Broken Dreams :: essays research papers

Luke is jogging down the ground, followed closely by a stalker. He feels the hot, heavy breath of his follower on his neck, and can see his large shadow looming in front of him. He tries to fun faster to get away, dodging and weaving, but cannot seem to shake him; he is with him every step of the way. There is no escape. A call from a mate is an enormous relief; Luke has been rescued. He passes the ball to his mate, and continues running towards goal. Ryley lines up for goal about forty meters out, and with a superbly executed drop punt, sends the ball sailing through the goal posts. He kicks the first goal of the 2005 premiership season, and puts the Falcons six points in front, after only three minutes into the first quarter. The crowd erupts into applause and begins to chant, ‘Falcons, Falcons!’ Luke knew that this season would be a lot better than the last. This year he is going to be injury free and the critics have already ranked him highly in the running for the b est and fairest player at the end of the season. The Falcons were also tipped to finish in the top four this year, even though they did not have a full coaching staff. The game continued with a bounce from the umpire in the centre of the oval. The ruckmen battle it out, wrestling each other to get the tap needed for a break out of the centre. The football falls to the ground and is immediately smothered by desperate players trying to help their team. The umpire blows the whistle and signals another bounce. Again, the ruckmen struggle against each other, but this time the ball is punched forward. Luke jumps high into the air to seize the football, however comes crashing down and lands awkwardly, with other players falling in a pile on top of him. Everyone quickly jumps up and chases the pack of players following the ball. Luke is left lying on the ground, curled up in excruciating pain, holding his knee. The Falcon’s team runners come sprinting onto the field to attend to the injured player, signaling for the stretcher. Luke stands up, ignoring the stretcher, and is helped off the ground by two trainers. He is carried down into the clubrooms, where a physiotherapist attempts to identify the severity of the injury.

Actor Audience Relationship

Actor Audience Relationship In my most honest opinion, I believe the ideal actor audience relationship is something that transcends the normal criteria for a performer/audience relationship. It can be a passive or active relationship, for both types fulfill their purpose-creating emotional stimuli- on some level. There is an unspoken, unseen connection between those in the seat and those in the stage. Both viewer and actor feed off each other, whether it is the subtle shedding of a tear from the front row or the impact of a tomato on an underwhelming performer’s face.There wouldn’t be an audience without actors and vice versa for the audience pays for a ticket to be entertained and the actor performs to entertain the audience. What an audience member wants from an actor/production could be anything; a reminisce of a lost love, resonating a political reservation, a laugh-all these differentiating factors form the distinction that the way an audience acts towards a play t otally up to the VIEWER.It’s their emotional responses; a play does not dictate one how to act but it is the responsibility of the actors and crew to produce emotions. Though on one hand some plays seem more fit to be taken more actively (Rocky Horror) and some more passively (Romeo and Juliet) because of their contextual meanings and how the production as a whole sees itself. A play full of beautiful monologues and sonnets is meant for the more passive viewer, to be soaked into the mind amidst audience silence where musicals sometimes prompt one to move their body and even sings.Some plays might not mean anything to an audience member so they will remain totally at the end of the passive spectrum just watching actors and waiting to leave their seat. The audience shapes the performance by acting as to whom the playwright wrote for before the production hit the stage. A good playwright knows the audience/anticipation of an audience influences the juxposition of critical dramat ic beats. So automatically the audience influences the script, something has to be written that will draw people into the seats.Also the audience shapes the overall performances and charisma of actors for those who smile and applaud actively at one’s performance will encourage an actor to commit even further into â€Å"the illusion† while being booed might can an actors fumble his lines and throw the performance off balance, thus losing â€Å"the illusion†. Furthermore the audience also acts as critics, regarding the chances and reception of future performances. Most importantly, the audience is what pays the bills of everyone involved with the show.Without the audience providing encouragement, criticism and money-there wouldn’t be the modern conception of a play. Ultimately I feel that the role of the audience should remain varied. Too much participation may not be right for some plays and too little participation may make you look like a lame duck (Rock y Horror for an example). Maybe that is why most plays institute the standard â€Å"fourth wall† rule, separating the stage from the audience because it would ruin â€Å"the illusion† of the so-called realism plays.The appeal of audience involvement theorized by the playwright Augusto Boal’s theatrical form of breaking down the â€Å"fourth wall† so everyone can participate in the drama seems to be on the rise again, for the evolution of the there world is giving way to experimental writers and directors who encourage audience involvement In the end I feel that Boal’s ideas may be too much of a good thing, and the actor-audience relationship is one where the audience mutes themselves (aside from laughter and applause) and lets the actors on stage be the sole center of attention where the activity of communication/reaction is transported passively to the viewer. (1) Felner, Mira. The World of Theater: Tradition and Innovation. 2006, Pearson.

