Too Much Protection The Migratory Bird Treaty Act ( Mbta )

Too much protection: There are over 1000 species of birds found in the United States that are federally protected [1]. Those that are endangered or threatened need and deserve our special help and steps must be taken to protect them from population declines and extinction. However, hundreds of species--not considered to be in danger-- are still protected by federal law in a way that can prevent economic growth and the expansion of renewable energy in the United States. The 1918 Migratory Bird Treaty Act (MBTA) and related legislation make it illegal (without a waiver from the USFWS) to pursue, hunt, or take any native migratory bird [2]. Enforcement is often impractical but can still sometimes a barrier to the development of more renewable energy sources such as wind and solar energy. It is time for congress to revisit and reform this act to keep up with the issues that our country is facing in this, the 21st century. Every country in the world has limited resources available to accomplish its goals. Ours is no exception. Currently the MBTA applies to almost every species of bird native to the United Sates which makes most species of birds in the US protected by law—regardless of their current conservation status [2]. A complete enforcement of this law is currently not undertaken because it would demand more resources than can possibly be dedicated to it. Some people have referred to the MBTA as legislation that sometimes lacks teeth. That is not to say that peopleShow MoreRelatedThe Current Issues Involving Wind Farms and Wildlife1920 Words   |  8 Pagesrenewable energy in the last several years. Wind farms, based off of energy production facts, are pivotal in our society, to the continued push to reduce fossil fuel usage and greenhouse gas emissions. To the untrained eye, they seem as though they are too good to be true; a cheaper form of energy that also emits less pollution than tra ditional forms of energy production (find a source for this) sounds perfect, right? However, there has been growing tension between the wind energy industry and environmental

The Current Challenges of Cultural Identity Essay - 974 Words

Cultural identity refers to the feeling belonging to a certain culture that is attributed to the upbringing of an individual in the given culture. Cultural identity gives a person the sense of belonging and belonging towards their culture. Modern cultural studies show that cultural identification has taken a new face. Various cultural identifiers can be used to identify the culture of an individual. These identifiers include nationality, language, location, gender, religious beliefs, history, and ethnicity. Culture is important in shaping the identity of an individual. The efforts of people trying to preserve their cultural identities can bring about hatred and division in the society. This is likely to happen especially in large cities†¦show more content†¦In most case, identity is shaped by culture. Since culture is a set of ideals life practices, routines and attitudes set up by a certain community hence culture plays a major role in shaping the identity of an individual. An individual’s character and attributes can be because of their background. This is due to the set up that one has grown up (Dumas 19). People tend to learn more about their culture, and as they grow up it becomes part of them. They embrace the culture’s beliefs and tend to do things following the set routines. The aspect of following the set routine and beliefs play a significant part in shaping the identity of an individual. The identity of an individual is evident in a person from the things that they do about their culture. Some individuals with the knowledge that they have acquired from their culture are willing to carry out activities depicting their knowledge. A person’s identity can be known from the way they express themselves in relation to their culture, his notion brings about the aspect of one’s identity in relation to their culture. This aspect of culture shaping an individual’s identity experiences challenges in some given instances. 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The Halfling’s Gem 1. Tower of Twilight Free Essays

