E Business essays

E Business essays A typical infrastructure of any technological system' would serve to connect all the various components that make up the entire structure and provide information on links between each of the elements. In the infrastructure of systems', the computer network as well as the information network would make up the structure of the business. The various elements are generally entire networking software, and a hardware system made up of computers, servers, modems, hubs, and any form of wireless technology. The building in which the business is to be housed will consist of the building infrastructure' that will be made up of the system that will support the information technology network system. This will be made up of electrical cables and wires, conduits, and electricity that will help in the functioning of all the above listed components, as well as for the safety measures of fire alarms, etc. The most important component of any business is the human element, and this third component makes up the personnel infrastructure'. These skilled people serve to provide the basic infrastructure of the business. This group is comprised of personnel involved in training, network management, technical help and assistance wherever necessary, the development and creation of the content of the course, the support given to learners or beginners, and help in administration. (Part 3- Technology Infrastructure Issues) It is important to know what the advantages of an e-business are and how income is generated when a person want to start an e-business of his own. The best part of an e-business is that the principles of this business can be applied to a business that is already in existence, and also for a newly starting up business. This is a business whereby access to customers becomes easi...

USS Ranger CV-4 World War II Aircraft Carrier

USS Ranger CV-4 World War II Aircraft Carrier USS Ranger (CV-4) Overview Nation: United StatesType: Aircraft CarrierShipyard: Newport News Shipbuilding Drydock CompanyLaid Down: September 26, 1931Launched: February 25, 1933Commissioned: June 4, 1934Fate: Scrapped Specifications Displacement: 14,576 tonsLength: 730 ft.Beam: 109 ft., 5 in.Draft: 22 ft., 4.875 in.Propulsion: 6 Ãâ€" boilers, 2 Ãâ€" Westinghouse geared steam turbines, 2 Ãâ€" shaftsSpeed: 29.3 knotsRange: 12,000 nautical miles at 15 knotsComplement: 2,461 men Armament 8 Ãâ€" 5 in./25 cal anti-aircraft guns40 Ãâ€" .50 in. machine guns Aircraft 76-86 aircraft Design Development In the 1920s, the US Navy commenced the construction of its first three aircraft carriers. These efforts, which produced USS Langley (CV-1), USS Lexington (CV-2), and USS Saratoga (CV-3), all involved the conversion of existing hulls into carriers. As work on these ships progressed, the US Navy began designing its first purpose-built carrier. These efforts were constrained by the limits imposed by the Washington Naval Treaty which capped both the size of individual ships and the total tonnage. With the completion of Lexington and Saratoga, the US Navy had 69,000 tons remaining which could be assigned to aircraft carriers.   As such, the US Navy intended for the new design to displace 13,800 tons per ship so that five carriers could be constructed. Despite these intentions, only one ship of the new class would actually be built.    Dubbed USS Ranger (CV-4), the new carriers name hearkened back to the sloop of war commanded by Commodore John Paul Jones during the American Revolution. Laid down at the Newport News Shipbuilding and Drydock Company on September 26, 1931, the carriers initial design called for an unobstructed flight deck with no island and six funnels, three to side, that were hinged to fold horizontally during air operations. Aircraft were housed below on a semi-open hangar deck and brought to the flight deck via three elevators. Though smaller than Lexington and Saratoga, Rangers purpose-built design led to an aircraft capacity that was only marginally less than its predecessors. The carriers reduced size did present certain challenges as its narrow hull required the use of geared turbines for propulsion.   