Prince Metternich

Samantha Meyers 01/20/13 Wld Hist. HN Pd. 2 Prince Metternich Prince Metternich was born in Coblenz on May 15, 1773. He owed most of his early education to his mother because his father showed no interest in his education. In 1788, Metternich enrolled in Strasbourg University He served as foreign minister of the Austrian Empire from 1809 to 1848 and restored Austria to its former power after the devastating Napoleonic Wars. He held continuous office in European affairs for almost 40 years.One of his first tasks was to set up a detente with France that included the marriage of Napoleon to the Austrian Arch-Duchess Marie Louise. Soon after that he engineered Austria’s entry into the War of the Sixth Coalition on the Allied side, he signed the Treaty of Fontainebleau that sent Napoleon into exile. In recognition of his service to the Austrian Empire, he was raised to the title of Prince in October 1813. Prince Metternich lead the Congress of Vienna.He helped restore balance of po wer to all of Europe and proposed a peacekeeping organization called the Concert of Europe. He attempted to restore hereditary monarchs that lost power but only ended up making the people favor nationalism. Under his guidance, the â€Å"Metternich system† of international congresses continued for another decade as Austria aligned herself with Russia and Prussia. This marked the high point of Austria's diplomatic importance, but soon Metternich slowly slipped back into the periphery of international diplomacy.At home, Metternich also held the post of Chancellor of State from 1821 until 1848, under both Francis II of Austria and his son Ferdinand I of Austria. After a brief period of exile in London, Brighton and Brussels that lasted until 1851, he returned once more to the Viennese court, this time to offer only advice to Ferdinand's successor, Franz Josef. Having outlived his generation of politicians, Metternich died at the age of 86 in 1859. Metternich was one of the most c apable diplomats of his time.He was responsible for the stability of European governments. In the end, however, Metternich failed because his basic strategy was to support autocracy when the political development in Europe moved rapidly towards democracy. Bibliography: â€Å"Prince Metternich. †Ã‚  World History: The Modern Era. ABC-CLIO,  2013. Web. 20 Jan. 2013. World History Notes on â€Å"19th Century Nationalism† â€Å"Conservative, Sophisticated, Skilled Diplomat. †Ã‚  Emersonkent. com. Emerson Kent, n. d. Web. 20 Jan. 2013. .

