They got next Essay -- essays research papers

They Got Next On April 24, 1996, women’s basketball announced â€Å"We Got Next† as the NBA Board of Governors approved the concept of a Women’s National Basketball Association (WNBA) to begin in June 1997. Since that day in 1996 there have been many firsts for the WNBA: Val Ackerman -- the first president of the WNBA; Sheryl Swoopes -- the first player signed to the WNBA; Cynthia Cooper -- the league’s first Most Valuable Player; the Houston Comets -- the first WNBA Champions; Lisa Leslie -- the first WNBA player to capture all three MVP awards (regular season, All-Star and Championship) in one season. The WNBA deserves the same attention and respect equal to the NBA due to its equal entertainment value, competitiveness, and their rights to compete and be seen, and get paid just as much. Critics say that the WNBA isn’t really entertaining because the game is just about running up and down the court shooting lay-ups and making free throws, that there is always one team dominating, and that the game is boring because none of the ladies can dunk. Well, the slam dunk is no longer a move reserved for Vince Carter, Kobe Bryant and the other high-flying guys of the NBA. Lisa Leslie of the Los Angeles Sparks made history on July 30, 2002 when she did a one-handed slam dunk in a game against the Miami Sol. Leslie's history-making move should pave the way for more women to try slamming the ball during WNBA games. Lisa Leslie is just one of the women making the WNBA more exciting and entertaining. Although Leslie was the big story for the league in 2002 becoming the first WNBA player to capture all three MVP awards in the same season, joining NBA greats Shaquille O’Neal, Michael Jordan and Willis Reed as the only pro hoopsters to accomplish that feat. In 2001, The WNBA welcomed its 10 millionth fan prior to game 2 of the WNBA Championship at the Staples Center. The Seattle Storm won the first pick in the 2002 WNBA Draft in the inaugural WNBA Draft Lottery held in New York. Things got even more entertaining when the top ten picks included four of the most exciting college players coming from the same team that won the National Championship that year. They were Connecticut Huskies Sue Bird, Swin Cash, Ashja Jones and Tamika Williams going 1st, 2nd, 4th and 7th in the draft. Now two years after Cash was drafted to the Detroit Shock, and after going 9-25 in the 2002 season... ...0 per season, while the guys (even those that play only a minute or two) rake in $4.5 million on average. The situation is so bad that many of the women are forced to play a second season in Europe just to make ends meet. The NBA and the WNBA are owned by the same management and says that women can’t have more because their league is still losing money, as most startups do. The men’s side didn’t turn a profit in its early years either, but the players weren’t shortchanged. Decent salaries were considered an investment in the future of the league. Besides, the women aren’t asking for those mega-millions. They just want a raise. And one way to get it would be to adjust the money formulas. NBA players get close to 60 percent of revenues back in salaries. The women get a pathetic 15 percent, and are prohibited from the lucrative endorsement deals the men enjoy. Even though the WNBA is still a young league, it is showing great strength that the women are hear to stay and they are not just going to knock on the door to prejudice they are going to kick it down in order for them to be seen as real professional athletes who are just as entertaining and competitive as the men of the NBA.

A Sense of Fear and Death: a Contrast and Comparison Between the Masque of the Red Death and Young Goodman Brown

