Free Essays on Little Women

Little Women In 1868, Louisa May Alcott wrote the book Little Women in "response to a publisher's request for a 'girl's book'". Louisa wrote this book by calling upon her own memories of her childhood and putting them down on paper. This is the story of four young girls, Meg, Jo, Beth, and Amy March, and how they endure all the trouble and hardships that come along during their lives. They are raised by their mother and by their father, and many interesting characters pop up along the way, such as Laurie, their good-natured next-door neighbor; Laurie later falls in love with Jo but ends up marrying Amy. In the beginning of the story they are all fairly young, the youngest being twelve years old, and their mother, whom they call Marmee, is left to guide them while their father is away fighting in the war. As they grow and mature, they learn many hard lessons about life. For instance, there was the time when Amy, the youngest, suffered her first punishment in school. She carries that anger, humility, and embarrassment with her for the rest of her life. There were also more serious lessons to be learned, like when one of the sisters, Beth, dies. By the end of the book, they really have turned from little women into real women. Jo was the second oldest of the four sisters. Her birth name was Josephine, but she always thought that it sounded too feminine, so she shortened it to Jo. Clearly, Jo was one of the main characters of the story because many of the events centered on her and the audience learned more about who she was. She was a tomboy at heart and hated all the prim and proper ways of the ladies in those days. Jo was very blunt in her speaking and always said exactly what was on her mind. However, most people felt right at ease speaking with her because she had a way of making them feel comfortable, despite her frankness. Jo was the one who first had enough courage to go over to the frightening house next door and t... Free Essays on Little Women Free Essays on Little Women Little Women In 1868, Louisa May Alcott wrote the book Little Women in "response to a publisher's request for a 'girl's book'". Louisa wrote this book by calling upon her own memories of her childhood and putting them down on paper. This is the story of four young girls, Meg, Jo, Beth, and Amy March, and how they endure all the trouble and hardships that come along during their lives. They are raised by their mother and by their father, and many interesting characters pop up along the way, such as Laurie, their good-natured next-door neighbor; Laurie later falls in love with Jo but ends up marrying Amy. In the beginning of the story they are all fairly young, the youngest being twelve years old, and their mother, whom they call Marmee, is left to guide them while their father is away fighting in the war. As they grow and mature, they learn many hard lessons about life. For instance, there was the time when Amy, the youngest, suffered her first punishment in school. She carries that anger, humility, and embarrassment with her for the rest of her life. There were also more serious lessons to be learned, like when one of the sisters, Beth, dies. By the end of the book, they really have turned from little women into real women. Jo was the second oldest of the four sisters. Her birth name was Josephine, but she always thought that it sounded too feminine, so she shortened it to Jo. Clearly, Jo was one of the main characters of the story because many of the events centered on her and the audience learned more about who she was. She was a tomboy at heart and hated all the prim and proper ways of the ladies in those days. Jo was very blunt in her speaking and always said exactly what was on her mind. However, most people felt right at ease speaking with her because she had a way of making them feel comfortable, despite her frankness. Jo was the one who first had enough courage to go over to the frightening house next door and t... Free Essays on Little Women Little Women is a coming of age story of four sisters in Civil War New England. Together they face hardships and poverty all the while trying to reach their Castles in the Air. More than that however, Little Women is a morality tale. Each chapter not only contains the lives and adventures of the four sisters, but lessons on how to be a good person, and how to achieve happiness in life. These values are centered upon God, family, and love. Though money, people, hair, and childhood dreams come and go, Marmee’s wisdom about happiness never seems to falter. The dreams of the writer, artist, and pianist in the family all fall behind the happiness they find in their respective households. In some respects, Little Women is also a child-rearing guidebook. When Marmee’s harvesting time came, she had three happy well-rounded children and a fourth with God. Each lesson she taught was not just told to them, but demonstrated, and enforced with kindness and with love. She inspired her girls to be the best they could be, and did not try to change them even if they were as awkward and tomboyish as Jo. Most importantly, she let them make the choices for their life and did not sway their decisions once the girls made them. Little Women today remains a classic because it shows that every young person goes through trials and decision points. Death’s of loved ones, family crisis’s, and the mending of broken hearts are something all young people go through and are acturatly portrayed in Alcott’s novel. Most importantly, readers today remain inspired by Jo’s commitment to her writing, Meg’s devotion to her family, and Beth’s willingness to help the ones she loves....

