of the maltreatment isn't noticeable and additionally regularly the individual being mishandled is reluctant to stand up. In any case, there are some increasingly basic indications of misuse, see pdf appended to this page, which whenever seen may recommend that misuse has happened. Which grown-ups are powerless against misuse? A few grown-ups are less ready to ensure themselves than others and some experience issues making their desires and sentiments known. This ma y make them defenseless against abuse.They may likewise be powerless on the grounds that they are needing network care benefits because of emotional wellness issues, physical or learning handicap, age or sickness. In York we are cooperating withâ the Police, nearby Councilors, Health and neighborhood free and willful area association to improve and grow further administrations to protect helpless grown-ups. We are allâ committed to forestalling the maltreatment of grown-ups and reacting immediately when misuse is suspected. How might I report grown-up misuse? In the event that you are being mishandled, or you speculate another person is being manhandled reach us on 01904 555111â or North Yorkshire Police onâ 0845 60 247.By announcing misuse you are making the gathering or the police aware of concerns which may influence more than one individual. There is a structure which has been intended to help any individual who may presume misuse is going on and needs to report it. The str ucture is known as the Alerters Form, see pdf joined to this page, and is a valuable manual for the data that we or the Police should know when an episode of misuse is accounted for. You ought to likewise give your name so we can keep you educated. We won't share your name without your authorization. We will at that point examine your interests and take proper action.You can likewise impart your interests to a Doctor, Nurse or Health Worker, Housing Officer or guidance focus (CAB) and approach them to reach us for you. For household misuse you can likewise contact the Independent Domestic Abuse Services email: [emailâ protected] organization. uk web address www. idas. organization. uk or phone 03000 110. Grown-ups in care If you are worried about the nature of care gave by a nursing home, private home, or domiciliary supplier you should contact the Care Quality Commissionâ on tel: 0300 061 6161. See the Care Quality Commissionâ website for more data www. cqc. rg. ukâ How wo uld we react to grown-up misuse? In 2007, The City of York Councilâ endorsed the Multi-Agency Policy and Procedures for Safeguarding Vulnerable Adults. This structure is expected to guarantee a reliable reaction so different offices can cooperate all the more adequately. This strategy is accessible to download on the correct hand side of this page. What is ‘No Secrets’? This is government direction gave in 2000, urging social administrations specialists to work with different organizations to create and actualize arrangements and methodology to guarantee insurance of powerless adults.In 2008, the legislature started a national interview exercise to audit the No Secrets direction. The counsel has as of late finished and any proposals for changes are normal not long from now. What isâ the York Safeguarding Adults Partnership Board? Before 2008, there was a City of York and North Yorkshire Adult Protection Committee with the primary goal ‘to shield grown-ups from m altreatment by powerful between organization working'â As a major aspect of an audit of the multi-office approach, it was perceived that the interests of individuals in York would be ideally serviced by a nearby multi-office group.So, in 2008, the York Safeguarding Adults Board was set up, with the dispatch to defend helpless grown-ups from misuse and damage by successful between office working. The Board enrollment is comprised of lead officials from social administrations, the police, wellbeing, housing,â the autonomous consideration division, the Crown Prosecution Service, the Care Quality Commission and willful organisations.It meets quarterly to think about new advancements in grown-up insurance, survey how the arrangement is completed locally and to concur proper financing and preparing. Help for grown-ups * Carer's evaluation of need * Disabled transport pass * Educational advantages * Home consideration administration * Out of hours social administrations bolster * Safegu arding defenseless grown-ups * Residential consideration * Respite care * Sheltered lodging * Support for grown-ups with HIV * Supporting individuals group Nvq Level 3 Google search Keeping sheltered and shielding helpless grown-ups from mischief and misuse All grown-ups ought to have the option to live liberated from dread or hurt and have their privileges and decisions regarded. To help individuals who might be being mishandled or suspect that misuse is happening,â we have published ‘Keeping Safe and Protecting Adults' which you can download from this page. It gives more data about sorts of abuseâ and what to do in the event that you speculate misuse. You can alsoâ visit the York Safeguarding Adults site What is grown-up misuse? There are a wide range of kinds of misuse, see pdf on this page.It may: * be physical or sexual * include taking cash without authorization * incorporate harassing or mortifying * incorporate not permitting contact with loved ones * include retaining food or prescription Abuse can be the consequence of a solitary demonstration or may proceed over numerous months or years. Misuse can be inadvertent, or a purpose ful demonstration. An abuser may beâ †a family member, an accomplice, somebody paid to give care and administrations, a volunteer, a neighbor, a companion or outsider. Misuse can happen anyplace: * at home * in a consideration home * in clinic * in protected lodging * in upheld living focuses at day focuses and other day administrations * outside in an open spot How would i be able to tell if misuse might be going on? Grown-up misuse isn't in every case simple to recognize as once in a while the idea of the maltreatment isn't obvious as well as frequently the individual being mishandled is reluctant to stand up. Nonetheless, there are some increasingly regular indications of misuse, see pdf joined to this page, which whenever seen may propose that misuse has happened. Which grown-ups are helpless against misuse? A few grown-ups are less ready to secure themselves than others and some experience issues making their desires and emotions known. This may make them powerless agains t abuse.They may likewise be helpless in light of the fact