The Masque of the Red Death and Young Goodman Brown are both good stories that paint vivid images. Throughout these stories, both Edgar Allan Poe and Nathaniel Hawthorne evoke a sense of fear and death. Edgar Allan Poe tells us a story of a prince who believed he could save himself and his nobles by keeping them inside of his castle. However, Nathaniel Hawthorne tells us a story of a man who takes a â€Å"journey† with his conscience. Both authors use characterization, symbolism, imagery and allusions to portray fear and death. The Masque of the Red Death opens up with fear and death. Blood was its Avatar and its seal† (1); an avatar is a graphical image that represents a person. Here Edgar Allan Poe uses characterization to give us an idea of how horrible the Red Death is. This quote gives the Red Death life and death having life speaks LOUDLY for itself. In comparison, Nathaniel Hawthorne uses characterization gives the belief. faith, life in which Goodman Brown's wife was faiths avatar. However Hawthorne uses characterization as symbols to evoke fear. When Hawthorne describes Faith he mentions pink ribbons.A child wears ribbons and children, in most cases, are the representatives of innocence which is what these ribbons symbolize. â€Å"But something fluttered lightly down the air and caught the branch of a tree. The young man seized it, and beheld a pink ribbon. â€Å"‘My Faith is gone! ‘ cried he†¦Ã¢â‚¬  (5). Fear is the unpleasant feeling aroused by the threat of danger, evil or pain. In this quote it is clear that Young Goodman Brown is threatened by pain as well as evil. As Young Goodman Brown continues, â€Å"There is no good on earth and sin is but a name.Come, devil, for thee is this world given. † There is a great significance of Faith's ribbons being found without her. This meant that his wife Faith, along with his faith is gone and it pained him. Faith is what is keeping Goodman Brown sane, assured, and secu re in the forest. The forest is also another symbol Hawthorne uses to evoke fear. It represented danger, death. The forest was described as â€Å"a dreary road, darkened by all the gloomiest trees of the forest†¦Ã¢â‚¬  (1). Darkness is the color of death. In parallel Edgar Allan Poe also uses colors to represent death and summon fear.However, he uses both an â€Å"ebony clock† and a seventh room to do so. â€Å"It was in this apartment, also, that there stood a gigantic clock of ebony† (2); as the ebony color of the clock represents death, the ebony clock on a whole symbolizes that time is running out and death is near. Poe also tells us in the story that at every hour the clock strikes and chimes; in these moments all things are still and the people who are in the masquerade suddenly snap back to reality and realizes what is going on. This representation exhibits fear and dear.The seventh room also presents death and fear. Allan Poe described the seventh room t o have the colors read and black; red representing blood and black representing death. Allan Poe also uses this room and its colors to give us a mental picture. Imagery is the use of figure of speech to create mental images. Poe paints a vivid picture of the seventh room and invokes a great sense of fear and death. Poe tells us that the room has â€Å"black velvet tapestries† (1) and the panes in the room â€Å"were scarlet – a deep blood color† (1).This gives us a feel of how scary and over-whelming that room may be. In comparison, Hawthorne used the forest to paint a picture and to put us in a place where we felt the fear of danger and evil Goodman Brown feels. Allusion is also used by both authors in both stories. Allan Poe made reference to the Bubonic Plague that occurred in the early 1330s. This plague was a very vicious disease that killed off families, home, and populations. With knowledge of this plague readers can only imagine how horrified the charact ers in the story are whenever the clock strikes another hour.Hawthorne, in contrast, made reference to the time of the puritans where they believed anything or anyone who is not pure is evil and wicked. In these times it was believed that a woman's faith was her and her family's way to heaven. â€Å"I'll cling to her skirts and follow her to heaven† (1). This historical fact helps us to understand why Goodman Browns pain of losing Faith was such a great significance and manifested so much fear. With Faith gone and his faith gone his way to heaven, along with his family's, was gone as well.Both authors use references to the bible as well. Poe used the term pestilence in which he said, â€Å"No pestilence had ever been so fatal, or so hideous† (1). Pestilence is a plague and in Revelations 18:8 it reads, â€Å"Therefore shall her plagues come in one day, death, and mourning, and famine. † Also in Jeremiah 42:17 it reads, â€Å"So shall it be with all the men that set their faces to go into Egypt to sojourn there; they shall die by the sword, by the famine, and by the pestilence: and none of them shall remain or escape from the evil that I will bring upon them. This reference shows how powerful the plague is and how much terror and fear is instilled in the characters of the story. Hawthorne, on the other hand, referred to the book of Job. Job was a man of God who obeys Gods every command and never spoke blasphemy. One day the devil asks the Lord to put Job's faith to the test and God agreed. The devil everything away from Job and Job began to look to the heavens and asked God why this was happening to him. In Young Goodman Brown Goodman Brown â€Å"looked up to the sky, doubting whether there really was a heaven above him† (4).This shows great fear that Goodman Brown felt at this point of the story. All in all though one author may have use more of a literary technique than the other, they both manifest the idea of fear and death in a great manner. These literary techniques, from characterization to allusion, all of these devices work together in some way. In both The Masque of the Red Death and Young Goodman Brown, both authors Edgar Allan Poe and Nathaniel Hawthorne used characterization, symbolism, imagery and allusion to personify death, indicate fear and pierce, to instill both a sense of fear and death, in a reader’s heart and mind.

