The Inner Life Of The Christian Leader - 1361 Words

THE INNER LIFE OF THE CHRISTIAN LEADER Introduction We serve an awesome God. For those of us studying ministry however we quickly learn that there is more to Christian leadership than just loving God with all of our heart, mind and strength. It also requires a lot of discipline, hard work and perseverance. Unfortunately, we must learn that being called into Christian leadership does not promise us a trouble free life. One only has to turn on the television to see Satan’s attack on the church. In his book The Spiritual Leader: a Guidebook for Pastors and Christian Leaders, Paul W. Chappell puts it this way, â€Å"Satan is actively trying to hinder the cause of Christ, and one of his primary targets is the spiritual leader. If he can ruin the testimony of a man of God, he can negatively influence an entire church family, an entire city, and often many others.† Thankfully, however, we do not go into this spiritual battle unarmed. Our Bibles provide us with everything we need to know to stand strong against these attacks as well as containing almost every answer that could be asked on the subject of Christian leadership. Defining Leadership Before addressing the inner life of the Christian leader, let’s first quickly define leadership and look at what makes an effective leader. Chappell provides this quote from author J. Oswald Sanders on the differences between natural leaders and spiritual leaders: The natural leader is self-confident, but a spiritual leader isShow MoreRelatedConnecting Leadership Theory and Christian Ministry Essay1467 Words   |  6 PagesConnecting Leadership Theory and Christian Ministry And the winner is†¦Ã¢â‚¬  Much of life involves competition of some sort. Candidates compete in athletic events, educational competitions such as spelling bees, or for seeking that next job which offers a higher salary and better benefits. In recent decades, the field of leadership has seen similar efforts. 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Gothic Literature the Fascination with Terror Free Essays

Traci L. Pugh Dr. Amber Reagan-Kendrick ENG 45023-SU-2012-OA Seminar in American Literature 8 August 2012 Gothic Literature: The Fascination with Terror People have an intrinsic fear of the dark and the unknown. We will write a custom essay sample on Gothic Literature: the Fascination with Terror or any similar topic only for you Order Now While each person’s level of anxiety and object of terror are different, the fascination to reveal them has inspired Gothic authors such as Mary Shelley, Edgar Allan Poe, Stephen King, and Stephenie Meyer for three centuries. Subjects of these classic tales include vampires, reanimation of the dead, ghosts, murder, witches, and love. These stories and poems can terrify audiences because they can encompass reality of things people cherish with a twist of the impossible. Gothic writers use terror, mystery, and excitement to probe the dark aspects of life by exposing inner human fear. Mary Shelley was a Romantic Gothic author, and it is speculated that Frankenstein symbolizes â€Å"internal conflicts and life experiences with what may have been their manifestations in the fictionalized characters she created† (D’Amato 117). She was orphaned at an early age, and death was no stranger to her due to the deaths of her sister and her husband’s first wife. Mary feared giving birth, mainly because her mother died eleven days after giving birth to her, but D’ Amato proposes that she â€Å"may have believed any child she produced would inherit the repressed, hated, and destructive parts of herself† (122). Shelley’s work may have mirrored her life, but it was common for Gothic authors of this time to write about â€Å"the nation’s dreams, and their own† (â€Å"Gothic Undercurrents†). The early nineteenth century was a time of fear due to rapid changes in the nation: abolition, the Great Depression, war, and the bank crisis. These events gave Americans the feeling that â€Å"life was an experiment that had gone horribly wrong,† and these writers explored this fear with prose (â€Å"Gothic Undercurrents†). This newfound style of writing exposed the dark side of humanity, but it also questioned the mystery of unsolvable problems. These works probed the demons of the nation and the writers. Frankenstein began as Mary Shelley’s dream in 1816, and her tale of loneliness, reanimating the dead, murder, guilt, and revenge has been dubbed a literary classic. The main character, Victor Frankenstein, believes he has discovered the secret of life and proclaims, â€Å"Darkness had no effect upon my fancy; and a church-yard was to me merely the receptacle of bodies deprived of life, which, from being the seat of beauty and strength, had become food for the worm† (Shelley 79). Once the monster is created, it feels abandoned and starts killing. The creature inadvertently causes the death of an innocent girl. Victor realizes his creation is lonely, and nothing more than an abomination, so he decides to destroy it. A journey into the mountains ensues, but a crack in the ice divides their paths. When Frankenstein dies, the monster comes to see him and says, â€Å"Blasted as thou wert, my agony was still superior to thine; for the bitter sting of remorse may not cease to rankle in my wounds until death shall close them for ever† (Shelley 244). This story reveals the idea that the dead, once reanimated, are like an angry child who lashes out at a parent who has betrayed them. The feeling of abandonment was what Shelley tried to capture in this morbid tale of love and loss, and this theme would continue with future authors. Edgar Allan Poe, considered a Victorian Gothic, was also an orphan whose life seemed to be full of disaster. He suffered an unmerciful surrogate father, was kicked out of the University of Virginia, dropped out of West Point, married his thirteen year old cousin, and lived in poverty with his freelance lifestyle (Doctorow 241). The driving force behind his work was that he embraced his own misery because he believed that his suffering was natural. His stories were written in the mid-nineteenth century, and people were still afraid of their uncertain futures. Poe used this to his benefit in what he called, â€Å"Imp of the Perverse – the force within us that causes us to do just what brings on our destruction† (241). This kind of thinking was the basis for many of his stories, and most of his characters were the reason for their own problems and demise. Poe â€Å"worked hard at structuring his tales of aristocratic madmen, self-tormented murderers, neurasthenic necrophiliacs, and other deviant types to produce the greatest possible horrific effects on his readers† (Baym 674). He was quite successful in this endeavor, as most people associate Poe’s name with dark, horrific, murderous tales. His â€Å"Philosophy of Composition† tells of his belief that â€Å"the supreme subject for a poem is the death of a beautiful woman† (Doctorow 242). This is evident in one of his most famous poems, â€Å"The Raven. † Possibly one of Poe’s most maddening poems, â€Å"The Raven† is rhythmic and could be set to music with constant mention of the door, Lenore, evermore, and nevermore. The use of vivid imagery causes the reader to see this black raven sitting on the door pecking at it. The main character is a man grieving for his lost love, Lenore, and he believes the knocking sound is her returning. The raven says but one word, â€Å"Nevermore. † The man wonders what this means, and asks the bird if it is a messenger from God or the devil. Again the Raven says, â€Å"Nevermore. † Spiraling into madness and grief, he begs the bird, â€Å"Take thy beak from out my heart, and take thy form from off my door. Quoth the Raven, ‘Nevermore’† (Poe 74). The Raven stays at the door and forever torments the man with his repetitive call. This uncertainty about death was a Gothic specialty, and the introduction of animals and their mysterious qualities would prove to inspire future writers. A century later, tales of Modern Horror would build on their macabre roots and incorporate popular culture to terrify readers like never before. Stephen King, often named the master of horror, has petrified audiences with tales of demonic cars, possessed children, undead pets and people, aliens, and the inherent evil in all people. King’s