that they are needing network care benefits because of emotional wellness issues, physical or learning inability, age or disease. In York we are cooperating withâ the Police, neighborhood Councilors, Health and nearby autonomous and willful segment association to improve and grow further administrations to protect helpless grown-ups. We are allâ committed to forestalling the maltreatment of grown-ups and reacting immediately when misuse is suspected. How might I report grown-up misuse? On the off chance that you are being manhandled, or you speculate another person is being mishandled get in touch with us on 01904 555111â or North Yorkshire Police onâ 0845 60 247.By revealing maltreatment you are making the chamber or the police aware of concerns which may influence more than one individual. There is a structure which has been intended to help any individual who may speculate misuse is occurring and needs to report it. The structure is known as the Alerters Form, see pdf joined to this page, and is a valuable manual for the data that we or the Police should know when an episode of misuse is accounted for. You ought to likewise give your name with the goal that we can keep you educated. We won't share your name without your consent. We will at that point research your interests and take proper action.You can likewise impart your interests to a Doctor, Nurse or Health Worker, Housing Officer or counsel focus (CAB) and approach them to get in touch with us for you. For local maltreatment you can likewise contact the Independent Domestic Abuse Services email: [emailâ protected] organization. uk web address www. idas. organization. uk or phone 03000 110. Grown-ups in care If you are worried about the nature of care gave by a nursing home, private home, or domiciliary supplier you should contact the Care Quality Commissionâ on tel: 0300 061 6161. See the Care Quality Commissionâ website for more data www. cqc. rg. ukâ How would we react to grown-up misuse? In 2007, The City of York Councilâ endorsed the Multi-Agency Policy and Procedures for Safeguarding Vulnerable Adults. This system is expected to guarantee a steady reaction so different offices can cooperate all the more viably. This arrangement is accessible to download on the correct hand side of this page. What is ‘No Secrets’? This is government direction gave in 2000, urging social administrations specialists to work with different organizations to create and actualize strategies and methodology to guarantee security of powerless adults.In 2008, the legislature started a national interview exer

Irony used by Chaucer Essay -- essays research papers

Incongruity is the general name given to scholarly procedures that include astonishing, fascinating, or interesting logical inconsistencies. Two stories from Chaucer’s Canterbury Tales that fill in as phenomenal shows of incongruity are â€Å"The Pardoners Tale† and â€Å"The Nun's Priest's Tale.† Although these two stories are altogether different, the two of them use incongruity to show a thing or two.      In â€Å"The Pardoner’s Tale, the Pardoner utilizes his story to stand up against numerous social issues, all of which he is liable of. He lectures about inebriation, while he is inebriated while recounting to the story. Sacrilege and voracity are different issues he talks about. Incidentally, he endeavors to sell counterfeit strict relics and is incredibly ravenous. However there are likewise numerous unexpected circumstances in the story itself. In the start of the story, the three agitators make an agreement to â€Å"be brothers,† â€Å"to each shield the others,† and â€Å"to live incredible one another† in insurance from death. In going out to satisfy their promises, they experience cash and wind up slaughtering each other over voracity. In the wake of finding the cash, the men intend to remain with it until it becomes dull when they can securely remove it. To hold themselves over up to that point, they send the most youthful one out t o get food and wine, and keeping in mind that he is away they intend to murder for a lot of the cash. Incidentally, the most youthful one is arranging something very similar by slipping toxic substance into the beverages of his colleagues. At the point when he returns, he is assaulted and wounded to death by the other...

Unity, Identity and Fellowship in Chaucers The Canterbury Tales

Unity, Identity and Fellowship in Chaucers The Canterbury Tales Unity, Identity and Fellowship in Chaucers The Canterbury Tales Unity, Identity and Fellowship in Chaucers The Canterbury Tales Academic Discipline: English Course Name: Chaucer Assignment Subject: Unity, Identity and Fellowship in Chaucers The Canterbury Tales Academic Level: Undergraduate Referencing Style: MLA Word Count: 2,110 In the opening of the General Prologue to “The Canterbury Tales,” Geoffrey Chaucer’s narrator (Geoffrey Chaucer) emphasizes the unity, fellowship and common identity of the pilgrims about to set forth on a journey to the shrine of Saint Thomas á Becket in Canterbury, southeast of London (A 23-26). This insistence on unity and wholeness is important because Chaucer’s text attempts to capture the entirety of medieval English society; the three estates â€" the nobility, the clergy and the commoners â€" are all represented, but the assumptions embedded within this (generally) fixed social hierarchy (spiritually, politically and in terms of gender assumptions) represented by the three estates is problematized as the text develops. In fact, the emphasis on companionship and a common identity revealed in the opening of the General Prologue serves as a counterpoint to the social tensions revealed through the interplay of the tales, their tellers, and the frame narrative. This paper will briefly illustrate how the frame narrative, the pilgrims, and their tales work to comment on the assumptions of unity, fellowship and common identity insisted upon by the narrator in the General Prologue. A brief explanation will also be given as to why the frame narrative structure employed by Chaucer in The Canterbury Tales is particularly well-suited to representing the whole of late fourteenth century English society. The frame narrative employed by Chaucer is, in the simplest sense, a story utilized to contextualize a series of smaller stories or tales. The story of the frame narrative is that twenty-nine pilgrims have met in the Tabard Inn in South London before heading off on their journey to the shrine of Saint Thomas á Becket in Canterbury (A 20-27). Their host at the tavern offers to provide the pilgrims with a game to kill