Book 1. Halfway to Everywhere 1. Tower of Twilight â€Å"A day and more we have lost,† the barbarian grumbled, reining in his horse and looking back over his shoulder. We will write a custom essay sample on The Halfling’s Gem 1. Tower of Twilight or any similar topic only for you Order Now The lower rim of the sun had just dipped below the horizon. â€Å"The assassin moves away from us even now!† â€Å"We do well to trust in Harkle’s advice,† replied Drizzt Do’Urden, the dark elf. â€Å"He would not have led us astray.† With the sunshine fading, Drizzt dropped the cowl of his black cloak back onto his shoulders and shook free the locks of his stark white hair. Wulfgar pointed to some tall pines. â€Å"That must be the grove Harkle Harpell spoke of,† he said, â€Å"yet I see no tower, nor signs that any structure was ever built in this forsaken area.† His lavender eyes more at home in the deepening gloom, Drizzt peered ahead intently, trying to find some evidence to dispute his young friend. Surely this was the place that Harkle had indicated, for a short distance ahead of them lay the small pond, and beyond that the thick boughs of Neverwinter Wood. â€Å"Take heart,† he reminded Wulfgar. â€Å"The wizard called patience the greatest aid in finding the home of Malchor. We have been here but an hour.† â€Å"The road grows ever longer,† the barbarian mumbled, unaware that the drow’s keen ears did not miss a word. There was merit in Wulfgar’s complaints, Drizzt knew, for the tale of a farmer in Longsaddle – that of a dark, cloaked man and a halfling on a single horse – put the assassin fully ten days ahead of them, and moving swiftly. But Drizzt had faced Entreri before and understood the enormity of the challenge before him. He wanted as much assistance as he could get in rescuing Regis from the deadly man’s clutches. By the farmer’s words, Regis was still alive, and Drizzt was certain that Entreri did not mean to harm the halfling before getting to Calimport. Harkle Harpell would not have sent them to this place without good reason. â€Å"Do we put up for the night?† asked Wulfgar. â€Å"By my word, we’d ride back to the road and to the south. Entreri’s horse carries two and may have tired by now. We can gain on him if we ride through the night.† Drizzt smiled at his friend. â€Å"They have passed through the city of Waterdeep by now,† he explained. â€Å"Entreri has acquired new horses, at the least.† Drizzt let the issue drop at that, keeping his deeper fears, that the assassin had taken to the sea, to himself. â€Å"Then to wait is even more folly!† Wulfgar was quick to argue. But as the barbarian spoke, his horse, a horse raised by Harpells, snorted and moved to the small pond, pawing the air above the water as though searching for a place to step. A moment later, the last of the sun dipped under the western horizon and the daylight faded away. And in the magical dimness of twilight, an enchanted tower phased into view before them on the little island in the pond, its every point twinkling like starlight, and its many twisting spires reaching up into the evening sky. Emerald green it was, and mystically inviting, as if sprites and faeries had lent a hand to its creation. And across the water, right below the hoof of Wulfgar’s horse, appeared a shining bridge of green light. Drizzt slipped from his mount. â€Å"The Tower of Twilight,† he said to Wulfgar, as though he had seen the obvious logic from the start. He swept his arm out toward the structure, inviting his friend to lead them in. But Wulfgar was stunned at the appearance of the tower. He clutched the reins of his horse even tighter, causing the beast to rear up and flatten its ears against its head. â€Å"I thought you had overcome your suspicions of magic,† said Drizzt sarcastically. Truly Wulfgar, like all the barbarians of Icewind Dale, had been raised with the belief that wizards were weakling tricksters and not to be trusted. His people, proud warriors of the tundra, regarded strength of arm, not skill in the black arts of wizardry, as the measure of a true man. But in their many weeks on the road, Drizzt had seen Wulfgar overcome his upbringing and develop a tolerance, even a curiosity, for the practices of wizardry. With a flex of his massive muscles, Wulfgar brought his horse under control. â€Å"I have,† he answered through gritted teeth. He slid from his seat. â€Å"It is Harpells that worry me!† Drizzt’s smirk widened across his face as he suddenly came to understand his friend’s trepidations. He himself, who had been raised amidst many of the most powerful and frightening sorcerers in all the Realms, had shaken his head in disbelief many times when they were guests of the eccentric family in Longsaddle. The Harpells had a unique – and often disastrous – way of viewing the world, though no evil festered in their hearts, and they wove their magic in accord with their own perspectives – usually against the presumed logic of rational men. â€Å"Malchor is unlike his kin,† Drizzt assured Wulfgar. â€Å"He does not reside in the Ivy Mansion and has played advisor to kings of the northland.† â€Å"He is a Harpell,† Wulfgar stated with a finality that Drizzt could not dispute. With another shake of his head and a deep breath to steady himself, Wulfgar grabbed his horse’s bridle and started out across the bridge. Drizzt, still smiling, was quick to follow. â€Å"Harpell,† Wulfgar muttered again after they had crossed to the island and made a complete circuit of the structure. The tower had no door. â€Å"Patience,† Drizzt reminded him. They did not have to wait long, though, for a few seconds later they heard a bolt being thrown, and then the creak of a door opening. A moment later, a boy barely into his teens walked right through the green stone of the wall, like some translucent specter, and moved toward them. Wulfgar grunted and brought Aegis-fang, his mighty war hammer, down off his shoulder. Drizzt grasped the barbarian’s arm to stay him, fearing that his weary friend might strike in sheer frustration before they could determine the lad’s intentions. When the boy reached them, they could see clearly that he was flesh and blood, not some otherworldly specter, and Wulfgar relaxed his grip. The youth bowed low to them and motioned for them to follow. â€Å"Malchor?† asked Drizzt. The boy did not answer, but he motioned again and started back toward the tower. â€Å"I would have thought you to be older, if Malchor you be,† Drizzt said, falling into step behind the boy. â€Å"What of the horses?† Wulfgar asked. Still the boy continued silently toward the tower. Drizzt looked at Wulfgar and shrugged. â€Å"Bring them in, then, and let our mute friend worry about them!† the dark elf said. They found one section of the wall – at least – to be an illusion, masking a door that led them into a wide, circular chamber that was the tower’s lowest level. Stalls lining one wall showed that they had done right in bringing the horses, and they tethered the beasts quickly and rushed to catch up to the youth. The boy had not slowed and had entered another doorway. â€Å"Hold for us,† Drizzt called, stepping through the portal, but he found no guide inside. He had entered a dimly lit corridor that rose gently and arced around as it rose, apparently tracing the circumference of the tower. â€Å"Only one way to go,† he told Wulfgar, who came in behind him, and they started off. Drizzt figured that they had done one complete circle and were up to the second level – ten feet at least – when they found the boy waiting for them beside a darkened sidepassage that fell back toward the center of the structure. The lad ignored this passage, though, and started off higher into the tower along the main arcing corridor. Wulfgar had run out of patience for such cryptic games. His only concern was that Entreri and Regis were running farther away every second. He stepped by Drizzt and grabbed the boy’s shoulder, spinning him about. â€Å"Are you Malchor?† he demanded bluntly. The boy blanched at the giant man’s gruff tone but did not reply. â€Å"Leave him,† Drizzt said. â€Å"He is not Malchor. I am sure. We will find the master of the tower soon enough.† He looked to the frightened boy. â€Å"True?† The boy gave a quick nod and started off again. â€Å"Soon,† Drizzt reiterated to quiet Wulfgar’s growl. He prudently stepped by the barbarian, putting himself between Wulfgar and the guide. â€Å"Harpell,† Wulfgar groaned at his back. The incline grew steeper and the circles tighter, and both friends knew that they were nearing the top. Finally the boy stopped at a door, pushed it open, and motioned for them to enter. Drizzt moved quickly to be the first inside the room, fearing that the angry barbarian might make less than a pleasant first impression with their wizard host. Across the room, sitting atop a desk and apparently waiting for them, rested a tall and sturdy man with neatly trimmed salt-and-pepper hair. His arms were crossed on his chest. Drizzt began to utter a cordial greeting, but Wulfgar nearly bowled him over, bursting in from behind and striding right up to the desk. The barbarian, with one hand on his hip and one holding Aegis-fang in a prominent display before him, eyed the man for a moment. â€Å"Are you the wizard named Malchor Harpell?† he demanded, his voice hinting at explosive anger. â€Å"And if not, where in the Nine Hells are we to find him?† The man’s laugh erupted straight from his belly. â€Å"Of course,† he answered, and he sprang from the desk and clapped Wulfgar hard on the shoulder. â€Å"I prefer a guest who does not cover his feelings with rosy words!† he cried. He walked past the stunned barbarian toward the door – and the boy. â€Å"Did you speak to them?† he demanded of the lad. The boy blanched even more than before and shook his head emphatically. â€Å"Not a single word?† Malchor yelled. The boy trembled visibly and shook his head again. â€Å"He said not a – † Drizzt began, but Malchor cut him off with an outstretched hand. â€Å"If I find that you uttered even a single syllable, †¦.† he threatened. He turned back to the room and took a step away. Just when he figured that the boy might have relaxed a bit, he spun back on him, nearly causing him to jump from his shoes. â€Å"Why are you still here?† Malchor demanded. â€Å"Be gone!† The door slammed even before the wizard had finished the command. Malchor laughed again, and the tension eased from his muscles as he moved back to his desk. Drizzt came up beside Wulfgar, the two looking at each other in amazement. â€Å"Let us be gone from this place,† Wulfgar said to Drizzt, and the drow could see that his friend was fighting a desire to spring over the desk and throttle the arrogant wizard on the spot. To a lesser degree, Drizzt shared those feelings, but he knew the tower and its occupants would be explained in time. â€Å"Our greetings, Malchor Harpell,† he said, his lavender eyes boring into the man. â€Å"Your actions, though, do not fit the description your cousin Harkle mantled upon you.† â€Å"I assure you that I am as Harkle described,† Malchor replied calmly. â€Å"And my welcome to you, Drizzt Do’Urden, and to you, Wulfgar, son of Beornegar. Rarely have I entertained such fine guests in my humble tower.† He bowed low to them to complete his gracious and diplomatic – if not entirely accurate – greeting. â€Å"The boy did nothing wrong,† Wulfgar snarled at him. â€Å"No, he has performed admirably,† Malchor agreed. â€Å"Ah, you fear for him?† The wizard took his measure of the huge barbarian, Wulfgar’s muscles still knotted in rage. â€Å"I assure you, the boy is treated well.† â€Å"Not by my eyes,† retorted Wulfgar. â€Å"He aspires to be a wizard,† Malchor explained, not ruffled by the barbarian’s scowl. â€Å"His father is a powerful landowner and has employed me to guide the lad. The boy shows potential, a sharp mind, and a love for the arts. But understand, Wulfgar, that wizardry is not so very different from your own trade.† Wulfgar’s smirk showed a difference of opinion. â€Å"Discipline,† Malchor continued, undaunted. â€Å"For whatever we do in our lives, discipline and control over our own actions ultimately measure the level of our success. The boy has high aspirations and hints of power he cannot yet begin to understand. But if he cannot keep his thoughts silent for a single month, then I shan’t waste years of my time on him. Your companion understands.† Wulfgar looked to Drizzt, standing relaxed by his side. â€Å"I do understand,† Drizzt said to Wulfgar. â€Å"Malchor has put the youth on trial, a test of his abilities to follow commands and a revelation to the depth of his desires.† â€Å"I am forgiven?† the wizard asked them. â€Å"It is not important,† Wulfgar grunted. â€Å"We have not come to fight the battles of a boy.† â€Å"Of course,† said Malchor. â€Å"Your business presses; Harkle has told me. Go back down to the stables and wash. The boy is setting supper. He shall come for you when it is time to eat.† â€Å"Does he have a name?† Wulfgar said with obvious sarcasm. â€Å"None that he has yet earned,† Malchor replied curtly. * * * Though he was anxious to be back on the road, Wulfgar could not deny the splendor of the table of Malchor Harpell. He and Drizzt feasted well, knowing this to be, most probably, their last fine meal for many days. â€Å"You shall spend the night,† Malchor said to them after they had finished eating. â€Å"A soft bed would do you well,† he argued against Wulfgar’s disgruntled look. â€Å"And an early start, I promise.† â€Å"We will stay, and thank you,† Drizzt replied. â€Å"Surely this tower will do us better than the hard ground outside.† â€Å"Excellent,† said Malchor. â€Å"Come along, then. I have some items which should aid your quest.† He led them out of the room and back down the decline of the corridor to the lower levels of the structure. As they walked, Malchor told his guests of the tower’s formation and features. Finally they turned down one of the darkened side-passages and passed through a heavy door. Drizzt and Wulfgar had to pause at the entrance for a long moment to digest the wondrous sight before them, for they had come to Malchor’s museum, a collection of the finest items, magical and otherwise, that the mage had found during the many years of his travels. Here were swords and full suits of polished armor, a shining mithril shield, and the crown of a long dead king. Ancient tapestries lined the walls, and a glass case of priceless gems and jewels glittered in the flicker of the room’s torches. Malchor had moved to a cabinet across the room, and by the time Wulfgar and Drizzt looked back to him, he was sitting atop the thing, casually juggling three horseshoes. He added a fourth as they watched, effortlessly guiding them through the rise and fall of the dance. â€Å"I have placed an enchantment upon these that will make your steeds run swifter than any beasts in the land,† he explained. â€Å"For a short time only, but long enough to get you to Waterdeep. That alone should be worth your delay in coming here.