Individual freedon(see instruction below) Essay Example | Topics and Well Written Essays - 750 words

Individual freedon(see instruction below) - Essay Example l choice of a person but also to social safety because drug addicts tend to eventually demonstrate complete of partial defeat of consciousness that is often accompanied by physical degeneration and at the end leads to complete isolation and death. Very rarely (only in 5-10% of all cases) drug addicts manage to recover completely. The statistical data show that the results of rehabilitation programs throughout the world can hardly be called optimistic: around 90% of drug addicts who had been detoxified are back to taking drugs. When people who abuse substances become dependant on them, they are guided by the constant desire to take the drug, which sometimes causes them to commit crimes – and this certainly endangers the society. Drug addicts are usually subdivided into two categories: functional and non-functional, the first group being able to live a more or less normal social life sustaining their addiction for years: â€Å"Their lives are not made totally unmanageable by it so they dont tend to drop out of society.† (The long walk to freedom 2001) Psychologist Dan Wolf comes up with the following examples when talking about the functional drug addicts: â€Å"the housewife who cant relax without Valium, the ad executive who can’t keep up without his cocaine, or the friend who can’t socialize unless she has a drink or a joint in her hand.† (The long walk to freedom 2001) Non-functional addicts are people whose personalities and lives are partially or completely destroyed by the drug. Non-functional drug offenders pose the main danger to the society as they are very likely to become inadequate. Apart from being non-productive members of the society, they are likely to commit crimes, and even though legally they remain citizens of the state, in fact they only bring damage to the community they live in. Drug addiction is often called an â€Å"illness† of the entire society destroying it from within. Except from criminal threats, drug addicts very often suffer

Black And White Marriage Essay Example for Free

Black And White Marriage Essay Barbara Stanton has been my friends for fifteen years. You might say that she is my best friend. We’ve dated and double-dated, but not once did we ever date outside our own race. About a year ago, Barbara came to me announcing that she was getting married to her boyfriend Paul. I hadn’t seen her for a while because we both began to grow in different directions and I’m ashamed to admit that we didn’t even keep in touch to have a deep conversation. Just some hello’s and goodbyes. When she called to tell me she was getting married, once again she omitted something that may have seemed inconsequential to her, but quite significant to her family and friends. She was marrying a black man. Maybe it’s not so crazy, but in the past few years we’ve seen more black and white couples than ever before. Maybe it’s because children of today’s world don’t even see color, or maybe it’s because of the rappers and hip hop entertainers that we somehow have as role models. Who knows? All that is certain is that where at one time this was totally unacceptable, today it is gaining more and more popularity. On a luncheon that we had with a few friends a few weeks before the wedding, the issue of race was brought up. Barbara had all the statistics. She argued that although race has often been contentious in childrens literature, from controversies over Twains Adventures of Huckleberry Finn, to Bannermans Little Black Sambo, to Keatss The Snowy Day, to Herrons Nappy Hair. How race is portrayed and who portrays it have been crucial for many critics. ( Sands-OConnor, Karen Why Are People Different? ) She related to us about some of the history of racism, and we had to admit that it seemed rather ridiculous the way the people of old handled it. In the sixteen hundreds, for example, Maryland banned interracial coupling because it wasn’t sure if the offspring of the black slave and white person would be considered a free person or a piece of property. Barbara knew a lot about black history. She told us that many blacks had white ancestry and who are we, the smug whites, as she called us, to not see this. She let us know in no uncertain terms that there were so many white slave ‘owners’ that took advantage of their female slaves that there was an abundance of mixed children born throughout those years. It is estimated that as many as seventy percent of African Americans are descendants of interracial coupling. These include Booker T. Washington, Malcolm X, Martin Luther King, Jr. and Frederick Douglass. Each one of these mentioned are of black and white ancestry, including her intended. Denise, one of Barbara’s cousins brought up the fact that it just wasn’t common for blacks and whites to marry because of the long-term effects. But Barbara had the numbers right there in front of her. She told us that according to the Census Bureau, the number of mixed-race marriages rose from three hundred thousand in 1970 to one point two million in 1990. Between 1960 and 1990, the percentage of African American marriages involving a white spouse more than tripled. She wasn’t alone. Barbara looked at the six of us. â€Å"Of course we realize that we are of different ethnic backgrounds, but we are in love and intend to be married and really don’t care who objects. That is, of course, except the parents and relatives. Somehow, we always care what family says. But, what is interesting about America and it’s occupants is that even though people define their deliberations of interracial marriage in terms of â€Å"culture,† what really bothers them is race. We laughed as she told us that they didn’t tell the family that there was a difference in ethnic background. They just said, ‘guess who’s coming to dinner? ’ and they walk in the door, totally shocking the pants off all in the room. Her family, of course, pretended to be polite and welcoming until the couple left. Then, Barbara said she could imagine her mother’s hand going to the heart and the drama began. This, of course, is with both families, black and white. Barbara and Paul are sure that all through the courtship there will be innuendos right into the wedding day. Paul, in consoling Barbara as the big day approached, told her that friends of his that married interracially had similar problems. Some families give in and actually convince themselves that this is okay. Others really are okay with it and still others completely betray their own feelings. Their family did consent and did seem pleased. However, Barbara really didn’t want to know if these were feelings for show or not. She admitted that they had to face many decisions before the big day, such as the way they’ve handled difference of opinions thus far and religious upbringing of the children. They needed to voice whether they were willing to compromise on some of these issues and most importantly, how they see the role of husband and wife in this marriage of difference. In my opinion, like all marriages, things can lead to disaster or they can be worked on effortlessly, and Barbara and Paul firmly examined their path well before they made the decision to wed. Traditionally, African-American weddings include vivid colors, elaborate costumes and meaningful rituals. Whereas the white wedding embraces a more toned down dress. White bridal gown and pastels usually are chosen for the bride and the maids. The men are usually in black or white tuxedos depending on the time of day the wedding takes place, whereas the black groom sometime chooses a costume designed to the custom of his people. Ironically, in order to avoid all of this, Barbara has chosen to have a civil ceremony in the chapel at city hall and a small dinner at one of the area’s best restaurants. All decisions regarding custom have therefore been eliminated. The night before the wedding, they had a talk with both parents. The question of the future was brought up and the constant changes the human life goes through. They ask the couple how they are going to feel ten to twenty years down the road about this relationship and the offspring of this relationship. They do understand that everyone changes their ideas and opinions and although today they agree on most things, life is funny when it wants to throw bones. If a couple of the same race marries, when each one goes through changes, it is not going to be related to race. This is a big deal. There will be racial slurs on both sides of the family and friends sharing opinions. They will eventually have to deal with school and the black and white mom and dad. The family that evening pointed out that as sad as it is, the child will always be looked upon as ‘different’ because of his or her genetics. However, this was something Barbara and Paul did not agree on. They pointed out that in today’s world, unlike when their parents were growing up, the rivalry between races isn’t as potent. They agreed that some whites looked upon themselves as superior to blacks and in reality there would always be some type of racial issue as long as we have a democracy. It’s just different opinions. These things have a way of working themselves out and as for their children, they will know as soon as they recognize the difference in mom and dad that they are mixed. Growing up with it is certainly not the same as finding out spontaneously when their older. Since that’s impossible, the race issue may be resolved with the age of reason. The next morning, the wedding went off as scheduled. The whites in the chapel at city hall were noticing the difference in the people across the isle and the blacks were noticing the same things. But, they smiled at one another in a friendly gesture of approval. But, Barbara and her new husband knew that you couldn’t take the hand-me-down prejudices out of the older people in the chapel and they knew that there would be difficulties and differences from the get-go. However, they felt this would be a long lasting relationship and they were not willing to give up their future for the likes of racial interference. At the words, ‘I now pronounce you man and wife’, the whole family changed. Now there is a white girl in our family†¦. says one. Now there is a black man in our family†¦. says the other. Life has changed for them all. It’s been five years and the marriage is still going strong. I visited them and their twin boys, two years old who have brought the whole family together and they are loved to pieces by both sides. The children are mixed, but they have the blue eyes of the mother and the full lips of the father. Their color is the color of coffee with milk in it and their hair is a mixture of straight and curly. Perfect. They happen to be absolutely the most beautiful children imaginable. And they know it. There is so much love in that family that no one would guess there is a racial difference. Now, the families admit that they still see color, but only on the outside of the family. They see no color within. As far as the parents go, both couples realized they have a fondness for poker, hence the Thursday night poker club. In conclusion, we see that today, there are few communities with any claim to being racially pure; in modern society there has been a considerable amount of intermarriages which has blurred any such distinctions even further. (Pinsent, Pat: Race and Ethnic Identity pg. 91) So, are we going to get caught with our pants down if we don’t start building our country with the knowledge that all men are indeed created equal? No one actually takes a look-see inside the obviously different race to find out that we are not so different after all. Our wishes and hopes are exactly the same. Our love for our children is bountiful on both sides and our country is important to us all. How than, for a matter of a color, can we be so negative toward one another? I believe it is simply a fact collector. Get the facts on the person. Compare those facts with your own and voila’ we’re all God’s creatures. Barbara and Paul taught us all a lesson. The readers of this essay may have racial differences as well. If so, maybe we should stop and smell the roses and if not†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦how did they smell? CITATIONS BOOKS Sands-OConnor, Karen Why Are People Different? † Pinsent, Pat: Race and Ethnic Identity pg. 91