time on the way to the shrine; he proposes that each of the pilgrims tell four tales, two on the way to the shrine, two on the way back (in actual fact, each pilgrim tells only one tale; the tales were condensed and the return journey was never written by Chaucer) (A 790-795). The host â€" who decides to act as the pilgrims’ guide on the journey â€" then states that the pilgrim whom he judges to have told the tales “. . . of best sentence and moost solaas” (A 798), will have supper at his tavern at the other pilgrim’s cost (A 799-800). The framing narrative, the refore, allows each pilgrim â€" each representing a member of English society â€" a chance to express themselves; to this end, the narrator makes an (apologetic) point of stating that he will recount the tales exactly as told by the pilgrims, regardless of how vulgar they might be (A 725-736). Thus, the framing narrative allows Chaucer to explore the character of each pilgrim, both through the tales they tell and through the commentary they provide to each other’s tales. Also, the framing narrative structure works to allow Chaucer to add or remove pilgrims as he sees fit (allowing for him to create a more all-encompassing portrait of medieval English society). If Chaucer thinks of a new pilgrim not mentioned in the General Prologue, he can simply have them ride up and join the rest of the pilgrims during the journey. The framing narrative works to reveal the societal tensions hidden beneath the veneer of unity presented in the opening of the General Prologue. These tensions are revealed in the apologetic stance taken by the narrator in regard to both the potential for vulgarity in the tales and his inability to present the tales in order of social rank (A 743-746) â€" a point which initially seems to become less relevant when the Knight (the highest-ranking pilgrim) wins the right to tell his tale first (A 835-846). The Knight, as the highest-ranking pilgrim (itself a problematic point, given that Christ was both poor and common â€" and given that Christianity is based on both humility and the universal equality of the human soul), decides to tell a romance â€" a “high” form of literature, befitting his position as a noble. Thus, even the literary style of the tale can be seen as commentary; this becomes especially clear when the (drunken) Miller reacts negatively against the content of “Th e Knight’s Tale.” The Miller’s interjection is important for a number of reasons. The Miller disrupts the social hierarchy â€" the Host, upon the completion of “The Knight’s Tale,” asks the Monk (an attempt to respect social hierarchy; the monk is a member of the clergy) to match “The Knight’s Tale” with one of his own (A 3118-3119) â€" and will not be silenced, even threatening to leave the journey if he is not allowed to speak (another instance wherein the interplay of the frame narrative and the tales facilitate the dialogue and reveal the social tensions between the characters) (A 3132-3133). “The Miller’s Tale” â€" his vision of what really constitutes courtly love â€" is told in the form of a fablieaux, a “low” form of literature befitting his common status. Thus, the Miller’s interjection, facilitated by the frame narrative structure linking the tales, also serves to present a stylistic juxtaposition between high and low forms of literature; the dialogue between the characters is mirrored in the dialogue between literary styles. The stylistic juxtaposition, combined with the characters (their social rank and gender), combined with the frame narrative which allows this interplay to take place, presents a more complete and realistic picture (both socially and artistically) of the “wholeness” of medieval England, while simultaneously undercutting the notions of “unity” and “fellowship” posited by the narrator in the General Prologue. It is through the contrivance of the frame narrative (the idea that a member from each societal rank and vocation wo uld gather together and travel on a pilgrimage is contrived in that it is highly unlikely that this would happen in reality) that these characters are allowed to engage directly with one another. The Miller, a commoner, is here given an opportunity to challenge a member of the aristocracy; the Miller’s refusal to respect the social hierarchy â€" the Host wants to find “Som better man” (A 3130) than Miller to match “The Knight’s Tale” â€" illustrates in a microcosmic fashion, the societal tensions then at play in late fourteenth century England at large; there was a major peasant’s revolt in England in1381 (Britannia Web site: History: Docs: Peasant n. pag). “The Miller’s Tale” also contrasts with “The Knight’s Tale” in terms of content. “The Miller’s Tale” â€" stylistically low â€" interprets love as something physical, while “The Knight’s Tale” â€" stylistically high â€" interprets love as something remote. “The Miller’s Tale” is very sensual â€" the characters of Nicholas and Absalom are motivated by lust (though they do eventually “fall in love”); Nicholas’ pursuit of Alison is further complicated by the fact that she is married to a carpenter named John. When Nicholas finally wins her over, they make love in her husband’s bed (A 3651-3656). “The Miller’s Tale” is meant to be funny, contemporary and populated with realistic characters (a fablieaux). It therefore, presents a stark contrast to “The Knight’s Tale,” which is set in a distant past, concerns morality and virtue and involves aristocratic characters (a romance). In “The Knight’s Tale,” the two young knights fall in lov e with a young woman from afar â€" first with her beauty (A 1098-1100; A 1114-1115) and then with her virtue; unlike “The Miller’s tale,” “The Knight’s Tale” lacks any sense of physicality or sensuality in the nature of love â€" it is highly formalized. The two knights spend years loving Emily from a distance (in this case because they are locked in prison), they have no idea who she is, only that they love her (based on her beauty) and that they will fight each other to the death to have her (A 1592-1621). The content of the two tales, therefore, engage in a kind of dialogue with one another. Both knights in “The Knight’s Tale” objectify Emily; even the Gods tell her that she must wed one of the two young knights, though she wishes to remain a virgin (A 2348-2352). In “The Miller’s Tale” the reader is given an example of what can happen when a man marries a woman as an object. John is old and his wife Alison is only eighteen (A 3223-3227). John is characteri zed as viewing himself as a cuckold and as having fallen into a snare (A 3226; A 