Free Essays on Dolls House

Modern marriage consists of an equal partnership between two individuals. However, in the nineteenth-century setting in which Henrik Ibsen set his play, â€Å"A Doll’s House,† marriage was an institution with strict social standards of the roles for both men and women. Men were the independent providers, and women were the caretakers, dependent on their men. The marriage between Nora and Torvald Helmer is an example of these roles, and demonstrates the consequences of breaking with the traditions, for which neither one is responsible. When Nora borrows the money, she steps outside of her traditional, dependent role, which leads her to the realization that her role in her marriage to Torvald does not fulfill her as an individual, and she decides to leave her home and the situation that she has created, hoping to start her life again and live independently. Women in the nineteenth century were expected to live as dependents, first as daughters, and later in life as wives. Nora makes frequent references to her dependence on both her father and her husband throughout the play. For example, when Doctor Rank visits Nora in Act II, she compares her relationship with Torvald to the relationship with her father, saying to Rank: â€Å"you can see how it’s a bit with Torvald as it is with Daddy,† (760). This quote demonstrates to the audience the transition between dependent roles of nineteenth century women, who were allowed few opportunities to live independently of men, with professional choices limited to the textile arts, such as knitting and embroidery. â€Å"The woman of the well-to-do classes was made to understand early that the only door open to a life at once easy and respectable was that of marriage. Therefore she had to depend upon her good looks, according to the ideals of the men of her day, her charm, her little d rawing-room arts,† (Spartacus). Though the marriage between Nora and Torvald appears to be healthy and ideal, every... Free Essays on Doll's House Free Essays on Doll's House Modern marriage consists of an equal partnership between two individuals. However, in the nineteenth-century setting in which Henrik Ibsen set his play, â€Å"A Doll’s House,† marriage was an institution with strict social standards of the roles for both men and women. Men were the independent providers, and women were the caretakers, dependent on their men. The marriage between Nora and Torvald Helmer is an example of these roles, and demonstrates the consequences of breaking with the traditions, for which neither one is responsible. When Nora borrows the money, she steps outside of her traditional, dependent role, which leads her to the realization that her role in her marriage to Torvald does not fulfill her as an individual, and she decides to leave her home and the situation that she has created, hoping to start her life again and live independently. Women in the nineteenth century were expected to live as dependents, first as daughters, and later in life as wives. Nora makes frequent references to her dependence on both her father and her husband throughout the play. For example, when Doctor Rank visits Nora in Act II, she compares her relationship with Torvald to the relationship with her father, saying to Rank: â€Å"you can see how it’s a bit with Torvald as it is with Daddy,† (760). This quote demonstrates to the audience the transition between dependent roles of nineteenth century women, who were allowed few opportunities to live independently of men, with professional choices limited to the textile arts, such as knitting and embroidery. â€Å"The woman of the well-to-do classes was made to understand early that the only door open to a life at once easy and respectable was that of marriage. Therefore she had to depend upon her good looks, according to the ideals of the men of her day, her charm, her little d rawing-room arts,† (Spartacus). Though the marriage between Nora and Torvald appears to be healthy and ideal, every...

Just Breathe Essay

Just Breathe Essay Just Breathe Essay Just Breathe†¦ The sun beamed down in sweltering waves of heat. It was the kind of dry heat that peeled the paint off of houses. I packed my lifeguarding bag taking as much time as possible. Folding each towel and article of clothing neatly before tugging the zipper of my bag closed. Walking out to my car I allowed my head to hang down facing the steaming asphalt. Unlocking my car doors I placed my bag in the passenger seat and slipped into my car hoping to find some relief from the scorching heat. Much to my dismay my car was identical in temperature if not worse than outside. I turned the key in the car’s ignition. A large piece of me wishing the engine wouldn’t start so I would have a valid excuse to miss my class. Disregarding my wishes the engine started with ease. This was it. I started toward the pool hall with all the windows down; relishing in the chilled summer air flowing through the windows and swirling inside my car. I trudged into the pool hall and entered the change roo ms. Unloading my lifeguarding bag taking the same time and amount of care as when I had packed it. Quickly I rinsed my body in the facilities’ showers before my grueling six hour examination began. I made my way towards the pool doors, but before my fingers could come in contact with the slender handle; the pool doors swung open as the children and their parents from the previous lesson fled through their metal arches. The stench of chlorine permeated the dense sticky air. Water lapped across my feet. My wrinkled toes curled over the pools smooth tiled edges. A dark navy bathing suit that was much too tight donned my glistening skin. I lowered my body into the frigid water clinging to the pools walls. Attempting to steal the minuscule amount of warmth they possessed. This was it. My final opportunity to successfully complete the hundred meter underwater swim. The concept of swimming a hundred meters underwater didn’t strike me as hard until I realized you only get one breath. My mind quickly became consumed with thoughts of defeat and failure. I gnawed on my bottom lip until I felt the red metallic tasting fluid from within hit my tongue. It was finally my turn to try and redeem myself. I let my fingers fall from the pools smooth and comforting edges and slip into the chilled water. Tiny curls laid against my forehead as my eyes stayed level with the water. Taking a deep breath I submerged myself into the icy depths of the pool. Pulling my body against the water as fast as possible I began to feel a burning sensation come from my lungs and what little oxygen I had left escaped through my pursed lips. Frantically I scrambled to reach the pools surface looking for the smallest breath of oxygen to relieve my flaming lungs. I had failed and no more than a mere meter from my body was the opposite pool wall. My checkpoint was within a seconds reach and I had failed just like I previously predicted. I made my way to the wall slowly letting the water lap across my face not much caring if it stung my eyes. The instructor gazed down at me with a look of pity written on her face. I threw myself over the edge of the pool and laid in the puddle of my own failure while the others continued to retest and complete their previous failures. The buzzer cut through the air and awoke me from my daze signaling the end of class. As I started to gather my belongings and make my way back to the change room the instructor pulled me aside. I stood in front of her looking at the pattern of tiles in the pool deck not wanting to make eye contact but once she started to speak I did. Knowing it would be rude not to despite how much I felt like wallowing in my self disapproval. She must have seen something in me that I