Germans to America - Passengers Arriving at US Ports

Germans to America - Passengers Arriving at US Ports Are you researching German immigrants to America during the 19th century? Germans to America, compiled and edited by Ira A. Glazier and P. William Filby, is a series of books which indexes passenger arrival records of ships carrying Germans to the U.S. ports of  Baltimore, Boston, New Orleans, New York, and Philadelphia. It presently covers the  records of over 4 million passengers during  the period January 1850 through Jun 1897. Due to its inclusion criteria, this series is considered to be an incomplete- though fairly thorough- index to German passengers arriving in America during this period. The quality of the transcription varies, but the series is still an excellent research tool for tracking down German immigrant ancestors. If a listing is found in Germans to America, then the original passenger lists should be consulted, as they may contain further details.   Where to Find Germans to America The individual books in the Germans to America series  are fairly pricey, so the best research option is to either find a library with the series (most major genealogical libraries will have it), or locate a database version. The database version created by the Center for Immigration Studies at the Balch Institute for Ethnic Studies (the same group that created the published versions) was originally published on CD and is now available for free online from the National Archives and FamilySearch. It is unclear exactly how the data compiled in the Germans to America, 1850–1897 database relates directly to the published volumes.  NARA staff has found that there are ship manifests included in the database that are not included in the respective published volumes, and that there is also a difference in the covered time periods.   The Germans to America Series The first 9 volumes of the Germans to America series indexed only passenger lists of ships that contained at least 80% German passengers. Thus, a number of Germans who came over on ships from 1850–1855 are not included. Beginning with Volume 10, all ships with German passengers were included, regardless of the percentage. However, only those identifying themselves as German are listed; all other passenger names were not transcribed. Volumes 1–59 of Germans to America (through 1890) include arrivals to the major U.S. ports of New York, Philadelphia, Baltimore, Boston and New Orleans. Beginning in 1891, Germans to America only includes arrivals to the port of New York. Some Baltimore arrivals are known to be missing from Germans to America- see  Why Some Baltimore Passenger Lists are Missing and How to Find Them  by Joe Beine for more information. Vol. 1 Jan 1850 - May 1851 Vol. 35 Jan 1880 - Jun 1880 Vol. 2 May 1851 - Jun 1852 Vol. 36 Jul 1880 - Nov 1880 Vol. 3 Jun 1852 - Sep 1852 Vol. 37 Dec 1880 - Apr 1881 Vol. 4 Sep 1852 - May 1853 Vol. 38 Apr 1881 - May 1881 Vol. 5 May 1853 - Oct 1853 Vol. 39 Jun 1881 - Aug 1881 Vol. 6 Oct 1853 - May 1854 Vol. 40 Aug 1881 - Oct 1881 Vol. 7 May 1854 - Aug 1854 Vol. 41 Nov 1881 - Mar 1882 Vol. 8 Aug 1854 - Dec 1854 Vol. 42 Mar 1882 - May 1882 Vol. 9 Dec 1854 - Dec 1855 Vol. 43 May 1882 - Aug 1882 Vol. 10 Jan 1856 - Apr 1857 Vol. 44 Aug 1882 - Nov 1882 Vol. 11 Apr 1857 - Nov 1857 Vol. 45 Nov 1882 - Apr 1883 Vol. 12 Nov 1857 - Jul 1859 Vol. 46 Apr 1883 - Jun 1883 Vol. 13 Aug 1859 - Dec 1860 Vol. 47 Jul 1883 - Oct 1883 Vol. 14 Jan 1861 - May 1863 Vol. 48 Nov 1883 - Apr 1884 Vol. 15 Jun 1863 - Oct 1864 Vol. 49 Apr 1884 - Jun 1884 Vol. 16 Nov 1864 - Nov 1865 Vol. 50 Jul 1884 - Nov 1884 Vol. 17 Nov 1865 - Jun 1866 Vol. 51 Dec 1884 - Jun 1885 Vol. 18 Jun 1866 - Dec 1866 Vol. 52 Jul 1885 - Apr 1886 Vol. 19 Jan 1867 - Aug 1867 Vol. 53 May 1886 - Jan 1887 Vol. 20 Aug 1867 - May 1868 Vol. 54 Jan 1887 - Jun 1887 Vol. 21 May 1868 - Sep 1868 Vol. 55 Jul 1887 - Apr 1888 Vol. 22 Oct 1868 - May 1869 Vol. 56 May 1888 - Nov 1888 Vol. 23 Jun 1869 - Dec 1869 Vol. 57 Dec 1888 - Jun 1889 Vol. 24 Jan 1870 - Dec 1870 Vol. 58 Jul 1889 - Apr 1890 Vol. 25 Jan 1871 - Sep 1871 Vol. 59 May 1890 - Nov 1890 Vol. 26 Oct 1871 - Apr 1872 Vol. 60 Dec 1890 - May 1891 Vol. 27 May 1872 - Jul 1872 Vol. 61 Jun 1891 - Oct 1891 Vol. 28 Aug 1872 - Dec 1872 Vol. 62 Nov 1891 - May 1892 Vol. 29 Jan 1873 - May 1873 Vol. 63 Jun 1892 - Dec 1892 Vol. 30 Jun 1873 - Nov 1873 Vol. 64 Jan 1893 - Jul 1893 Vol. 31 Dec 1873 - Dec 1874 Vol. 65 Aug 1893 - Jun 1894 Vol. 32 Jan 1875 - Sep 1876 Vol. 66 Jul 1894 - Oct 1895 Vol. 33 Oct 1876 - Sep 1878 Vol. 67 Nov 1895 - Jun 1897 Vol. 34 Oct 1878 - Dec 1879

East Asia Culture Research Paper Example | Topics and Well Written Essays - 1250 words