3231). John’s humiliation in the tale illustrates the consequences of a marriage devoid of physical attraction; Alison and John are married because he is wealthy â€" he does not love her as a person; he “heeld hire narwe in cage” (A 3224) â€" and he values Alison as an object to be coveted. Here again, in the dialogue between the tales, their tellers and the frame narrative, is an example of how certain ideals (courtly love, chivalry) are undercut in the text. The interplay between the Miller and the Host (and the narrator) in the prologue to his tale (the frame narrative), serves to contextualize “The Miller’s Tale” as a response to the “ideals” both stylistic and social, articulated in “The Knight’s Tale.” The narrator also acts as commentator on the dialogue between the characters and the content of their tales. The narrator’s commentary is not objective, however, and because of this it exposes some of the inconsistent or illogical assumptions embedded within the societal structure (the estate system; chivalry etc…). For example, in the General Prologue, the narrator comments that the Knight is a “worthy man” (A 43) and is also “meeke as is a mayde” (A 69). Yet, the narrator also catalogues every battle the “verray parfit, gentil knyght” (A 73) has taken part in â€" many of which paint the Knight in a less than favourable light. The narrator notes that the Knight has worked as a mercenary in wars between two Islamic powers (A 64-66) and took part in the slaughter of the Christian population of Alexandria (A 51). Yet, the narrator never comments negatively about these facts and continues to insist upon the “gentleness” and “meekness” of a knight that has killed more than fifteen human beings for money (A 61). The absence of a negative judgment by the narrator acts as an implicit commentary on the “ideals” surrounding knightly behaviour â€" honour, truth, freedom, chivalry (A 46) â€" and the realities of it; it also informs the reader about the character of the narrator himself. The juxtaposition of the narrator’s commentary with the reality implied by the facts of the Knight’s endeavours illustrates the superficiality of the General Prologue’s “unity” and “fellowship”; it also illustrates how the frame narrative (which gives the narrator his rationale for commenting on the Knight) works to challenge idealized societal assumptions obliquely. The narrator’s commentary on the Miller also reveals a lack of objectivity; he states that the Miller “tolde his cherles tale in his manere” (A 3169) and both apologizes for the ensuing tale and tells the reader that they should “Turne over the leef and chese another tale” (A 3177) if they want to read about morality and holiness. At the very least, the apologizing by the narrator reveals a tension between himself and the Miller (not present with the Knight) that undercuts the assumptions of unity and fellowship posited in the General Prologue. While the Miller is self-admittedly drunk, the narrat or’s attempt to dissuade the reader from reading the Miller’s tale â€" both via his negative characterization of the Miller and his tale, and through his stating that there are other tales focusing on virtue and holiness later in the text (implying these are worthier of reading) â€" can be interpreted as an active attempt to impose order on the Miller by encouraging readers to avoid his tale, and thereby silencing him. The frame narrative therefore, in linking the tales and their tellers together, allows for the characters to interact with one another, so that the tales do not simply inform us about who the characters are, but also about how they feel about one another. The tales, the frame, the characters and the narrator, all work together to present a world of conflicting views, hypocrisy and resentment, where fixed assumptions about etiquette, morality and social standing are all coming under increasing pressure. The overall structure of The Canterbury Tales allows for competing viewpoints to be expressed by members of the various estates and professions of society â€" even the narrator becomes involved in this process. These often-conflictual perspectives challenge the notion of unity and wholeness insisted upon in the General Prologue. Work Cited: Chaucer, G. “The Canterbury Tales.” Chaucer to Spenser: An Anthology, edited by Derek Pearsol, Wiley-Blackwell Publishing, 1999,79-164. Unity, Identity and Fellowship in Chaucers The Canterbury Tales Unity, Identity and Fellowship in Chaucers The Canterbury Tales Unity, Identity and Fellowship in Chaucers The Canterbury Tales Academic Discipline: English Course Name: Chaucer Assignment Subject: Unity, Identity and Fellowship in Chaucers The Canterbury Tales Academic Level: Undergraduate Referencing Style: MLA Word Count: 2,110 In the opening of the General Prologue to “The Canterbury Tales,” Geoffrey Chaucer’s narrator (Geoffrey Chaucer) emphasizes the unity, fellowship and common identity of the pilgrims about to set forth on a journey to the shrine of Saint Thomas á Becket in Canterbury, southeast of London (A 23-26). This insistence on unity and wholeness is important because Chaucer’s text attempts to capture the entirety of medieval English society; the three estates â€" the nobility, the clergy and the commoners â€" are all represented, but the assumptions embedded within this (generally) fixed social hierarchy (spiritually, politically and in terms of gender assumptions) represented by the three estates is problematized as the text develops. In fact, the emphasis on companionship and a common identity revealed in the opening of the General Prologue serves as a counterpoint to the social tensions revealed through the interplay of the tales, their tellers, and the frame narrative. This paper will briefly illustrate how the frame narrative, the pilgrims, and their tales work to comment on the assumptions of unity, fellowship and common identity insisted upon by the narrator in the General Prologue. A brief explanation will also be given as to why the frame narrative structure employed by Chaucer in The Canterbury Tales is particularly well-suited to representing the whole of late fourteenth century English society. The frame narrative employed by Chaucer is, in the simplest sense, a story utilized to contextualize a series of smaller stories or tales. The story of the frame narrative is that twenty-nine pilgrims have met in the Tabard Inn in South London before heading off on their journey to the shrine of Saint Thomas á Becket in Canterbury (A 20-27). Their host at the tavern offers to provide the pilgrims with a game