† â€Å"Two shoes to a horse?† Wulfgar asked, ever doubting. â€Å"That would not do,† Malchor came back at him, tolerant of the weary young barbarian. â€Å"Unless you wish your horse to rear up and run as a man!† He laughed, but the scowl did not leave Wulfgar’s face. â€Å"Not to fear,† Malchor said, clearing his throat at the failed joke. â€Å"I have another set.† He eyed Drizzt. â€Å"I have heard it spoken that few are as agile as the drow elves. And I have heard, as well, by those who have seen Drizzt Do’Urden at fight and at play, that he is brilliant even considering the standards of his dark kin.† Without interrupting the rhythm of his juggling, he flipped one of the horseshoes to Drizzt. Drizzt caught it easily and in the same motion put it into the air above him. Then came the second and third shoes, and Drizzt, without ever taking his eyes off Malchor, put them into motion with easy movements. The fourth shoe came in low, causing Drizzt to bend to the ground to catch it. But Drizzt was up to the task, and he never missed a catch or a throw as he included the shoe in his juggling. Wulfgar watched curiously and wondered at the motives of the wizard in testing the drow. Malchor reached down into the cabinet and pulled out the other set of shoes. â€Å"A fifth,† he warned, launching one at Drizzt. The drow remained unconcerned, catching the shoe deftly and tossing it in line. â€Å"Discipline!† said Malchor emphatically, aiming his remark at Wulfgar. â€Å"Show me, drow!† he demanded, firing the sixth, seventh, and eighth at Drizzt in rapid succession. Drizzt grimaced as they came at him, determined to meet the challenge. His hands moving in a blur, he quickly had all eight horseshoes spinning and dropping harmoniously. And as he settled into an easy rhythm, Drizzt began to understand the wizard’s ploy. Malchor walked over to Wulfgar and clapped him again on the shoulder. â€Å"Discipline,† he said again. â€Å"Look at him, young warrior, for your dark-skinned friend is truly a master of his movements and, thus, a master of his craft. You do not yet understand, but we two are not so different.† He caught Wulfgar’s eyes squarely with his own. â€Å"We three are not so different. Different methods, I agree. But to the same ends!† Tiring of his game, Drizzt caught the shoes one by one as they fell and hooked them over his forearm, all the while eyeing Malchor with approval. Seeing his young friend slump back in thought, the drow wasn’t sure which was the greater gift, the enchanted shoes or the lesson. â€Å"But enough of this,† Malchor said suddenly, bursting into motion. He crossed to a section of the wall that held dozens of swords and other weapons. â€Å"I see that one of your scabbards is empty,† he said to Drizzt. Malchor pulled a beautifully crafted scimitar from its mount. â€Å"Perhaps this will fill it properly.† Drizzt sensed the power of the weapon as he took it from the wizard, felt the care of its crafting and the perfection of its balance. A single, star-cut blue sapphire glittered in its pommel. â€Å"Its name is Twinkle,† Malchor said. â€Å"Forged by the elves of a past age.† â€Å"Twinkle,† echoed Drizzt. Instantly a bluish light limned the weapon’s blade. Drizzt felt a sudden surge within it, and somehow sensed a finer edge to its cut. He swung it a few times, trailing blue light with each motion. How easily it arced through the air; how easily it would cut down a foe! Drizzt slid it reverently into his empty scabbard. â€Å"It was forged in the magic of the powers that all the surface elves hold dear,† said Malchor. â€Å"Of the stars and the moon and the mysteries of their souls. You deserve it, Drizzt Do’Urden, and it will serve you well.† Drizzt could not answer the tribute, but Wulfgar, touched by the honor Malchor had paid to his oft-maligned friend, spoke for him. â€Å"Our thanks to you, Malchor Harpell,† he said, biting back the cynicism that had dominated his actions of late. He bowed low. â€Å"Keep to your heart, Wulfgar, son of Beornegar,† Malchor answered him. â€Å"Pride can be a useful tool, or it can close your eyes to the truths about you. Go now and take your sleep. I shall awaken you early and set you back along your road.† * * * Drizzt sat up in his bed and watched his friend after Wulfgar had settled into sleep. Drizzt was concerned for Wulfgar, so far from the empty tundra that had ever been his home. In their quest for Mithril Hall, they had trudged halfway across the northland, fighting every mile of the way. And in finding their goal, their trials had only begun, for they had then battled their way through the ancient dwarven complex. Wulfgar had lost his mentor there, and Drizzt his dearest friend, and truly they had dragged themselves back to the village of Longsaddle in need of a long rest. But reality had allowed no breaks. Entreri had Regis in his clutches, and Drizzt and Wulfgar were their halfling friend’s only hope. In Longsaddle, they had come to the end of one road but had found the beginning of an even longer one. Drizzt could deal with his own weariness, but Wulfgar seemed cloaked in gloom, always running on the edge of danger. He was a young man out of Icewind Dale – the land that had been his only home – for the first time in his life. Now that sheltered strip of tundra, where the eternal wind blew, was far to the north. But Calimport was much farther still, to the south. Drizzt lay back on his pillow, reminding himself that Wulfgar had chosen to come along. Drizzt couldn’t have stopped him, even if he had tried. The drow closed his eyes. The best thing that he could do, for himself and for Wulfgar, was to sleep and be ready for whatever the next dawn would bring. * * * Malchor’s student awakened them – silently – a few hours later and led them to the dining room, where the wizard waited. A fine breakfast was brought out before them. â€Å"Your course is south, by my cousin’s words,† Malchor said to them. â€Å"Chasing a man who holds your friend, this halfling, Regis, captive.† â€Å"His name is Entreri,† Drizzt replied, â€Å"and we will find him a hard catch, by my measure of him. He flies for Calimport.† â€Å"Harder still,† Wulfgar added, â€Å"we had him placed on the road.† He explained to Malchor, though Drizzt knew the words to be aimed at him, â€Å"Now we shall have to hope that he did not turn from its course.† â€Å"There was no secret to his path,† argued Drizzt. â€Å"He made for Waterdeep, on the coast. He may have passed by there already.† â€Å"Then he is out to sea,† reasoned Malchor. Wulfgar nearly choked on his food. He hadn’t even considered that possibility. â€Å"That is my fear,† said Drizzt. â€Å"And I had thought to do the same.† â€Å"It is a dangerous and costly course,† said Malchor. â€Å"The pirates gather for the last runs to the south as the summer draws to an end, and if one has not made the proper arrangements, †¦Ã¢â‚¬  He let the words hang ominously before them. â€Å"But you have little choice,† the wizard continued. â€Å"A horse cannot match the speed of a sailing ship, and the sea route is straighter than the road. So take to the sea, is my advice. Perhaps I can make some arrangements to speed your accommodations. My student has already set the enchanted shoes on your mounts, and with their aid, you may get to the great port in short days.† â€Å"And how long shall we sail?† Wulfgar asked, dismayed and hardly believing that Drizzt would go along with the wizard’s suggestion. â€Å"Your young friend does not understand the breadth of this journey,† Malchor said to Drizzt. The wizard laid his fork on the table and another a few inches from it. â€Å"Here is Icewind Dale,† he explained to Wulfgar, pointing to the first fork. â€Å"And this other, the Tower of Twilight, where you now sit. A distance of nearly four hundred miles lies between.† He tossed a third fork to Drizzt, who laid it out in front of him, about three feet from the fork representing their present position. â€Å"It is a journey you would travel five times to equal the road ahead of you,† Malchor told Wulfgar, â€Å"for that last fork is Calimport, two thousand miles and several kingdoms to the south.† â€Å"Then we are defeated,† moaned Wulfgar, unable to comprehend such a distance. â€Å"Not so,† said Malchor. â€Å"For you shall ride with sails full of the northern wind, and beat the first snows of winter. You will find the land and the people more accommodating to the south.† â€Å"We shall see,† said the dark elf, unconvinced. To Drizzt, people had ever spelled trouble. â€Å"Ah,† agreed Malchor, realizing the hardships a drow elf would surely find among the dwellers of the surface world. â€Å"But I have one more gift to give to you: a map to a treasure that you can recover this very day.† â€Å"Another delay,† said Wulfgar. â€Å"A small price to pay,† replied Malchor, â€Å"and this short trip shall save you many days in the populated South, where a drow elf may walk only in the night. Of this I am certain.† Drizzt was intrigued that Malchor so clearly understood his dilemma and was apparently hinting at an alternative. Drizzt would not be welcome anywhere in the South. Cities that would grant the foul Entreri free passage would throw chains upon the dark elf if he tried to cross through, for the drow had long ago earned their reputation as ultimately evil and unspeakably vile. Few in all the Realms would be quick to recognize Drizzt Do’Urden as the exception to the rule. â€Å"Just to the west of here, down a dark path in Neverwinter Wood and in a cave of trees, dwells a monster that the local farmers have named Agatha,† said Malchor. â€Å"Once an elf, I believe, and a fair mage in her own right, according to legend, this wretched thing lives on after death and calls the night her time.† Drizzt knew the sinister legends of such creatures, and he knew their name. â€Å"A banshee?† he asked. Malchor nodded. â€Å"To her lair you should go, if you are brave enough, for the banshee has collected a fair hoard of treasure, including one item that would prove invaluable to you, Drizzt Do’Urden.† He saw that he had the drow’s full attention. Drizzt leaned forward over the table and weighed Malchor’s every word. â€Å"A mask,† the wizard explained. â€Å"An enchanted mask that will allow you to hide your heritage and walk freely as a surface elf – or as a man, if that suits you.† Drizzt slumped back, a bit unnerved at the threat to his very identity. â€Å"I understand your hesitancy,† Malchor said to him. â€Å"It is not easy to hide from those who accuse you unjustly, to give credibility to their false perceptions. But think of your captive friend and know that I make this suggestion only for his sake. You may get through the southlands as you are, dark elf, but not unhindered.† Wulfgar bit his lip and said nothing, knowing this to be Drizzt’s own decision. He knew that even his concerns about further delay could not weigh into such a personal discussion. â€Å"We will go to this lair in the wood,† Drizzt said at last, â€Å"and I shall wear such a mask if I must.† He looked at Wulfgar. â€Å"Our only concern must be Regis.† * * * Drizzt and Wulfgar sat atop their mounts outside the Tower of Twilight, with Malchor standing beside them. â€Å"Be wary of the thing,† Malchor said, handing Drizzt the map to the banshee’s lair and another parchment that generally showed their course to the far South. â€Å"Her touch is deathly cold, and the legends say that to hear her keen is to die.† â€Å"Her keen?† asked Wulfgar. â€Å"An unearthly wail too terrible for mortal ears to bear,† said Malchor. â€Å"Take all care!† â€Å"We shall,† Drizzt assured him. â€Å"We will not forget the hospitality or the gifts of Malchor Harpell,† added Wulfgar. â€Å"Nor the lesson, I hope,† the wizard replied with a wink, drawing an embarrassed smile from Wulfgar. Drizzt was pleased that his friend had shaken at least some of his surliness. Dawn came upon them then, and the tower quickly faded into nothingness. â€Å"The tower is gone, yet the wizard remains,† remarked Wulfgar. â€Å"The tower is gone, yet the door inside remains,† Malchor corrected. He took a few steps back and stretched his arm out, his hand disappearing from sight. Wulfgar jerked in bewilderment. â€Å"For those who know how to find it,† Malchor added. â€Å"For those who have trained their minds to the properties of magic.† He stepped through the extradimensional portal and was gone from sight, but his voice came back to them one last time. â€Å"Discipline!† he called, and Wulfgar knew himself to be the target of Malchor’s final statement. Drizzt kicked his horse into motion, unrolling the map as he started away. â€Å"Harpell?† he asked over his shoulder, imitating Wulfgar’s derisive tone of the previous night. â€Å"Would that all of the Harpells were like Malchor!† Wulfgar replied. He sat staring at the emptiness that had been the Tower of Twilight, fully understanding that the wizard had taught him two valuable lessons in a single night: one of prejudice and one of humility. * * * From inside the hidden dimension of his home, Malchor watched them go. He wished that he could join them, to travel along the road of adventure as he had so often in his youth, finding a just course and following it against any odds. Harkle had judged the principles of those two correctly, Malchor knew, and had been right in asking Malchor to help them. The wizard leaned against the door to his home. Alas, his days of adventure, his days of carrying the crusade of justice on his shoulders, were fading behind him. But Malchor took heart in the events of the last day. If the drow and his barbarian friend were any indication, he had just helped to pass the torch into able hands. How to cite The Halfling’s Gem 1. Tower of Twilight, Essay examples