Classical Approaches to Teaching English as a Second Language Essay

During the last hundred years, English has become the most important language in the world. In the contemporary age, learning any foreign tongue has become both fashionable and necessary. But is there a perfect method which can be applied to achieve the appropriate level of English? I have been learning English for more than 10 years, but have never realized that there are so many different techniques and approaches to teach English as a second language. While studying, I have noticed that I had experienced some of them at the primary and secondary school. In this essay I would like to present my personal opinions and reflections about the approaches I encountered, the ways they were presented and exploited by my English teachers. First, I want to concentrate on the Grammar-Translation Method. Personally I think that many teachers use this technique while teaching a foreign language, but they do not even realize it. We may contend that it is the most common method, due to the fact that it is considered to be quite easy. I contend there is nothing more complicated than to give students a passage to translate from one language to another. Is it interesting or challenging for the students? I do not think so. I remember I did a lot of translation at school and that was not my favorite activity. Besides, it was hard for us to find any purpose in them. Apart from that, most of my classmates were simply bored. Sometimes it was too difficult and we had to spend many hours to find the meaning of a particular word in a dictionary. Without a doubt, that was not the way I wanted to learn English. Furthermore, translating a literary text was something entirely useless for me. And although we were rarely exposed to such a t ranslation... ... teacher and gave the commands to the class. Our favorite game was â€Å"Simon says†. It was considered to be quite easy because students did not have to repeat the commands but respond physically. Even when somebody made a mistake and showed something in a wrong way, he or she was not discouraged, because for us it was like playing not learning. In the final analysis, I must admit that I did not come across the perfect method to teach English. Every technique has its advantages and disadvantages. It all depends on the teacher; how and what he/she is going to adopt from a particular approach to his/her lesson. One thing I know for sure: we should not force students to learn a language in a way that is the best for us. To sum up I would like to quote a sentence which I found very interesting: â€Å"If the students don’t learn the way you teach, teach them the way they learn†.