East Asia Culture - Research Paper Example This definition brings to light the fact that shared behavior in culture helps distinguish one set of people from another. It implies how culture makes people unique, how their shared experiences create patterns of interaction, and how these patterns eventually affect all aspects of their lives. This paper shall define culture and shall describe five major characteristics that help define a culture. It shall also describe common cultural characteristics of East Asia, particularly China and describe how some characteristics have been shaped by the history of the region. One of the characteristics of culture is that, it is subjective (Routledge, 2006). In relating this characteristic to the Chinese culture, subjectivity may be seen in the way the Chinese people and the rest of the world perceive the Chinese culture. For example, initially, a person from the West may perceive the Chinese people and their culture as conservative. This perception of conservatism may also be expressed as a degrading assessment of China’s economic progress. However, to the Chinese, this conservatism may be viewed as a positive, but not degrading, description of their culture. Chinese conservatism can be attributed to their agricultural economic freedom and their artistic way of life. Their largely agricultural lifestyle has made them very much attached to the earth, and as a result, they have an increased sense of permanence. â€Å"This sense of permanence, being a built-in Chinese way of perception, sees the ‘eternal truths’ in the sayings of their ancient sages, and thus prevents any arbitrary progression into novelty† (Wu, n.d). New ideas presented by philosophers are not easily accepted as ‘new ideas’, but they are seen as modern interpretations of existing truths from ancient sages. The artistic way of life for the Chinese gives them a profound devotion and respect for

Healthcare Insurance Essay Example | Topics and Well Written Essays - 500 words

Healthcare Insurance - Essay Example They believe that healthcare insurance would assist them to minimize future health expenses to a great extent. As Cameron and McCallum (1995) point out, ‘income’ is the major potential element determining the demand for health insurance. It seems that low and high income groups are less likely to purchase health insurance. Low income groups may not have potential financial background to purchase health insurance whereas high income groups are reluctant to buy insurance due to increased tariffs. Price of the insurance and tax treatment of insurance are the other important factors affecting demand for health insurance (Avitabile, 2009). When the price of the insurance increases, the demand decreases, and once the price of the insurance drops the demand increases. The same trend is observed in case of tax treatment also. If the government or other competitive organizations adopt a strict approach towards tax treatment, the demand for insurance falls. In contrast, if the hea lthcare insurance is offered at concessional tax rates, more people will be ready to purchase it. This is a clear illustration of law of demand. It is also identified that healthcare expenditure may be a crucial element influencing the demand for insurance. Middle income groups may consider their past health expenditure data before making an insurance purchase decision. Finally, age also affects the demand for healthcare insurance. As compared to old aged people, youngsters are less likely to purchase healthcare insurance as they believe that they are less vulnerable to diseases. In the late XIX century, health insurance began to be available in the form of accident insurance in the United States (Obringer & Jeffries, n.d.). The trend continued until the end of the XIX century, and regulators considered health insurance as disability insurance. Before the US federal

Native American Culture Essay Example | Topics and Well Written Essays - 1000 words - 1

Native American Culture - Essay Example Vocals were very important and were the anchor of the Native American music (Pritzker, 1998). Singing and percussion was crucial and songs ranged from solo to responsorial and multipart singing (Barreiro, Akwe: kon Press. & National Museum of the American Indian ,2004). Music was mainly done by groups of people and hence there was no musical harmony and the rhythms were irregular. The people who sang songs were very passionate and spiritual and when they sang, they did it to involve spirits, make rain or heal the sick. Music form different tribes differed in terms of vocals and dancing styles. A common characteristic in all Native American music is that while dancing, men danced round in circles while the women danced in one place. Native American music is very intricate and complex due to the combined vocals and varying sounds from drums and flutes. The music began at a lower note and gradually grew faster and more emphatic both in vocals and sounds from the musical instruments. The natives were from very many tribes ad each