Gay and Lesbian Essay Example For Students

Gay and Lesbian Essay Adoption has long been a way for a loving family who cannot have children on their own, or a family with some extra love to give to have children. Today, adoption has taken a turn for the worse, Gay and Lesbian couples who of course cannot children are adopting kids. I see this as one of our nations number one problems. What kind of message are these kids getting? That homosexuality is all right. If this continues America will have a group of children running around with deviant behavior hardwired into their mind. Gay and Lesbian adoption must end for the sake of the children, for the sake of moral decency, and for the sake of the United States of America. Children in foster homes and orphanages have enough problems without have to deal with having homosexual parents. Other children and adult for something that they cannot control will persecute them, but their parents can. Even if they attend church they will not get the main Christian value of family. The biggest problem of all is that they might end up thinking that homosexuality is OK or even good, and that is just terrible. All children need the influence of a mother and father (Gay Parent online Magazine). Unfortunately, some children are not able to receive this because of death, divorce, or abandonment, but some just miss out on this because of two greedy homosexuals who what to have their cake and eat it two. The safety of the children is also in question when kids are placed with homosexuals. Forty percent of child molesters are homosexual, and they only represent ten percent of the population (Statistics website). This fact alone should make anyone want to outlaw homosexual adoptions. Also one of the nations foremost psychologists Dr. Laura Schlessinger says that same sex parenting in despicable and a huge portion of the male homosexual populace is predatory on young boys(Newsweek 52). The most obvious reason homosexuals should not be able to adopt children is that they really do not what them. If homosexuals really wanted children they would be straight and have them the normal way. If a person chooses to be homosexual there is nothing really the country can do about it, but if they what to bring a innocent child into their life of sin, we as God-fearing Americas must protect the young from this life of sin. Homosexuals say that outlawing their adoption rights is a form of discrimination. This could not be farther from the truth, the government does not allow drunk-drivers to drive, and it also does not let convicted felons to own weapons. So why should we let these deviants have children? The Gay and Lesbian anti defamation league says that there are not enough adoptive parents for the number children there are. Yes, this is true, but there are also not enough jails, does that mean we should let murders and rapist walk the streets? Of course not, we will just hav e to find more heterosexual people to take care of these children. It does not matter if it is a one or two parent family, just anything to get the children out of the hands of homosexuals. Homosexuality sickens me, what sicken me even more is to see a child in the hands of a lesbian woman. It make me think what has our country come to when we let homosexuals adopt child. How could it be that if only thirty-nine percent of the general public favors homosexual adoption rights, why only the state of Florida has a ban on homosexual adoption? This must change and it must change fast to many young lives are at steak. .u5a12c22839be3ac330c915f35c2a93dd , .u5a12c22839be3ac330c915f35c2a93dd .postImageUrl , .u5a12c22839be3ac330c915f35c2a93dd .centered-text-area { min-height: 80px; position: relative; } .u5a12c22839be3ac330c915f35c2a93dd , .u5a12c22839be3ac330c915f35c2a93dd:hover , .u5a12c22839be3ac330c915f35c2a93dd:visited , .u5a12c22839be3ac330c915f35c2a93dd:active { border:0!important; } .u5a12c22839be3ac330c915f35c2a93dd .clearfix:after { content: ""; display: table; clear: both; } .u5a12c22839be3ac330c915f35c2a93dd { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u5a12c22839be3ac330c915f35c2a93dd:active , .u5a12c22839be3ac330c915f35c2a93dd:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u5a12c22839be3ac330c915f35c2a93dd .centered-text-area { width: 100%; position: relative ; } .u5a12c22839be3ac330c915f35c2a93dd .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u5a12c22839be3ac330c915f35c2a93dd .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u5a12c22839be3ac330c915f35c2a93dd .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u5a12c22839be3ac330c915f35c2a93dd:hover .ctaButton { background-color: #34495E!important; } .u5a12c22839be3ac330c915f35c2a93dd .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u5a12c22839be3ac330c915f35c2a93dd .u5a12c22839be3ac330c915f35c2a93dd-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u5a12c22839be3ac330c915f35c2a93dd:after { content: ""; display: block; clear: both; } READ: Mental Illness: A Society of Stigma EssayBibliography:Works CitedGay and Lesbian anti Defamation League website. Located at http://www.glaad.orgGay Parent online Magazine http://www.gayparentmag.comStatistics website. Located at http://www.statistics.com/Wingert, Pat Two Kids and Two Moms. Newsweek 20 March 2000: pages 50-52.