A comparison between Jean Rhys and Una Marson Essay

Voyage into the Metropolis: Exile in the Works of Jean Rhys and Una Marson. In Jonathan Miller’s 1970 production of Shakespeare’s â€Å"The Tempest† the character of Caliban was cast as black, therefore reigniting the link between the Prospero/Caliban paradigm as the colonizer/colonized. It was not a new idea, indeed Shakespeare himself envisaged the play set on an island in the Antilles and the play would have had great appeal at the time when new territories were being discovered, conquered, plundered and providing seemingly inexhaustible revenue for the colonisers. What is particularly interesting, however, is how powerful the play later becomes for discourse on colonialism. This trope of Caliban is used by George Lamming in â€Å"The Pleasures of Exile† where he likens Prospero in his relationship with Caliban, to the first slave-traders who used physical force and then their culture to subjugate the African and the Carib, overcoming any rebellion with a self righteous determinism. In â€Å"The Pleasures of Exile† Lammi ng sees Caliban as: â€Å"Man and other than man. Caliban is his convert, colonized by language, and excluded by language. It is precisely this gift of language, this attempt at transformation which has brought about the pleasure and the paradox of Caliban’s exile. Exiled from his gods, exiled from his nature, exiled from his own name! Yet Prospero is afraid of Caliban. He is afraid because he knows that his encounter with Caliban is, largely, his encounter with himself.† 1 The Prospero/Caliban paradigm is a very relevant symbol for the colonizer/colonized situation of the West Indies but it nevertheless remains a paternalistic position. Where does that leave women of the Caribbean? It could be argued that the Caribbean woman has been even further marginalized. That in making Caliban the model of the Caribbean man it is therefore providing him with a voice. Yet nowhere in the Tempest is there a female counterpart, rendering the Caribbean woman invisible as well as silent and ignoring an essential part of their historical culture. Another issue raised here, is that Caribbean literature has for many years been male dominated. Just as the colonizer sought to ignore and marginalize their savage ‘Other’ so the Caribbean male has ignored their female counterpart. Opal Palmer Adisa, in exploring this issue, believes that it is â€Å"out of this patriarchal structure, designed to make her an object, part of the landscape to be used and discarded as seen fit by the colonizer, that the Caribbean woman has emerged.†2 It was out of such a ‘patriarchal structure’ that Jean Rhys and Una Marson emerged. The writing of both women revise and expand theme and personae, subverting a colonial and patriarchal culture. Both women â€Å"may exist in different ethnological and ontological realms but they both exist in worlds which have, at one time or another, attempted to censure, silence or ignore the ideals and interests of women†3 Like many of their male Caribbean counterparts to succeed them, their writing was greatly influenced by voyaging into the colonial metropolis and living in exile. In this essay I will discuss the importance of that journey in seeking to find a voice, an identity, and even a language to challenge established notions of Self, gender and race within the colonial structure. But essential to their experience is their struggle. Naipaul recognised, in Rhys, the themes of â€Å"isolation, an absence of society or community, the sense of things falling apart, depende nce, loss†.4 This could also be said of Marson. Jean Rhys was born Ella Gwendoline Rees Williams on 24th August 1890, in Roseau, Dominica to a Creole mother of Scottish descent and a Welsh father who was a doctor. Rhys left Dominica in 1907, aged sixteen and continued her education in a Cambridge girls’ school and then at the Academy of Dramatic Art which she left after two terms. Rhys experienced feelings of alienation and isolation at both these institutions and these feelings were to stay with her for much of her life. Upon pursuing a career as a chorus girl under a variety of names Rhys embarked on an affair with a man twenty years older than herself and which lasted two years. It is broadly accepted that this early period of her London life formed the structure for Voyage In The Dark, and like all of Rhys’s novels, explores homelessness, dislocation, the marginal and the migrant. The character of Anna, like most of her female protagonists exists in the demimonde of city life, living on the wrong side of respecta bility. What Rhys does effectively in this novel is to centralize the marginalized, those subjects â€Å"who belong nowhere, between cultures, between histories.†5 Una Marson was born in rural Jamaica in 1905. Her father was a well respected Baptist minister and as a result of his standing within the community Marson had the opportunity to be educated on a scholarship at Hampton High School, a boarding school for mainly white, middle class girls. After finding employment as a stenographer, Marson went on to edit the ‘Jamaican Critic’, an established literary publication, and from 1928-1921, her own magazine ‘The Cosmopolitan’. Having established herself as a poet, playwright and women’s activist Marson made the decision to travel to Britain. Her achievements in London were impressive; a social activist within the League of Coloured Peoples which led to her taking a post as secretary to the deposed Emperor Haile Selassie and later she was appointed as a BBC commentator. In reality, however, Marson, like Rhys found the voyage into the Metropolis very difficult. Facing blatant racial discrimination like ‘so many West Indian women migrants of the 1950s, Una found herself blocked at every turn. She complained and cried; she felt lonely and humiliated,’. 6 In spite of many literary and social connections she remained an isolated and marginal figure. Her poetry displays the uncertainty of cultural belonging where her language ties her to colonialism yet also provides her with a powerful tool with which to challenge it. In placing Rhys alongside Marson as pioneering female writers, it is important to explore the notion of nationality, of being Caribbean and to question the grounds upon which such ideas are constructed. Both women were writing at the same time, having been born and educated in the British colonies. Both these writers, whose lives span the twentieth century, are situated at the crossroads of the colonial and post-colonial, the modern and post modern, where the threat of fascism and war result in anti colonial struggles and eventual decolonisation across the world. Their voyages from the colonies into the metropolitan centre generate similar experiences. What is clear with both is that by journeying into the metropolis, as women, they occupy a double marginal position within an already marginalized community. Their journey can be seen as an exploration of displacement where, according to Edward W. Said, the intellectual exile exists ‘in a median state, neither completely at one with the new setting nor fully disencumbered of the old, beset with half involvements and half attachments, nostalgic and sentimental at one level, an adept mimic or a secret outcast on the other.’7 Rhys and Marson, having left the Caribbean are asking us to consider what it means to write from the margins. Within their work, both women challenge notions of women’s place within society and women’s place as a colonized subject in the metropolitan centre. The protagonist, Anna Morgan, in Voyage in the Dark, reflects Rhys’s own multi indeterminate, multi conflicted identity. Anna, like Rhys is a white descendent of British colonists and slave traders who occupy a precarious position of being â€Å"inbetween†. Hated by the Blacks for their part in oppressing the slaves and continuing to cling on to that superior social position, they are also regarded by the ‘mother country’ as the last vestiges of a degenerate part of their own history best forgotten. Moreover, 1930s England, still under the shadow of Victorian moral dicta, continued to judge harshly a young woman without wealth, family, social position and with an odd accent. Throughout the novel Anna is identified with characters who are â€Å"usually objectified and silenced in canonical works: the chorus girl, the mannequin, the demimondaine.†8 Much has been made of her reading of Zola’s Nana and indeed there are many parallels between the two characters. Anna, like Nana becomes a prostitute and in the first version of Voyage in the Dark Anna like Nana dies very young. There is of course the obvious anagram of her name but, as Elaine Savory highlights, some interesting revisions by Rhys. Whereas Zola, in Nana, creates a character who brings about the downfall of upper class men not through power but â€Å"with only the unsophisticated currency of youth and raw female sexuality†9 Rhys, in Anna, creates a character who is herself destroyed by men. â€Å"In Rhys’s version the men who use her youth and beauty are for the most part evidently cowardly or downright disreputable: Anna herself begins as naively trusting, passes through a stage of self destructive hopelessness and passivity and ends, in Rhys’s preferred, unpublished version, by dying from a botched abortion.†10 If we are to see Walter Jeffries as the original European, existing in a world viewed certainly by himself as principally ordered and reasonable then Rhys is, through this character, highlighting the degenerate aspect of using power to commodify and even destroy, thereby subverting the colonizer’s position in relation to the colonized. Through the character of Anna, Rhys explores those oppositions of â€Å"Self† and â€Å"Other†, male and female, black and white. Even though she outwardly resembles the white European, enabling her, unlike Marson, to blend visually within London, her association with the Caribbean sets her apart as between black and white cultures and as an exotic â€Å"Other†. This ambiguity of Anna’s position results in â€Å"slippage†. Anna and her family would have been regarded in the West Indies as the white colonizers. In England and in her relationship with Jeffries she becomes the colonized â€Å"Other†. In being read as the colonized subject Anna is continually having to adapt her world view and sense of identity to the perspective being imposed on her. A good example of this is the chorus girls’s renaming her as the â€Å"Hottentot† aligning her more with the black African and demonstrating the homogenizing of the colonized peoples b y the colonizers. This is similar to Spivak’s belief that ‘so intimate a thing as personal and human identity might be determined by the politics of imperialism.’11 Interestingly, â€Å"Hottentot† is the former name for the Nama, a nomadic tribe of Southern Africa. A somewhat apt comparison which reflects Anna’s own nomadic existence as she moves from town to town as a chorus girl and from one bed sit to another. The term â€Å"Hottentot† developed into a derogatory term during the Victorian era and became synonymous firstly with wide hipped, big bottomed African women with oversized genitals and then with the sexuality of a prostitute. Jeffries is fully aware of the implications of the name â€Å"Hottentot†. In response to hearing Anna’s renaming he says, â€Å"I hope you call them something worse back.†12 Elaine Savory makes a strong connection between Anna’s renaming and her relationship with Jeffries, her eventual seducer. Whilst â€Å"not looking at Anna’s body in an obvious way, eventually the transaction between them is understood fully on his side to be a promise of sexual excitement from a white woman whom he perceives as having an extra thrill presumably from association with racist constructions of black females in his culture.†13 Franz Fanon, in his book Black Skin, White Masks perceives these complex colonial relations as being in a state of flux rather than fixed or static. In his introduction to Fanon’s text, Homi Bhabha highlights this point, stating that the ‘familiar alignment of colonial subjects†¦Black/White, Self/Other†¦is disturbed†¦and the traditional grounds of racial identity are dispersed.’14 So it is in the relationship between Jeffries and Anna. In transposing the colonizer’s stereotypical images of a black woman onto Anna he is disrupting and dispersing those ‘traditional grounds of racial identity’. Moreover, Anna is subconsciously enacting a mediated performance, aware of her impact upon him and the implications of her actions, in an attempt to adhere to his preconceptions of her. The relationship cannot be sustained on these fundamentally unstable preconceptions. Anna, both as a female and racial â€Å"Other† is penetrated by Jeffries and with the exchange of money is commodified. Without independent means Anna becomes that purchasable girl who is at the mercy of and eventually becomes dependent upon the upper middle class Jeffries. The relationship between these two characters reflects Rhys’s own location in the world where the West Indies was at the time still a commodity of the British Empire. In another analysis of the colonial stereotype, Homi Bhabha challenges the ‘limiting and traditional reliance of the stereotype as offering, at any one time, a secure point of identification on the part of the individual,’15 in this case Jeffries and Hester. Bhabha does not argue that the colonizer’s stereotyping of the colonized ‘Other’ is as a result of his security in his own identity or conception of himself but more to do with the colonizer’s own identity and authority which is in fact destabilized by contradictory responses to the Other. In order to maintain a powerful position it is important, according to Bhabha, for the colonizer to identify the colonized with the image he has already fixed in his mind. This image can be ambiguous as the colonized subject can be simultaneously familiar under the penetrable gaze of the all seeing, all powerful colonial gaze and be incomprehensible like the ‘inscrutable Oriental’. The coloni zed can be â€Å"both savage†¦and yet the most obedient and dignified of servants†¦; he is the embodiment of rampant sexuality and yet innocent as a child; he is mystical, primitive, simpleminded and yet the most worldly and accomplished liar , and the manipulator of social forces.†16 In short, for Bhabha, the relationship between the colonizer and the colonized is riddled with contradictions and inconsistencies which, when imposed upon the colonized ‘Other’, cause a crisis of identity. So it is with Anna. Jeffries upon first meeting with the very young Anna can see that she is as ‘innocent as a child’ and is ‘most obedient’ sexually, but by her association with the Caribbean and the Hottentot as I have previously explored, she is subsequently attributed with being ‘the embodiment of rampant sexuality’ resulting in his taking of her virginity, abandoning her to prostitution but also leading to as Veronica Clegg observes ‘a loss of temporal referents’17 Anna’s stepmother, Hester, also attempts to impose an identity upon Anna which not only conflicts with Anna’s own sense of identity but is also based around stereotypical perceptions. . Hester, whose ‘voice represents a repressive English colonial law’18 believes that Anna’s father’s troubles resulted from his having lost ‘touch with everybody in England’19 and that these severing of ties with the Imperial motherland is a signal to her that ‘he was failing’,20 losing his identity, reduced to the level of the black inhabitants of the island. This idea of contamination and racial reduction is explored by Paul B. Rich who explains that there was a belief in the early twentieth century that white people in the tropics risked ‘in the absence of continual cultural contacts with their temperate northern culture, being reduced to the level of those black races with whom they had made their â€Å"unnatural home†Ã¢ €˜.21 In Hester’s eyes this apparent loss of identity is also experienced by Anna. She continually criticizes her speech, her relationship with Francine the black servant, and also insinuates degenerative behaviour on the part of her family, particularly Uncle Bo. Hester’s views reflect the growing disapproval in England at that time, of relationships between white people and the black population in the West Indies. Inter-racial relationships were discouraged for fear of contamination of the white ‘Self’. In voicing her disapproval of Anna’s friendship with Francine along with her continual use of the racist and derogatory term â€Å"nigger†, Hester is alluding to the fact that, in her opinion, Anna, especially through her speech, has indeed been contaminated and reduced racially and that Anna’s association with Francine thwarts her attempts to reconnect her with the colonizer’s ‘cultural contacts’. Hester rails that she finds it ‘impossible to get you [Anna] away from the servants. That awful sing-song voice you had! Exactly like a nigger you talked†¦and still do. Exactly like that dreadful girl Francine. When you were jabbering away together in the pantry I never could tell which of you was speaking.’22 Hester’s constant criticism only serves to undermine Anna’s real identity and dislocate her further from the Caribbean world she once inhabited and the alienating London world she is now experiencing. Her accent sets her apart, drifting between two worlds. Anna’s difficulties in negotiating these two worlds is a result of the ‘return of the diasporic’ to the metropolitan centre where ‘the perplexity of the living is most acutely experienced.’23 This can certainly be seen in her response to the weather which, according to Bhabha, invokes ‘the most changeable and imminent signs of national difference’24 The novel opens with; â€Å"It was as if a curtain had fallen, hiding everything I had ever known. It was almost like being born again. The colours were different, the smells different, the feeling things gave you right down inside yourself was different. Not just the difference between heat and cold; light, darkness; purple, grey. But a difference in the way I was frightened and the way I was happy. I didn’t like London at first. I couldn’t get used to the cold.