tribe had a unique dancing style and hence the Native American culture in music is so rich. Tribes such as the Eskimos produced simple music and simple dancing styles while other tribes such as the Zuni and Hopi are characterized with very complex music comprising of different vocals and many dancing styles. The Native American music has not been replicated in the modern music, but the folk dances of the present day resemble those of the past. Music played a vital role in the Native American communities was simply unavoidable (Barreiro, Akwe: kon Press. & National Museum of the American Indian ,2004). Music was played for historical purposes, for education and for passing of information from one generation to another. Most songs contained information that the different tribes wanted to keep and hence such songs were often played. Ceremonial music was respected since it was said that they originated

Katherine Mansfield Essay Example for Free

Katherine Mansfield Essay She was born in 1888 in Wellington, a town labeled â€Å"the empire city† by its white inhabitants, who modeled themselves on British life and relished their city’s bourgeois respectability. [1] At an early age, Mansfield witnessed the disjuncture between the colonial and the native, or Maori, ways of life, prompting her to criticize the treatment of the Maoris in several diary entries and short stories. [2] Mansfield’s biographer, Angela Smith, writes: â€Å"It was her childhood experience of living in a society where one way of life was imposed on another, and did not quite fit in† that sharpened her modernist impulse to focus on moments of â€Å"disruption† or encounters with â€Å"strange or disturbing† aspects of life. [3] Her feelings of disjuncture were accentuated when she arrived in Britain in 1903 to attend Queen’s College. In many respects, Mansfield remained a lifelong outsider, a traveler between two seemingly similar yet profoundly different worlds. After briefly returning to New Zealand in 1906, she moved back to Europe in 1908, living and writing in England and parts of continental Europe. Until her premature death from tuberculosis at the age of 34, Mansfield remained in Europe, leading a Bohemian, unconventional way of life. The Domestic Picturesque Mansfield’s short story â€Å"Prelude† is set in New Zealand and dramatizes the disjunctures of colonial life through an account of the Burnell family’s move from Wellington to a country village. The story takes its title from Wordsworth’s seminal poem, â€Å"The Prelude,† the first version of which was completed in 1805, which casts the poet as a traveler and chronicles the â€Å"growth of a poet’s mind. †[4] Although the Burnell family moves a mere â€Å"six miles† from town, the move is not inconsequential; it enacts a break with their previous way of life and alerts the family members to the various discontinuities in their lives. Beneath the veneer of the Burnells’ harmonious domestic life are faint undercurrents of aggression and unhappiness. The haunting specter of a mysterious aloe plant and a slaughtered duck in their well-manicured yard suggests that the family’s awfully nice new home conceals moments of brutality and ignorance toward another way of life that was suppressed and denied. [5] As I will propose, these two incidents echo the aesthetic concept of the sublime, as they encapsulate a mysterious power that awes its beholders and cannot be fully contained within their picturesque home. Through her subtle, dream-like prose, Mansfield deploys traditional aesthetic conventions like the picturesque while simultaneously transfiguring, subverting, and reinventing them in a modernist context. The concept of the picturesque was first defined by its originator, William Gilpin, an 18th century artist and clergyman, as â€Å"that kind of beauty which is agreeable in a picture. †[6] Thus, a scene or representation is beautiful when it echoes an already-established, artistic conception of beauty, revealing the self-reinforcing way in which art creates the standard of beauty for both art and life. Mansfield presents these picturesque moments in order to demystify them and reveal the suppression and violence they contain. In addition to â€Å"Prelude,† her stories â€Å"Garden Party† and â€Å"Bliss† dramatize the transformation and inversion of picturesque moments of bourgeois life and domestic harmony. While she seems to exhibit a certain attachment to these standard aesthetic forms, Mansfield subtly interrogates many of these conventions in a strikingly modernist way. Through her childhood in a colony, Mansfield also became attuned to the violence and inequalities of colonialism. As Angela Smith suggests, her early writings demonstrate a keen sensitivity towards a repressed history of brutality and duplicity. [7] In her 1912 short story â€Å"How Pearl Button Was Kidnapped,† she questions and