Talking About Weather in Spanish

Talking About Weather in Spanish Everyone talks about the weather, so if you want to improve your ability to have casual conversations in Spanish, one way is to learn the language of weather. Talking about the weather is straightforward, although some sentence structures are used that arent used inEnglish. In English, it is very common to use it when discussing the weather, as in the sentence it is raining. In Spanish, it isnt necessary to translate the it, and you can talk in Spanish using any of the three methods below. Incidentally, the it in English weather sentences is called a dummy subject, meaning it doesnt have real meaning but it used only to make the sentence grammatically complete. As you use Spanish, you will become familiar with which methods is more common with particular types of weather. In many cases, any of the three methods can be used with little or no change in meaning. Using Weather-Specific Verbs The most direct way of talking about weather in Spanish is to uses one of the many weather verbs: Graniza en las montaà ±as. (Its snowing in the mountains.)Nevà ³ toda la noche. (It snowed all night.)Est lloviendo. (It is raining.)Diluvià ³ con duracià ³n de tres dà ­as. (It poured rain for three days.)Los esquiadores quieren que nieve. (The skiers want it to snow.) Most of weather-specific verbs are defective verbs, meaning that they dont exist in all conjugated forms. In this case, they exist only in the third-person singular. In other words, at least in standard Spanish, there is no verb form meaning something like I rain or I snow. Using Hacer With Weather The first thing you may notice if youre talking about or reading about the weather is that the verb hacer, which in other contexts usually is translated as to do or to make, is frequently used. In many cases, hacer can simply be followed by a weather condition. Hace sol. (Its sunny.)En la Luna no hace viento. (There is no wind on the moon.)Hace mucho calor en Las Vegas. (It is very hot in Las Vegas.)Estaba en medio del bosque y hacà ­a mucho frà ­o. (I was in the middle of the forest and it was very cold.)Hace mal tiempo. (The weather is awful.)Hace buen tiempo. (The weather is good.) Using Haber With Weather It is also possible to use the third-person singular form of haber, such as hay in the indicative present, also known as the existential haber, to talk about weather. These could be translated literally with sentences such as there is sun or there was rain, although youll usually to better to use something more idiomatic. No hay mucho sol. (it isnt very sunny.)Hay vendaval. (It is extremely windy.)Habà ­a truenos fuertes. (It was thundering loudly.)Temo que haya lluvia. (Im afraid it will rain.) Other Grammar Related to Weather When discussing how the weather feels, you can use tener, which usually is translated as to have but in this context is used to indicate how a person feels. Tengo frà ­o. (Im cold.)Tengo calor. (It feels hot.) You are best to avoid saying something like estoy caliente or estoy frà ­o for Im hot or Im cold. These sentences can have sexual overtones, just as can the English sentences Im hot or Im frigid. Most textbooks advise against using sentences such as es frà ­o to say its cold, and some say that such a usage of the verb ser is incorrect. However, such expressions are heard in informal speech in some areas. Weather Vocabulary Once you get beyond the basics, here is a vocabulary list that should cover most situations or help you understand the forecasts youll find in news and social media: altamente: highlyaviso: advisorycalor: hotcentà ­metro: centimeterchaparrà ³n: downpourchubasco: squall, downpourciclà ³n: cyclonedespejado: cloudlessdiluviar: to pour, to flooddisperso: scatteredeste: eastfresco: coolfrà ­o: coldgranizada: hailstormgranizo: hail, sleethumedad: humidityhuracn: hurricaneà ­ndice ultravioleta: ultraviolet indexkilà ³metro: kilometerleve: lightlluvia: rainluz solar, sol: sunshinemapa: mapmayormente: mostlymetro: metermilla: milemà ­nimo: minimumnevar: to snownieve: snownorte: northnublado: cloudynubosidad: cloud cover, cloudinessoccidente: westoeste: westoriente: eastparcialmente: partlypie: footponiente: westposibilidad: possibilityprecipitacià ³n: precipitationpresià ³n: air pressurepronà ³stico: forecastpulgada: inchrelmpago: lightningrocà ­o: dewsatà ©lite: satellitesur: southtemperatura: temperaturetiempo: weather, timetronar: to thundertrueno: thundervendaval: strong wind, windstormventisca: snowstormviento: windvientos helados: wind c hillvisibilidad: visibility Key Takeaways Spanish has three common ways of talking about weather: using verbs that refer to weather, using hacer followed by a weather term, and using the existential haber followed by a weather term.When translating to Spanish, the it in sentences such as it is raining is not translated directly.