†25 And later upon arriving in England with Hester she describes it as being ‘divided into squares like pocket-handkerchiefs; a small tidy look it had, everywhere fenced off from everywhere else’ 26and then in London where the ‘dark houses all alike frowning down one after another’27 Throughout the novel Anna continually experiences feelings of being enclosed. Many of the bedsits are restricting and box-like. On one occasion she remarks that ‘this damned room’s getting smaller and smaller†¦And about the rows of houses outside gimcrack, rotten-looking and all exactly alike’.28 The many small rooms between which Anna moves emphasize her disempowerment through enclosed spaces. These spaces, in turn, serve as metaphors for the consequences in voyaging into the metropolitan centre. She is at once shut inside these small monotonous rooms and shut out from that world which has sought to colonize her. It is perhaps ironic that the further she mo ves into the centre of the city, ending up as she does on Bird Street, just off Oxford Street , the more she is shut out and marginalized by that imperialist society. Her memories of the West Indies are in sharp contrast to her impressions of England. The images of home are always warm, vivid and exotic, ‘Thinking of the walls of the Old Estate House, still standing, with moss on them. That was the garden. One ruined room for roses, one for orchids, one for ferns. And the honeysuckle all along the steep flight of steps’.29 When comparing the two worlds she remarks to herself that ‘the colours are red, purple, blue , gold, all shades of green. The colours here are black, grey, dim-green, pale blue, the white of people’s faces – like woodlice’. 30 Her memory of home is experienced sensuously as she recalls the sights and smells: â€Å"Market Street smelt of the wind but the narrow street smelt of niggers and wood smoke and salt fishcakes fried in lard’ and the sound of the black women as they call out, â€Å"salt fishcakes, all sweet an’ charmin’, all sweet an’ charmin’.'†31 Anna attempts to convey this richness to Jeffries. His failure to appreciate the beauty she describes merely underlines the differences between the two. He expresses a preference for cold places remarking that ‘The tropics would be altogether too lush’.32 Jeffries’s reaction to the West Indies in fact reflects the colonizer’s view that the ‘ruined room for roses’ and ‘orchids’ portray a disorder, a garden of Eden complete with its implications of moral decay and as Bhabha states, a ‘tropical chaos that was deemed despotic and ungovernable and therefore worthy of the civilizing mission.’33 Anna’s association with this world sets her up, in Walter’s eyes, as a figure representing a secret depravity promising forbidden desires. Anna, like the West Indies is something to be overpowered, enslaved and colonized, where the colonizer seeks to strip their identity and impose their own beliefs and desires. It is significant, therefore, that following this scene Anna loses her virginity to Jeffries and recalls the memory of the mulatto slave girl, Maillotte Boyd, aged 18, whose record Anna once found on ‘an old slave list at Constance’.34 Like Maillotte Boyd, Anna is now merely a commodity and Jeffries has no intention of ever seeing her as an equal. Her purity, in his eyes isn’t worth preserving as he already considers her the contaminated ‘Other’. By his actions he succeeds in maintaining that patriarchal imperialism which relies on institutional forms of racial and national separateness. Anna, as a twentieth century white Creole, is no freer than the nineteenth century mulatto slave. Just as Maillotte Boyd is, as racially mixed, suspended between two races, so Anna as a white Creole is suspended between two cultures, leaving her dislocated. Anna’s voyage into the imperialist metropolis leads to boundaries and codes of behaviour, language and dress being constantly imposed upon her. She is aware for example of the importance of clothes as a means of controlling her social standing and also her standing as a woman. Through her dress Anna almost becomes that elegant white lady, mimicking London’s female high society. For Jeffries, Anna represents the ‘menace of mimicry’, which , according to Bhabha is ‘a difference which is almost nothing but not quite’ and which turns ‘to menace- a difference that is total but not quite.’35 This mimicry serves to empower Anna as it ultimately destabilises the essentialism of colonialist ideology, resulting in Jeffries imposing upon Anna the identity of the West Indian ‘Other’ This in turn leads to feelings of loss, alienation and dislocation, a rejection of being white and a desire to be black. ‘I always wanted to be black. I was happy because Francine was there†¦.Being black is warm and gay, being white is cold and sad.’36 Anna’s association with Hester meant that she ‘hated being white. Being white and getting like Hester, †¦old and sad and everything.’37 Yet the warmth she expresses in her memories of Francine are always tempered by her realisation that Francine disliked her ‘because I [Anna] was white.’38 Her feelings of being between cultures and feeling dislocated are never fully resolved. Anna’s voyage in the dark, reflects Rhys’s own sense of exile and marginality as a white West Indian woman. Teresa O’Connor remarks that ‘Rhys, herself caught between places, cultures, classes and races, never able to identify clearly with one or the other, gives the same marginality to her heroines, so that they reflect the unique experience of dislocation of the white Creole woman.’39 The language used to express feelings of exile and loneliness, destitution and dislocation is both sparse and economic. It is neither decorative nor contrived, devoid of sentiment or without seeking sympathy. In commenting upon an essay written by Rhys discussing gender politics, Gregg writes that ‘It is important to note her [Rhys’s] belief that writing has a subversive potential. Resistance†¦can be carried out through writing that exposes and opposes the political and social arrangements.’40 Helen Carr, in her exploration of Rhys’s language believes that: â€Å"Rhys in her fictions unpicks and mocks the language by which the powerful keep control, while at the same time shifting, bending, re-inventing ways of using language to open up fresh possibilities of being.†41 Una Marson, another Caribbean to voyage into the metropolis, also experienced loneliness, isolation and a struggle with the complexity of identity. Like Rhys, Marson fought with these feelings throughout her life, resulting in long periods of depression. Her belief in women’s need for pride in their cultural heritage established Marson as ‘the earliest female poet of significance to emerge in West Indian literature’.42 She not only ‘challenged received notions of women’s place in society’ but also raised questions about ‘the relationship of the colonized subject to â€Å"the mother country†Ã¢â‚¬â„¢43 There was a considerable amount of poetry emerging out of the West Indies around this time but most of it was dismissed as being ‘not truly West Indian’,44 the reason for this being partly because many of the writers were English but also because many of the styles used by these writers mimicked colonial forms. Many of Marson’s early poetry reflects this mimicry showing a reliance upon the Romantics of the English poetic tradition, particularly Shelley, Wordsworth and Byron. The poem Spring in England reveals this indebtedness to the Romantics, including as it does a stanza where, having observed the arrival of Spring in London, the poet asks: ‘And what are daffodils, daffodils Daffodils that Wordsworth praised?’ I asked. ‘Wait for Spring, Wait for the Spring,’ the birds replied. I waited for Spring, and lo they came, ‘A host of shining daffodils Beside the lake beneath the trees’ (The Moth p6)45 Clearly there are echoes of Wordsworth’s Daffodils throughout the stanza, reflecting the drive by colonialism through education to eradicate the West Indian selfhood. Yet for Marson this harnessing of English culture not only posed few problems but indeed was, I would argue, a necessary step in her voyage of self discovery. As seen with Rhys, mimicry was a subversive threat to colonial ideology, especially through language. Homi Bhabha’s notion of mimicry seeks to explore those ambivalences of such destabilizing colonial and post-colonial exchanges. â€Å"The menace of mimicry is its double vision which in disclosing the ambivalence of colonial discourse also disrupts its authority. †¦The ambivalence of colonial authority repeatedly turns from mimicry – a difference which is almost nothing but not quite – to menace – a difference that is almost total but not quite. And in that other scene of colonial power, where history turns to farce and presence to a ‘part’ can be seen the twin figures of narcissism and paranoia that repeat furiously, uncontrollably.†46 Bhabha’s essay in recognising the power, the play and the dynamics between the colonizer and the colonized offers an alternative to the pessimistic view held by V.S. Naipaul who believed that West Indian culture was doomed to mimicry, unable to create anything ‘original’. Marson’s mimicry of the Romantics could be seen as a preparation to enter the colonizer’s metropolis, and to attempt to assimilate into the colonizer’s world. In making that voyage to the metropolis, Una Marson succeeds in taking that step from ‘the copy’ to the ‘original’. By remaining in Jamaica Marson risked remaining in an environment too rigidly ingrained by colonial prescriptions. Una Marson’s voyage into ‘the heart of the Empire’, however, resulted in intense disappointment. For the first time, Marson experienced open racism and according to Jarrett-McCauley ‘The truth was that Una dreaded going out because people stared at her, men were curious but their gaze insulted her, even small children with short dimpled legs called her â€Å"Nigger†Ã¢â‚¬ ¦She was a black foreigner seen only as strange and unwanted. This was the ‘Fact of Blackness’ which Fanon was to analyse in Black Skins, White Masks(1952), that inescapable, heightening level of consciousness which comes from â€Å"being dissected by white eyes†.’ 47 Unlike Rhys, Marson was finding it impossible to blend visually within London. Consciousness of her colour made Marson conscious of her marginality. This consciousness led her seriously to question the values of the ‘mother country’. Marson’s work moved from mimicry to anti-patriarchal discourse, seen in her poem Politeness where she responds to the William Blake poem Little Black Boy with: They tell us That our skin is black But our hearts are white We tell them That their skin is white But their hearts are black (Tropic Reveries p 44) The poem demonstrates Marson’s growing resentment at being alienated by the colonial power. There is an uncertainty in her desire to both belong and to challenge, echoing Rhys in her sense of cultural unbelonging. Those anti-patriarchal feelings are present once more in her poem Nigger where she communicates the anger she feels at being abused and marginalized as the racial ‘Other’. They call me ‘Nigger’ Those little white urchins, They laughed and shouted As I passed along the street, They flung it at me: ‘Nigger! Nigger! Nigger!’ She retorts to this abuse furiously with: You who feel that you are ‘sprung Of earth’s first blood’, your eyes Are blinded now with arrogance. With ruthlessness you seared My people’s flesh and now you still Would crush their very soul Add fierce insult to vilest injury.48 In its repetition of the shocking term ‘Nigger’, Marson is confronting the white colonialist’s use of the word to exert power over and oppress the colonized. The violence of its use reflects the violence of their shared history where ‘Of those who drove the Negroes / To their death in days of slavery,’ regard ‘Coloured folk as†¦low and base.’49 In highlighting this history of violence, oppression and slavery, Marson is attempting to invert this oppression and dislodge the notion of white supremacy, whilst attempting to negotiate a position from West Indian to African and in doing so, fashion an identity. By writing the poem in the first person singular and moving from ‘They’ to ‘You’ when addressing the white colonizers, Marson succeeds in centralizing herself and reversing the binary system of ‘Self’ and ‘Other’. Nigger marks Marson’s sharpened perspective on issues such as racism and identity. Her voyage into the metropolitan centre triggers those ’emergent identifications and new social movements†¦[being]†¦played out’.50 It was a time in Marson’s life where she was made to feel inadequate, lonely and humiliated but it also roused her to ‘resist the corrosive force of her oppressive world.’51 Nigger reveals this sense of belonging and not belonging felt by Marson, of being part of the empire but never part of the Motherland, yet it simultaneously challenges the very essentialism in which the colonial Self is rooted. Moreover, the hostility she experiences in many ways acknowledges the success of Marson’s performance as a hybrid. Marson’s frustration and anger was compounded by the fact that in being middle class and educated she possibly saw herself as ‘a notch above the poor, black working class women from the old communities in Cardiff, Liverpool and London’52 Marson explores this question of how middle class West Indians negotiate being educated and yet marginalized and even considered inferior in her play London Calling. The play, based on the experiences of colonial students in London charts the story of a group of expatriates who, upon being invited to the house of an aristocratic English family, dress up in outlandish native costume and speak in ‘broken’ English. The play, a comedy, takes a light hearted look at the stereotypical images held by the British, at the same time countering the myth of black inferiority. There is, in the play, a curious twist as the students from Novoko are presented as black versions of the British in their dress and behaviour, ‘mimic men’ and yet they themselves attempt to ‘mimic’ their own folk culture. They are eventually discovered by one of the family, Larkspur, who then proposes marriage to Rita, one of the Novokans. The play ends with Rita declining Larkspur’s proposal in favour of Alton, another Novokan. This rejection of Larkspur places Rita in a powerful position. Rita is no longer the undesirable ‘Other’, she has resisted the oppressive world of the colonialists and placed herself as the centralised ‘Self’. Rita is Marson’s fantasy where the black woman is recognised as beautiful and an equal. Marson’s activities in the League of Coloured Nations gave her purpose, direction and the opportunity to advance her political education whilst introducing her to the Pan – African movement ‘a sort of boomerang from the horrors of slavery and colonialism, to which Una, like many of her generation, was being steadily drawn.’53 Marson’s work around this time reflects a desire to reclaim and restore that ‘Other’ cultural tradition, a difficult task as the Caribbean was not an homogeneous agency and it was not easy to establish a pre-colonial culture. The ethnic mix was large and hybrid making the notion of ‘Caribbeanness’ less easy to define. The Pan-African movement provided links with an alternative body to European colonialism and offered Marson a platform to renegotiate and redefine her idea of ‘Caribbeaness’ and race, an option not offered to Rhys. Having established a sense of being a black person in a