Rhetorical Analysis Essay Example

Rhetorical Analysis Paper Cole Richardson Professor Bedwell English 1321 10 11 October 2011 Rhetorical Analysis Essay 2 We Do Abortions Here: A Nurse’s Story, written by Sallie Tisdale, was first published in 1990 by October’s edition of Harper’s Magazine. Tisdale was motivated to write this article because she is an American nurse and essayist. She is a writer on health and medical issues and anything in between. The purpose of this article is to inform the readers on how often abortion is called upon, along with the thoughts of these young women and children having them done. I would say the audience of this article is a well-educated, middle class people, because some of the vocabulary can be a little difficult at times. We Do Abortions Here: A Nurse’s Story, by Sallie Tisdale, makes both an effective, and ineffective argument. Tisdale makes her article effective because she uses impelling illustrations to explain how rapid abortions are done, but she also explains in great detail how painful the process is and what it is like. Although she uses great illustrations her argument is ineffective because her writing and thoughts are unclear, therefore making the way she thinks confusing. We will write a custom essay sample on Rhetorical Analysis specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Rhetorical Analysis specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Rhetorical Analysis specifically for you FOR ONLY $16.38 $13.9/page Hire Writer But the main reason Tisdale’s article is ineffective is because she is writing against abortion, yet works as a nurse who helps physicians do abortions, it does not make sense to me. Tisdale feels that abortion is wrong, happens too periodically, and is taken advantage of. She works in a hospital as a nurse that helps physicians during the procedure. Her work consists of completing sound wave tests, also known as ultrasounds, and she helps to sooth patients’ state of mind. In her field of work her and her co-workers are all seen as impure because it is known as dirty work to some. Tisdale sees many abortions done daily, along with numerous done weekly, numbers over the hundreds. From all different types of women, some in their teens with multiple years to come, others in their twenties or thirties having their first abortion, some having their fourth or fifth. But each person she sees is there for the same reason as the rest. They all made a choice to have unprotected sex or in some cases unfortunately some were forced beyond will, and now they cannot handle the consequences. This is what Tisdale sees every day and although she tries her hardest not to let her emotions cry out for what is wrong, it is her job. Tisdale states, â€Å"abortion is so routine that one expects it to be like a manicure: quick, cheap, and painless† (750). This quote is effective to the story because it is compares abortion to a manicure, which are of no relation, but for Tisdale this quote can open the eyes of the reader’s and show them how much abortion is taken advantage of. Manicures and pedicures are done every day all over the world, and comparing abortions to manicures can help the reader understand how many abortions are done not only daily but also just in general. In fact, abortions are repeated on a daily basis, without knowing the exact number Tisdale states, â€Å"we do over a hundred abortions a week† (750). Assuming that they are closed on the weekends, that is anywhere from twenty to possibly even thirty a day. If you sit back and think about it, twenty to thirty are done per day, and one hundred to one hundred-fifty are done per week, and we do know that there are fifty two weeks in a year. So do the math, if there are approximately one hundred to one hundred-fifty abortions per week with fifty two weeks in a year that is anywhere from 5,200 to 7,800 dying babies a year, but again we do not know for sure. Either way they are humans, living being created by God, and it is sickening to think about how many of them are being murdered. Tisdale’s details about the actual aborting process are very vivid and detailed about how horrific, painful, and sickening the procedure is. Abortions can be done to all types of women from children, to teens, even to moms in their thirties who are anywhere from one month pregnant to six months pregnant, but after that it is too late to have an abortion and of course the longer you wait, the more painful it is for the women. For instance a woman who is a month in a half pregnant would just sit back and let â€Å"The doctor [reach] in her, opening the narrow tunnel to the uterus with a succession of slim, smooth bars of steel. He inserts a plastic tube and hooks it to a hose on the machine†¦.. [as] The machine rumbles low and loud in the small windowless room; the doctor moves the tubes back and forth with an efficient rhythm, and the long tail fills with blood that spurts and stumbles along into a jar† (748). This quote is effective to the story because it gives great detail of how painful the process is. Now for someone who is farther along in their pregnancy it is a little more brutal and the pain is more intense because the doctor â€Å"quickly grabs and crushes he fetus in several places, while the room is filled with a low clatter and snap of the forceps, the click of the tanaculum, and a pulling, sucking sound† (753). The effectiveness of this quote compares a five month pregnant uterus to one of which that is still in the first trimester of pregnancy, and allows you to see that the longer you wait the more painful the procedure is going to be. Although her writing was effective, i t was also ineffective at the same time because her writing is confusing and unclear. Her writing is unclear because her story is not structured well and needs to be structured a lot better; it jumps from subject to subject and then back to another subject leaving spaces in between, making it hard to understand at times. For instance, in one paragraph Tisdale talks about the process of abortion, then in another she talks about all the different types of women and teenage girls who have abortions done, and then on the next page in a different paragraph she comes back to talking about the process of abortion again. I mean she could have talked about the whole abortion process in one paragraph rather than split it up into different paragraphs with other paragraphs in between that have nothing to do with what she is talking about. Another reason her article is ineffective is because she arguing against abortion, but she works as a nurse who helps physicians during the abortion process. Tisdale claims, â€Å"In describing this work, I find it difficult to explain how much I enjoy it†¦.. It is a sweet brutality we practice here, a stark and loving dispassion† (748). The effectiveness this quote adds to the ineffectiveness of this paper is quite important. I mean she is arguing against abortion and then turning around and helping doctors with abortion procedures, she is completely arguing against her claim. Technically, she is not actually the one doing the abortion or the one having the abortion done, but she still helps with it, which is as bad as doing it. I mean, how can you sit here and argue against something like abortion about how wrong and bad it is, and then turn around and work for a company that takes part in abortion. For instance, take the Germans, they were not technically the ones who killed all the Jewish people during the holocaust, but it was Hitler that was in charge over everyone and he was actually the one doing the killing and burning because he had the power. So in saying that, the Germans, like Tisdale were guilty by association because even though neither she nor the soldiers were actually doing the killing, they both knew it was going on and chose not to do anything about. In her article, Tisdale argues that abortion is wrong and that â€Å"abortion is the narrowest edge between kindness and cruelty (753),† but if you think about what she is arguing it is not effective because she is against abortion but works for abortion. So in saying that, she is a cruel person that is willing to work for abortion because if she were really a kind person and were actually against abortion she would not work for a doctor’s office that does abortion or anything that has to do with it and enjoy it. She would work in another nursing field doing other things such as taking a patients temperature or getting their height and weight. Tisdale is a great writer from what I can tell, but for this paper, I would have to say it was just not her best. It was an ineffective argument and although her claim was good, she just could not support it because it is hard to support an argument when what you are arguing against is what you do for a living. Word Count 1,556 Works Cited Tisdale, Sallie. â€Å"We Do Abortions Here: A Nurse’s Story. † The Norton Reader: An Anthology of Nonfiction. 12th Edition. Ed. Linda H. Peterson and John C. Brereton. New York: Norton, 2008. 747-753. Print. rhetorical analysis Essay Example rhetorical analysis Essay Raising an Obedient Child Dont Spare the rod and spoil the child. We have all heard that before, as a child I heard it a lot. I was not the most well behaved child, so I got into plenty of trouble. My mom hated my temper tantrums. When I was little, she disciplined me, and now I am a well behaved young adult who knows right from wrong. Discipline is a way of teaching a child how to do what is right while growing up. There are multiple ways to discipline a child and make him/her behave. I feel that it is very important to begin to isciplining children when they are young so they know what is expected of them. it gives them a better sense of right and wrong while growing up once a child has reached his/her teenage years it is too late to begin the discipline process. If parents begin early, I believe that the most effective ways of disciplining children are timeout, taking away privileges, talking to the child, and, as a last resort, and spanking. Putting a child in timeout is effective if the parent is consistent with doing so. In the article Should You Give Your Child Timeouts, Phelan and Lynn state, when well xecuted, timeout will help teach the rule, and gives kids a break away from the inappropriate behavior and its triggers. I have witnessed consistent use of timeout with my nieces. With one, it takes several times for her to fgure out what she is doing wrong and that she is not supposed to continue doing so. My other niece learns after the first time out. Consistency is the key to a successful discipline method and discipline is the key to a successful child. If timeouts do not seem to be beneficial, other methods may be enforced. Privileges for a child are something that he/she earns when he/she behaves. If that is the case, why not take privileges away when the child behaves badly? I feel it teaches the same lesson that timeouts do, but it is a little more intense. As a child, when I got a new toy it was because I was being good and mom was proud, but if I began to act ugly or throw another one of my many tantrums, she would take my toy away. To make this method work my mom did not Just take any toy; she took my favorite toy, which made me behave so I could get it back. We will write a custom essay sample on rhetorical analysis specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on rhetorical analysis specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on rhetorical analysis specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Once I realized that throwing tantrums made my mom take my favorite toy, I got the concept of good behavior. I admit it is a work in progress because some children do not get it the first time but it does get easier and better. Talking to a child is important as well as discipline. When a child misbehaves, sitting her down and talking to her is also another good method of teaching discipline. It is not like taking privileges or using timeout, but it can definitely work on children. In the article Talk it Out Works Better than Timeout, Mari-Jane Williams explains that youre missing an opportunity to sit down and say to your kids, how well did that work for you? She also mentions self-assessment and how it is more important to a childs mental and emotional health. In my opinion, as the aunt of three nephews and four nieces, talking to the misbehaving child can work and be a positive experience for both the parent and the child. It gives the parent a chance to tell the chil d that his actions are unacceptable and that he can no longer continue to behave in that manner. In my own experience, it is harder to use the alking method with my nephews, but a lot easier with my nieces. I feel it may be harder for a parent to talk to boys because they tend to be more stubborn than girls. Although boys react differently, parents should still talk to them as they talk to girls. Physical punishment, I feel, is Just as effective as any other discipline method. Spanking a child is more of a last resort when he/she is misbehaving. As I stated earlier in the essay, I threw temper tantrums when I did not get what I wanted and my mother took away privileges. That method was not always effective with me, and I nded up getting multiple spankings. In the article The Real Spanking Debate John Hoffman says that mfou could show me an impeccable study that proves beyond a shadow of doubt that a good and proper mild spanking doesnt harm kids. I completely agree with this statement because I experienced plenty of spankings and I am perfectly fine and well behaved with no discipline or anger problems. In conclusion, disciplining your child is very effective but, it depends on how consistent parents are with doing so. Timeouts, taking away privileges, talking, and pankings are all ways that I feel are effective ways of turning a disobedient child into a well behaved child who follows the rules. All of my experiences with disciplining and being disciplined have been effective, if not with all the methods, at least with one of them. When I become a parent I will use these same methods for my children. Hopefully as a mom I will not go through what my mom went through with me, maybe it will be easier. Work Cited Williams, Mari Jane. Talk-lt-out Works better than timeout. Washington Post 3 Oct. 2013. Opposing viewpoints in context. Web. 13 Nov. 2013 Rhetorical Analysis Essay Example Rhetorical Analysis Essay Dana Trimmer Rhetorical Analysis In Michael T. Klare’s â€Å"The Coming Era of Energy Disasters,† he seems to focus on the major risks off shore drilling the causes and the effect on the environment. The overall argument conveys that unless the oil industry and the consumer take an alternative route to dangerous oil drilling â€Å"more such calamities are destined to occur† (Klare 1). Klare is very vocal in criticizing of the BP executives concerning the Deepwater Horizon disaster. He proceeds to state the fact the chief executives of BP chose to call the accident and oversight â€Å"a fallacious, if not outright lie† (Klare 1). Klare’s article offers four scenarios that point to the escalating chances of major disasters if oil companies continue to pursue deep sea drilling. Klare contends that to continue to use the energy sources at the rate we currently use it will â€Å"guarantee the equivalent of two, three, four or more Gulf oil-spill-style disasters in our energy future† (Klare 1). In reference to Michael T. Klare’s background, he is a (PAWSS) Professor and affiliated with the Peace and World Security Studies and the School of Critical Social Inquiry. In addition, Klare is also the author of numerous books, and example, â€Å"Blood and Oil† (2004). Klare has written a number of articles in magazines such as Arms Control Today, Bulletin of Atomic Scientists, Current History, Foreign Affairs, Harper’s, The Nation, Scientific American and Technology Review (get Abstract). We will write a custom essay sample on Rhetorical Analysis specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Rhetorical Analysis specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Rhetorical Analysis specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Most of the books and articles Klare has written in some way relate to the state of world affairs with most of them concerning the negative state of world affairs. Given Klare’s lifework and field of study, this creates creditability and a perfect environment with critical knowledge for the core reading Klare has chose to write about. Klare Trimmer 2 continues to argue that â€Å"drilling in unsafe areas and not pursuing alternative energy sources for the future, more such catastrophes’ are coming no matter how much the technology has advanced† (Klare 1). Setting the stage for his scenarios, Klare begins with the question â€Å"What will the next Deepwater Horizon disaster look like† (Klare 2)? Klare attempts to engage not only the public, those that have been somewhat exposed to the media, but the corporate and collegiate community as well. Klare having his articles posted on very liberal and technical news websites, such as Technology Review and The Nation, tend to reach more of an audience with higher levels of education and technical knowledge than the public in general. Klare’s writing style uses a sense of urgency, his strong use of words some even underlined to stress his point creates a sense of conviction for the topic he chose. Klare uses scenarios (real and fictional) to persuade his readers to believe there will be future energy disasters. He uses history to build his case on some of the scenarios he imposes on his readers. An example of this is in scenario number one. Klare describes the Hibernia platform off of Newfoundland. He goes to the extent of stating the cost, what the platform is made of and how many crewmembers are aboard the Hibernia. Klare chose to mention that the Hibernia platform owners insist the platform is capable to â€Å"withstand a blow from even the largest iceberg† (Klare 2). Klare seems to ignore or chooses not to explore the possibility that advanced technology and new regulations would make the Hibernia platform safer. He chose instead to discredit the owners and the extra safeguards used, Klare purposed to create a vision of impending doom or an oil catastrophe. Klare is trying to accomplish an awareness of supposed Trimmer 3 hortfalls in the oil industry that will ultimately lead to â€Å"future nightmares† (Klare 7). Klare transitions between real history and fictional, which makes the reading hard to believe it is creditable. An example of this is in scenario one. Klare writes first of the Hibernia owners then quickly moves into an imaginary scenario of â€Å"global warning advances and Green- land glaciers melting sending massive chunks of ice floating into the North Atlantic on a path past Hibernia† (Klare 2). While this is very plausible it has not appened to the Hibernia at the present time. Klare’s persuasive appeal tends to lean more on the readers emotions. His scenarios tend to try to spark anger by the reader. Klare uses scenario number two to raise the awareness that Nigerians are already impoverished and are being used by the government unfairly. Klare in one hand has his audience feeling poorly for the Nigerian workers and in the other suggests, do to â€Å"the pipeline vandalism, kidnappings and militant takeovers of oil facilities† (Klare 3) that America has reason to aid the military. Klare has his audience upset and emotionally unsure that simulates his imaginary scenario. Klare escalates the insurgence of the Niger Delta region, placing the Nigerian oil output down to a third of its capacity† (Klare 3). Klare angers his readers by having them believe they will be â€Å"paying $5 per gallon of gasoline in the United States and convincing them the economy is headed for another deep recession† (Klare 3). This is Klare’s strategy for all of his scenarios. It is interesting that throughout the article Klare is very anti-oil drilling and uses very harsh examples and words, but finishes his article on a softer note with a disclaimer. Klare reminds his intended audience that â€Å"while none of these specific calamities are guaranteed to happen something like them surely will † (Klare 7). He goes on to remind his readers to â€Å"take action to not depend on fossil fuel and speed up transition to a post carbon world† (Klare 7). After a short softer note, Klare reminds his audience to beware Trimmer 4 in addition, watch out for more calamities to come. After all, of the effort Klare used to expose the wrongs of the major oil companies, it would have been appropriate for Klare to offer some suggestions of alternative energy sources. Works Cited get Abstract compressed knowledge, n. d. Web. 07 Oct. 2011. http://getabstract. com/en/summary/economics-and-politics/rising-powers-shrinking-planet/10141/ Klare, Michael T. â€Å"The Coming Era of Energy Disasters†. The