As work on Ranger progressed, alterations to the design occurred including the addition of an island superstructure on the starboard side of the flight deck. The ships defensive armament consisted of eight 5-inch guns and forty .50-inch machine guns. Sliding down the ways on February 25, 1933, Ranger was sponsored by First Lady Lou H. Hoover. Over the next year, work continued and the carrier was completed. Commissioned on June 4, 1934 at the Norfolk Navy Yard with Captain Arthur L. Bristol in command, Ranger commenced shakedown exercises off the Virginia Capes before beginning air operations on June 21. The first landing on the new carrier was conducted by Lieutenant Commander A.C. Davis flying a Vought SBU-1. Further training for Rangers air group was conducted in August. Interwar Years Later in August, Ranger departed on an extended shakedown cruise to South America which included port calls at Rio de Janeiro, Buenos Aires, and Montevideo. Returning to Norfolk, VA, the carrier conducted operations locally before receiving orders for the Pacific in April 1935. Passing through the Panama Canal, Ranger arrived at San Diego, CA on the 15th. Remaining in the Pacific for the next four years, the carrier took part in fleet maneuvers and war games as far west as Hawaii and as far south as Callao, Peru while also experimenting with cold weather operations off Alaska. In January 1939, Ranger departed California and sailed for Guantanamo Bay, Cuba to participate in winter fleet maneuvers. With the completion of these exercises, it steamed to Norfolk where it arrived in late April. Operating along the East Coast through the summer of 1939, Ranger was assigned to the Neutrality Patrol that fall following the outbreak of World War II in Europe. The initial responsibility of this force was to track warlike operations of combatant forces in the Western Hemisphere. Patrolling between Bermuda and Argentia, Newfoundland, Rangers seakeeping ability was found lacking as it proved difficult to conduct operations in heavy weather. This issue had been identified earlier and helped contribute to the design of the later Yorktown-class carriers. Continuing with the Neutrality Patrol through 1940, the carriers air group was one of the first to receive the new Grumman F4F Wildcat fighter that December. In In late 1941, Ranger was returning to Norfolk from a patrol to Port-of-Spain, Trinidad when the Japanese attacked Pearl Harbor on December 7. World War II Begins Departing Norfolk two weeks later, Ranger conducted a patrol of the South Atlantic before entering drydock in March 1942. Undergoing repairs, the carrier also received the new RCA CXAM-1 radar. Deemed too slow to keep up with newer carriers, such as USS Yorktown (CV-5) and USS Enterprise (CV-6), in Pacific, Ranger remained in the Atlantic to support operations against Germany. With the completion of repairs, Ranger sailed on April 22 to deliver a force of sixty-eight P-40 Warhawks to Accra, Gold Coast. Returning to Quonset Point, RI in late May, the carrier conducted a patrol to Argentia before delivering a second cargo of P-40s to Accra in July. Both shipments of P-40s were destined for China where they were to serve with the American Volunteer Group (Flying Tigers). With the completion of this mission, Ranger operated off Norfolk before joining four new Sangamon-class escort carriers (Sangamon, Suwannee, Chenango, and Santee) at Bermuda. Operation Torch Leading this carrier force, Ranger provided air superiority for the Operation Torch landings in Vichy-ruled French Morocco in November 1942. Early on November 8, Ranger began launching aircraft from a position approximately 30 miles northwest of Casablanca. While F4F Wildcats strafed Vichy airfields, SBD Dauntless dive bombers struck at Vichy naval vessels. In three days of operations, Ranger launched 496 sorties which resulted in the destruction of around 85 enemy aircraft (15 in the air, approx. 70 on the ground), the sinking of the battleship Jean Bart, severe damage to the destroyer leader Albatros, and attacks on the cruiser Primaugut. With the fall of Casablanca to American forces on November 11, the carrier departed for Norfolk the next day. Arriving, Ranger underwent an overhaul from December 16, 1942 to February 7, 1943. With the Home Fleet Departing the yard, Ranger carried a load of P-40s to Africa for use by the 58th Fighter Group before spending much of the summer of 1943 conducting pilot training off the New England coast. Crossing the Atlantic in late August, the carrier joined the British Home Fleet at Scapa Flow in the Orkney Islands. Putting out on October 2 as part of Operation Leader, Ranger and a combined Anglo-American force moved towards Norway with the goal of attacking German shipping around Vestfjorden. Avoiding detection, Ranger began launching aircraft on October 4. Striking a short time later, the aircraft sank two merchant vessels in Bodo roadstead and damaged several more. Though located by three German aircraft, the carriers combat air patrol downed two and chased off the third. A second strike succeeded in sinking a freighter and a smaller coastal vessel. Returning to Scapa Flow, Ranger commenced patrols to Iceland with the British Second Battle Squadron. These continued