white imperialist centre, she now needed to make sense of being a black woman within this paternalistic centre. The poem Little Brown Girl attempts just this, constructing a dialogue of sorts between a white Londoner, whose gender is unclear, and a little brown girl. The poem begins with a series of questions put to the child: Little brown girl Why do you wander alone About the streets Of the great city Of London? Why do you start and wince When white folk stare at you Don’t you think they wonder Why a little brown girl Should roam about their city Their white, white city? (The Moth, p11) The questioning of the little brown girl’s presence in London suggests a linguistic imperialism. It may be construed as the speaker challenging her right to be in the city, establishing her as the nameless, black ‘Other’. Her feeling of difference is emphasized in the repetition of the word ‘white’ on the final line of the second stanza. The third stanza plays out an interesting reversal in notions of blackness. The speaker asks why she has left the ‘little sunlit land / where we sometimes go / to rest and get brown’54 alluding to the desire of white skinned people to tan which for the white colonialist signifies wealth, for the black ‘Other’ being inferior and uneducated. From here there is a subtle shift of speaker and London is seen through the eyes of the little brown girl. Her perception of the city is distinctly unattractive where ‘There are no laughing faces, / people frown if one really laughs’ and: There’s nothing picturesque To be seen in the streets, Nothing but people clad In Coats, Coats, Coats, (The Moth, p11) If the poem began with the strangeness of the brown girl to the white gaze, here it teases out those feelings of alienation felt by the little brown girl at being in such a cold, drab place, so different from her own home. Once more Marson creates a reversal in the stereotype as she seeks to objectify white people observing that ‘the folks are all white -/ White, white, white, / And they all seem the same.’55 In homogenizing the colonizers, the hybridity of the West Indians are then celebrated in the many varied skin tones of ‘black and bronze and brown’ which are themselves homogenized by the label ‘Black’. The vibrancy, colour and friendliness of ‘back home’ where the folks are ‘Parading the city’ wearing ‘Bright attractive bandanas’ contrasts with the previous stanza of the dour images of London. The dialogue is handed back to the white speaker who attempts to establish the origins of the little black girl but succeeds in once more re-establishing the homogeneic white gaze indicated in the speaker’s inability to distinguish between many distinct nations : And from whence are you Little brown girl? I guess Africa, or India, Ah no, from some island In the West Indies But isn’t that India All the same? (The Moth, p13) More than anything the poem conveys that sense of isolation felt by the little brown girl in the city. She never answers the white speaker directly and is positioned in the middle of the poem, again centralizing the colonized. In asking the question ‘Would you like to be white/Little brown girl?’ there is a sense of the colonizer attempting to manipulate and dominate the colonized, to Europeanise, ultimately leading to mimicry. Yet the questioner responds himself with ‘I don’t think you would / For you toss your head / As though you are proud / To be brown’. 56 Marson, here, signals a move away from being a ‘mimic man’ seeking to challenge that whole Eurocentric paternalistic world and centralise the black women, the most marginalized figure in society. The themes central to Little Brown Girl’s themes echo Rhys’s own negative reactions to London seen in the opening page of Voyage in the Dark. Like Rhys, Marson succeeds in capturing that colour and warmth of the West Indies contrasting greatly with the misery of London, experienced by both and which reinforce that racial and national separateness. Those differences prove for both to be irreconcilable, making it impossible for both Rhys and Marson to integrate, leaving both women dislocated from the metropolis. Little Black Girl serves as a useful reminder that many immigrants were women. This encounter between the city and a woman (in Marson’s case, a black woman) echoes Anna’s encounter in Voyage in the Dark albeit as a prostitute. Both walk the streets of the city and as women-as-walkers encounter the metropolis, negotiating its spaces. Denise deCaires Narian suggests that certainly Marson could be considered as a flaneuse.57 Neither Rhys nor Marson, however have the confident panache of the flaneuse and neither fulfil the requirements of flanerie originally set out by Baudelaire. The flaneur, he asserted, saw the ‘crowd as his domain, †¦ His passion and his profession is to merge with the crowd’.58 The flaneur and therefore the flaneuse is engaged in strolling and looking but most importantly merging ‘with the crowd’. For Marson this is impossible as she is a black woman in a white city. Moreover, Baudelaire expands upon the idea of the flaneur as having ‘the ability to be away from home and yet to feel at home anywhere, to be at the centre of the world, and yet to be unseen of the world’.59 Again this is problematic for both Marson and Rhys as their wanderings around the metropolis seek only to reinforce those feelings of ‘Otherness’, isolation and marginality. For Marson these feelings of alienation gained her the reputation of being a ‘true loner who didn’t exactly seek out company’60 leading to a ‘heightened level of bodily consciousness’ which comes from ‘being dissected by white eyes’.61 In her struggle with being marginalized as a black women always at the mercy of the white metropolitan gaze, Marson was always aware of that Europeanised sense of beauty being white. This idea of beauty was so entrenched, even within the black community that they themselves set beauty against the paleness of their own skin. The importance of popularly disseminated images is tackled in Cinema Eyes where a black mother in addressing her daughter attempts to challenge the idea that ‘Europeans still provide the aesthetic reference point’.62 The speaker urges her eighteen year old daughter to avoid the cinema fearing that it might reinforce the idea that white is beautiful causing the girl to lose sight of her own beauty: Come, I will let you go When black beauties Are chosen for the screen; That you may know Your own sweet beauty And not the white loveliness Of others for envy. (The Moth, p88) By growing up with a ‘cinema mind’ the mother has allowed herself to be at the mercy of those tools used by the colonizer to marginalize and indoctrinate, promoting their own superiority. Once again the ‘mimic man’ re-emerges when black women reject their own in seeking an ‘ideal man’. ‘No kinky haired man for me, / No black face, no black children for me.’63 This rather melodramatic narrative within the poem tells of the mother’s ‘fair’ husband shooting her first suitor whom she had initially rejected for being too dark, and then committing suicide. The shooting scene, a re enactment of a gun fight in a western, presents the cinema as a racist and degenerate institution. By the end of the poem, the speaker acknowledges her mistake in rejecting the first lover and finds a sense of self, previously denied by the saturation of cinematic images. In shaking off the colonizer’s indoctrination, which seeks to marginalize her, she addresses the question posed by Franz Fanon which is ‘to what extent authentic love will remain unattainable before one has purged oneself of that feeling of inferiority?’64 Black invisibility in the cinema results in white ideology being forced upon a black body and essentially commodifying it and it is this which Marson seeks to deconstruct. Another poem which tackles the reconstruction of female identity is Black is Fancy, where the speaker compares her reflection in the mirror with a picture ‘Of a beautiful white lady’.65 The mirror serves to reclaim the idea of black as being beautiful and a rediscovery of self: Since Aunt Lisa gave me This nice looking glass I begin to feel proud Of my own self (The Moth, p75) The speaker eventually removes the picture of the white woman suggesting that black worth and beauty can only really exist in the absence of white colonialism. The poem ends in a victory of sorts as she declares that John, her lover has rejected the pale skin in favour of ‘His black ivory girl’.66 Kinky Haired Blues represents Marson’s quest for a more effective and authentic poetic voice in its use of African American speech.. The poem explores the rhythms and musical influences found in Harlem and gathering momentum about this time. Kinky Haired Blues like Cinema Eyes and Black is Fancy criticizes the oppressive beauty regime of white colonialism which seeks to disfigure and marginalize the black woman. The poem opens with the speaker attempting to find a beauty shop: Gwine find a beauty shop Cause I ain’t a belle Gwine find a beauty shop Cause I ain’t a lovely belle. The boys pass me by They say I’s not so swell (The Moth, p91) The speaker seeks to Europeanise her black features in an attempt to make herself more attractive. Male indifference experienced in the metropolis forces the speaker to see herself as an aberration, thrusting her onto the margins of a society which is continually projecting the idea that ‘white ‘is ‘right’. The beauty shop contains all the trappings of the colonizer’s idea of beauty, ‘ironed hair’ and ‘bleached skin’. Yet she is caught between being left to ‘die on de shelf’ 67 if she doesn’t change herself, or eradicating her ethnic features and therefore her inner self if she does. By using blues within the poetry she is able to communicate this misery felt within her, that male perceptions of beauty projected by the colonizers dictate that she must distort her own natural beauty in order to fit in and conform. The poem highlights the struggle Marson experiences in trying to preserve her selfhood against such oppressive cultural forces. Marson defiantly attempts to stand against this patriarchal order. She proudly announces that ‘I like me black face / And me kinky hair.’ Inspite of this brave stand Marson eventually succumbs and admits that she is ‘gwine press me hair / And bleach me skin.’ She, like Rhys can only resist internally to the colonialist’s ideals imposed on them. As writers voyaging into the metropolis both Rhys and Marson share in their writing a pervasive sense of isolation where, from the location of London, their particular voices and concerns are, at the time, not recognised. Both writers, from this isolated position on the periphery of the centre. explore issues of womanhood, race and identity,. Marson’s experiences bring about an acute awareness of her difference and ‘Otherness’ as a Black woman. Her work is a defiant voice against this marginalisation and isolation. She was, as Jarrett MaCauley claims ‘the first Black feminist to speak out against racism and sexism in Britain.’68 She was a pioneer in a growing literary culture which was to become the new postcolonial order. Rhys, by contrast, a white West Indian from Dominica was experiencing a declining white minority status against a growing black population, itself an isolating factor both at home and within the metropolis. Kenneth Ramchard suggests that the work of white West Indian writers is characterized by a sense of embattlement: â€Å"Adapted from Fanon we might use the phrase ‘terrified consciousness’ to suggest the White minority’s sensations of shock and disorientation as a smouldering Black population is released into an awareness of power.†69 It is this ‘terrified consciousness’ which contributes to the struggle experienced by Anna in Voyage in the Dark . Located simultaneously both inside and outside West Indian socio cultural history, her journey to the ‘mother country’ seeks only to exacerbate these feelings of ‘in-betweenness’ and to suffer feelings of dislocation and alienation. Both writers, therefore, in their voyage into the metropolis endure different kinds of anxieties in their sense of ‘unbelonging’ to either or both cultural worlds. Both use their writing to speak for the marginal, the hegemonic, the dispossessed, the colonized silenced female voice situated as they were within the cold, oppressive, hierarchical colonial metropolis attempting to impose an oppressive identity upon the exiled women.    1 George Lamming The Pleasures of Exile (London: Alison, 1960) p15 2 Palmer Adisa De Language Reflect Dem Ethos† in ‘The Winds of Change: The Transforming Voices of Caribbean Women Writers and Scholars’ ed. By Adele S. Newson and Linda Strong Leek. (New York: Peter Lang 1998 p23) 3 ‘The Winds of Change: The Transforming Voices of Caribbean Women Writers and Scholars’ ed By Adele S. Newson and Linda Strong-Leek. (New York: Peter Lang 1998 p6) 4 V.S. Naipaul New York Review of Books 1992. Quoted in Helen Carr Jean Rhys (Plymouth: Northcote House Publishers Ltd., 1996) p15 5 Helen Carr Jean Rhys (Plymouth: Northcote House Publishers Ltd., 1996) p. xiv 6 Delia Jarrett-MaCauley The Life of Una Marson (Manchester: Manchester University Press, 1998) p51 7 Edward W. Said Representations of the Intellectual (London: Vintage 1994) p49 8 Molly Hite The Other Side of the Story: Structures and Strategies of Contemporary Feminist Narrative Quoted in Joy Castro ‘Jean Rhys’ in The Review of Contemporary Fiction Vol. 20, 2000. www.highbeam.com/library/doc.3.asp p6.Accessed 1 December 2005. 9 Elaine Savory Jean Rhys p92 10 Elaine Savory Jean Rhys p93 11 Gayatri Spivak ‘Three Women’s Text and a Critique of Imperialism’ in Henry Louis Jr. Gates Race, Writing and Difference (Chicago: University of Chicago Press, 1987) p269 12Jean Rhys Voyage in the Dark (London: Penguin Books 1969) 13 Elaine Savoury Jean Rhys (Cambridge: Cambridge University Press 1998) p 95 14 Homi Bhabha ‘Remembering Fanon’, forward to Franz Fanon ‘s Black Skin, White Masks (London: Pluto, 1986) p ix 15 Homi Bhabha ‘The Other Question’ Location of Culture (London: Routledge 1994)p69 16 Ibid p69 17 Veronica Marie Gregg Jean Rhys’s Historical Imagination: Reading and Writing the Creole (North Carolina: The University of North Carolina Press, 1995) p115 18 Sue Thomas The Worlding of Jean Rhys ( Westport: Greenwood Press 1999) p106 19 Jean Rhys Voyage in the Dark p53 20 Ibid 21 Paul B. Rich Race and Empire in British Politics (Cambridge: Cambridge University Press, 1986) p19 22 Voyage in the Dark p56 23 Ibid p320 24 Homi Bhabha â€Å"DissemInation: Time, Narrative and the margins of the Modern Nation† The Location of Culture p319 25 Voyage in the Dark p7 26 Ibid p15 27 Ibid p16 28 Ibid p26 29 Ibid p45 30 Ibid p47 31 Ibid p7 32 Ibid p46 33 Homi Bhabha The Location of Culture p319 34 Voyage in the Dark p45 35 Homi Bhabha Location of Culture p85 36 Ibid p27 37 Ibid p62 38 Ibid p62 39 Teresa O’Connor The Meaning of the West Indian Experience for Jean Rhys (PhD dissertation, New York University, 1985)cited in Caribbean Woman Writers; Essays from the first International Conference. p19 40 Taken from Rhys’s non fictional analysis of Gender Politics. Veronica Gregg, Jean Rhys’s Historical Imagination p47 41 Helen Carr Jean Rhys, (Plymouth: Northcote House Publishers Ltd, 1996) p 77 42 Lloyd W. Brown, West Indian Poetry (London: Heineman, 1978) p 38 43 Denise deCaires Contemporary Caribbean Women’s Poetry: Making style (London: Routledge, 2002) p 2 44 Ibid p4 45 Una Marson The Moth and the Star, (Kingston, Jamaica: Published by the Author, 1937) p24 46 Homi Bhabha The Location of Culture, (London: Routledge, 1994) pp85-92 47 Delia Jarrett-MaCauley The Life of Una Marson pp 49, 50 48 The Routledge Reader in Caribbean Literature ed. Alison Donnell and Sarah Lawson Welsh (London: Routledge, 1996) p140-141 49 Ibid 50 Homi Bhabha Location of Culture p 320 51 Jarrett-MaCauley The Life of Una Marson p51 52 Ibid p51 53 Ibid p54 54 Una Marson ‘Little Brown Girl’, The Moth and the Star. (Jamaica: The Gleaner. 1937) p11 55 Ibid 56 Ibid p13 57 deCaires Narain puts forward an interesting link between Marson and Sam Selvon’s The Lonely Londoners highlighting external identity in her book Contemporary Caribbean Women’s Poetry p 21 58 Baudelaire The Painter and the Modern Life cited in Keith Tester The Flaneur (New York: Routledge, 1994), p 2 59 Ibid p3 60 Jarrett-MaCauley, p53 61 Ibid p50 62 Laurence A. Brainer An Introduction to West Indian Poetry (Cambridge: CUP, 1998), p154 63 Una Marson ‘Cinema Eyes’ The Moth and the Star. (Jamaica: The Gleaner.1937) p87 64 Franz Fanon Black Skins, White Masks (London: Pluto, 1986), p4 65 Una Marson ‘Black is Fancy’ The Moth and the Star p75 66 Ibid p76 67 Una Marson ‘Kinky Hair Blues’ The Moth and the Star p91 68 Jarret MaCauley pvii 69 Kenneth Ramchard The West Indian Novel and its Background (London: Faber, 1870), p225