Crime and Punishment misc essays

Crime and Punishment misc essays Dostoevsky's "Crime and Punishment" is the story of a poor man in Russia who mentally destroys himself of his guilt through pain and suffering. It analyzes the mental and physical conflicts brought upon himself by his crime. His complications are put together by the conflicting personalities which he shows. The reader is encouraged to characterize him by his cold, ravenous side. Yet, without the warm peaceful side of his nature and the people evolving around him, Raskolnikov never realizes the problems in his beliefs and actions. Raskolnikov is repeatedly emphasized for the alternating style of his personality, which both are very important. Raskolnikov's cold side leads him to develop his theory that extra ordinary men have the right to commit crimes, and also to commit murder. This side of him bases all decisions on reasonability, rather than on feeling. A person can be absolutely nothing without emotions. The other side of his character is kind and generous. Without this side of Raskolnikov being told in the novel, the reader can only see him as an evil murderer, and not an mislead victim, as Dostoevsky tries to show. In the novel "Crime and Punishment," Raskolnikov shows random acts of kindness whenever he finds a person in need. He gives money to the Marmeladov family, he attempts to aid Marmeladov when he dies, and he tries to get a drunken girl home and away from the stranger. All of these things were done spontaneously. He simply feels that at the time it is the right thing to do. However, after a short period of time his views can reverse dramatically. He starts to sensibly analyze what he has done, and then feels that his actions were dumb and stupid. This spontaneous change shows the return of his cold side, and it occurs after every kind thing that Raskolnikov does. These changes and alterations between two different personalities give Raskolnikov separate visi...