inspiration stems from â€Å"his own life experiences and fantasies, popular culture, and his reading of archaic burial lore† (Nash 151). Even though most literary critics do not agree with his writing style, horror fans are mesmerized by the images he creates. King and Shelley both play on fears â€Å"such as the problematic nature and popular fear of science and technology† (151), but King is â€Å"more willing to tackle explicitly cultural issues as opposed to the traditional Gothic preoccupation with personality and character† (152). Many of King’s stories concentrate on a fear of the dead, but they also raise the question of whether the dead want to come back and the consequences that follow. Love is a powerful thing and people never want to let go of a loved one, but at what expense are they willing to have that person back? Stephen King’s scariest tale, Pet Sematary, asks and answers this very question by illustrating a modern family and the horrific, yet normal, happenings that tear the family apart and invoke the need for the supernatural. The Creeds move to a new house in Maine to start a new life. Mr. Creed is a doctor at the University, and he befriends the old neighbor next door. The neighbor tells of an Indian burial ground beyond the pet cemetery where the dead can come back. The family cat, Church, is killed by a truck on the busy road in front of the house, and Mr. Creed desperately buries the body in the â€Å"magic circle† of the burial ground to keep from telling this horror to his daughter. The cat comes back to life, but is â€Å"changed, if not psychotic† (Nash 156). Soon, the youngest son, Gage, meets the same disastrous fate as the cat. The father is consumed with grief and frantically buries the little boy in the same place. Gage comes back in the same fashion as the cat and kills his mother and the neighbor. Even though the father is a doctor, and knows what the monster that resembles his son is capable of, he again makes a journey to the burial ground to bury his wife. He sits and waits for her to arrive. Love makes people desperate and willing to cross unrealistic boundaries in order to escape pain. Writers have used the connection between love and death to explore new avenues in horror. Stephenie Meyer has spellbound audiences with her Twilight series by introducing us to a world of supernatural beings, jealousy, ancient pacts, and love. Much like her Gothic predecessors, Meyers uses her dreams and popular culture to inspire her tales. Her vampires differ from the earlier versions in that â€Å"our vampires reflect our fears of new, changing or dissolved boundaries† (Mutch 76). New topics, such as â€Å"violent intolerance in the U. S. and elsewhere† are revealed by her characters going â€Å"to great lengths to hide their true identity† (78). This new generation of creatures reflect the thirst for blood and supernatural strength of the original monsters that began this era, but a regard for human life sets these apart. The overall view of the Twilight series, by Stephenie Meyer, is that love conquers all, even death. Much like Gothic literature itself, this story involves centuries of vampires hiding from the light to maintain existence among their prey. The human girl, Bella, is in love with a vampire, Edward, and they know that being together is impossible. She is willing to end her life and join his dark world, but he is unwilling to claim her mortality. In the same spirit as Frankenstein, Edward sees his creator as a father figure, but laments his own vile existence. It is revealed that her best friend, Jacob, who is also in love with her, is a werewolf. The vampires and the werewolves have a pact, but it will be breached if Bella joins the vampires. There are constant struggles between the humans, vampires, and the werewolves, but the undying love between Bella and Edward is unyielding. The two finally marry, and a baby is conceived that almost kills Bella. Although he has fought it diligently, Edward is forced to ferociously inject his venom into her lifeless body to save her in childbirth. The baby is half vampire and human, and instantly demonstrates supernatural powers, and captivates Jacob, which ends the battle between the coven and the clan. The book ends with a glimpse into the beauty of becoming a vampire when Bella remembers the first moments after she wakes as a newborn vampire: â€Å"his face when I’d opened my eyes to my new life, to the endless dawn of immortality . . . that first kiss . . . that first night . . . † (Meyer 753). The Twilight series is a love story with interjections of paranormal powers and the desire to want the things that cannot be obtained. This tale has consumed many and launched the â€Å"Twihard† generation. Meyer made vampires and werewolves vicious and bloodthirsty, but beautiful; unlike their nineteenth century counterparts, who burst into flames in the sunlight and transformed into hideous, drooling monsters, these beautiful creatures glitter in the sunlight and resemble overgrown dogs. Although Meyer made this less horrific than older horror stories, her series encouraged younger generations to discover the beauty of literature again. Stephen King once said, â€Å"Death is a mystery, and burial is a secret† (9). Although it is often grotesque, demonic, and depraved, people have an inherent need to explore the divide between good and evil, the known and unknown, and this world and the next. These tales have endured, yet changed, over the last three centuries. Future writers of the macabre will most assuredly follow in their predecessors’ footsteps and adapt to cultural changes in their own style. As long as people have inner demons, there will be a need for writers to expose them. Even though these horror classics are classified as fiction, what makes them terrifying is that they mimic the reality of everyday life. Works Cited Baym, Nina, ed. â€Å"Edgar Allan Poe. † The Norton Anthology of American Literature. 7th ed. Vol. 1. New York: Norton, 2008. 671-674. Print. D’Amato, Barbara. â€Å"Mary Shelley’s Frankenstein: an orphaned author’s dream and journey toward integration. † Modern Psychoanalysis. 34. 1 (2009): 117-135. Web. 7 Aug 2012. Doctrow, E. L. â€Å"Our Edgar. † Virginia Quarterly Review. 82. 4 (2006): 240-247. Web 7 Aug 2012. â€Å"Gothic Undercurrents. † American Passages: A Literary Survey. Annenberg Learner, n. d. Web 7 Aug 2012. King, Stephen. Pet Sematary. 1st ed. New York: Doubleday Company, Inc. , 1984. Print. Meyer, Stephenie. Breaking Dawn. st ed. New York: Atom Books, 2009. Print. Mutch, Deborah. â€Å"Coming Out of the Coffin: The Vampire and Transnationalism in the Twilight and Sookie Stackhouse Series. † Critical Survey. 23. 2 (2011): 75-90. Web. 7 Aug 2012. Nash, Jesse. â€Å"Postmodern Gothic: Stephen King’s Pet Sem atary. † Journal of Popular Culture. 30. 4 (1997): 151-160. Web. 7 Aug 2012. Poe, Edgar Allan. The Complete Tales and Poems of Edgar Allan Poe With Selections From His Critical Writings. Expanded. New York: Barnes Noble, Inc. Alfre A. Knopf. Inc.. 1992. Print. Shelley, Mary. Frankenstein. 2nd ed. Ontario: Broadview Press, 1999. Print. How to cite Gothic Literature: the Fascination with Terror, Papers

Breast Cancer Treatments Essay Research Paper Breast free essay sample