until late November when the carrier detached and sailed for Boston, MA. Later Career Too slow to operate with the fast carrier forces in the Pacific, Ranger was designated as a training carrier and ordered to operate out of Quonset Point on January 3, 1944. These duties were interrupted in April when it transported a cargo of P-38 Lightning to Casablanca. While in Morocco, it embarked several damaged aircraft as well as numerous passengers for transport to New York. After arriving in New York, Ranger steamed to Norfolk for an overhaul. Though Chief of Naval Operations Admiral Ernest King favored a massive overhaul to bring the carrier on par with its contemporaries, he was discouraged in following through by his staff who pointed out that the project would draw resources away from new construction. As a result, the project was limited to strengthening the flight deck, installation of new catapults, and improving the ships radar systems. With the completion of the overhaul, Ranger sailed for San Diego where it embarked Night Fighting Squadron 102 before pressing on to Pearl Harbor. From August to October, it conducted night carrier flight training operations in Hawaiian waters before returning to California to serve as a training carrier. Operating from San Diego, Ranger spent the remainder of the war training naval aviators off the California coast. With the end of the war in September, it transited the Panama Canal and made stops at New Orleans, LA, Pensacola, FL, and Norfolk before reaching the Philadelphia Naval Shipyard on November 19. After a brief overhaul, Ranger resumed operations on the East Coast until being decommissioned on October 18, 1946. The carrier was sold for scrap the following January. Selected Sources DANFS: USS Ranger (CV-4)Air Group 4: USS RangerMilitary Factory: USS Ranger (CV-4)

American Imperialism and American Democracy Article

American Imperialism and American Democracy - Article Example The case of American regional imperialism is perhaps most evident when it comes to Latin America. Of course it remains quite obvious that American governments have always had a role to play in international politics even though they had been warned by their greatest leader not to interfere in the matters of other nations. Buschini (2000) notes the American influence over the Middle East as well as Latin America and notes that in historical terms, â€Å"Between the end of the Spanish-American War and the dawn of the Great Depression, the United States sent troops to Latin American countries thirty-two times (Buschini, 2000, Pg. 1)†. The consequences for such actions both home and abroad only became clear when the changes to the Latin American politics became evident. For the American people, intervention and the idea of sending soldiers to fight and die in a foreign land had to be given some explanation. This explanation came from the Monroe Doctrine as it was fed to the public by Roosevelt and other presidents who did not see imperialism as imperialism. In fact, American intervention was seen as necessary, a positive force for change and the American people were taught to see themselves as liberators as well as the protectors of democracy (Kinzer, 2006). As a consequence of having imperialist policies, America was made out in the media to be the defender of civilization in a world which was full of chronic wrongdoing and mischief done by others. The nobility of the American government was essentially a myth fed to the people and many of them gladly accepted it as fact. In this manner, even in a democratic society, a government which was hesitant to intervene in the matters of other nations would be seen as lacking the courage to make strong decisions (Kinzer, 2006). For governments willing to intervene, the idea of bringing democratic values to other

Feminist Art Review of Cindy Sherman Self-Portrait Essay

Feminist Art Review of Cindy Sherman Self-Portrait - Essay Example Perhaps the most seminal artist operating in this cultural milieu is Cindy Sherman. Sherman’s art presents a multitude of perspectives on the self, interrogating identity, experience, and femininity in the postmodern world. This essay examines Sherman’s self-portrait Untitled Film Still 53 arguing that it presents a comprehensive response to mainstream perspectives on identity and actively resists the male gaze. Analysis While Cindy Sherman’s work almost exclusively explores conceptual portraits, her most notable collection is the Untitled Film Stills, 1977–1980. Within the context of this collection critics have divided the portraits into a variety of themes, still it’s clear that are a number of concerns that underline all these modes of representation. One of the