Nissan Altima Electric Mode Hybrid Car Question

Nissan Altima Electric Mode Hybrid Car Question Hello Christine and Scott, I was very relieved to find your pages under About.com and find out I could email you. A few weeks ago we purchased a 2008 Nissan Altima Hybrid and recently we noticed something that has us worried: the gasoline engine kicks on a few seconds after starting the car and while the car is still in PARK. It stays on EV MODE for only the first few seconds. This is not what we expected! We thought (from research) that the high voltage battery would have total control at startup, low speeds, and when not moving (at a stop sign /red light). In other words, NO GASOLINE being used at these times. EV MODE the whole time! We also observed: 1. After we shift to D, DRIVE, it happens again every time the vehicle comes to a full stop while at a stop sign or red light and were not moving for more than a few seconds. 2. The engine stays on for at least a minute and then shuts off, EV MODE resumes and all is quiet until I start moving and accelerating. 3. This behavior seems to happen when the engine is cold, in other words, when it hasnt been used for hours (e.g. first drive in the morning) and keeps happening for about 1/2 hour or so during that first drive. After 1/2 hour or so, this stops happening. In other words, the EV MODE sign comes on and STAYS ON the whole time the car is stopped (idle) at a stop sign/red traffic light or while the car is in PARK but still on. This is what we thought would ALWAYS happen! 4. There is one exception to what I just said in item 3 above. Today for the first time, while at a red light, and after the car went into EV MODE, the engine kicked on even though I had just driven the car for at least one hour at high speeds on highway. Is something wrong with my car? I noticed on your website that you own your own 2008 Nissan Hybrid. Please tell me whats happening with yours. At first my husband thought that this was due to the cold weather (under 40 degrees). But today, the temperature was at 48 degrees and it still didnt stay in EV MODE at startup. Please help. I am afraid this might be a defective car. Dora PS. Yesterday I drove the car to the dealer and the salesperson that sold us the car told us that he has seen it happen before and that it is normal. He even had me drive another hybrid (2007) that had not been sold yet and sure enough, seconds after the car started, the EV MODE signal disappeared and the engine started EVEN THOUGH I was still in park mode. I dont know whether to believe him or not. I also dont find any info on manual to either identify this behavior as normal or not normal. Hey Dora, Thanks for writing - good questions. We understand your concerns. No worries – it sounds as if your 2008 Altima Hybrid is working perfectly normally. Your husband is right - it does have a lot to do with the cold temperatures, and there actually are several conditions that will make the engine on your car run, regardless of your input. They are: State of battery charge Temperature of the engine and hybrid components Ambient air temperature When you start the car, it will usually start the engine after just a few seconds, even if its been only a few hours since youve last driven it. The computer does this automatically to warm the engine, hybrid battery and associated hybrid components. Under mild weather conditions, the engine should shut off after just a few minutes, but when it’s colder out, it could take substantially longer- it also depends upon the amount of charge left in the hybrid battery. If it’s on the low side, the engine may continue running to charge the battery up to full capacity. Also, and this is especially true in the winter (and if you are using the heater and/or the defroster a lot), the engine will run longer. The engine has to run to warm the cabin- and the higher you have the heat set (and the longer it’s on), the more the engine will run. If you have electrically heated seats, using those can help minimize the need to heat the cabin air as much, thus minimizing the engine ru nning time also. Even if you are stopped for a minute or more at a traffic light and the car is in EV mode, if any of these conditions come up (low battery, car needing heat), the engine will start. Again, all of this is normal. You’ll notice as we get into spring and early summer (and you won’t be needing the heat/defroster as much), everything will come up to operating temperature quicker and the Altima Hybrid will stay in EV mode much longer. In the summertime when it gets really hot and you’re using the AC a lot, you could notice that it runs the engine more. The AC compressor runs off electricity, so you may find the engine kicks on more often to keep the battery charged. Just bear in mind that this is a hybrid electric car and is reliant upon the gasoline engine to keep the entire system up and running. Even though you can drive in electric mode, it’s still more of an assistant than a main power source. Your Altima uses Toyota’s Synergy Drive System- in our opinion, it is the best one available. As you get used to this car, we bet you’ll not only be able to maximize the EV mode driving (and fuel economy), but come to love it as well. For your reference, here’s an article we wrote about hybrids and cold temps, and some info about obtaining the best mileage from your hybrid via hypermiling. (Yep, Scott hypermiled in the Altima Hybrid- look what it can do. Thanks for visiting our site and writing- please feel free to let us know if you have any more questions. Best regards, Christine Scott

Green House gases Essay Example | Topics and Well Written Essays - 500 words

Green House gases - Essay Example Heavy industrialization is believed to be the major reason for the increase in quantity of greenhouse gases on earth’s atmosphere. Carbon dioxide is the major greenhouse gas which causes atmospheric temperature rise. â€Å"During the past 20 years, about three-quarters of human-made carbon dioxide emissions were from burning fossil fuels† (Greenhouse Gases, Climate Change, and Energy). The number of automobiles which use fossil fuels is growing day by day along with the number of industrial units in the world. Both automobiles and industrial units are liberating huge amounts of greenhouse gases and these greenhouse gases absorb all the thermal energy reaching on earth and prevent any thermal energy reflecting back. Earlier, there was a balance between the thermal energy reaching on earth from the sun and the thermal energy reflected back from earth and that is why climate changes were not much common earlier. However, at present, most of the thermal energy reaching on e arth’ surface from sun is staying in the atmosphere itself because of the increase in quantity of greenhouse gases and subsequently atmospheric temperature increases. Atmospheric temperature increase result in weather changes, sea level rise and unexpected natural calamities.

Improving the Quality of Education in the Urban Schools Essay - 2

Improving the Quality of Education in the Urban Schools - Essay Example Ameliorating the teachers’ quality will play a significant role in improving the quality of education in poor urban schools. Miller states that improving the quality of teachers in the urban district schools will play a very crucial role in improving the quality of education in urban schools. I think that Miller is right in saying that the pay that urban teachers receive is very discouraging when reviewed against the high cost of living in urban areas. This discourages many teachers from teaching in these schools and makes it hard for them to attract top talent from other schools or from graduating college students compared to the private schools. Statistics show that a large percentage of the experienced teachers in the urban schools will retire in a decade leaving seven hundred thousand new and untrained school teachers in the urban district schools. In my opinion, this will contribute significantly to increased poor performance in urban schools as the students will be taught by inexperienced school teachers. There is also the issue of bad and poor-performing teachers the urban schools who contribute sig nificantly to the poor performance in these schools (Miller 34). Miller suggests that the state should review the salaries of urban school teachers to enable them to attract top talent. I concur with him and also suggest that the urban school teachers should have pay perks that will help in motivating them by giving bonuses to the top-performing teachers. The federal government should increase their salaries at least fifty per cent, thus attracting college graduates who would have joined other professions due to the salaries. By increasing the teachers’ starting salaries to sixty thousand annually, the union will entice many talented teachers and attract others. However, the issues of poor performing teachers should be addressed.  