overturns the perspective of the colonialist, whose vantage point historically trumps that of the native. The deliberate ambivalence of the word â€Å"kidnapping† dramatizes the conflict between the colonist’s perspective and Pearl’s joyful, eye-opening experiences during her abduction. In a similar way, empire dramatized for Mansfield the way that a picturesque, bourgeois household could suppress alternative perspectives. The Sublime In â€Å"Prelude,† the mysterious, sublime aloe plant disrupts the pleasant domesticity of the Burnell household. Their well-manicured yard with its tennis lawn, garden, and orchard also contains a wild, unseemly side—â€Å"this was the frightening side, and no garden at all. †[8] This â€Å"side† contains the aloe plant, which exerts a mysterious, enthralling power over its awed beholders. In its resemblance to the ocean, the aloe assumes the characteristics of the sublime: â€Å"the high grassy bank on which the aloe rested rose up like a wave, and the aloe seemed to ride upon it like a shop with the oars lifted. Bright moonlight hung upon the lifted oars like water, and on the green wave glittered the dew. †[9] For many writers and poets, the ocean was a manifestation of the sublime because of its unfathomable power and scale that awed and humbled its observers. The aloe’s strikingly physiological effect on its viewers recalls Edmund Burke’s sublime, which overpowers its observer and reinforces the limitations of human reason and control. In his famous treatise on the sublime, Burke writes: â€Å"greatness of dimension, vastness of extent or quantity† is a powerful cause of the sublime, as it embodies the violent and overpowering forces of nature. [10] In a similar vein, the child, Kezia Burnell’s first impression upon seeing the â€Å"fat swelling plant with its cruel leaves and fleshy stem† is one of awe and wonder. [11] In this case, the sublimity of the aloe plant disrupts and challenges the domestic picturesque as it defies mastery, categorization, and traditional notions of beauty. In its resistance to categorization and control, the sublime embodies the part of the ungovernable landscape that the Burnell family cannot domesticate and the picturesque cannot frame. As a result, in â€Å"Prelude,† the magnitude of the sublime interrupts and fractures the tranquil surface of the picturesque by exposing the unfathomable depths beneath it. The colonial backdrop of the Burnells’ yard also contributes to the mysterious, occult power of the aloe. This unruly part of their property hints toward a landscape that eludes domestication and serves as a constant reminder that the Burnell family is living in a land that is not quite theirs and cannot be fully tamed. [12] At the age of 19, Mansfield wrote that the New Zealand bush outside of the cities is â€Å"all so gigantic and tragic—and even in the bright sunlight it is so passionately secret. †[13] For Mansfield, the bush embodies the history of a people whose lives have been interrupted and displaced by European settlers. [14] After wars, brutal colonial practices, and European diseases had devastated the local Maori population, the bush became a haunting monument to their presence. As the Burnell family settles down to sleep on the first night in their new home, â€Å"far away in the bush there sounded a harsh rapid chatter: â€Å"Ha-ha-ha†¦ Ha-ha-ha. †[15] In her subtle way, Mansfield unveils the voices of those whose perspectives are excluded from this portrait of nocturnal domestic harmony. In a similar way, the aloe plant exudes an unfathomable history that is beyond the time and place of the Burnells. Even its age—implied by the fact that it flowers â€Å"once every hundred years†Ã¢â‚¬â€suggests that the aloe exists on a different scale than its human beholders. [16] In its ancient, superhuman scale, the aloe gestures towards the â€Å"gigantic,† indicating a subtle, but implicitly threatening power within, or in proximity of the home. The aloe is a kind of lacuna in the imperial landscape of New Zealand, whose power threatens the colonial household and its control over the landscape. [17] By disrupting and encroaching upon the ostensibly safe domestic sphere, the aloe also echoes the â€Å"unheimlich,† or uncanny, an aesthetic concept explored by Sigmund Freud in his 1919 essay, â€Å"The Uncanny. † The uncanny becomes, in part, an invasive force violating the sacred, domestic sphere and hearkens back to a previously repressed or hidden impulse: â€Å"The uncanny is something which ought to have remained hidden but has come to light. †[18] In â€Å"Prelude,† the aloe is initially depicted as a threatening force that â€Å"might have had claws instead of roots. The curving leaves seemed to be hiding something. †[19] Positioned within the safe space of their property, the aloe is a menacing, ungovernable force that seems to encroach upon it. The plant