#FreelancerFriday #3 - Maggie Lyons, Editor

#FreelancerFriday #3 - Maggie Lyons, Editor #FreelancerFriday #3 - Maggie Lyons, Editor â€Å"You want to make a piece of writing absolutely shine, but you have to be very careful not to squash the writers’ voice. If you destroy the writer’s voice you shouldn’t be editing.†Maggie Lyons is an editor and author of children’s fiction of Welsh extraction based in Virginia. With a background editing for Harvard University Press and Palgrave Macmillan, she spoke to us about her diplomatic approach to editing, and her experience being on the other side of the editor’s pen.–REEDSY What was it like starting as an editor in academic publishing?MAGGIE LYONS I got to edit an enormous variety of disciplines: everything from medieval history to an astronomy course. In the academic world a lot of disciplines can be edited by people who don’t have a degree in that subject. There are a few that can’t be - I’d have never agree to edit a course on relativity - but a lot can. Publishers trust that the academic writing the book is the ultimate expert, and that the editor’s job is not to check every fact in the book. I could do developmental editing for British History, Medieval History, there was a course on Churchill where I made some suggestions as well.When you’re talking about an academic volume that has multiple authors all contributing a chapter, I would not do developmental editing. For example, I’ve worked on books for Harvard University Press. By the time the manuscript gets to me the developmental editing has been done, and it’s been done by an academic in that subject, often someone cont ributing a chapter to that book. But the copy editor or line editor for an academic publisher like HUP wouldn’t do the developmental or content editing.REEDSY Do you have a process for working through a new project?MAGGIE LYONS Absolutely. The process is different depending on if I’m editing for an individual private client or a publisher. If I’m editing something for a private client, we start off with a brief discussion of the document to be edited, a contract goes back and forth, administrative things are involved, etc. Before I even accept the manuscript I’ll want to see a couple of sample pages so that I can see the amount of work involved, and obviously my fee is then based on the level or work involved. All that administrative and judgemental stuff comes first.I rarely ever edit hard-copy, I rarely mark-up paper. I much prefer to work online. I find it leads to better work - I pick up on things much more accurately when I work online. I have done work on paper, but that’s becoming very much a thing of the past. Some companies still do it, marking up everything in red ink, but that’s very unusual these days.I’ll look over the manuscript and let the writer or p ublishing house know how long it’ll take me to do. If I spot things that may be problematic, I need an answer from the writer before I even start editing. I go through the manuscript twice - I do a first and second pass, which could mean 80,000 words twice over, but I find it necessary. I’ll then put it through a spell check, and it goes back to the client. Almost always when I’m editing I put in a lot of comments and queries for the writer that need to be addressed. We get all the loose ends tied up and problems solved, and then we’ll finalise the manuscript. There’s a fourth pass through before it goes back to the client for submission.In terms of writing for a publishing house it’s slightly different - I’ll do the two passes and the spell-check, but someone else presents the author with my queries. When I work with a publisher I don’t have direct contact with the author. It’s unfortunate because that direct content te nds to give much better results.REEDSY What are some of things that need to be queried? That you can’t fix by yourself.MAGGIE LYONS For example, I was editing a manuscript by an author with HUP who was talking about places in central Asia. They had used different spellings for the same location throughout the text. So I had to check which one was correct, which do you prefer to use - he knows which one will be best, whether it’s less accents or more accepts, and so on. They have to be the one to decide that.REEDSY What are some common mistakes people make with respect to structure?MAGGIE LYONS The first thing that comes to mind is logic - sometimes sentences don’t flow logically, you need to move a sentence to the beginning rather than the end. You’re looking for things that might give the wrong meaning because of the way that they’re structured.REEDSY Is that the same for fiction? More difficult?MAGGIE LYONS I wouldn’t say more difficult, I would say you’re taking a different approach. By nature, fiction is going to involve things like plot and characterisation and points of view; you have to know how to address those differently to the issues you might have in non-fiction. It’s a different set of rules.REEDSY Is it difficult editing fiction while preserving the voice of a writer? Like, correcting problems while retaining stylistic inconsistencies.MAGGIE LYONS Dialogue will not be grammatically correct because people do not speak grammatically correctly! You want to make dialogue in fiction as natural as possible, so if there are grammatical mistakes you leave them in - it’s like hallowed ground. If everyone spoke grammatically perfect English you’d have rather boring dialogue; everyone would be the same person. That’s just one of the areas where fiction is very different from non-fiction - you’re going to have that off-the-chart stuff, while in non-fiction you can make everyone sound absolutely perfect. This is the difference between editors who specialise in either fiction or non-fiction.I’ve published children’s books myself, so I’ve seen that side as a fiction writer. When I published them I had an editor of my own, because no writer can edit themselves well - it’s psychological, you don’t want to see the mistakes you’ve made. You can’t deal with it. Itâ€℠¢s always best to have an outsider look at these things for you.REEDSY Can you talk more about being an editor undergoing editing yourself?MAGGIE LYONS I found the experience difficult for myself. I am a professional editor, I had a few ideas of my own with which my publisher’s editor did not agree - I went through a hard time with all of that. For one thing the process when you’re writing fiction is very exhausting; you seem multiple revisions, coming back to you and back again, which gets to be very tiring. Especially when you’ve already spent a lot of time writing the darn thing, and now you’re going over and over it again. It got to the point where I didn’t want to see this wretched story anymore.One of the problems is when you’re working closely with a writer you have to remember that this piece of work is their baby. If baby has an orange nose, how is the editor going to deal with that? You can’t just say â€Å"Your baby is an abomination† - you have to get the parent to realise they should be feeding the baby a few less carrots. Editors have to be diplomats. 99% of the t ime they’re right. The trick isn’t what they’re saying, but the way they’re saying it. The author is going to accept your advice much more easily if your communication and diplomacy skills are top-notch. But if you come in with a heavy hand you’re going to develop an adversarial relationship which is really death to working well.It’s much more of a partnership in the developmental or content edit stage, where the editor wants to help the writer be the best writer they can be. There’s less of that in the line-editing stage - when it comes to grammar, it’s either wrong. It’s less a suggestion, it’s more whether you want to put out a grammatically correct book, or an incorrect book.REEDSY And where do copyeditors sit on that spectrum?MAGGIE LYONS In a way, the writer is not the copyeditors client; the reader is the copyeditors client. What the editor and writer ares trying to do together is make everything as flowy and comprehensible for the reader’s sake. The goal is to create the best product for the reader.REEDSY So when preparing to work with you, what can an author do for you, as an editor?MAGGIE LYONS Before going to an editor, the writer of a work of fiction needs to go over a manuscript with a fine-tooth comb, and also to have submitted it to a critique group so that you’ve had the benefit of other people’s opinions on the whole thing. There can be years of work put into manuscripts before they reach an editor.There are many people who write, and they have wonderful ideas that should be in print - but they don’t have a good grasp of grammar. We expect to edit that - we call that mechanical editing. But their ideas and their style is something that will come from the writer, although a good editor can help with that. The copyeditor is the one that will smooth out those ruffles. There’s a mantra for copy editors: Comprehensibility, clarity, correctness, consistency, and concision.You want to make a piece of writing absolutely shine, but you have to be very careful not to squash the writers’ voice. If you destroy the writer’s voice you shou ldn’t be editing - that’s when you don’t want to obey all the rules in the book. You have to treasure a writer’s voice, especially a strong voice.–After our conversation, Maggie very kindly followed up with some comments on the degree to which exercising judgement makes all the difference in editing stylistic writing, especially fiction.–â€Å"In terms of what being a good or bad editor means, I’d like to add that being overzealous with the rule book can make pablum of a text or destroy the author’s intentions. For example, in a work of fiction, when writers want to intensify the dramatic action, they may wish to use use less commas and/or periods (full stops) and write more fragmented content. An editor who is determined to correct what seems to be sloppy style and grammar could slow down the momentum the writer has carefully built, or destroy it all together. In an academic or business context, an overzealous editor could re place all the technical jargon with standardized terminology (and at the risk of imposing the wrong meaning). When a book or a document is intended to be read by professionals serving a particular industry, the copy editor would be wise to retain the terminology the readers know and understand, regardless of whether its jargon.Good editors will respect a writer’s voice and not try to write the content in their own style. They’ll also be flexible with rules and willing to negotiate with the writer on arguable points. Points of editorial style are frequently negotiable. Points of grammar, however, much less so.I also do ESL editing (English as a second language) for clients whose mother tongue is not English. That may require some creative thinking! But I am in close touch with those clients and have plenty of opportunity to make sure I have interpreted their meaning correctly. Sometimes it can be quite a challenge because the clients have difficulty in explaining exactl y what they mean! But I love that kind of challenge.†