Alejandro Flores Essay

Write a 2 – 3 page paper that addresses the following: 1. How do Senor Flores, Senora Flores and Dr. Jean view this situation from totally different perspectives? 2. Why might Senora Flores have chosen to consult an espiritista rather than call the clinic when Alejandro was not getting better? 3. Which of the normative cultural values described in the Lecture might apply to Alejandro’s case? Please explain. The Puerto Rican culture has many beliefs involving individual roles within the family. Many believe that the male(s) of the family should work to provide the basic needs of the household: paying rent, bills, paying for groceries, automotive repair, and the like. Similarly, the female(s) of the house should be the primary house keeper and care giver. Familismo holds a large part in the Puerto Rican culture, and the advice of the elder family members is taken very seriously. Religion also plays an integral role in Puerto Rican culture, and some believe illness is the result of sin, punishment, or spiritual discomfort. These beliefs tie together to create culturally diverse situations regarding patients health care, and must be taken into consideration when discussing treatment plans. Senor Flores views this situation from the machismo perspective. His view is to he should be working to provide the means for his family to survive. By taking time off of work to attend Alejandro’s medical appointments, he feels that he is neglecting his cultural responsibility of working hard to meet the needs of his family as a whole. Additionally, he does not believe that the modern treatment has a positive effect on Alejandro’s condition, and he portrays that he would rather allow his mother-in-law to play a more active role in Alejandro’s care. He feels as though every time he is at the appointments, the clinical staff is ostracizing him and attacking him for smoking. Senora Flores is upset about Alejandro’s health condition, and appears to be reaching out for help in different directions. She does not want to give Alejandro all of the medicine he is prescribed, and is taking her mother’s advice by seeking the help of an espiritista. When she arrived to the appointment late, she was greeted poorly because of the tardiness, and doesn’t understand why the clinic staff is rude with her. Many Puerto Ricans believe that tardiness is accepted, even common, and that having a relaxed attitude regarding time is reasonable practice. Additionally, she is frustrated with the language barr ier that presents itself during the appointments. The clinic is providing her so much information, and she feels belittled by the staff when she may not comprehend all of the information they are providing her. She is concerned that Alejandro will be chastised due to the perception that he is weak and unhealthy. She is worried that nothing she can do will better his condition and prayers are not helping. Dr. Jean is concerned with Alejandro’s progress due to the misuse or absence of medications and the lack of Senor Flores’ interest in tobacco cessation for the sake of his child’s health. She desires to help the family, and has given her personal phone number to be accommodating, but instead Senora Flores confided in a housekeeper instead of the doctor. The family’s tardiness is an issue for Dr Jean, but this doesn’t bother her as much as not showing up for the appointment at all. Senora Flores may have consulted with the espiritista due to the lack of confidence in the medication Alejandro is prescribed. This combined with the clinical staff’s attitude toward her, and the cultural belief that illness can be caused by spiritual discomforts, could lead to Senora Flores’ visit to the spiritual healer. Espiritistas use prayers to attempt to rid the patient of spirits causing the disease. Also, Senora Flores’ mother suggested the espiritista visit, and the words and advice of the elder is highly respected in the Puerto Rican culture. All of the normative cultural values present themselves in this module, but the one that applies the most in my opinion is Fatalismo. In the study, the family seems that the fate of Alejandro’s illness is predetermined and nothing they have done or will do to ease h is symptoms will work effectively. 2010 Children’s Mercy Hospitals and Clinics and Children’s Mercy Family Health Partners Cross Cultural Resource Guide pgs. 28-29 Retrieved on April 15, 2012 From: http://www.fhp.org/fhpdocs/CrossCulturalResourceGuide.pdf ELL Assessment for Linguistic Differences guide for Nonverbal Communication. Retrieved on April 17, 2012 From: http://www.ldldproject.net/cultures/puertorico/differences/nonverbal.html