becomes part of the repressed history of the landscape—a history that is only apparent to Kezia, her mother Linda Burnell, and her grandmother Mrs. Fairfield, who are attuned to the forces below the surface of the picturesque exterior. Violent Underpinnings Beneath many of Mansfield’s picturesque domestic scenes are moments of violence and rupture. In â€Å"Garden Party,† for instance, a poor man falls to his death during the preparations for a much-anticipated social gathering of the wealthy Sheridan family, undermining the convivial spirit of the occasion. In â€Å"Prelude,† Pat, the handyman, slaughters a duck while the children watch with grotesque enthrallment as it waddles for a few steps after being decapitated. â€Å"The crowning wonder† of the dead duck walking hearkens back to Burke’s sublime, which is experienced in â€Å"Prelude† within the confines of the private residence. [20] The sublimity of this apparent defiance of the properties of death acts as a dramatic external force imposing on the observers’ intellect and reason in a profoundly Burkian way. But later that night, when the duck is placed in front of the patriarch, Stanley Burnell, â€Å"it did not look as if it had ever had a head. †[21] The duck’s picturesque dressing—â€Å"its legs tied together with a piece of string and a wreath of little balls of stuffing round it†Ã¢â‚¬â€conceals its violent death. [22] In a similar way, the â€Å"awfully nice† picturesque house is imposed upon the landscape, as if it had never been any other way. [23] Through reconfiguration and transformation, a new imperial order conceals the fact that an older order once lay beneath it. In both cases, the picturesque functions as a way of naturalizing the violent order of domination. As Pat’s golden earrings distract Kezia from her grief over the duck’s death, the duck’s pretty garnish conceals its â€Å"basted resignation. †[24] There is no such thing as a pure aesthetics, Mansfield seems to suggest, as each serene moment is implicated in some act of violence, brutality, or suppression. In â€Å"Prelude,† the good-natured Pat disrupts a pre-existing picturesque scene in which ducks â€Å"preen their dazzling breasts† amidst the pools and â€Å"bushes of yellow flowers and blackberries. †[25] Tellingly, the duck pond contains a bridge, a typical feature of the picturesque that reconciles or bridges the gap between different aspects of the scenery. In this way, the Burnell family’s cultivation of the land by planting and slaughtering ducks disrupts another underlying order. Their unquestioning appropriation of this pre-existing order mirrors the way colonial life disrupted and undermined the indigenous Maori life. Juxtaposing two picturesque scenes that interrupt and conflict with one another, Mansfield questions and unravels the conventional image of the picturesque. This interplay of various conflicting aesthetic orders constitutes part of Mansfield’s modernist style, in which aesthetic forms are ruptured, fragmented, and overturned. As the yard’s landscape bears traces of the Maori past, so the quiet harmony of the Burnells’ domesticity is underscored by deep, unspoken tensions and an animosity that hints at the uncanny. In fact, the only character who expresses any contentment is Stanley, who reflects, â€Å"By God, he was a perfect fool to feel as happy as this! †[26] Yet even he shudders upon entering his new driveway, as â€Å"a sort of panic overtook Burnell whenever he approached near home. †[27] Beneath this veneer of marital bliss and familial harmony, his wife Linda occasionally ignores her children and expresses hatred towards her husband and his aggressive sexuality: â€Å"there were times when he was frightening—really frightening. When she screamed at the top of her voice, ‘You are killing me. ’†[28] Meanwhile Stanley and Beryl, Linda’s sister, seem to have a flirtatious, indecent relationship: â€Å"Only last night when he was reading the paper her false self had stood beside him and leaned against his shoulder on purpose. Hadn’t she put her hand over his†¦ so that he should see how white her hand was beside his brown one. †[29] Dramatizing these dynamics, Mansfield suggests that a â€Å"happy† household outside of town is not as â€Å"dirt cheap† as Stanley boasts; it comes at the cost of servitude, sexual aggression, and a ravaged Maori landscape. [30] Through these layers, which Mansfield subtly strips off one at a time, she artfully exposes the way that an existing political and aesthetic order is not what it seems to be or how it has always been. Her short stories are fraught with their own tensions; while exposing the picturesque as false and absurd, she nevertheless draws on its conventional associations. Similarly, her subtle attempts to question colonial power are embedded in a seemingly idealized portrait of colonial life. Mansfield creates a seemingly beautiful or normal image, such as the happy family in â€Å"Prelude,† â€Å"Bliss,† or â€Å"Garden Party,† and then slowly challenges it through a subtle counter-narrative. In this way, her deployment of modernist techniques is less pronounced than that of James Joyce and her other modernist contemporaries. Just as she challenges aesthetic conventions, Mansfield unravels the reader’s ideas about her own stories by presenting a seemingly beautiful, transparent narrative that is haunted by tensions, lacunae, and opacity. Like the headless walking duck, these fictions of transparency and harmony quickly collapse upon closer inspection.