Emission Trading Schemes Essay Example | Topics and Well Written Essays - 1750 words

Emission Trading Schemes - Essay Example [1]. Emissions' trading has emerged over the last two decades as the preferred environmental policy tool. The key advantage of emissions trading is that firms can flexibly choose to meet their targets, rather than use predetermined technologies or standards - i.e., command-and-control policies. Emissions sources with low-cost reduction opportunities can over comply and sell their additional allowances to sources where reductions would be more difficult and costly. This leads to the lowest overall cost, or most economically efficient solution. Emissions' trading is particularly relevant to climate change mitigation as carbon dioxide (CO2) and other green-house gases (GHGs) have the same effect wherever they are emitted and compliance costs differ dramatically across sources. Hence there is considerable scope for trading, and opportunity for considerable gains from these trades. Experience in the United States and other countries have shown that well-designed emissions trading programs can reduce environmental policy costs by as much as 50%. [1]. The origins of the EU-ETS date back to 1992 when 180 countries signed the United Nations Framework Convention on Climate Change (UNFCCC). Following negotiations under this agreement, the Kyoto Protocol was signed in 1997, committing the industrialized nations to an averaged 5.2% reduction from 1990 levels by the first commitment period in 2008-2012. The EU-ETS officially began on January 1, 2005 and consists of a "warm-up" phase from 2005-2007 and then successive 5-year periods, with the second phase from 2008-2012 set to coincide with the Kyoto compliance period. Six key industrial sectors are covered, notably electricity and heat production plants greater than 20MW capacity. Other included sectors (with specific facility size thresholds) are oil refineries, coke ovens, metal ore and steel installations, cement kilns, glass manufacturing, ceramics manufacturing, and paper, pulp and board mills. These sectors are likely to account for around 12,000 installations (depending on the final details of the specification process), and represent close to half of the total CO2 emissions from the EU-25 countries. Participating companies are allocated allowances, each allowance representing a ton of the relevant emission, in this case carbon dioxide equivalent. Emissions' trading allows companies to emit in excess of their allocation of a llowances by purchasing allowances from the market. Similarly, a company that emits less than its allocation of allowances can sell its surplus allowances. [1]. Monitoring and reporting of an installation's emissions are carried out based on binding EU-wide guidelines mainly through fuel purchases and use of emissions factors, although continuous monitoring and third party verification are allowed. All self-reported emissions must be verified by an independent third party (similar to an auditor reviewing a firm's financial accounts). [2].Methodologies are under development to allow inclusion of additional sources, greenhouse gases and emissions factors. Hefty fines exists for non-compliance (40 Euro/TCO2 from 2005-2007, then 100Euro/TCO2 from 2008 onwards), levels that are considerably higher than most predictions of allowance prices. [3]. Even though the EU ETS will ultimately be judged on the basis of its effectiveness as a tool to reduce GHG emissions, the underlying rationale for choosing emissions trading was based on economic