Example Sentences of the Verb Drink for ESL

Example Sentences of the Verb Drink for ESL This page provides example sentences of the verb Drink in all tenses including active and passive forms, as well as conditional and modal forms. Base Form drink / Past Simple drank / Past Participle drunk / Gerund drinking Present Simple He usually drinks four glasses of water a day. Present Simple Passive Water is drunk at meals. Present Continuous She is drinking a gin and tonic. Present Continuous Passive The new wine is being drunk by customers. Present Perfect Peter has drunk three glasses of water this afternoon. Present Perfect Passive All the juice has been drunk. Present Perfect Continuous I have been drinking juice all morning. Past Simple Jack drank a glass of apple juice. Past Simple Passive A glass of apple juice was drunk by that customer. Past Continuous She was drinking some water when the man bumped into her. Past Continuous Passive Water was being drunk when they opened the wine. Past Perfect We had drunk all the water before the order arrived. Past Perfect Passive All the water had been drunk before the order arrived. Past Perfect Continuous We had been drinking our beverages for ten minutes when he finally arrived. Future (will) She will drink orange juice. Future (will) Passive Wine will be drunk by the customers at table six. Future (going to) We are going to drink French wine with our meal. Future (going to) Passive French wine is going to be drunk by the customers at table six. Future Continuous This time tomorrow we will be drinking a nice cold cocktail. Future Perfect He will have drunk three bottles by the end of the evening. Future Possibility He might drink juice. Real Conditional If he drinks wine, I will drive home. Unreal Conditional If he drank wine, I would drive home. Past Unreal Conditional If he had drunk wine, I would have driven home. Present Modal I should drink some tea. Past Modal You should have drunk some milk to calm your stomach. Quiz: Conjugate With Drink Use the verb to drink to conjugate the following sentences. Quiz answers are below. In some cases, more than one answer may be correct. He usually _____ four glasses of water a day.She _____ a gin and tonic at the moment.Peter _____ three glasses of water this afternoon.I _____ juice all morning.A glass of apple juice _____ by that customer.We _____ all the water before the order arrived.She _____ orange juice.We _____ French wine with our meal.If he _____ wine, I would drive home.She _____ some water when the man bumped into her. Quiz Answers drinksis drinkinghas drunkhave been drinkingwas drunkhad drunkwill drinkare going to drinkdrankwas drinking