The Connections In Physical Structure Information Technology Essay

The Connections In Physical Structure Information Technology Essay Two or more computers connected together and they able to share the data and other resources, then we can say that the computers in the network. Networks are two types Wireless Network. Wired Network. Wireless Network: wireless communication is one the fastest-growing technology. Connection using some telecommunication network whose inter connections between nodes is implemented without the use of physical cable. Radio waves are used to transmit the data between computes. Wired connection: wired connection means connection through a physical cable (back bone). There are two types of connections in physical structure. Point to point Multipoint. Point to point: The point to point provides a dedicated connection between two devices .the entire capacity of the link is reserved for transmission the data between those two devices only. Multipoint: a multipoint connection is one in Network Topologies: The term topology refers to the way in which a network is laid out. Two are more computers connected through a cable to a link; two are more links from topology. Topology of a network is representation of the connection of all links and nodes together. There are basically 4 types of topologies are possible Bus Topology: In bus topology using a single cable to connect all devices. One long cable acts as a backbone to link all the devices in a network. Devices are connected to the bus cable by drop lines and taps. A drop line is a connection running between the systems/nodes and main cable. A tap is a connector that either splices into main cable or punctures the sheathing of a cable to create a contact with the metallic core. As a signal travel along the cable, some of its energy is transformed in to heat. Therefore, it become weaker as it travels tap to tap. Because of that we have a limited number of taps. And have to maintain proper distance between those taps. The advantage of bus topology includes ease of installation. The cable which is used as a backbone is laid along the most sufficient path, and then connected to the nodes by drop lines of various lengths. Because of that, a bus uses the less hardware compared to other topologies like ring star mesh. The main advantage of this network is redundancy will be eliminated. The disadvantage of this network is it will be helpful if we have a limited number of devices. If more than few dozen computers will be added to the cable, performance will become low. If cable fails, the entire network becomes unusable. Ring Topology: In a ring network, every system will connect exactly with the two neighbors for communication purpose. All messages travel through a ring in the same direction (clock wise or anticlockwise). If any cable or device breaks the loop and can take down the entire network. A ring is relatively easy to install. To add or delete a device we require only two connections. Generally in the ring network, information will go every time repeatedly. If one device does not working properly it gives an alarm. The alarm alerts the network operator to problem and where it happen Anyhow, unidirectional traffic can be a disadvantage. In a simple ring network a brake in the ring will disable the entire network. This problem will be achieved by switch cable of closing off the break. Star Topology: in a star topology each device will connect to a central hub. The devices are not directly connected with each other. The hub acts like a central server, if one device wants to send the data to another, its sends the data to the hub which then relay the information to another connected device Each device needs only one link and one I/O port to connect it to any number of hubs. Thatà ¢Ãƒ ¢Ã¢â‚¬Å¡Ã‚ ¬Ãƒ ¢Ã¢â‚¬Å¾Ã‚ ¢s why it is very is to install and reconfigure. Less cable is needed to configure the star topology .and additions moves and deletions are very easy. Between the hub and device. If Tree Topology: tree network topology is a central node is connected to one or more other nodes that are one level lower in the hierarchy. It is combination of the bus and the Star Topologies. The tree like structure will allows you to