Breast Cancer Treatments Essay, Research Paper Breast Cancer Treatment Merely lung malignant neoplastic disease kills more adult females each twelvemonth in the United States than breast malignant neoplastic disease does. The American Cancer Society ( ACS ) estimates that over 184,000 new instances of chest malignant neoplastic disease were diagnosed in adult females in 1996 ( ACS Breast ) . Although these statistics are dismaying, there are a figure of intervention options available for those that are diagnosed with chest malignant neoplastic disease. The best manner to handle any disease is to forestall it. Since small is known about chest malignant neoplastic disease, there are no constituted regulations for bar. The ACS recommends that adult females age 20 and older perform monthly chest self-exams, and it besides suggests clinical scrutinies every three old ages ( ACS Breast ) . Mammography is besides a fantastic tool for observing tumours ; nevertheless, there is conflicting informations on when and how frequently adult females should hold mammograms. What is known is that mammography is the best manner to find if a tangible ball is really cancerous or non. Treatment methods for chest malignant neoplastic disease can be lumped in two major classs ; local or systemic. Local interventions are used to destruct or command the malignant neoplastic disease cells in a specific country of the organic structure. Surgery and radiation therapy are considered local interventions. Systemic interventions are used to destruct or command malignant neoplastic disease cells anyplace in the organic structure. Chemotherapy and hormonal therapy are considered systemic interventions. Surgery is the most common intervention for chest malignant neoplastic disease. Although there are many different types of chest malignant neoplastic disease surgery, they all fit into a few basic classs. An operation that aims to take most or all of the chest is called a mastectomy. If at all possible, physicians shy off from mastectomies due to the side effects which include loss of strength in the closest arm, swelling of the arm, and restriction of shoulder motion. If a mastectomy must be performed, the doctor will frequently propose post surgical Reconstruction of the chest ( Kushner 37 ) . Another type of chest malignant neoplastic disease surgery is called breast-sparing surgery. This class would include lumpectomies and segmental mastectomies. In this state of affairs, physicians remove merely the tumour and do an effort at saving the remainder of the chest tissue. These processs are frequently followed by radiation therapy to destruct any malignant neoplastic disease cells that may stay in the country. In most instances, the sawbones besides removes lymph nodes under the arm to assist find whether malignant neoplastic disease cells have entered the lymphatic system. Radiation therapy is another common intervention for chest malignant neoplastic disease. Radiation involves the usage of high-energy X raies to damage malignant neoplastic disease cells and retard farther growing. The radiation may come from a radioactive beginning outside the organic structure, or it can come from radioactive pellets placed straight in the chests. It is non uncommon for a patient to have both internal and external radiation. For external radiation, patients must see the infirmary or clinic each twenty-four hours. When this regimen follows breast-sparing surgery, the interventions are given five yearss a hebdomad for five to six hebdomads. At the terminal of that clip, an excess encouragement of radiation is frequently given to the topographic point where the tumour was removed. Hospital corsets are required for implant radiation. Some common side effects of radiation therapy include swelling of the chest and dry tegument at the radiation site. Chemotherapy is one of the systemic therapies physicians use to contend chest malignant neoplastic disease. Chemotherapy uses drugs to kill malignant neoplastic disease cells, and it normally involves a combination of those drugs. Traditional chemotherapy is administered in rhythms ; a intervention period followed by a recovery period, so another intervention, and so on ( NIH 23 ) . Like radiation therapy, chemotherapy can be administered on an outpatient footing. Although chemotherapy works to kill malignant neoplastic disease cells, some of the side effects about make intervention intolerable. Common side effects include sickness, lessening of appetency, hair loss, vaginal sores, sterility, and weariness ( ACS For Women 32 ) . Most of these effects, except sterility, cease when the intervention is over. There are many other possible interventions for chest malignant neoplastic disease that are presently under survey. One of the biggest clinical tests involves hormone therapy. This intervention uses medicine to forestall the tumours from acquiring the endocrines, such as estrogen, that they need to boom. Removal of the ovaries and other endocrine bring forthing secretory organs may besides be prescribed. Another intervention option being studied is bone marrow organ transplant. The bone marrow can be taken from healthy parts of the patient s ain organic structure or from other givers. Although this intervention thought is still in its early phases, the consequences seem assuring. Because there are so many varied intervention options, intervention determinations are complex. These determinations are frequently affected by the judgement of the physicians involved and the desires of the patient. A patient s intervention options depend on a figure of factors. These factors include age, menopausal position, general wellness, the location of the tumour, and the size of the chests ( ACS Breast ) . Certain characteristics of the tumour cells, such as whether they depend on endocrines to turn, are besides considered. The most of import factor in finding intervention is the phase of the disease. Phases are based on the size of the tumour and whether it has spread to other tissues. Phase I and present II are considered the early phases of chest malignant neoplastic disease. Phase I implies that malignant neoplastic disease cells have non spread beyond the chest and the tumour is no more than an inch in diameter. Stage II means that the malignant neoplastic disease has spread to underhand lymph nodes and/or the tumour in the chest is one to two inches in diameter. Womans with early phase chest malignant neoplastic disease may hold breast-sparing surgery followed by radiation as their primary local intervention, or they may hold a mastectomy. These attacks are every bit effectual in handling early phase malignant neoplastic diseases. The pick of breast-sparing surgery or mastectomy depends largely on the size and location of the tumour, the size of the patient s chest, certain characteristics of the mammogram, and how the patient feels about continuing her chest. With either attack, lymph nodes under the arm by and large are removed. Some patients with phase I and most with phase II chest malignant neoplastic disease have chemotherapy and/or hormonal therapy. This added intervention is called accessory therapy, and is given to forestall the malignant neoplastic disease from repeating ( LaTour 131 ) . Phase III is known as locally advanced malignant neoplastic disease. The tumour in this state of affairs measures more than two inches in diameter and has invaded other tissues near the chest ( 131 ) . Patients with phase III chest malignant neoplastic disease normally have both local intervention to destruct the tumour and systemic intervention to maintain the malignant neoplastic disease from distributing farther. Systemic intervention can dwell of chemotherapy, hormonal therapy, or both. Phase IV is called metastatic malignant neoplastic disease, which implies the malignant neoplastic disease has spread to other variety meats in the organic structure ( ACS Breast ) . Patients who have stage IV chest malignant neoplastic disease receive chemotherapy and hormonal therapy to shrivel the tumour, and radiation to command the spread of the malignant neoplastic disease throughout the organic structure. Clinical tests are besides underway to find if bone marrow grafts are effectual in handling phase IV patients. Contrary to the negative imperativeness normally attributed to breast malignant neoplastic disease, there are feasible intervention options for those diagnosed with this awful affliction. The push for increased research in chest malignant neoplastic disease is even coming from the White House. President Bill Clinton mentioned his support for increased support for research and bar in his recent State of the Union Address, and he urged insurance companies to pay for more mammograms. Hopefully, with the support from the White House, new interventions can be found for chest malignant neoplastic disease, and possibly with a small fortune we will hold a remedy by the bend of the century. American Cancer Society. Breast Cancer. Document 004070. American Cancer Society. For Women Facing Breast Cancer. 1995. Kushner, Rose. If You ve Thought About Breast Cancer. Kensington, MD: Rose Kushner Breast Cancer Advisory Center, 1994. LaTour, Kathy. The Breast Cancer Companion. New York: William Morrow and Company, Inc. , 1993. National Institutes of Health. National Cancer Institute. What You Need to Know About Breast Cancer. Revised August 1995.