to kill time on the way to the shrine; he proposes that each of the pilgrims tell four tales, two on the way to the shrine, two on the way back (in actual fact, each pilgrim tells only one tale; the tales were condensed and the return journey was never written by Chaucer) (A 790-795). The host â€" who decides to act as the pilgrims’ guide on the journey â€" then states that the pilgrim whom he judges to have told the tales “. . . of best sentence and moost solaas” (A 798), will have supper at his tavern at the other pilgrim’s cost (A 799-800). The framing narrative, the refore, allows each pilgrim â€" each representing a member of English society â€" a chance to express themselves; to this end, the narrator makes an (apologetic) point of stating that he will recount the tales exactly as told by the pilgrims, regardless of how vulgar they might be (A 725-736). Thus, the framing narrative allows Chaucer to explore the character of each pilgrim, both through the tales they tell and through the commentary they provide to each other’s tales. Also, the framing narrative structure works to allow Chaucer to add or remove pilgrims as he sees fit (allowing for him to create a more all-encompassing portrait of medieval English society). If Chaucer thinks of a new pilgrim not mentioned in the General Prologue, he can simply have them ride up and join the rest of the pilgrims during the journey. The framing narrative works to reveal the societal tensions hidden beneath the veneer of unity presented in the opening of the General Prologue. These tensions are revealed in the apologetic stance taken by the narrator in regard to both the potential for vulgarity in the tales and his inability to present the tales in order of social rank (A 743-746) â€" a point which initially seems to become less relevant when the Knight (the highest-ranking pilgrim) wins the right to tell his tale first (A 835-846). The Knight, as the highest-ranking pilgrim (itself a problematic point, given that Christ was both poor and common â€" and given that Christianity is based on both humility and the universal equality of the human soul), decides to tell a romance â€" a “high” form of literature, befitting his position as a noble. Thus, even the literary style of the tale can be seen as commentary; this becomes especially clear when the (drunken) Miller reacts negatively against the content of “Th e Knight’s Tale.” The Miller’s interjection is important for a number of reasons. The Miller disrupts the social hierarchy â€" the Host, upon the completion of “The Knight’s Tale,” asks the Monk (an attempt to respect social hierarchy; the monk is a member of the clergy) to match “The Knight’s Tale” with one of his own (A 3118-3119) â€" and will not be silenced, even threatening to leave the journey if he is not allowed to speak (another instance wherein the interplay of the frame narrative and the tales facilitate the dialogue and reveal the social tensions between the characters) (A 3132-3133). “The Miller’s Tale” â€" his vision of what really constitutes courtly love â€" is told in the form of a fablieaux, a “low” form of literature befitting his common status. Thus, the Miller’s interjection, facilitated by the frame narrative structure linking the tales, also serves to present a stylistic juxtaposition between high and low forms of literature; the dialogue between the characters is mirrored in the dialogue between literary styles. The stylistic juxtaposition, combined with the characters (their social rank and gender), combined with the frame narrative which allows this interplay to take place, presents a more complete and realistic picture (both socially and artistically) of the “wholeness” of medieval England, while simultaneously undercutting the notions of “unity” and “fellowship” posited by the narrator in the General Prologue. It is through the contrivance of the frame narrative (the idea that a member from each societal rank and vocation wo uld gather together and travel on a pilgrimage is contrived in that it is highly unlikely that this would happen in reality) that these characters are allowed to engage directly with one another. The Miller, a commoner, is here given an opportunity to challenge a member of the aristocracy; the Miller’s refusal to respect the social hierarchy â€" the Host wants to find “Som better man” (A 3130) than Miller to match “The Knight’s Tale” â€" illustrates in a microcosmic fashion, the societal tensions then at play in late fourteenth century England at large; there was a major peasant’s revolt in England in1381 (Britannia Web site: History: Docs: Peasant n. pag). “The Miller’s Tale” also contrasts with “The Knight’s Tale” in terms of content. “The Miller’s Tale” â€" stylistically low â€" interprets love as something physical, while “The Knight’s Tale” â€" stylistically high â€" interprets love as something remote. “The Miller’s Tale” is very sensual â€" the characters of Nicholas and Absalom are motivated by lust (though they do eventually “fall in love”); Nicholas’ pursuit of Alison is further complicated by the fact that she is married to a carpenter named John. When Nicholas finally wins her over, they make love in her husband’s bed (A 3651-3656). “The Miller’s Tale” is meant to be funny, contemporary and populated with realistic characters (a fablieaux). It therefore, presents a stark contrast to “The Knight’s Tale,” which is set in a distant past, concerns morality and virtue and involves aristocratic characters (a romance). In “The Knight’s Tale,” the two young knights fall in lov e with a young woman from afar â€" first with her beauty (A 1098-1100; A 1114-1115) and then with her virtue; unlike “The Miller’s tale,” “The Knight’s Tale” lacks any sense of physicality or sensuality in the nature of love â€" it is highly formalized. The two knights spend years loving Emily from a distance (in this case because they are locked in prison), they have no idea who she is, only that they love her (based on her beauty) and that they will fight each other to the death to have her (A 1592-1621). The content of the two tales, therefore, engage in a kind of dialogue with one another. Both knights in “The Knight’s Tale” objectify Emily; even the Gods tell her that she must wed one of the two young knights, though she wishes to remain a virgin (A 2348-2352). In “The Miller’s Tale” the reader is given an example of what can happen when a man marries a woman as an object. John is old and his wife Alison is only eighteen (A 3223-3227). John is characteri zed as viewing himself as a cuckold and as having fallen into a snare (A 3226; A 3231). John’s humiliation in the tale illustrates the consequences of a marriage devoid of physical attraction; Alison and John are married because he is wealthy â€" he does not love her as a person; he “heeld hire narwe in cage” (A 3224) â€" and he values Alison as an object to be coveted. Here again, in the dialogue between the tales, their tellers and the frame narrative, is an example of how certain ideals (courtly love, chivalry) are undercut in the text. The interplay between the Miller and the Host (and the narrator) in the prologue to his tale (the frame narrative), serves to contextualize “The Miller’s Tale” as a response to the “ideals” both stylistic and social, articulated in “The Knight’s Tale.” The narrator also acts as commentator on the dialogue between the characters and the content of their tales. The narrator’s commentary is not objective, however, and because of this it exposes some of the inconsistent or illogical assumptions embedded within the societal structure (the estate system; chivalry etc…). For example, in the General Prologue, the narrator comments that the Knight is a “worthy man” (A 43) and is also “meeke as is a mayde” (A 69). Yet, the narrator also catalogues every battle the “verray parfit, gentil knyght” (A 73) has taken part in â€" many of which paint the Knight in a less than favourable light. The narrator notes that the Knight has worked as a mercenary in wars between two Islamic powers (A 64-66) and took part in the slaughter of the Christian population of Alexandria (A 51). Yet, the narrator never comments negatively about these facts and continues to insist upon the “gentleness” and “meekness” of a knight that has killed more than fifteen human beings for money (A 61). The absence of a negative judgment by the narrator acts as an implicit commentary on the “ideals” surrounding knightly behaviour â€" honour, truth, freedom, chivalry (A 46) â€" and the realities of it; it also informs the reader about the character of the narrator himself. The juxtaposition of the narrator’s commentary with the reality implied by the facts of the Knight’s endeavours illustrates the superficiality of the General Prologue’s “unity” and “fellowship”; it also illustrates how the frame narrative (which gives the narrator his rationale for commenting on the Knight) works to challenge idealized societal assumptions obliquely. The narrator’s commentary on the Miller also reveals a lack of objectivity; he states that the Miller “tolde his cherles tale in his manere” (A 3169) and both apologizes for the ensuing tale and tells the reader that they should “Turne over the leef and chese another tale” (A 3177) if they want to read about morality and holiness. At the very least, the apologizing by the narrator reveals a tension between himself and the Miller (not present with the Knight) that undercuts the assumptions of unity and fellowship posited in the General Prologue. While the Miller is self-admittedly drunk, the narrat or’s attempt to dissuade the reader from reading the Miller’s tale â€" both via his negative characterization of the Miller and his tale, and through his stating that there are other tales focusing on virtue and holiness later in the text (implying these are worthier of reading) â€" can be interpreted as an active attempt to impose order on the Miller by encouraging readers to avoid his tale, and thereby silencing him. The frame narrative therefore, in linking the tales and their tellers together, allows for the characters to interact with one another, so that the tales do not simply inform us about who the characters are, but also about how they feel about one another. The tales, the frame, the characters and the narrator, all work together to present a world of conflicting views, hypocrisy and resentment, where fixed assumptions about etiquette, morality and social standing are all coming under increasing pressure. The overall structure of The Canterbury Tales allows for competing viewpoints to be expressed by members of the various estates and professions of society â€" even the narrator becomes involved in this process. These often-conflictual perspectives challenge the notion of unity and wholeness insisted upon in the General Prologue. Work Cited: Chaucer, G. “The Canterbury Tales.” Chaucer to Spenser: An Anthology, edited by Derek Pearsol, Wiley-Blackwell Publishing, 1999,79-164.

Real Business Cycle Theory and Demand Shocks Cycle Free Essay Example, 1750 words

Real business cycle models are characterized by a neglect of demand shocks and highlight technological productivity shocks that are the primary source of economic fluctuations. The strong assumptions of supply-driven dynamics and demand determined influences are considered in accordance with real business cycle theory. According to Entorf (1992), the backward propagation mechanism of demand shocks dominates the forward propagation of supply disturbances .In certain cases, business cycles are hit by productivity shocks that in turn affect consumer expectations and this has all the features of an aggregate demand shock that increases output, employment, and inflation. Productivity shock tends to have a temporary negative effect on inflation and employment (Lorenzoni, 2006). A demand shock is captured by a shift in consumer expectations and a disruption in market equilibrium or market adjustment that leads to a demand detriment and shifts in the demand curve. A demand shock can repres ent demand increase or demand decrease and an increase in demand is seen as a shift of the demand curve resulting in either increase or decrease of equilibrium quantity and price. According to Lorenzoni (2006), demand shocks can be related to changes in public sector expectations and productivity shocks can be associated with aggregate supply shocks. We will write a custom essay sample on Real Business Cycle Theory and Demand Shocks Cycle or any topic specifically for you Only $17.96 $11.86/pageorder now In the certain traditional Keynesian description and business cycle theories and models, the demand shocks or sudden growth in demand of products and services actually drive growth and business cycle and bring about changes in the market ad economy. For the real business cycle model which is seen as different and quite opposed to the demand shock cycle, the focus is on supply rather than demand and real business cycle highlights the fact that shocks or economic variations are driven by technological changes and technological or supply shocks in which there are rapid fluctuations of supply-driven by changes in technology.