have many servers on the network and you can branch out the network in many ways. Levant systems in their own network and yet connect to the big network in some way. Mesh Topology: In mesh topology every device has a direct link to all devices in the network. If a device wants some data information will pass between those only directly, the main advantage of this topology is redundancy will be redjuced . Calcutation of how many nodes will connected to a mesh topology: In mesh each node must connected with another nodes (ie node 1 will connect to the n-1 nodes). We need n(n-1) physical links.however, If each physical link allows communication in both dirrections (duplex mode). We can devide the number of links by 2. In other words we can say that in a mesh topology , we need n(n-1)/2 Suppose if we are connecting 15 nodes in a mesh topology, then the number of cables required; N = n (n-1)/2 N = Number of cables = 15 (15 à ¢Ãƒ ¢Ã¢â‚¬Å¡Ã‚ ¬ 1)/2 n = Node = 15*14/2 = 15*7 = 105 So the total number of cables required for connecting 15 nodes = 105. OSI MODEL: OSI model is established in 1947, (Open System Interconnection Reference Model) That covers all the aspect of network communications is the open system interconnection model. It was first introduced in 1970à ¢Ãƒ ¢Ã¢â‚¬Å¡Ã‚ ¬Ãƒ ¢Ã¢â‚¬Å¾Ã‚ ¢s. An open system is a set of protocols that allows any two different systems to communicate regardless of their underlying architecture. The purpose of OSI model is to show how a facility communication between the systems without changing their logic of understanding and designing a network architecture that is flexible, and transferable. It is developed as part of open system interconnection. In its most basic form it consists of seven separate but related layers. The OSI model is a layered framework for design of network systems that allows communication between all types of computer systems. It consists of seven layers, each of which defines a part of the process of moving information across the network. http://homepages.ius.edu/RWISMAN/B438/HTML/ch1_8.jpg Physical layer: physical layer coordinates the functions required to carry a bit stream over a physical link. It deals with mechanical and electrical specifications of interface and transmission medium. This layer deals with the physical devices of the media being used to transmit the information. The physical layer notifies the data link layer that a frame has been received and passes it up. The physical layer is responsible for movements of individual bits from one node to next node. DATA LINK LAYER: The data link layer transforms the physical layer, a raw transmission facility to a reliable link. The data link layer deals with providing one or more data link connections between two or more network entities. Data link layer performs the error check discards the frame if an error is detected. The responsibilities of the data link layer are Framing, Error control, Flow control, Access control. NETWORK LAYER: Network layer is responsible for the source-to-destination delivery of a data, possible across multiple networks. The layer provides switching and routing facilities. Creating the logical circuits for transmitting the data from node to node. If two systems are connected to a same link, there is no need of network layer. If two systems are connected to different networks there is often required the network layer to complete the transmission between sources to destination. The other responsibilities of the network layer are logical addressing, routing etc. TRANSPORT LAYER: Transport layer Manages source-to-destination message delivery in network. Provides reliable and sequential packet transfer through error recovery and flow control mechanisms Provides connectionless oriented data (packet) transfer. The main responsibilities of transport layer are service point addressing, segmentation and reassembly, connection control, flow control. SESSION LAYER: In some processes the physical, data link and network layers are not provide sufficient Service. The session layer is network dialog controller. The session layer responsibilities are synchronization and dialog control. PRESENTATION LAYER: The presentation layer deals with the syntax and semantics of the information exchanged between two systems. It masks the differences of data formats between dissimilar systems. The presentation layer is responsible for translation, compression and encryption. Presentation layer will encodes and decodes data; encrypts and decrypts the data; compresses and decompresses data. APPLICATION LAYER: APPLICATION LAYER enables the user, access the network. Interface to user processes for communication and data transfer in network Provides standardized services such as virtual terminal, file and job transfer and operations application layer is responsible for providing service to the user.