How do the writers Sylvia Plath and Ken Kesey portray the struggle of the individual in The Bell Jar and One flew over the Cuckoos Nest Essay Example

How do the writers Sylvia Plath and Ken Kesey portray the struggle of the individual in The Bell Jar and One flew over the Cuckoos Nest? Essay In The Bell Jar and Cuckoos Nest, both the protagonists struggle not only with a deteriorating mental stability and oppression from those surrounding them but also with a lack of a sense of individuality. Kesey and Plath explore these personal struggles through the experiences of alienation and identity paranoia through evocative literary techniques; being overwhelmed and powerless to break free of their inner world of isolation. Esther, in The Bell Jar, is a young, sensitive and intelligent woman who feels oppressed by the apparent social restrictions placed upon women in a pre-feminist, repressive 1950s America, and the pressure she feels regarding her future. She struggles with individuality and is faced with many choices complying with her future, and consequently, the path for the rest of her life. Esthers insecurity and struggle to discover her identity causes her to look to the personalities of the woman that surround her in life, but her inability to adapt to these personalities or the traditional concept of the feminine ideal ultimately leads her to a psychological breakdown in life. We will write a custom essay sample on How do the writers Sylvia Plath and Ken Kesey portray the struggle of the individual in The Bell Jar and One flew over the Cuckoos Nest? specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on How do the writers Sylvia Plath and Ken Kesey portray the struggle of the individual in The Bell Jar and One flew over the Cuckoos Nest? specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on How do the writers Sylvia Plath and Ken Kesey portray the struggle of the individual in The Bell Jar and One flew over the Cuckoos Nest? specifically for you FOR ONLY $16.38 $13.9/page Hire Writer It is not just the nature of that struggle we are presented with, but Plaths literary techniques which help to portray this struggle to the reader, with the use of sibilance and repetition; The silence depressed me. It wasnt the silence of silence. It was my own silence. Plaths repetition of the word silence reinforces the idea that Esthers feelings and emotions are trapped inside her, and suggests that she is unable to break free of her own silence; these emotional burdens result not only in Esthers social and intellectual isolation, but also aid the reader in believing that her mental breakdown is imminent from the beginning. The short, simple, fragmented sentences also show us that Esther has an ability to reflect properly, and it also serves to highlight her own isolation. While Esther feels her segregation is with society, Bromden, the narrator of Cuckoos Nest, and the other patients of the asylum, continuously struggle against the restrictions placed upon the ward by the tyrannical Nurse Ratched. Bromden states that the other patients in the ward think he is mute and deaf, but in reality, he chooses not to speak, primarily due to being ignored and later combined with fear for Nurse Ratched. Although Bromden is the narrator, his descriptions cannot be fully trusted. Chapter 7 serves to portray him as an unreliable narrator, Bromden has a nightmare and imagines the workers slicing open Blastic, one of the vegetables and states that he fears the workers will do the same to him through some ghastly experiment. There is no uncertainty as to whether there is truth in his vision; Kesey assures the reader that it is simply his imagination by having Bromden woken up by the night watchman. The exact diagnosis of his disorder is never revealed, but is possibly schizophrenia or paranoia or as he is said to have served in the army, he may be suffering from shell shock. I feel that the reason Kesey withholds the true disorder Bromden suffers from, is to successfully sustain our interest throughout the novel. Most modern day readers of Cuckoos Nest will have prior knowledge of the effects of war upon the individual, as will they understand the social standing of women in Esthers situation in Bell Jar, and it is this previous awareness that enables us to further understand his, and Esthers, behaviour and struggles, and the derivation of it. Kesey has the protagonist Bromden, tell us initially in the novel; and you think the guy telling this is ranting and raving my God; you think this is too horrible to have really happened, this is too awful to be the truth! At this point the reader is directly addressed and it is as of he is sharing his private thoughts and informing us that he has an important and shocking story to reveal and thus structures the subsequent direction of the novel. Plath uses this technique of informing the reader early with I felt very still and very empty, the way the eye of a tornado must feel, this suggests to us that there is, as in Cuckoos Nest, a sense of psychological conflict rising about in Esthers mind, similar to a tornado and compels us to determine what this suggestion will lead to. Bromdens silence is similar to Esthers in Bell Jar; both of these characters are unable to communicate their ideas through speech due to the fears of those around them. Kesey, with the use of words such as ho rrible and awful, and a demonstrative this, suggests that in addition to the violent and menacing images we have seen so far, that there are still darker things to come; this encourages us to read on and discover the terrible impacting past and future events Bromden will share with us. Kesey suggests to the reader that Bromden feels dehumanised with the use of anthropomorphism; I been silent so long now its gonna roar out of me. The animalistic action roar, and this powerful verb further implies to us that Bromden has a story that is bursting to get out of him, thus creating narrative tension which impels us to discover this story. Kesey uses colloquial language to suggest that due to Bromdens inability to express his feelings, his thoughts are often unstructured and questionable, which can be seen when he states; But, please. Its still hard for me to have a clear mind thinking on it. But its the truth even if it didnt happen. However, here he asks that the reader to keep an open mi nd towards his hallucinations, because even though they may not have actually happened, they provide a metaphorical view of the hidden events in the hospital, as he witnesses them, despite being in a hallucinatory state. Kesey also uses recurring motifs and strong pathetic fallacy, such as the fog he calls The Combine, to emphasise the struggle of the individual, for example, he describes the fog as; snowing cold and white all over me like skim milk. The use of the words cold, white and like skim milk could be Kesey suggesting that Bromden feels trapped in not only the asylum, but also ruled by a mechanical society, of which he does not conform to. By suggesting he might hide in the snow could indicate that Bromden might feel less oppressed if he were white, or simply that the idea of a bitter snow reflects his inner thoughts, reinforcing his insecurities within himself to the reader. His hallucinations of the fog represent Bromdens own lack of mental clarity; it recurs whenever Chief Bromden becomes less stable and recedes whenever he becomes more coherent and in addition to this, he imagines that there are hidden fog machines controlled by the nurses, displaying his intense distrust towards those a round him. The fog can be also interpreted as a powerful metaphor for an escape from truth and Chief believes it to be a shelter from reality, however frightening it might be which can be seen when Kesey writes They start the fog machine againso thick I might even be able to hide in it if they didnt have a hold on me. In addition to this, two of the chapters in Cuckoos Nest contain little more than a paragraph, describing his relapse into paranoia with another experience of fog, and also a disorganised game of monopoly. Kesey uses these brief chapters to show the disjointed nature of Chief Bromdens observations and to show that the structure of the novel also reflects the content, and