Toscas Rome in the 19th century essays

Toscas Rome in the 19th century essays Living in the nineteenth century was not easy, especially for the people living in the city of Rome at the time. The opera by Giacomo Puccini takes place in the city of Rome where at the time was unstable. Giacomo Puccini was a descendant of a family of musicians, he is considered to be the most important Italian opera composer in the generation after Verdi. Tosca is an opera that deals with the love of a singer for the painter Cavaradossi. Cavaradossi gets involved with revolutionary activities and is questioned and tortured by Scarpia, the chief of police. Scarpia is a ruthless man that after seeing Tosca wants her for himself and will do anything to get his way. After sending to have Toscas lover Cavaradossi executed, Scarpia tells Tosca that the only way that she can save him is that if she gives in to him. Tosca is a strong believer that she belongs to the man she loves, she plays his games after she asks him to write a safe passage note for her and her lover. Tosca then murders Scarpia and hurries to tell her lover the good news. Cavaradossi execution was only supposed to be pretended but he is really killed, at the same time the body of Scarpia is found and they go after Tosca. In the final act Tosca leaps to her death when she has nothing to loose, because her dear Cavaradossi is dead. Much of what Puccini includes in the opera is related to the time at which this great work was created. In the opera Puccinis Tosca realism represents the some of the realities of life in the 19th century, romanticism expresses the strong emotions of love and sense of religion that the characters had, neo-classicism expresses political and historical references. Realism represents the realities that the people of Italy were living in at the time when Puccini wrote Tosca. The reality is that that the people that Puccini uses as characters could have been true to a certain point. The setti...

buy custom Curriculum Planning Paper essay

buy custom Curriculum Planning Paper essay In the process of growth and development, children are expected to attain all the developmental milestones at the expected time. However, genetic and environmental factors can be cause developmental delays among children. Some of the effects of the developmental delays on childrens learning needs include autism, attention-deficit/hyperactivity disorder (ADHD), poor hearing, speech problems, walking difficulties, and intellectual disability. On the other hand, some of the environmental factors have various effects on the childrens behavior. Therefore, curriculum planners ought to understand certain behaviors in order to be effective in their work (Jones, 2010). Developmental delays occur when a child fails to learn a certain skill at the expected time. For instance, by 9-25 months, a child is expected to have started walking. However, some environmental or genetic factors can make a child delay in walking. One of the effects of developmental delays among children is walking difficulties, hearing problems, intellectual disability and autism and ADHD. Additionally, there are environmental factors that affect the childs development. For instance, when a child grows in a chaotic, restricted, and full of negativity and sadness, maternal depression, and toxins, he or she develops negative behaviors. They lose confidence, courage and develop low self-esteem and emotional outbursts. Others include a childs birth position, family size, and economic status. Poverty can result in malnutrition, which in turn, leads to delayed development of a child. Another example of a developmental delay is failure of a 12-month baby to sit without support (Allen Marotz, 2010). Therefore, it is imperative that the curriculum planners develop an integrated curriculum in order to take care of all the childrens learning needs. During curriculum planning, it is imperative that the educators pay attention key behaviors in order to provide children with all the learning needs. This is because these behaviors are influentil in the determination of the curriculum to use in their teaching and learning. It is essential to observe such behaviors so that the teachers can plan on effective ways of adequately providing for the children (Jones, 2010). For instance, a child with hearing or vision problems needs special attention from the rest of the children in class. Therefore, awareness of these difficulties is enables educators to attend to the children according to their needs in order to achieve learning objectives. Another instance involves a child that has ADHD condition. It is necessary that teachers are able to read and understand all signs of the condition. Knowledge of the condition is highly indispensable as it enables educators to provide them with their needs. Such a child is often found on the wrong because he or she cannot keep the school rules. They also have temperament and different personalities from those of the other children. Therefore, great attention should be given to them so that their learning becomes effective. Consequently, the process of curriculum gets easier and effective as all the children meet their respective learning needs (Bailey Guskey, 2001). Autism is another behavior that educators ought to observe in the process of planning their curriculum. This is observed among 3-year old children who develop an impaired communication and social interaction. It is important for a teacher to know this behavior so as to adjust the curriculum to fit children displaying the behavior. The teacher can develop special strategies of encouraging communication among the children. This way, teaching and learning becomes an integrated process and, in turn, benefits all the learners in class. These children will also feel cared for, appreciated and motivated in class (Jones, 2010). It is also essential to identify children with learning disabilities so as to enable them achieve their objectives. Such children are slow in solving problems and comprehending concepts in class. Such children also have difficulties in spelling, writing or reading some words (Allen Marotz, 2010). Careless educators will not notice them; hence their performance deteriorates because they do not meet their learning needs. Nonetheless, a teacher that has observed these behaviors is able to address the difficulties effectively, hence allowing the children an opportunity to achieve their learning objectives. In every preschool, there are specific components that are instrumental in effective learning and teaching process. On of the components is a clean and welcoming physical surrounding. Effective learning takes place is a clean environment that is equipped with essential posters and labels (Rose, 2010). This enables children to freely learn and play; hence; enhanced growth and development. Therefore, in order to achieve learning objectives in pre-school, educators should ensure that there is a clean environment. Curriculum is another highly indispensable component of an effective preschool. It should entail a lot of play, art work, science, and mathematics (Rose, 2010). A reputable preschool should emphasize on the childrens experience rather than on completion of assignments. It is worth noting that lecture method is unsuitable for the young children since they learn effectively through play and art work. Therefore, quality preschool educators incorporate active strategies in their experiments in order to make the learning process effective. Another important component in a preschool is respect for childrens preferences (Rose, 2010). Learning is very effective in an environment that respects the childs needs and preferences. Ignoring their needs and interests can really discourage a child as he or she might feel unappreciated or unattended. Childrens comfort is paramount in order to cooperate in the teaching and learning process. Therefore, the childs teachers and other preschool staff should be friendly to the child in order to make the curriculum effective. In fact, teachers have to join the children in their plays so as to develop good relationships. Buy custom Curriculum Planning Paper essay

Using a Focus Word to Help With Pronunciation

Using a Focus Word to Help With Pronunciation Pronunciation can be improved by focusing on the right words. Knowing the difference between content words and function words is the first step. Remember that we stress content words in English as they provide the words that are most important to understanding a sentence. In other words, function words like the prepositions  at, from, or to are not stressed, whereas content words such as the nouns city or investment and main verbs like study or develop are stressed because they are key to understanding. Step 1: Find the Focus Word Once you are familiar with using content words to help with stress and intonation, its time to take it to the next level by choosing a focus word. The focus word (or words in some cases) is the most important word in a sentence. For example: Why didnt you telephone?  I waited all day! In these two sentences, the word telephone is the central focus. Its the key to understanding both sentences. Someone might answer this question by saying: I didnt telephone because I was so busy.   In this case, busy would be the focus word as it provides the main explanation for someone being late. When saying the focus word, its common to stress this word more than the other content words. This may include raising the voice  or speaking the word louder to add emphasis. Step 2: Change Focus Words to Move the Conversation Along Focus words may change as you move through a conversation. Its common to choose focus words that provide the next topic for discussion. Take a look at this short conversation, notice how the focus word (marked in  bold)  changes to move the conversation forward. Bob: Were flying to Las Vegas next week.Alice: Why are you going there?Bob: Im going to win a fortune!Alice: You need to get real. Nobody wins a fortune in Las Vegas.Bob: Thats not true. Jack won a fortune there last year.Alice: No, Jack got married. He didnt win a fortune.Bob: Thats what I call winning a fortune. I dont need to gamble to win a fortune.Alice: Looking for love in Las Vegas is definitely not the answer.Bob: OK. What is the answer in your opinion?Alice: I think you need to start dating girls from here.Bob: Dont get me started on girls from here. Theyre all out of my league!Alice: Come on Bob, youre a nice guy. You will find someone.Bob: I hope so... Stressing these key words helps change the topic from a vacation in Las Vegas  to finding someone to marry to solving Bobs love life issues.   Practice: Choose the Focus Word Now its up to you to choose the focus word. Choose the focus word for each sentence or group of short sentences. Next, practice speaking these sentences while making sure to emphasize the stress word more.   What do you want to do this afternoon? Im bored!Why didnt you tell me she had a birthday?Im hungry. Lets get some lunch.Nobodys here. Where has everyone gone?I think Tom should buy lunch. I bought lunch last week.Are you going to finish work or waste time?You always complain about work. I think you need to stop.Lets get Italian food. Im tired of Chinese food.The students are getting horrible grades. Whats wrong?Our class is going to have a test on Friday. Make sure you prepare. The focus word for most of these should be clear. However, remember that its possible to change the focus word in order to bring out different meanings. Another good way to practice is to use sound scripting - the marking up of your text - to help you practice dialogues.