most emblematic portraits of this collection is Sherman’s Untitled Film Still #53. From a strictly literal perspective, this work is a photographic portrait of Sherman wearing a b londe wig. Her eyes are slanted indifferently to the left. She is standing in front of a concrete wall that is blurred from view by the brightness of a light and photographic development techniques. While this portraiture presentation is ostensibly simplistic in meaning, further analysis reveals a number of deeper meanings. In deconstructing traditional representations of identity Sherman’s Untitled Film Still #53 resorts to one of the most pervasive constructors of identity – the cinema. Indeed, it’s been noted that in the, â€Å"early work by Cindy Sherman†¦she reconstructs the codes of the representation of femininity in cinema† (Jones, pg. 90). Within the context of this portrait one witnesses the co-optation of many elements of film noir cinema. In these regards, the low-key lighting and blurred focus are much in-line with this genre. While the photograph represents a recreation of this 1940s and 1950s aesthetic, the nature of it being a second- order representation is such that it leads individuals to question the nature of these early and mid-20th century forms of gender and identity construction. It’s noted that, â€Å"The intellectual woman looks and analyzes, and in usurping the gaze she poses a threat to an entire system of representation† (Jones, pg. 67). Such an understanding reveals perhaps the central meaning behind this specific portrait and Sherman’s larger body of work, namely that the artist has implemented conceptual portraits in a post-modern paradigm to interrogate previously held notions of truth and reality. Another prominent investigation of identity in this portrait is through interrogation of the male gaze. Feminist theory contains a strong emphasis on the representation of women in television and film, with Laura Mulvey’s the gaze a prominent area of consideration. Within Sherman’s portrait it’s clear she is exploring this feminist concern in a variety of ways . One prominent understanding, as is characteristic of Sherman’s Untitled Film Stills, is that, â€Å"Sherman has posed herself as embodied object, photographically frozen within gendered positions of vulnerability† (Jones, pg. 323). When one examines this within the outward representation of the photographic image, one of the major considerations is the mid-20th century costume and body language. Sherman’

Free College Admissions Essays: Passion for Economics :: College Admissions Essays

My Passion for Economics    The crucial importance and relevance of economics related disciplines to the modern world have led me to want to pursue the study of these social sciences at a higher level. My study of Economics has shown me the fundamental part it plays in our lives and I would like to approach it with an open mind - interested but not yet fully informed.    Having spent half of my life in India I have direct experience of two very different lifestyles making me more eager and enthusiastic to investigate other ways of life from a macro perspective. After completing my A-Levels, I hope to travel to Germany with a few friends in order to find out more of this culture and improve my German. Due to my different experiences, I am multilingual and can speak fluent Hindi and Gujarati.    In the Sixth Form, I regularly attend the school Debating Society, where I jointly hold the senior most position and organize many school charity events in my Senior Prefect role of Charities Coordinator. In the past, this has included raising nearly  £3000 on the behalf of an Indian Cultural Society Fashion Show for the Indian earthquake. I was involved in the establishing of the first ever Student School Council in which I was Year Representative.    Last year, I was involved in designing a roof for a proposed Tate Modern extension in a project sponsored by architecture firm Ove Arup. For this, I gained a Crest 'Gold' Award but more importantly the opportunity to investigate something from a technical point of view, thus branching away from my mainly unscientific subject base.    The demanding nature of the work has given me an added sense of responsibility but also of pride, fulfilment, and greater appreciation for hard work, ultimately making me more mature and dependable.    My other hobbies are equally varied, including Badminton, Club Cricket, and helping in the production of plays such as Bugsy Malone and The Threepenny Opera at school. Thanks to my love of reading, I have in the past written book reviews for The Asian Age newspaper.    I take pride in and put effort into all my work, whether academic or not.