combined with precise, concrete language and compelling literary techniques, enables the reader to understand and believe these abstract feelings. Like Keseys use of the fog, Plath also uses metaphorical ideas to symbolise the anxieties in Esther, and her struggle to fit into a society she fears. The bell jar hung, suspended, a few feet above my head. I was open to the circulating air. The title and idea of a Bell Jar in itself gives an image of being trapped repressed and restricted. It is obvious that she is being limited in some way or another, destroyed due to her inability to express herself. The analogy of the Bell Jar is crucial; I would be sitting under the same glass bell jar, stewing in my own sour air. Plath uses sibilant words stewing and sour to evoke strong sensual reactions in the reader as if they were hit by a pungent sickly smell. This gives us the idea that Esther is slowly driving herself crazy as she cannot break free of the forces around her, and in Plath presenting this idea; she is deriving and understanding from the reader. In addition to the concrete language used, the bell jar represents the entrapmen t Esther feels at the hands of men, children and society and its expectations of women, and the reappearance of this symbol informs the reader of Esthers particularly traumatic and suffocating mood slips. She is gradually driven insane by the gender stereotypical restrictions of her social world and these burdens cause not only her social and intellectual deterioration, but also her mental destruction. Although a modern day female reader of the novel may not be able to fully empathise with this idea of the submissive female, certain sexist aspects remain nowadays which help the women readers understand the extent of Esthers struggle, whilst the universal theme of repression ensures the male audience are not excluded. To extend the theme of repression, Plath uses the idea of presenting the central character as a pariah and disconnection from oneself, to show the struggle of isolation from society; (Her hand) retreated and fell limpas if it had collided with a pane of glass. This reemphasises Esthers feelings of not belonging to society and her struggle to fit in. It once again refers to the image of being trapped in a bell jar away from the world and feeling, and it is this recurrence of the bell jar that gives the novel unity of structure. It was the sleeve of my own bathroom and my left hand lay pale as a cod at the end of it. She detaches herself from her body and does not associate it with herself, as if she is watching herself as another person and this shows the reader the extremity of her disconnection to herself and enables us to gain a greater understanding of her troubled emotions. Kesey also uses the idea of disconnection from oneself as another technique to reinforce the theme of struggle within the individual, an example of this is when Bromden is hiding in the latrine from the black boys; Id take a look at my own self in the mirror and wonder how it was possible that anybody could manage such an enormous thing as being what he was. Bromden is six feet seven inches tall, but confesses that he in fact feels much smaller and weaker than this. He tells McMurphy, I used to be big, but not no more. Bromden describes his mother as twice the size of he and his father put together, due to her belittling them both so much. By referring to himself in third person when he sees himself in the mirror, suggests to us that he is not comfortable in his body and feels abnormal, and insinuates to the reader that his self-esteem and individuality is lost when he implies that his body is not his, but perhaps part of a machine. Kesey continues and extends this technical imagery with the idea of a mechanical society, weaving in childhood recollections, to show the reader that Bromdens struggle leads back to adolescence; on these three strangers I can see the . . . seams where theyre put together. Andthe apparatus inside them take the words I just said and try to fit the words in here and there the machinery disposes of the words like they werent even spoken. Here he recounts the experience that scarred him as child, and which subsequently lead to him regarding himself as a part of mechanism; three government officials came to speak to his father about buying the tribes land to build a hydroelectric dam and when Bromden tried to speak to them, he noticed that not a one of the three acts like they heard a thing I said. He begins to see the world differently, believing that he can see the seams on people, as though they were inhuman or machine-like and begins to get used to being ignored, I believe this has the effect of creating a sinister tone in the novel and shows the root of Bromdens distrust towards society. Along with his silence at the beginning of the novel, Kesey is showing Bromden to represent the more passive elements of society that submit to authority, such as the government and Nurse Ratched, thus reaching out to the reader and appealing to their sympathetic nature, as most people have, at some point in their lives felt dominated by, or struggled against seemingly authoritative figures. Similar to Keseys techniques, in Bell Jar, Plath mirrors the idea of the protagonist struggling to conform to societys mechanical-like expectations. Esther is constantly pressure by her environment to marry and have children; like a robotic housewife; What a man wants is, is an arrow into the future and what a woman is, is the place the arrow shoots off from This is one of the many remarks Esther often receives from her medical student boyfriend, Buddy Willard, along with a suggestion that one day Esther will stop rocking the boat and start rocking a cradle, these sexist comments serve to enlighten the reader of the ideas that young women were steered towards an illustrious ideal of purity, subservience and modest deportment, whilst simultaneously struggling against a condemnation of sexuality, power and confidence. He also says that once she has children she will feel differently, and not want to write poems anymore, that she will be brainwashed and numb as a slave in some private, totalitarian state. Esther rejects Buddy Willard and his ideals as she discovers that all Buddy wants is a typical family life and wife and she does not want to suffer the loss of freedom. Buddy does not appreciate the creative process that is highly valued by Esther who wants to be a poet. Instead of telling him what she actually felt she just says, I guess so and leaves it at that. However, what she wanted to say was -Theyre dust as dust as dust. I reckon a good poem lasts a whole lot longer than a hundred of those people put together. The fact that she does not speak her true feelings to Buddy depicts two sides to Esther, one that doesnt reveal her true self and the other that accepts what she is told I took everything Buddy Willard told me as the honest-to-God truth. Due to the many years she complies with this faà ¯Ã‚ ¿Ã‚ ½ade of pretending to be the woman everyone wants her to be, trying to please her family and peers, her mental break down and eventual suicide attempts are inevitable. The major ity of the readers of Bell Jar will have felt pressured by peers, or their family at some point in their lives, and this universal theme combined with precise and elaborate language helps relate us to the character of Esther on a strong personal level. Esther does not have the courage to speak her mind and relieve her troubled thoughts until she is finally hospitalised. However Bromden finds a release from the struggles within himself with the arrival of McMurphy. Before his arrival to the hospital, Nurse Ratcheds routine is successful in maintaining a mechanized sense of order, as Bromden includes in his notes: Its for fixing up mistakesWhen a completed product goes back out into society, all fixed up good as new, better than new sometimes. With this observation, Bromden reflects that as long as one conforms to societys rules, life runs smoothly; although unless they are very strong, if one refuses to conform they will pay the price. Bromdens father was a non-conformist, but was not strong enough; as a result, he was destroyed. McMurphy was strong enough to oppose the repression, but