The Art of Skill Essay Example | Topics and Well Written Essays - 2000 words

The Art of Skill - Essay Example The camera claimed supreme ability to recreate reality, and accordingly art took different direction. Taking cues from Duchamp and Warhol, the artist Jeffrey Koons developed a style of art that was completely unreliant upon personal skill and instead relied upon reproduction and appropriation. Several reasons for the devaluing of skill in art include the rise of such artists as Koons who intentionally create art that is made without skill. Beech also states that contemporary art itself is involved in taking skills way from artists. While Beech does not view Koons in such a way of devaluing skills, I wish to argue to the contrary in part of my overall argument. Beyond Beech’s argument, I would also like to state that it is part the mass production of various artists in universities that is devaluing skill to an extent. In discussing an exhibit by Jeffrey Koons, the reviewer Lynne Cooke notes that Koons sculptures were â€Å"executed by highly skilled craftsmen in small factories in Italy working, under the supervision of the artist, to two dimensional images which Koons provided as models† (246). Notice that the reviewer states that the craftsmen were â€Å"highly skilled.† This is interesting to note, especially when considering that an artist can achieve fame without being able to create the artwork himself. The people who actually put the physical labor into creating the pieces were simply called craftsmen. In considering this, we can see how actual skill in art is held at no value. The people with the skill who were involved with the project were not artists. They simply handled the technical aspects of the creation of the pieces. Ideologically speaking, it is not necessary in any way for the artist to be skilled in any way in order to be successful. Perhaps it is because Koons i s unskilled that he is has the success to the extent that he does. Koons is by far one of the most

Human Civilization in Greco-Roman Ancient Times and Medieval Europe Essay

Human Civilization in Greco-Roman Ancient Times and Medieval Europe - Essay Example The architecture of medieval Europe should be associated with genius. Matter of factly, people of medieval Europe and the Romans were exceptional builders. Their architecture was both tremendous and restrained. The Romans and the people of medieval Europe constructed superior and better buildings than any civilization in the classical era could rival. Tourist by the suck load today still give special and pure regard to the ruins in Rome. The buildings that were constructed at ancient and medieval times have lasted and passed the test of time. It ought to be noted that these buildings still possess the intricate talent of the builders’ skill to date. In Medieval Europe around 1000-1300 A.D., however, the architectures and builders adapted the ancient Roman art and architecture, which they used in building historical landmarks (Barlett 15-18). During the time of Constantinian basilicas saw a frenzy of construction of fortified residence and monasteries. The relative political stability led to the development of a type of architecture slackly inspired by the Roman forms. Consequently, the classical Roman brick and stone houses were reused for their materials. This style expanded throughout Europe in an amazingly homogenous form. The exceptional relics of the medieval period are the castles that are scattered all over Western Europe. The idea behind the building of castles is informed in the Geo-Roman era, where castles were mainly built for the nobles and the elite. Ideally, the castles were also built with a view to heightening security of the monarchy. On the same, the technology of building castles was always developing from the ancient Roman times to the medieval era (Canter 270-288). Medieval theatre can be seen as the main contributor in helping maintain certain characteristics of the Geo- Roman theatre. The church, however, was responsible for restoring the ancient aspects of classical drama. For instance, the dramatization of the passion of Christ shows how ancient  drama and medieval plays are closely inter-linked (Hill 1).

Writing a physics report Essay Example | Topics and Well Written Essays - 750 words

Writing a physics report - Essay Example The acceleration of the object is directly proportional to the net force acting upon it while inversely proportional to the mass of the object. The acceleration of the object increases with increase in the force exerted upon it while an increase in the mass of the object causes a decrease in the acceleration. Any object moving in a curved path experiences accelerated motion which requires a net force directed towards the center of the motion. Objects moving in a circular path experience acceleration due to the constantly changing velocity. The acceleration is caused by a force that is directed towards the center of the motion called centripetal force or â€Å"the center seeking† force. Centripetal force keeps the motion of an object in a circular manner as it tends to pull towards the center of the circular motion. Without the centripetal force, the objects would continue moving in a straight line motion. The spring was removed and the mass set to hand freely and the apparatus adjusted to set the radius of the circle to be used. The mass was made to hand directly over the indicator rod to ensure a constant radius of the circle. The spring was attached to the mass and the weight hanger was attached to the other side of the mass with the string passing over the pulley. The force the spring exerts on the mass was determined by adding masses to the weight hanger until the mass was at its equilibrium position, centered over the indicator rod. The connection to the weight hanger was removed and the mass rotated at a constant speed until it was kept centered over the indicator rod. The spring force while rotating the mass centered over the indicator rod was determined and recorded. Measurements of the time period of rotation were made by using the magnetic sensor aligned with small magnet mounted on the central rod. The clock run time was set to 30 seconds for it to record 10-20 rotations. Periodic time T was calculated as follows T= (final

Homeless young women Coursework Example | Topics and Well Written Essays - 13000 words

Homeless young women - Coursework Example The results showed that there is a demographic profile for the homeless young women specifically in terms of age, number of children, and educational attainment; the level of community acceptance of the homeless and vulnerable component of the society is above average due to the category of Always; the supporting people support workers always observed the diminutions of population who have nowhere to live; the supporting people support workers often bear the homeless young women's need for transport resulting to the diminution of impediments in the conveyance of care from hospitals to for example Nightingale hostel at Cardiff, in the United Kingdom; the supporting people support workers often guaranteed that the homeless young women were afforded hospitalization services to diminish the chances of relapse that would require another hospital medical attention; and the homeless young women with children often depend on supporting people support workers whilst staying at Nightingale hos tel in Cardiff, the United Kingdom. Respondents of the study (homeless young women) were asked to an... At the end of this chapter the recommendations and conclusions were formulated to enlighten the future researches who wish to do the same subject of the study and the predictors of this research. The extent of dependent of homeless young women with children on support workers whilst staying at a Nightingale hostel A Dissertation Presented to The Faculty of In Partial Fulfilment Of the requirements for By Nickola Shaddad 2009 TABLE OF CONTENTS Page ABSTRACT ACKNOWLEDGEMENT . . . . . . . . . . . . . . . . . . . . . . iv DEDICATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . vi LIST OF TABLES . . . . . . . . . . . . . . . . . . . . . . . . . . xvi Chapter 1. INTRODUCTION. . . . . . . . . . . . . . . . . . . . . . . 7 Statement of the Problem. . . . . . . . . . . . . . . . . . 8 Significance of the Study. . . . . . . . . . . . . . . . . . . 9Theoretical Framework of the Study. . . . . . . . . . . . . 10Hypotheses . . . . . . . . . . . . . . . . . . . . . . . . . 11Scope and Delimitation of the Study. . . . . . . . . . . . . 11 DEFINITION OF TERMS. . . . . . . . . . . . . . . . . . . 11 2. LITERATURE

Congressinal committee hearing simulation Essay

Congressinal committee hearing simulation - Essay Example On provision of temporary work visas, the bill aims at increasing the availability of a workforce that is non-immigrant with the main aim of reinforcing the existing workforce. I therefore suggests adoption of the bill on the basis that it would commit resources necessary to streamline and modernize current immigration legal systems.Similarly,the bill apart from playing a pivotal role in securing the borders would make regulations tough but not punitive program for guest workers in the United States. The bill covers the business and labor aspects that take into consideration future plights of the workforce. It entails the chances of those under worker program being considered for permanent residence application. Under this tittle, issuances of both permanent and temporary visas are covered. It incorporates aspects of AgJOBS and DREAM ACT. This is to cover undocumented people and workers on agricultural sector respectively (Eule 22-25). Eligibility and requirements The bill is compreh ensive under with its guidelines on those who are eligible for immigrant programs and details of requirements. Workers will need to apply for visa considerations if they have been the United States for at least six years. The applicants need to have a clean integrity records and must have not been convicted in more than three occasions. In the same line, applicants should be admissible under the prevailing legislations. However, this group will not be privileged to benefit from Medicaid, affordable care act, and food stamps. It is recommended that those who have had their application pending for the past five years or even more be considered. The nature of the bill and the fact that it directly influences the revenue collection needed by the various State governments motivates me to vote for the guest worker visa program bill. The other reason is that, security concerns with the bill in terms of border security is a matter that can easily be kept in check by the immigration regulati ons with least interference from the new bill. The decision to vote for this bill is purely because of its general and long-term benefits to the state and even to the guest workers. The sensitivity of the bill therefore pushes me to vote without putting many considerations on party lines but purely on personal conviction.Similarly, the issue of temporary visas would make those who previously stayed and work illegally in the United States come up and apply for the temporary visas. This is because there security and stay in the United States would have a legal backing even if it is temporary. It is my contribution that the six-year period placed as the least number of years to qualify for work visa application be amended. Six years is a long time based on the individual’s contribution to the state. These years should therefore be reduced to three. If such an amendment is effected, then it would encourage influx of gifted expertise from other states. This would in turn facilitat e further revenue to the United States government that could be in return invested in other sectors. Additionally, the amendment plays a pivotal role in filling workforce deficits in areas such as the agricultural and economic sector (Eule 71-73).

Evaluating Team Performance Assignment Example | Topics and Well Written Essays - 1000 words

Evaluating Team Performance - Assignment Example In this evaluation both technical and interpersonal abilities of the team members were taken into consideration. One factor that is always of high importance when evaluating a cross-functional team is the expertise contribution of the members. The team was comprised of members of the marketing, accounting, sales, human resource management, public relations, technical, and engineering departments. All the members were expected to represent the concerns of their various departments with regard to the organization’s culture and potential changes (Stewart, 2006). All the members were able to bring in their expertise with all members basing their reasons on researches that were carried out with regard to the matter. The marketing department asserted that the culture should not change the public’s perception of the organization. As for the engineering department representatives, the most important thing was to make sure that the culture encourages a technical productivity of the organization. It is no doubt that at the end of the day all the departments’ perspectives were proper ly reviewed and an eventual conclusion reached (Dyer,Dyer & Dyer, 2013). When asked about the team’s goal, all the members were able to identify what the goals. This is helpful because it enables a team to work as a single unit with a single focus and goal. However, it is also notable that the team would not have been able to work together for a common purpose if they do not share the same opinion with regard to the group’s goal (West & Markiewicz, 2004). Therefore, the leader saw that it was appropriate to let all the members give their opinion about the goals of the team (Franz, 2012). Different members gave different opinions on how the goal will be reached. Some of the members suggested that the start-up style labs should be left to operate for a while so that they could observe the changes in organizational culture and whether there will be a necessity for any change in