Execitove Summary for Riordan Manufacturing Essay

Execitove Summary for Riordan Manufacturing - Essay Example uch as Operations, Finance and Legal Counsel, with Vice Presidents of various departments such as Transportation, Sales and Marketing, Human resources, Finance, Product Support and Information Services. Each operating entity of Riordan Manufacturing has its own Finance and Accounting System, however compliance with new Government reporting systems has proved to be a costly, labor intensive process. Another problem faced by the Company is in terms of the F&A systems compatibility among the various entities, so that part of the data generated is relegated into hard copies involving labor intensive, costly work. These are two of the most significant problems the Company faces, for which effective solutions must be developed. Riordan has 15 to 20 major, regular customers for its products, of which the U.S. Government is one, with several additional minor customers. Sales and customer data is available to every member of the Sales and Marketing team and the Company also maintains profit and loss statements of all the items that are sold. Sales initiatives include discounts for key customers, sales promotions, public relations, tradeshows and sponsorships, among others. The Company invests annually in marketing research by conducting research in brand development, opportunity studies and by using customer focus groups. The current projected annual earnings of the Company are $46 million, however the Marketing Department has set a target of $50 million in revenues to be achieved in the next two years. The new Sales Promotional approach focus on two major aspects (a) increased sales to existing customers and (b) expanding the sales outreach to new customers. Old customers are to be subdivided on the basis of the size of the accounts, customer needs for the large accounts will be thoroughly assessed, and they will be provided with RFP updates such that these can be developed around Riordan products. Riordan employees will develop sales growth plans for individual