in the end, he still loses. Despite the needless death of McMurphy, there is still a sense of hope in the end of the novel that breaks the sadness, a nd that is Chief Bromden who, mimicking McMurphys earlier unsuccessful attempts to escape, finally manages to break free of his inner struggle towards a new life. As the reader I felt satisfied by the distinctly promising ending, and after sharing and experiencing the struggles of Bromden through the text, believe that Kesey ended the novel on a positive note to enable the reader to gain closure on his shocking story, unlike the uncertain ending to Bell Jar. Plath also has her central character imitate the ideas of others to push aside her hidden struggles. Throughout the novel she is unsure about her future and about her self, and it may seem that Esther herself is unable to define her identity. Due to her confusion Esther adopts various parts of the personalities of the women in her life, which evidently neither fit nor reflect her true self. Firstly she feels like she wants to be like Doreen, the next she describes her disgust by her and reveals her desire to be like Betsy; It was Betsy I resembled at heart. The simple fragmented sentence almost seems to the reader that she has confidence in the assertion of her character traits. However, this is contradicted with the desire to be like Jay Cee, as her balance of marriage and career impresses her. Even though Kesey in Cuckoos Nest has Bromden successfully be influenced by McMurphy, Esther evidently does not alleviate her struggles by longing to be someone else. By stating that she resembles Betsy, it appears to the reader that she is trying to fit in but also enables us to further observe a sense of self-destruction due to her identity confusion. After it appears that Esther is on the road to improving her mental health, it is surprising to see that in the last chapter of the novel, we see that the bell jar parallel resurfaces, and provides the final word on Esthers supposed recovery. How did I know that someday . . . the bell jar, with its stifling distortions, wouldnt descend again? The bell jar has lifted enough that Esther can behave relatively normally, and although it seems that she hasnt actually freed herself, we get a sense that she obviously knows what she is doing as she has plans. Her suicidal desires have been abandoned, for the time being, and she begins to connect with other people and the outside world. The use of ellipsis after someday, suggest to the reader that Esther still feels the bell jar hovering above her, and worries that it will trap her again. The novel lapses into a linear, traditional narrative towards the end, representing sanity as a complete and significant concept, however, whilst she is reli eved to be free from her madness, she does not wholly believe that this is a permanent solution from her struggles. It is this sense of ambiguity that leaves the reader to decide their own interpretation of Esthers fate. Both Plath and Kesey portray intense psychological struggle of Esther and Bromden effectively in similar ways; both novels create a sense of catharsis at the end of the novel due to the heavy, complex emotions and the distinct, visual imagery and language. I see this catharsis as alleviated in Cuckoos Nest with Bromdens successful escape; conversely in Bell Jar I feel that this is not quite relieved and that I am almost sharing Esthers constant burdens in the concluding paragraphs. The novel was described by one critic as having a special force, a humbling power, because it shows the vulnerability of people of hope and good will, I see this overwhelming vulnerability we are able to share with Esther that helps The Bell Jar stand out as the most effective in conveying the struggle. I feel that Plaths precise literary techniques, along with the obscure symbolism of the bell jar persisting to plague Esthers mind, to the point where she is still no clearer on her uncertain fate, delineat es Bell Jar as unforgettable with a lingering ambiguity that has asserted the novel as a literary classic.

How Hard Is the SAT Spanish Subject Test

How Hard Is the SAT Spanish Subject Test SAT / ACT Prep Online Guides and Tips  ¿Estudias espaà ±ol? ¿Hablas espaà ±ol en casa?Are you wondering if you should take the SAT Subject Test in Spanish? Let's review what it covers and how students usually score so you can decide if the SAT Subject Test in Spanish is right for you. First, you have to know what's on the test. Step 1: Familiarize Yourself With the Spanish Subject Test Before you can decide if your language skills are up to the challenge, you should know all about the SAT Subject Test in Spanish- when it's offered, how it's structured, and what's on it. When Is the Spanish Subject Test Offered? There are two options for taking the SAT Subject Test in Spanish: the Listening test and the non-Listening, or Reading-only, test. Spanish with Listening is offered only on one test date in November, while the Reading version is offered on all the other test dates- in May, June, August, October, and December. To see the exact dates and figure out when you should take the tests, check out this article.Besides when they're offered, what are the differences between the Listening and Reading options? How Is the Spanish Subject Test Structured? Both tests ask 85 multiple choice questions in 60 minutes. Here's the breakdown of the Reading Subject Test: 33% vocabulary and structure 33% paragraph completion 33% reading comprehension The Listening test, on the other hand, has this structure: 40% listening (e.g. describing a picture, continuing a short conversation, or answering comprehension questions) 60% reading (vocabulary and structure, paragraph completion, and reading comprehension). As you can see, if you choose the Spanish with Listening Subject Test, your listening skills are a significant portion of the test. However, your Listening subscore will count half as much as your reading subscore, which I'll explain more below in the section about how the test is scored. Both subscores will be reported on your score report, but the reading will count more towards your overall scaled score. The Listening portion is 20 minutes long. You are required to bring a CD player to listening to the Subject Test. Read more about the CD player guidelines here. While the skills being tested differ, between the two tests, both cover similar content. What Does the Spanish Subject Test Cover? The tests cover the following areas of understanding. Different parts of speech Basic idioms Ability to fill in words or expressions within the context of a sentence Understanding of vocabulary and structure questions within paragraphs Understanding of main points, supporting ideas, themes, style, tone, and setting of passages, which may be drawn from fiction, news articles, historical works, letters, and advertisements This practice question, for example, tests your ability to fill in a word in the correct part of speech in the context of a sentence. Difficulty level: easy. Here's a similar sample question that tests your understanding of the subjunctive form. Difficulty level: hard. Try some more sample questions from the Spanish Subject Test here, and determine whether they feel easy or hard to you. This is one important action you can take to determine your language level. Mike knows enough Spanish to ask where the bathroom is, but not enough to express all the love that's in his heart. BreakPresents/YouTube. Step 2: Know Your Spanish Language Level College Board suggests that you should have three to four years of studying Spanish or two or more years of intensive study to take the SAT Subject Test in Spanish. If you're nearing the end of AP Spanish and are getting an A, then you are likely in a strong position to score highly on the Subject Test. If you're in Spanish 3, and have not studied Spanish intensively, like in AP classes, then you might not be ready yet. Again, trying practice questions will help give you a sense of the test and whether you feel your language skills are ready. Your Spanish teachers might also have advice on whether your high school curriculum has sufficiently prepared you for the Subject Test. If you're a native speaker, you should still study for the