How Is Othello Viewed By Others And How Does He View Himself Essay

The Shakespearian tragedy ‘Othello’ is a story of immensely contrasting opinions where jealously rules rife over the flawed, but heroic leading character. With racism even alive today, the fact that this character was of dark skin raised even more controversy around the Shakespearian era. The audience that would have first viewed this play would have had preconceptions about the personality and the role that Othello would ensue. Due to the stereotypical and racist viewpoints that people held at this time, black was in any case a colour associated with evil or deformity, therefore the character of the black Othello was expected to be violent, jealous, treacherous and most likely associated with witchcraft. Shockingly, especially for the people of the Shakespearian era, Othello does not relate to this stereotype and is in fact quite the opposite at the start of the play- the calm and strongly composed character. Some of these stereotypical ‘black’ traits however are indeed seen in the play, but controversially from another character, the white Iago, who incidentally plays the role of the evil manipulator. Othello’s character is portrayed to the reader in his composed first words- ‘Tis better as it is’. The line being only a half-line proves his characters’ firm but comfortable personality, needing only to say the controlled necessary in each situation. As his personality seems to be so strong and wise, it is unusual that Iago deems Othello as an easy target to manipulate- ‘will tenderly be lead by the nose as asses are’. Iago’s obvious hatred for Othello is overly emphasised throughout the play by his disregard and lack of respect towards the character. He constantly makes racist comments about Othello to others, but never to Othello himself, naming him- ‘Barbary horse’ to Desdemona’s father and stating that he does ‘hate the Moor’ to Roderigo. Even when referring to the obviously loving relationship that engulfs both Othello and Desdemona, Iago shows ignorant and disrespectful mannerisms, reducing their physical love to animal level- ‘old black ram is tupping your white ewe’ and showing that he obviously does not agree with this martial pairing. Iago’s authentic character is hinted at early on in the tragedy, where in one of his longer speeches he finishes- ‘I am not what I am’. This points the reader towards Iago’s true colours, which are rarely put openly on show. His willingness to manipulate and take advantage of other characters (such as Roderigo) in order to force Othello into the deepest amount of torment proves just how much of a cunning and dangerous actor Iago can be. The ‘stage managing’ techniques he uses throughout the play portray just how determined Iago is to truly ruin Othello’s life and the lengths that he is prepared to reach in order to gain revenge upon Othello for not awarding him the idealised promotion. It is therefore often difficult to decipher Iago’s true feelings and attitudes towards Othello as he constantly adjusts his viewpoint to suit that of his company, for example when in the company of characters such as Othello, Desdemona and Cassio, Iago speaks of Othello positively and even at one point presents a contrasting emotion- ‘My lord, you know I love you’. However, when characters such as Roderigo and Brabantio are in attendance, he again insults Othello naming his supposed arrogance- ‘loving his own pride and purposes’. Although it is apparent that he has strong hatred towards the character, the reasons behind this hatred are never completely discovered. The reader is left to decipher whether the feeling is down to irrepressible racism or dark jealousy, or even a mixture of both. Even when Iago’s shrewd plan is foiled towards the conclusion of the play, his attitudes towards Othello still remain constant. He shows no feeling of remorse and depicts himself as a party holding little guilt- ‘I told him what I thought and told no more than what he found himself was apt and true’ Although this statement if looked at individually is actually truthful (Iago never once stated that Desdemona and Cassio were in fact indefinitely committing adultery), the fact that Iago orchestrated the imaginary relationship between Desdemona and Cassio and that he introduced doubt into Othello’s mind in the knowledge that ambiguity could potentially ruin him, shows that he still aims to manipulate even as the play draws to closure. Iago’s racist views however, are also shared by other characters in the play, the main two named Roderigo and Brabantio. Although both these characters have more personal motives to justify their disapproval of Othello, Iago’s manipulative skills again come into force to emphasise their negative emotions. Until the final moments before his death Roderigo is completely under the influence of Iago and tends to follow his views even if they do not completely match his own. He racially abuses Othello in the company of Iago, naming him- ‘the thick lips’ and ‘lascivious Moor’. These racial prejudices show that he also does not accept the way of which Desdemona and Othello have an indisputable bond, but his apparent hatred goes deeper than this disapproval. As Roderigo is intensely besotted with Desdemona he also seems to be jealous of her love for Othello and believes that the character is not good enough for her, stating that she -‘hath made a gross revolt’. For these reasons Roderigo falls prey to the manipulative Iago, becoming a pawn in his ever growing plot. Unlike Roderigo, Brabantio holds strong racist views about Othello without the influential voice of Iago, showing a genuine condemnation of the relationship between his daughter and -‘the Moor’. This view would have been commonplace in Shakespearian time, as even today principles of racial equality and sexual freedom are unfortunately still far from being completely accepted. He shows legitimate discomfort when referring to the relationship, questioning how Othello could have possibly gained his daughters hand without using some sort of treachery- ‘Is there not charms by which the property of youth and maidhood may be abused?’ Brabantio also finds it understandably challenging to accept that Othello’s intentions of which involve his daughter are honourable -‘Abused her delicate youth with drugs or minerals’. These views would have again been shared by the Shakespearian audience, who associated people of dark skin with witchcraft and trickery. Brabantio may have respected Othello as a military general, as a close acquaintance, and perhaps even as a friend, but it is clear that he never considered Othello good enough to be a husband for his daughter. Characters that form negative or racist views towards Othello do rarely mention these ideas directly to his face, maybe because of his strength as a character, or possibly because of his incessant reputation of being composed and carefully resilient with his language. Each character that states negative views towards the general however is proved at the end of the play to be completely incorrect, and in most cases foolish. Not all characters view Othello in such bad light conversely, most respect him as a brave and honourable general, showing him great loyalty and love- the Duke being one of these. He obviously sees Othello as a brilliant general and valuable friend- ‘Valiant Othello we must straight employ you against the general enemy Ottoman’. Even when Brabantio, a close friend of the Duke, shows obvious racial disagreements towards Othello, the Duke stands up for the general’s cause, stating to Brabantio that his -‘son-in-law is far more fair than black’. This proves that the Duke does accept Othello’s ethnic background and believes that Othello does not hold the usual traits of the stereotypical â€Å"Moor†. Desdemona is unsurprisingly the character that can distinguish Othello as doing no wrong. Even after malicious attacks and verbal abuse from the general, Desdemona does not speak out against her love. Desdemona is infatuated with Othello and this becomes apparent from her very first speech of the play where she states that if she is forced to choose whether to be obedient to her father or to Othello, she must choose Othello- ‘So much I challenge that I may profess due to the Moor my lord.’ She continues with this loyalty throughout the play and clearly sees Othello as an accomplished husband- ‘to his honours and his valiant parts did I my soul and fortunes consecrate’. Desdemona evidently notes that Othello takes his career very seriously and portrays her understanding of this when propositioned by Cassio in order to regain his position of lieutenant- ‘He shall in strangeness stand no farther off than in a politic distance.’ She respects this and endeavours to cause no harm to his reputation and ability. Further on into the play -where jealousy has completely engulfed Othello- Desdemona defends him when questioned by Emilia about whether Othello is in fact covetous, stating that Othello is incapable of feeling such as jealously- she sees him as almost god-like – ‘I think the sun where he was born drew all such humours from him.’ In even the darkest times when Othello acts so awfully and deeply unjustifiably, Desdemona’s love for him still rules strongly over her heart- ‘My love doth so approve him that even his stubbornness, his checks, his frowns-prithee unpin me- have grace and favour in them.’ On her death bed, moments before she is to depart from the world at the hands of her loved one, Desdemona is still unable to speak out against him. She sees through his vicious acts and it is clear to her that the man she married is no longer the corrupted man that stands before her. With her last words to Emilia she states that she doesn’t hold Othello responsible for her death, and even at this perilous moment, names her husband well- ‘Nobody; I myself. Farewell. Commend me to my kind lord.’ She always manages to see Othello positively. Emilia herself, closely linked with Desdemona and often mistreated by her husband Iago, quickly alters her opinion of Othello as the play progresses. Her attitudes towards men are already bitter and derive mainly from the way that Iago has treated her throughout their marriage. She seems to be a feminist and is able to stick up for women- but only in the absence of a male presence. For Emilia the way in which Othello treats Desdemona only emphasises this feeling- ‘they eat us hungerly, and when they are full, they belch us.’ Unfortunately it is evident that Emilia has not always thought of Othello in this negative manner. She awards him the benefit of the doubt as she recognises that his behaviour is becoming erratic and almost stumbles upon Iago’s secret- ‘Remove your thought. It doth abuse your bosom. If any wretch have put this in your head, let heaven requite it with the serpent’s curse!’ Othello’s final behaviour allows Emilia to justify her racist statements- ‘O, more the angel she, and you the blacker devil!’ Othello at his most degrading point in the play reverts to the stereotype that he originally seemed so far from, even though it is apparent to the reader that his reactions are in fact more like Iago’s. Emilia’s final realisation forces her to make yet another racist comment and name Othello as gullible- ‘Oh thou dull moor’. Brabantio’s relative, Lodovico, is the character that shows an obvious change in attitudes towards Othello, in a strikingly short space of time. He undoubtedly thinks well of Othello before his visit to Venice as he greets the general respectfully- ‘God save you, worthy general!’ and clearly accepts his ethnicity. For this reason, Lodovico is clearly shocked when Othello raises his hand to Desdemona and strikes her across the face, and states this surprise and utter disbelief at what he has just witnessed from what was once a courageous general- ‘My lord, this would not be believed in Venice, though I should swear I saw’t.’ This statement gives us a glimpse of how Othello is viewed by others universally. He is seen as a noble character, lacking in the extreme emotions now observed by Lodovico. Brabantio’s relative begins to question Othello’s mental disposition- ‘Are his wits safe? Is he not light of brain?’ and his attitudes have clearly now reversed as he now holds reservations about the stability of Othello’s character, whereas before he was sure that the general was of such a great confidence- ‘Is this the noble Moor that whom our full senate call all-in-all sufficient?’ Lodovico departs from the scene with a controversial and, obvious to the reader, ironic line- ‘I am sorry that I am deceived in him.’ This line shows that Lodovico has lost faith in Othello’s character, and feels almost cheated by what he has seen. It seems unfortunate that he feels as he does towards Othello, when truly as he even speaks the line, Iago is the authentic deceptive culprit. Cassio, the object of hatred in Othello’s eyes, does not really say much about his attitudes towards Othello, but what he does say and what is said about his attitudes by others show what he truly feels towards the general. He obviously shows much loyalty towards Othello, he is his lieutenant and until jealousy sets in, a trusted friend. This is made apparent when Desdemona attempts to change her husband jealous views about the unfairly treated Cassio -‘and so many a time when I have spoke of you dispraisingly hath tane your part’ (Desdemona about Cassio). Even after he has been the subject of confusing and malicious actions by the changed Othello, he still speaks of him well- ‘For he was great of heart.’ This highlights one of Othello’s â€Å"tragic flaws†. He is unable to make a good judge of character, and seems to be enormously gullible, believing the sly Iago over the honest, but sometimes vain, Michael Cassio. Cassio obviously thinks well of the troubled Othello. The views of the characters are extremely varied when involving Othello, and these views are changeable throughout the entirety of the play. However none are as interesting and somewhat confusing as how Othello in fact sees himself. His character goes through three notable stages which seem to show great contrast and diversity with each other. At the beginning of the tragedy Othello is obviously a proud individual, and openly speaks about his noble background- ‘I fetch my life and being from men of royal siege’. He is of distant relation to royalty, and for this reason carries himself with a certain majestic and noble manner. He has a shockingly high opinion of himself and this can sometimes be perceived as an arrogant trait- ‘my parts, my title, and my perfect soul shall manifest me rightly.’ He is dazzlingly confident in almost all aspects of his life and especially when it comes to his military service- ‘For since these arms of mine had seven years’ pith†¦ they have used their dearest action in the tented field’. He proves to be a powerful presence in areas where others would crumble and is passionate about his love for Desdemona, so much so that he is resilient enough to offer everything in order to sustain their love- ‘let your sentence even fall upon my life.’ This shows great strength in character and Othello obviously sees himself as a force to be considered with. At this stage in the play, Othello views himself as never having been a happier due to his love for Desdemona- ‘If it were now to die, ’twere now to be most happy’ and makes a series of prophetically ironic statements, almost unknowingly hinting to the readers of what is to come- ‘But I do love thee; and when I love thee not, chaos is come again.’ The strength in character that we see from Othello throughout the beginning of the play is last seen in a conversation between him and Iago, concerning the infidelity of Desdemona. In his speech, we see Othello at his final point of rational sanity, which unfortunately due to Iago’s manipulative skills, he is unable to keep up throughout the entirety of the play: ‘No, Iago, I’ll see her before I doubt; when I doubt, prove; And on the proof, there is no more but this: Away all at once with love or jealousy!’ After this point in the play, Othello’s view of himself slowly deteriorates. He begins to lose his self-confidence and control as doubt gradually overwhelms his mind. As the jealously sets into his mind, he begins to search for reasons as to why his wife could do such a thing and comes up with two points; his age and his colour- ‘Haply for I am black’, ‘I am declined into the vale of years’. Whereas before he would have stood by Desdemona and perhaps asked for the proof from Iago against his wife’s infidelity, his troubled character now begs Iago to prove the exact opposite- ‘be sure thou prove my love a whore’. His mistrust in Desdemona proves that he is ultimately a poor judge of character, and instead holds his certainty in ‘Honest Iago’. This reliance on Iago to help him judge Desdemona’s true situation in fact becomes his down fall. His self-confidence has travelled from such a high to a low that he sees himself as no longer able to make conscious decisions alone. Othello’s character almost completely morphs into that of Iago, both using extremely similar language and animal imagery at the time of Othello’s extreme jealousy- ‘Goats and monkeys!’, ‘Or keep it as a cistern for foul toads to knot and gender in!’ This illustrates just how reliant on Iago Othello has become. He asks his opinion at almost every opportunity -‘How shall I murder him, Iago?’ This is a complete contrast from how the character was before his mind became jealous as he was before so sure of his each and every decision, so very self-assured. He now sees himself unfit to lead his life without constant supervision from his companion Iago. After being instructed, word-by-word, on how to unjustly murder his beloved Desdemona, Othello commits the terrible deed. Through this scene it is clearly illustrated that Othello has completely lost him mind, and in the words of Iago -‘He is much changed.’ He constantly contradicts himself, showing that he is no longer sure of what he is doing and sees only one way to regain his controlled mind- ‘A murder, which I thought a sacrifice.’ After killing his wife, Othello shows no remorse as he feels that he, himself, has rid the world of an unfaithful being- ‘She’s like a liar gone to burning hell: ‘Twas I that killed her.’ In this way he seems almost proud of his act, but yet still in pieces from losing not only his mind, but in addition, his love. The final stage in Othello’s personality transformation sees him return almost to his former self- a controlled man, but this time with a huge sense of guilt and despair laid upon his heart. He now sees himself as a monster, and begs for punishment’ ‘Whip me†¦ Roast me in sulphur!’ In a desperate effort to regain control in the situation, we see Othello commit an act that would fit with his former character, he stabs himself. This shows that Othello now thinks so badly of himself that he claims happiness will be found in death- ‘For in my sense ’tis happiness to die.’ We see Othello in his final speech attempt to reclaim any respect and decency from his characters, and asks them to remember him as one that ‘loved not wisely, but too well’ and a man that was -‘not easily jealous but, being wrought, perplexed in the extreme’. This shows that Othello has regained control over the final moments of his life and hopes to be remembered not for the tragic deeds he has committed but for his decencies and military service. He views himself as an unfairly mislead man, that inevitably forged his own fate. In conclusion, Othello as a character is not only a controversial, but also travels on such a journey through personalities that he is able to change the opinions of those who once looked up to him. The troubled, aggressive and broken Othello we see at the end of play is a shadow of his former self and proves just how each and every person has strengths and weaknesses that can be carefully manipulated. The real Othello that we see at the beginning of the play is one that can never be regained once jealousy has set in, and this is clearly shown by the tragic ending to the play. Othello tragically saw himself as a strong character, but was eventually shown to be a gullible fool at the hands of the evil manipulative Iago.

100 Basic English Key Words for ESL Students

This list provides a starting point for a basic understanding and fluency in the English language. The list of 850 words that was developed by Charles K. Ogden, and released in 1930 with the book: Basic English: A General Introduction with Rules and Grammar. For more information about this list, you can visit Odgens Basic English page. This list is an excellent starting point for building up a vocabulary which allows you to converse fluently in English. While this list is helpful for a strong beginning, more advanced vocabulary building will help you quickly improve your English. ​These vocabulary books will further help you build your vocabulary, especially at advanced levels. Teachers can use this list as a starting point for developing an essential vocabulary to their lessons. Teachers can also use this list along with other ideas on how to teach vocabulary on this site. Basic Verbs, Prepositions, Articles, Pronouns, etc. 1. come2. get3. give4. go5. keep6. let7. make8. put9. seem10. take 11. be12. do13. have14. say15. see16. send17. may18. will19. about20. across 21. after22. against23. among24. at25. before26. between27. by28. down29. from30. in 31. off32. on33. over34. through35. to36. under37. up38. with39. as40. for 41. of42. till43. than44. a45. the46. all47. any48. every49. no50. other 51. some52. such53. that54. this55. i56. he57. you58. who59. and60. because 61. but62. or63. if64. though65. while66. how67. when68. where69. why70. again 71. ever72. far73. forward74. here75. near76. now77. out78. still79. then80. there 81. together82. well83. almost84. enough85. even86. little87. much88. not89. only90. quite 91. so92. very93. tomorrow94. yesterday95. north96. south97. east98. west99. please100. yes