Prominence of Desire and Loss in Romantic Literature Essay

The Prominence of Desire and Loss in Romantic Literature Romanticism is defined as â€Å"a sweeping but indispensable modern term applied to the profound shift in Western attitudes to art and human creativity that dominated much of European culture in the first half of the 19th century, and that has shaped most subsequent developments in literature--even those reacting against it† (Baldick). Though the time period that American Romanticism spans is rather vast and many of the literary works that spark out of this movement are unique in themselves, various unifying elements are present in these texts that categorize them as Romantic works. These elements, sometimes referred to as the â€Å"Romantic Spirit,† consist of principles such†¦show more content†¦Desire first presents itself in this letter by Columbus’ longing to conquer the land. This can be seen as he states, â€Å"And there I found very many islands filled with people innumerable, and of them all I have taken possession for their high ness, by proclamation made and with the royal standard unfurled, and no opposition was offered to me† (Columbus, â€Å"Luis† 12). Certainly, it is noticeable that Columbus enjoys this conquering of the land, especially in the latter portion of the statement, as he seems to offer the information about having no opposition as a tribute to his own greatness. Yet, his desire does not end here. Despite his excitement over the discovery and naming of these islands, it is no longer enough for him, and desire for more land tugs at his heart. Columbus, as if some land from afar is calling out to him, sends two of his men â€Å"inland to learn if there were a king or great cities† (Columbus, â€Å"Luis† 12). When they return with no news of such a land, desire rears its head again. Although he could have given up after their findings, Columbus decides not to do so. Instead, he follows the island’s coastline eastward and discovers another island, which he names â€Å"Espaà ±ola† (Columbus, â€Å"Luis† 12). Columbus views this island as the completeness of nature, meaning the total convergence of anything that people could hope for in their dreams. He describes Espaà ±ola with an utmostShow MoreRelatedThe New Idea Of Romanticism1745 Words   |  7 Pagesrevolution. Nostalgia became a topic, desire and will for personal motivation was accentuated, and this era became a profound social and cultural change that radically transformed everyday lives. Many individuals in this time liberated changes in the arts, like William Wordsworth, a writer born in 1770, who was one of the most prominent writers in the Romantic Era who stressed nature, and paid close attention to the physical world. 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Comparative Criticism of Two Museums Free Essays

Mark Moran Prof. Elizabeth Marlowe Masterpieces of Western Art November 8, 1999 Formal Comparison of Two Museums The Frick Collection and The Guggenheim Museum are both museums on 5th  Avenue in New York’s Upper East Side neighborhood, and they are both named for famous American tycoons from the early 20thcentury. But their similarities pretty much end there. We will write a custom essay sample on Comparative Criticism of Two Museums or any similar topic only for you Order Now The Frick Collection is the former residence of steel baron Henry Clay Frick who spent forty years assembling a large collection of artwork for his personal enjoyment. The Guggenheim Museum, on the other hand, was always intended as a public museum to display various art exhibits. These fundamental differences are most evident in the architectural design of the buildings themselves: the Frick building is a calm, warm house built for a family to live in while the Guggenheim building is a cold, public hall built to accommodate hundreds of art enthusiasts at a time. The styles of the architecture are quite different, and they reflect the very different styles of artwork inside. Furthermore, the shapes and layout of the buildings lend themselves to quite different viewing experiences for the visitor. From the outside, the only things the two buildings have in common is that they both dominate an entire block of 5th  Avenue and they are both white. The Frick building, designed by architect Thomas Hastings, was built from 1913-1914 in the neo-classical style prevalent in New York at the time. Classical arches, ionic columns, and outdoor gardens and fountains remind the viewer of an ancient Roman villa, much like fellow baron and art collector J. P. Getty’s museum in Malibu, CA. Elaborate decoration over the doorways and columns as well as ornamented atriums and statue niches further enhance the classic design and tranquil setting. The building is relatively horizontal, primarily one story that sprawls out much lower than the towering buildings which surround it. The Guggenheim building is just the opposite. Built in 1956 from architect Frank Lloyd Wright’s design, it is as much a vision of the future as Frick’s house is an homage to antiquity. The Guggenheim is a giant concrete and glass spiral designed with mathematical curves and no right ngles. The surfaces are all completely smooth and there is no decoration or ornamentation inside or out. The bizarre structure conjures up images of alien civilizations and challenges the viewer with its unusual shape. The Guggenheim resembles and upside-down wedding cake, which gives it a much more vertical feeling than the Frick, even though it is also shorter than the surrounding buildings. There are no living areas inside the Guggenheim, just one huge chamber with a long spiral that visitors are intended to wind down and view all the artwork from. Artwork is primarily installed along the large spiral, although there are also small rooms which come off the spiral ramp. Because visitors take the elevator to the top, they have nowhere to go but to follow the spiral down. This ensures that they see the artwork in a specific order and provides the satisfying feeling that the viewer has seen all there is to see. The Frick, however, has no set order. Even though some modifications were made by architect John Russell Pope in the 1930’s to convert it for public use, the building largely retains the feeling of a house. Just as one would expect of a house, it is a mixture or narrow hallways, living areas, large banquet rooms, and outdoor courtyards which sprawl out in various directions from the entryway. The rooms are designed for comfort and practical living, not for efficiently taking a tour. Visitors are encouraged to wander through the rooms in any particular order without guidebooks, simply enjoying the pieces as Frick himself did. This provides a relaxing and laid back setting for viewing the assorted artwork inside, but also leaves the visitor unsure of when he has finished seeing the entire collection. Since the collection doesn’t change much, seeing it all is not the point. Relaxing in the setting is. This very different interior designs demonstrate the different priorities of the museums. The Frick Collection is primarily static; that is, it is almost entirely the varied artwork collected by Frick himself (although there is a small area in the basement for temporary exhibits). There is no unifying theme of the pieces inside and Japanese vases sit right beside European paintings. Frick’s goal was to collect pieces of art that he found pleasant to live with, regardless of their genre or origin. For this reason, he had a house built to hold his artwork rather than a museum, even though he always intended to eventually bequeath it as a public collection. The Guggenheim, on the other hand, transforms itself every several months as it rotates in a new exhibit. One month it may be almost entirely 20th  