Global Politics - 10 short answer questions - 150words each Essay

Global Politics - 10 short answer questions - 150words each - Essay Example by deregulation requirements, opening its markets to transnational corporations and other regulations imposed upon it by the World Trade Organization. Thus, sovereignty, to such an extent is eroded; the state compromises some of its powers; actors other than the state take center stage; additional security issues have to be taken into consideration like transnational crimes, international terrorism, refugees and the like . Ans.: Classical liberalism is liberalism that is centered on the individual and the capacity of that individual to make the right choices for his own self that eventually reflects and redound to the good and benefit of society in general. Both classical liberalism and neo-liberalism are founded on the basic tenets of freedom but while classical liberalism is individual-centered, neo-liberalism depends on the state to impose laws that promote free trade and market liberalism. The state does not leave it up to the individuals but takes the initiative to promote free trade where the individuals have as much as possible unfettered economic freedom and the state as little as possible role. Neo-liberalism, which was popularized sometime in the 1980s, is an offshoot of classical liberalism which is an older concept. Ans.: Yes, because the actions of states or state strategies are supposed to be primarily geared for the protection and promotion of the national interest. In this sense, it is therefore important to understand exactly what the national interest or interests are for the deeper understanding of the motivations of the actions of a particular state. Although the exact nature of national interest will depend largely on the time and period and sometimes from a subjective point of view, the concept of national interest almost always includes the following: the state’s jurisdiction, patrimony; assets and resources; national and cultural values, and; national goals and alliances. Ans.: There are several theories. the psychological theory

Changing Aid Modalities Assignment Example | Topics and Well Written Essays - 500 words

Changing Aid Modalities - Assignment Example The Tanzanian government needs to be in the forefront in ensuring that the support being given by the donors is utilized effectively in order to win their confidence. However, the government has been acting as a stumbling block, an aspect that has been affecting the level of development in the country. It is impossible for the donors to give out money and fail to monitor how it’s being utilized. This is because many of the African leaders have been accused of corruption. In addition, these governments have not set up strong institutions that would play an oversight role, thereby ensuring that every penny by donors is accounted for. Moreover, the government has a long chain of command involving the central government, and local government. These can be the loopholes that can be used by the leaders to embezzle donor funds. Therefore, there was need to involve an independent party to ensure that the money is utilized effectively. There is need to establish an independent auditing body which will serve the interests of the Tanzanian government and that of the donors. Although the issue looks like it has been settled, there is need to ensure that it does not erupt once again. This is through ensuring that there is a joint body established by the two bodies which will be mandated with ensuring that the interests of the two parties are taken into consideration. Both parties should appoint their representatives, an aspect that will play a significant role in reducing the conflict levels. The government should not be involved in the management of donor aid. Already, it has a mandate of ensuring that the current resources are utilized effectively. In addition, it has been dotted by different cases of corruption. This is the reason why many of the officials feel that the donors should leave the role of managing the funds to the government officials. However, doing this will make it hard for the funds