An Analysis Of Liszt Sonata

An Analysis Of Liszt Sonata This essay starts from the background of Piano Sonata in B minor. It then focuses on the importance of this work in romantic period. I will analyze the structure of this sonata, compare few scholars analysis and discuss how the technique of thematic use in the piece. Liszt appreciated Beethovens music. He looked upon Beethovens piano sonatas as models. He was influenced by Beethoven a lot. The sonatas development from baroque, classical to romantic period, approached the peak in the beginning of nineteenth century. Liszts Sonata in B minor leads a really important role. There are lots of arguments for this piece in the sonata literatures. The content and musical structure both are the topics of which are considered to continue the heritage of music in the past and usher in the future. Liszt had composed three solo piano sonata in 1825, however these pieces were unpublished and now are lost. The only piano sonata now exist is Sonata in B minor. Liszt had the conception of this piece from 1851, until 1853 he completed this sonata. The sonata first publicly performed by Liszts pupil, Hans von Bà ¼low on January 27, 1857 in Berlin. It has been first published in the spring of 1854 with a dedication to Schumann. Liszt said in a letter that this was his meaning of expressing appreciation for Schumann s having dedicated to him the Fantasy op.17 in C (1838). As a musician anxious to avoid formulaic composition, Liszt surely would have been delighted at the amount of scholarly bickering engendered by the Sonata in B minor. We discover from Winklhofer, for instance, that for more than a century after its composition, the formal architecture of Liszts sonata has eluded convincing explanation- until her own, of course m and so much for Newman, Longyear and the rest. Presumably until then all convincing performances of the Sonata, and the copies by Reubke and Liapunov, were achieved by serendipity. Hamilton, K. (1996) Liszt Sonata in B Minor P.28 Some of the analytical arguments over the form of the Sonata are largely discussed. The analysis of W. S. Newman has been most influential, He proposed a new idea double-function form, which means a structure that can be considered both as one continuous movement and simultaneously as a composite of the movements of a multi-movement work. In other words, the Sonata, though in one movement, presents elements of a first movement- slow movement- scherzo- finale structure. Newman was the first to illustrate this double-function view. Since in both views a multi movement structural mold predominated over that of a sonata form in one movement, the problem of large scale structure became a clouded issue. Whatever their differences, Newman, Longyear and Winklhofer are at least agreed with one point: that the sonata is not a programmatic work, and that as a result analysis of it can only proceed on purely musical terms. Liszt himself never dropped the slightest hint that the Sonata had a prog ramme, but this is no problem, as several writers have been kind enough to supply one for him. The Structure of the Sonata in B minor According to William Newman: Double-function analysis (Four movements in one) First movement of a sonata exposition bar 1-330 development bar 331-525 recapitulation bar 525-681 coda bar 682-760 Four movements sonata First movement bar 1-330 slow movement bar 331-459 scherzo bar 460-524 finale bar 525-681 coda bar 682-760 Allegro Andante Fugato Allegro Coda Incomplete Sonatina ABA Scherzando fugue Finale: Incomplete Sonatina Coda Exposition Development Recapitulation Coda The Structure of the Sonata in B minor According to Rey Longyear: Double-function analysis (Three movements in one) First movement of a sonata introduction bar 1-7 exposition bar 8- 178 development bar 179-459 recapitulation bar 460-649 coda bar 650-760 Three movements sonata First movement bar 1-330 Slow movement bar 331-459 finale bar 460-760 Allegro Andante Fugato Coda First movement Slow movement AB Finale: Scherzando Coda Exposition Development Recapitulation The Structure of the Sonata in B minor According to Winklhofer: One-movement sonata form analysis First movement of a sonata exposition bar 1 -204 development bar 205-452 recapitulation bar 453-649 coda bar 650-760 Newman seems to sense that the double-function theory weakens under scrutiny. He warns twice of the danger of making Procrustean beds out of such classifications. The consequences of applying a rigid formal scheme upon a piece never born upon such terrain are dismissed as compromises which Liszt saw as necessary to retain the double-function dynamic. Nevertheless, this analysis is the most influential to appear thus far. Rey Longyear also describes the work as a series of distinct movements, which combine for a large sonata form. He finds three movements (First Movement, Slow Movement and Finale) in place of Newmans four, but provides no justification for these designations. Winklhofer, S. (1978)Liszts Sonata in B Minor. P.120 In my opinion, I analyze this sonata B minor in three movements (First Movement, Slow Movement and Coda) and combine a large sonata form. I will discuss why and analyze the structure in my essay. First mvt. Second mvt. Third mvt. coda section Exposition Development Recapitulation Coda location mm.1-330 mm.331-459 mm.460-710 mm711-760 tempo Lento/Allegro Andante Allegro-Prestissimo Andante key Unstable (G minor- B minor)B minor- D major F sharp major- A major- F sharp major B flat minor- B minor- B major B major motive (theme) A A1 mm.1 D mm.331 A2- A3 mm.460 D mm.711 C mm.349 C mm.718 A2 mm.8 B mm.363 A2- A3 mm.533 A2- A3- A1 mm.729 A3 mm.14 D mm.393 B mm.105 C mm.433 B mm.600 C mm.153 A1 mm.453 Section one Exposition We can see section one as an exposition of the sonata form. From beginning to mm.17 is theme A, Liszt uses the variety of theme A in the whole piece. A1, A2, A3 motive lead the development of whole piece. William Stein Newman thought motive A is the important link which starts and ends every different section in the whole piece. More noticeable here than the attractive character of these ideas is the effect on harmonic. The Sonata in B minor does not start in B minor, nor is any other key stably established. The first seven bars (mm.1-7) is a tonal centre of G as a beginning. The focus on G in motive A1 then serves as a point of common contact to the start of A2. In theme A, there are lots A sharp which is leading tone of B minor, can not resolve to B minor because of vague tone(Example 1 mm.1-17). Motive A1 begins with lento assai and sotto voce, consists of descending scales suggesting either G minor or C minor, with continuously alterations. The second motive A2 is characterized by its contour, which outlines a diminished seventh, and by its robust, dotted rhythms. This motive A2 also begins on G, but implies B minor, ending on A sharp. We may expect the tonic followed by this leading tone. Instantly the third motive (A3) is presented, a striking upbeat contour, starting on B minor but leaving with a dimi nished seventh on the leading tone to G at m.17. (see Example 1) Example 1 mm.1-17 à ¦Ã…“ ªÃƒ ¥Ã¢â‚¬ËœÃ‚ ½Ãƒ ¥Ã‚ Ã‚ .PNG Liszt expresses his thematic presentation with fermatas on the rests at m.17 in the end. What follows is a brief section of transition. Those sequences all start on diminished seventh. This harmonic is really unstable, proceeds in chromatically ascending sequences, and presents a variation of motive A2 at m.25. Although the E flat major chord in mm.24-25 marks the peak of the chromatic rise which began in m.18, it is the result of a illusive cadential move. The dominant seventh on B at bar 24 which prepares E minor rather than E flat major. Liszt avoids affirmation of a key here again. (see example 2) Example 2 m.18-31à ¦Ã…“ ªÃƒ ¥Ã¢â‚¬ËœÃ‚ ½Ãƒ ¥Ã‚ Ã‚ 2.PNG He want a breathtaking arrival on F sharp in m.30, that why he chose the A2 motive for mm.25-29, and why the resolution is postponed , is explained by the first full cadence of this Sonata, finally appeared at bar 30-31. At m.31, Liszt delays the G as an appoggiatura to F sharp, the dominant of B. The entire element from mm.1-32 is an expended harmonic move from G at the beginning, to a implication of B minor (m.13), and the F sharp in m.30, and finally to B minor (m.32). The result is an dramatic cadential progression VI-i-V-I. mm:1-7 9-13 14-16 18-22 22-24 25-30 30-31 32 b: vi à £Ã¢â€š ¬Ã¢â€š ¬Ãƒ £Ã¢â€š ¬Ã¢â€š ¬Ãƒ £Ã¢â€š ¬Ã¢â€š ¬Ãƒ £Ã¢â€š ¬Ã¢â€š ¬Ãƒ £Ã¢â€š ¬Ã¢â€š ¬Ãƒ £Ã¢â€š ¬Ã¢â€š ¬Ãƒ £Ã¢â€š ¬Ã¢â€š ¬Ãƒ £Ã¢â€š ¬Ã¢â€š ¬Ãƒ £Ã¢â€š ¬Ã¢â€š ¬i V/ivà ¢Ã¢â‚¬  Ã¢â‚¬â„¢IV V7 à ¢Ã¢â‚¬  Ã¢â‚¬â„¢ i Liszt uses only two motivic elements, derived from A2 and A3. Regular two bar phrases predominate. The harmonic rhythm has become slow and even, despite the speed of execution in performance, and the marking sempre forte ed agitato. Finally, he uses the subdominant to confirm B minor (Example 3. mm.32-44). Example 3. mm.32-44 Beginning with bar 45, following the tonal presentation of B minor, we can see four sections of transitional material. The first section (bar 45-54) contains of A2 fragments appearing in sequence; second (bar 55-66) and third (bar67-81) sections use motive A2 in the famous passage of octaves, and the fourth (bar 81-104) changes back to A1. At bar 105 first appear new theme B, and the key changes to D major.(Example 4) Theme B comes from Crux fidelis of plain chant. Here it is enough to draw attention to the imaginative phrase structure of this melody-two two- bar units then one five-bar phrase. The harmonic stability of the Grandioso theme in the Sonata is conspicuous by comparison with that of the exposition explored thus far. B minor had been weakened because of its delayed presentation and the use of subdominant rather than dominant confirmation. Although bar 105-119 is prepared for by strong cadential motion, which creates the expectation of an impending tonal plateau firmly seated in the secondary key, this is not in fact what occurs. The stability of D major is only momentary. Example 4: The motive of A2 moves into F major; and then D minor at bar 133-134. The section is static rather than dynamic in the sense of polarized tonal moves; Liszt moves to colorful harmonic areas related to D major. There is an extend of A2 at the section of dolce con grazia at bar 125, the value of note is expanded at right hand. At bar 141-152 , A3 reappears and serves two purposes: First is to provide closure to the tonal deflection, second is to allow a transitional phrase introducing the last structural division of the exposition. The section (bar 153-204) offers a masterful transformation, theme C. Theme C appears at bar 153, this theme C has triggered a heated debate. Lots of scholars thought theme C is variation of A3, so it is not a new theme. However, the atmosphere is totally different, so it can be independent. The aggressive character of the original has become lyrical by means of rhythmic augmentation, a triplet accompaniment, and a new harmonization. At bar 171, the triplet transformed to upper voice, the motive A2 appeared indistinctly on lower voice at bar 179. Liszt reinforced motive A2 by octave chords at bar 205 and 221. Motive A3 appeared from bar 255, the tempo become agitated, from scale to octave parallel. After bar 277, motive A1 developed from bar 275-286, and followed by motive A2. The key modulated dramatically to C sharp minor at bar 297 and theme B appeared. Bar 275-281 Bar 294-302 The end of exposition mainly based on motive A3, some motive A2 modulated to E minor which integrate with A3. The lower voice continued repeating motive A3, and motive A2, the value of note is expanded at the upper voice. Section 2 Development The Andante starts roughly with a new Theme D at bar 331(example 5). A chorale which unfolds in tonal ambiguity as a parallel to the opening of the sonata at bar 1-7. Once again the structural seam is blurred, here by introducing the first chord of the Andante three bars early, then sustaining it until the changes of key, meter and tempo are accomplished silently at bar 331. Tempo is from Andante sostenuto to Quasi Adagio at bar 347, the key modulates to A major and theme C appears at bar 349. Theme B appears at bar 363 as F sharp major and modulates to g minor reappears again at bar 376. This is the only time theme B shows as minor (example 6). After the contrast between upper and lower voice, theme D which only showed twice in development now reaches a climax in development section (example 7). There are lots of diminished seventh and semitone after the climax. The Andante maintains the basic sonata characteristics. A secondary key area in the lowered mediant is presented after the opening tonic statement in F sharp; following two modulatory sections, both the chorale and the secondary material return for reinterpretation in F sharp. Like the first presentation of the chorale, the recapitulation at mm.393ff. likewise makes a gradual approach to the tonic. F sharp is confirmed throughout the remainder of the slow movement, particularly in an attenuated dominant progression at mm. 415-33. Winklhofer, S. (1978)Liszts Sonata in B Minor. P.158 From bar 454, motive A1 becomes a bridge which connects development and recapitulation and at bar 460 Liszt used the term G flat instead of F sharp (enharmonic equivalent) for the changes of the key, which is from F sharp major to B flat minor (example 8). Example 5: Example 6: Example 7: Example 8: Section 3 Recapitulation In the Classical Style, Charles Rosen discusses one fixed rule of sonata recapitulation: material originally exposed in the dominant or dominant substitute must be represented in the tonic fairly completely, even if rewritten and reorderedà ¢Ã¢â€š ¬Ã‚ ¦This is , of course, not a rule at all but a sensitivity to tonal relationships. Liszt conforms to this requirement. After the reinterpretation of secondary key area in the exposition in B major as a muted point of arrival, he omits the tonal deflection and its transitional tail, the bar 153-178 from the exposition are then restated in the tonic (mm.616-614); after m.644, motive A2 modulates, as did the original passage in the exposition. Winklhofer, S. (1978)Liszts Sonata in B Minor. P.154 Why did I choose the fugue section (from bar 460) as a beginning of recapitulation? The structure in section 3 is similar to section 1, and the motives are symmetrical. This is why I choose the fugue section as a beginning of recapitulation. The reason why there is no motive A1 in the beginning, it is because motive A1 have already appeared at the end of development (bar 453-459, example 8), so the recapitulation starts with motive A2 and A3 (example 9). example 9: The fugues counterpoint gradually transforms itself in masterly fashion into a more homophonic texture, a process initiated by the combination of A2, articulated in chords, with A3 (bar502-508). A middle voice, also sounding A3, produces a stretto between the two lower parts. Motive A2 chords take on a more agitated dotted rhythm while the left hand forsakes A3 to take up A2- but in inversion at bar 509. At bar 554 the chromatic flux that introduced the B flat major to G minor to E flat major sequences of motive A2 takes a new turn. Liszt landed on a chord of E flat again, but without the sequence. The chord of E fat accompanies theme A1 (bars 555-560) to develop, however, serves to affirm the tonic of B rather than move away from it. The E flat chord maintains its first inversion bass of G, but upper voices move on to B and E nature, and theme A1 is repeated again. The G bass turns to F sharp, the dominant of B, and motive A2 and A1 alternate in different registers of piano. The var iant of shapes taken by these two motives can stop the inevitable pull to B, its dominant pedal attached in the bass. At bar 673 we hear them A2 in the same position again, but marked Presto with its initial G immediately contradicted by G sharp, simultaneously the beginning of the coda and a reworking of the false recapitulation, now transformed in the original key. Motive A1 increases in momentum to open the doors for a Prestissimo variation of motive A2 and arrive in B major with fff. After setting the entire keyboard ringing with the dominant seventh of B, suddenly breaks off. A silence introduces a recall of the Andante sostenuto in the tonic, its final cadence strangely interrupted (bar 728-729). The bass note has landed on B, nut the upper parts presents the diminished seventh chord of motive A2, the harmony that prepared the way for the Andantes first appearance (bar 328-330). The Andante recall seems to be going into reverse as the bass intones the sinister chatter of motiv e A3 on B. A weak cadence on a chord of B major is darkened twice by a reminder of the dissonant G with which the Sonata began. The final chord progression at bar 754-760 is probably the most remarkable of its type in the piano literature of the entire nineteenth century. A minor and F major are bravely posed for a coloristic approach to B major by thirds. The six four inversion of B major offers an accurate arrangement, the sonority is like bell-ringing, and the rhythm is disoriented. This unstable chord fulfills the function of closure normally supplied by a triad in root position. The root of this B major chord is then repeated in the bass as an unexpected point, just like a punctuation of full stop at the end (example 10). Example 10 In summarizing the relationship between content and form in the Sonata, the evidence of Liszts conscious control is overwhelming. The Sonata exhibits the same sensitive balancing of tonal and thematic elements for which Haydn, Mozart and Beethoven are recognized. The underlying differences issue from the change in the basic chord grammar. Weakening the tonic areas in a sonata form was only one structural manifestation of contemporary attitudes toward form, The expressivity of the sonata procedure had taken on a new dimension. Winklhofer, S. (1978)Liszts Sonata in B Minor. P.164 How do the great pianists think about the structure? The great pianist , Alfred Brendel and Claudio Arrau, they think this sonata is one movement structure. From Alfred Brendels Book Music Sounded Out Alfred Brendel thought this piece as one movement structure including five sections. Claudio Arrau thought this sonata contains six sections. In Joseph Horowitzs Book Conversations with Arrau Arrau said that the mastery of construction sets this sonata apart. In its time such free form in a sonata was completely unknown. How does analysis affect performance? What effect should musics structure have on the way in which music is performed? In particular, how should the results of analysis be conveyed to the listener? One familiar response- at least, the one I have heard most often- asserts that analysis is useful because, knowing what a piece of music contains in terms of structure, the performer can proceed to bring it out. -Rink,J. (1995)The Practice of Performance In Alfred Brendels books: Schunabel always encouraged students to find out as much as possible about the structure, harmonies, motivic technique, used in each score. But there is no basis for interpretation in most of thisà ¢Ã¢â€š ¬Ã‚ ¦.To begin the study of a new work by analyzing its form, in school-term paper fashion, is more harmful than helpfulà ¢Ã¢â€š ¬Ã‚ ¦True analysis is but a clarification and intensification of musical sensitivity, an additional push in the right direction as established by musical instinct. Like Schnabel, I feel that few analytic insights have a direct bearing on performance, and that analysis should be the outcome of an intimate familiarity with the piece rather than an input of established concepts. A more convincing explanation for the genesis of the Sonata appears in an examination of Liszts corpus of one-movement instrumental works from the early fifties. As he discovered unusual formal procedures in the symphonic poems, for example, it seems more likely that he decided to experiment similarly in piano compositions. This hints that solutions to specific structural problems flooded into ideas for the content and architecture of the Sonata. The inspirational source was therefore an internal one, within Liszts own imagination, and related to his current orchestral projects. Liszts perceptive of the classical style, and his acknowledge recognition of a linking Beethovens treatment of form in the late works, and his own in the fifties, is worth examining. His intellectual approach to formal theory suggests an undiscovered avenue for understanding the basic technique of the Sonata. Liszt implemented structural principles adapted from the classical style should prove that the B minor Sonata was bound to tradition more securely than is commonly considered, and that his accomplishment of balance between traditional form and inspirational consent was in fact approached at skillfully.