test to make sure you know grammar and other rules of the language. Don't worry about expressions unique to one country- the test is not supposed to have any region-specific sayings. Research your college to learn their Subject Test requirements and expectations. Some might be impressed with your high score on a language test. Others might prefer you opt for another test, if they already know that you're a native speaker of Spanish. For more on this, check out our expert guide: Which SAT Subject Test Should You Take? It's also important to consider how strong your reading vs. listening comprehension in Spanish is. The Spanish with Listening gives that extra dimension of understanding and may help with placement into a more advanced language level in college. The grading curve is often more competitive for the Listening test, as students who opt for that one are typically fluent or have particularly strong Spanish skills. So if you're really not confident in your listening comprehension, you probably want to steer clear of the Listening test. Let's take a closer look at what I mean when I talk about a competitive grading curve. Step 3: Consider the Grading Curve Along with your Subject Test score out of 800, you'll also get a percentile. This percentile compares you to other students who took the test. If you score in the 75th percentile, for example, then you scored higher than 75% of other students and lower than 25%. This table shows how the Spanish Subject Test scores converted to percentiles last year. You can see that the Spanish Subject Test with Listening is slightly more competitive. The same score is a slightly lower percentile on the Listening test than the Reading test. Check out this table, based on data from the College Board, and then scroll down for a discussion of what this data means for how difficult the SAT Subject Test in Spanish is. Score Spanish with Listening Percentile Spanish with Reading Percentile 800 94 92 790 91 90 780 86 87 770 82 84 760 78 80 750 74 77 740 69 74 730 66 70 720 62 67 710 58 64 700 55 60 690 51 57 680 46 54 670 43 50 660 40 47 650 38 44 640 35 41 Average (50th percentile) scores on the tests are in the upper 600s. Let's take a look at what you need to score in the 70th, 80th, and 90th percentile. Good Scores for Spanish Listening 70th percentile:750+ 80th percentile:770+ 90th percentile:790+ Good Scores for Spanish Reading 70th percentile: 730+ 80th percentile: 760+ 90th percentile: 790+ To score in a high percentile compared to other test-takers, you have to score quite high, between 750 and 800, on the tests. While this might sound like a tall order, it's actually well within your reach if you have the requisite Spanish language skills and take time to prepare for the Subject Test. Read this article for more on the average scores of the SAT Subject Tests and what constitutes a good score on each test (it's different for each one). This data can help you set target scores and design your study plan. Let's take a look at how the scoring works, so you can keep this in mind as you study for the test. Step 4: Know How the Spanish Subject Test Is Scored Unlike the general SAT, for the Spanish Subject test (and all other Subject Tests), you lose points for incorrect answers.Spanish Subject Test gives you 1 point for every correct answer, 0 points for skipped answers, and -1/3 point for wrong answers. These points add up to your raw score, which is then converted to a scaled score between 200 and 800 through a process called equating. Equating takes everyone's scores into account. As you saw above, the grading curve on language tests like Spanish is competitive. Some years, you might be able to get away with one or two wrong answers and still score an 800. Otherwise, you will likely lose about 10 points for every two questions you get wrong. As I mentioned above, the reading subscore counts twice as much as the listening subscore toward your composite scaled score. However, both subscores will be reported and viewable on your score report. If you are adequately prepared with AP Spanish, years of study, or out of the classroom fluency, then you are in a great position to score highly on the Spanish Subject Test and demonstrate your multilingual abilities to admissions committees. Even if you're confident in your fluency, it's always important to do some serious test prep and back up your understanding with the necessary grammatical knowledge and reading comprehension. Step 5: KnowWhen to Guess and When to Leave Answers Blank Too many random guesses could bring down your score, so you have to be smart on when to guess on a question(and risk a point deduction) and when to leave a question blank (with no change of getting it right). Here are some strategies to follow: If You Can't Eliminate Any Answer Choices If you're really stumped on a question and can't eliminate any of the options, don’t guess yet.Skip the question and for now and go back to it afteryou've finished the rest of the exam.What if you stillcan’t eliminate anyof the options?It may make sense to guess, but it also may not gain you any points. Here's an example: If you guess on four questions without eliminating any answer choices, odds are you'll get one question right and three wrong. This leaves you with a net of zero points on those questions (1 - (.3333 x 3)=0). However, total randomness is rare, and the test makers often design the wrong answer choices to seem correct so that you're more likely to choose them. This means the choices you decide on may not be random, and you may end up guessing incorrectly on more than three-quarters of the questions, leaving you with a net negative of points. This leaves you with a choice. You can either leave questions you can't eliminate any answer choices on blank, or you can do you best to make your answer choices completely random. One way to do this is to pick a letter (say "A") and select that answer choice for all the questions you're guessing on to make your choices as random as possible. If You Can EliminateOne or MoreAnswer Choices Once you can eliminate at least one answer choice, the math is much more in your favor to guess.Say you have six questions where you've been able to eliminate one answer choice for each. That leaves you with three answer choices per question. Odds are you'll guess correctly on two of the questions, and answer four incorrectly. That leaves you with a net positive of 2/3 a point (2 - (.333 x 4). It's not huge, but it's definitely better than nothing. Just remember to keep your guesses on the remaining answer choices as random as possible. Additional Note:If you take a practice test, I highly recommendmarking all the questions you guessedon so that you can later evaluate the success of your guessing strategies. This will also prevent you from just ignoring questions you got right by chance, whichyou should always revisitanyway. To Sum Up... The Spanish Subject Test has a competitive grading curve. You'll have to score in the high 700s to make it into a high percentile, so set high target scores and prep to achieve them. Make sure you're confident in your comprehension of Spanish, have studied it for at least the recommended amount of time, and have a strong grasp of grammar and vocabulary. If you have all these language skills, then the test should not be overly difficult for you. Instead, it will be a great opportunity to showcase your language skills to admissions committees and add a strong Subject Test score to your college applications.  ¡Buena suerte!  ¿Quà © ms? Need to brush up on your ser conjugations? We've got you covered with our chart of ser conjugations for every tense. Looking for a good SAT Spanish study notes? We've put together the best SAT Spanish Subject Test guide here. What are the easiest SAT Subject Tests to take? This article answers that question from a few different angles, including the content of the test and how competitive the grading curves for each one are. Are you applying to Ivy League schoolsor wondering if your test scores are good enough to get in? Check out this post on Subject Test Scores for the Ivy League and other selective colleges. When are you taking the SAT or ACT? Check out this study plan that helps you schedule your prep a year or more in advance of the tests. Need a little extra help prepping for your Subject Tests? We have the industry's leading SAT Subject Test prep programs (for all non-language Subject Tests). Built by Harvard grads and SAT Subject Test full or 99th %ile scorers, the program learns your strengths and weaknesses through advanced statistics, then customizes your prep program to you so that you get the most effective prep possible. Learn more about our Subject Test products below:

Months of the Year in Spanish

Months of the Year in Spanish Words for the months are very similar in English and Spanish thanks to their  common heritage: enero - Januaryfebrero - Februarymarzo - Marchabril - Aprilmayo - Mayjunio - Junejulio - Julyagosto - Augustseptiembre, setiembre - Septemberoctubre - Octobernoviembre - Novemberdiciembre - December Key Takeaways: The Months in Spanish The names of the months of year in English and Spanish are similar because they come from the age of the Roman Empire.Names of the months in Spanish are masculine and not normally capitalized.The most common pattern for writing dates in Spanish is number de month de year. Grammar of the Months in Spanish All of the names for months are masculine, although it usually isnt necessary to use the article el except when giving specific dates, and then the el comes before the number rather than the month. Note that unlike in English, the names of the months are not capitalized in Spanish (except at the beginning of a sentence or composition title). Three months have adjective forms: abrileà ±o (pertaining to April), marzal (pertaining to March), and agosteà ±o (pertaining to August). Example: Las lluvias abrileà ±as de nuestro paà ­s son persistentes. (The April rains in our country are persistent.) How to Write Dates in Spanish The most common way of giving dates is following this pattern: el 1 de enero de 2000. For example: La Declaracià ³n de Independencia de los EE.UU. fue ratificada por el Congreso Continental el 4 de julio de 1776 en Filadelfia. (The U.S. Declaration of Independence was ratified by the Continental Congress on July 4, 1776, in Philadelphia.) As in that example, the word on in an on date phrase does not have to be translated to Spanish. Otherwise, the names of months are used similarly to the structure in English: Abril es el cuarto mes del aà ±o. (April is the fourth month of the year.)Asturias registrà ³ el febrero ms seco y clido desde 1990. (Asturias recorded the driest, warmest February since 1990.)Un aà ±o bisiesto es uno con 366 dà ­as en vez de 365. Cada cuatro aà ±os, febrero tiene un dà ­a ms. (A leap year is one with 366 days instead of 356. Every four years, February has an extra day.)Fue publicado el 28 de febrero de 2008. (It was published on February 28, 2008.)Era un diciembre mgico. (It was a magic December.)Se celebra el 24 de octubre como Dà ­a de las Naciones Unidas. (October 24 is celebrated as United Nations Day.)Segà ºn las creencias de la astrologà ­a, las personas que nacieron el 20 de octubre son en cierto modo una paradoja. (According to astrological beliefs, people born on Oct. 20 are paradoxical in some way.)El 25 de octubre es el 298o dà ­a del aà ±o en el calendario gregoriano. (October 25 is the 298th day of the year in the Gregorian calendar.)Cada feb rero, una marmota llamada Phil sale de su cueva. (Each February, a groundhog named Phil comes out of his burrow.) El 6 de enero es un dà ­a importante para la nià ±ez mexicana, porque es el dà ­a que llegan los Reyes Magos a dejar regalos. (January 6 is an important date for Mexican children, because it is the day that the Wise Men arrive to leave gifts.) Abbreviating Dates When writing dates using just numbers, Spanish typically uses Roman numerals using a date-month-year sequence. For example, September 16, 1810 (Mexicos independence date), would be written as 16-IX-1810. Note that the sequence is similar to that used in English in Great Britain (as well as in most other European languages) but not the United States. Origins of the Months Names The names of the months all come from Latin, the language of the Roman Empire: enero - from the Roman god Janus, the guardian or doors and gates.febrero - from a word meaning purify. A feast of purification was once held at this time of year.marzo - from Martius, the word for the planet Mars.abril - meaning uncertain. It may be a variation of the name of the Greek god Aphrodite.mayo - possibly from Maia, a Roman earth goddess.junio - possibly from Junio, a goddess married to Jupiter.julio - in honor of Julius Caesar.agosto - in honor of August Caesar.septiembre - from a Latin word for seven. September was the seventh month of the old Roman calendar.octubre - from a Latin word for eight.noviembre - from a Latin word for nine.diciembre - from a Latin word for ten.

The Normal Distribution and Probability Essay Example | Topics and Well Written Essays - 1000 words

The Normal Distribution and Probability - Essay Example Given that the median helps to do away with influences associated with too much of one or two scores on the extremes of any given distribution, it thus emerges as the measure of choice in variability. Assignment 2 Sales 500 salespeople of a company are mostly normally distributed forming a bell symmetrical shape. Whereby sales from those who record high sales appear on the right side while those with low sales coming on the left side and with a majority of sales appearing on the middle part of the distribution, translating to an average of sales on either side of the curve accounting for the mean sales. This would make it resourceful to come up with a working model to be used to work out a budget as well as predicting performance of the company. A company would predict the effect-increase in sales revenue- of increasing the number stores and salespeople. This distribution also helps to not only identify those sales people who need extra training but also it helps to identify those wh o need to be replaced. It is worth to consider the size of the sample in question, with a large sample like that of the 500 sales people proving to be more representative compared to a sample of about 100 people. It is therefore relevant statistically to estimate that adding one more sales person is worth for instance $25,000 increase in revenue. Clearly from the study sales people and their respective sales are the main variables which are measured in ratio scale since there are those sales people who have nil sales. On using a continuous scale, sales are normally distributed with most of sales in middle range and the entire sales data being within the range 40% of the average sale. A probability value of 0.05 implies 5% of the sales people will sell an amount different from expected sales value and while the remaining 95 % are expected to sell at an amount within the expected amount. This concept is therefore used to represent monthly countable sales. Assignment 3 Organizations re sort to using means such as incentives and bonuses so as to increase the productivity of their employees. In order prove that financial incentives have always boosted the productivity of employees, I will evaluate the hypothesis that a $ 1,000 incentive offered to employees is sufficient to make them finish a project before the expected time. In this study size of incentive and level of productivity are the independent and dependent variables respectively. Assuming the population sample n=30 would be chosen randomly from the employees allocated to new projects. Hypothesis testing is an analysis of a given research, with a null hypothesis indicating a zero change as a result of the $ 1000 incentive represented by  µ. On the other hand a change as a result of the $ 1000 incentive indicates the alternative hypothesis. In order to determine critical boundaries and identify chances of Type 1error, it's important to select an alpha level. Selecting a .01 alpha level provides a low risk error and avoids overstretching the critical area since this level enhances a balance between the functions which offers a base to reject or accept the proposed effect of the incentive. A one-tailed test is utilized when hypothesis about a particular directional rather than general. Results obtained from one -tailed test are of significance