century French paintings and the next month mostly Harley-Davidson motorcycles. That permanent collection of the Guggenheim is relatively small and not its main focus. The main focus of the Guggenheim is to show off a particular theme or genre of artwork assembled by professional museum curators. Since the exhibits only last a few months, the museum encourages repeat viewers who benefit from the spiral design that allows them to efficiently see the entire new show. What is consistent about that Guggenheim’s exhibits is that they are generally modern and challenging, just like the building. The design of the Frick residence is to inspire tranquility. The painting, sculpture, furniture, and pottery range from the Renaissance to the late 19th  century, and there are no violent or startling works in the collection. The building’s layout, from the peaceful fountains to the elegant columns and niches all enforce a feeling of serenity inside the building and out in its gardens. The constantly changing Guggenheim strives to do just the opposite. It’s goal is to be thought-provoking and shocking which is emphasized by its strange structure and lack of benches and resting areas, which are abundant in the Frick. Because Frick’s artwork is pre-20thcentury and somewhat traditional by today’s standards, the mansion built to house the works was designed to be as classical as possible. The building itself is a classically inspired artwork. Likewise, the Guggenheim building is an abstract, thought-provoking piece of 20th  century artwork. The Guggenheim Museum and the Frick Collection are two of New York’s most famous museums. They have fundamentally different architectural designs, both inside and out, that reflect and enhance the different goals of the museums. And yet, they both interact with their environments in a similar manner. Neither building is a large rectangle like the apartment buildings and consulate offices that tower over them. Their unusual designs which dominate entire blocks instead suggest buildings that are open to the public, just as libraries or churches do. Neither of them blends in with the surrounding buildings, and yet each one elegantly faces Central Park and adds to the neighborhood’s overall harmony. The unique shapes of these museums invite passersby to marvel at them and perhaps to come in and admire the artwork, or at least browse through the gift shops. In this sense, the different architecture of these buildings, one classical and one futuristic, produce a similar emotion in the viewer and thus achieve the same goal. How to cite Comparative Criticism of Two Museums, Essay examples

Rc lab report Essay Example

Rc lab report Paper Then the current ceases and the capacitor is fully charged. C Fig. 1 . A capacitor in series with a resistor. The left figure represents the circuit before the switch is closed, and the right after the switch is closed at t=O. The question arises on how does the current in the circuit vary with time while the capacitor is being charged. To answer this, we will apply Kerchiefs second rule, the loop rule, after the switch is closed EIR where q/C is the potential difference between the capacitor plates. We can rearrange this equation as The above equation contains two variables, q and i, which both change as a unction of time t. To solve this equation we will substitute for i dot q q This is the differential equation that describes the variation with time of the charge q on the capacitor shown in Fig. 1. This dependence can be found as follows. We will rearrange the equation to have all terms involving q on the left side and those with t on the right side. Then we will integrate both sides (q -CE)ARC q It q CE In ( ARC -CE (7) where e is the base of the natural logarithm. To find the current i(t) we will substitute for q in CEQ. 3 formula 8. The derivation of q is E-t/ARC where 10 = E/R is the initial current in the circuit. We will write a custom essay sample on Rc lab report specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Rc lab report specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Rc lab report specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Fig. 2. Charge vs Time during charging Fig. 3. Current vs Time during charging Plots of the charge and the current versus time are shown in Figs. 2 and 3. The charge is zero at and approaches the maximum value of CE. The current has the maximum value of lo=E/R at and decays exponentially to zero as t . The product ARC appears in both equations and has the dimension of time. The exponents in those equations must be dimensions. ARC is called the time constant of the circuit and is represented by the symbol r. It is the time in which the current in the circuit has decreased to Lie of the initial value. Likewise, in a time the charge increases from zero to C E(el-l). The potential across the resistor will change as (10) and across the capacitor as q PVC = (11) Both functions change in time as exponential functions with the time constant t=ARC. Discharging a capacitor. Assume that the capacitor in Fig. 1 is fully charged and the potential across the capacitor is equal that of the battery. At time the switch is thrown from a to b so that the capacitor can discharge through resistor R. Substituting in CEQ. 4 we can write the discharging equation: (12) The solution for this equation is = Joe (13) The current can be obtained by differentiating CEQ. 3 i(t)= = ole (14) The minus sign indicates that the direction of the discharge current is in the direction opposite to the charging current. Both functions, q(t) and i(t), decay exponentially with the same time constant = ARC. The potential IVR across the resistor is given by (15) and the potential across the capacitor, PVC, changes in time as ) TTL PVC(t)- (16) Fig. 4. Resistor-capacitor network 2. Procedure The time constant t may be determined experimentally either during charging or discharging of the capacitors. You will use the R-C network shown in Fig. The switches allow you to select different combinations of resistors and capacitors. The positions of the switches shown in Fig. 4 result in the ARC circuit with . Ox Q and C=O. XX-6 F, compare Fig. 5. Fig. 5. ARC circuit corresponding to the positions of the switches in Fig. 4. To charge the capacitor you will use a DC Power Supply, Paso model 9049. Select the 30 V range. T he R-C network is designed to work only within this range. The VARIABLE control turns the power supply on and varies the voltage from O to IV. The output voltage can be read on the bottom scale of the meter. The output terminals have different colors, black for negative terminal and red for positive. Green terminal is only for 500 and 1000 V ranges do not use it!! Charging a capacitor. Set the circuit as shown in Fig. 6. Select a resistor R and a capacitor C. Attached the electrocuted to measure the voltage across the capacitor. Close the switch and start the timer. At regular time intervals record the capacitor voltage. Fig. 6. Experimental set up to charge a capacitor. Discharging a capacitor. Charge the capacitor to the initial potential of 30 VIDE. Disconnect the power supply and close the circuit by sliding the switch to he bottom position. Simultaneously start the timer. Use the electrocuted to measure the voltage across the capacitor at the same time intervals. Repeat point (1) for other values of R and C. 3. Repeat the experiment by charging and discharging capacitors as in (1 ) and (2) but this time measure the voltage across the resistor. According to Ohms law, potential is proportional to resistance multiplied by current. Hence, the potential across the resistor is proportional to the charging current. 3. Report Plot logarithm of the capacitor voltage during charging versus time for different ambitions of R and C.