Tucson 4th ave streetcar Essay Example | Topics and Well Written Essays - 1500 words

Tucson 4th ave streetcar - Essay Example So far, the development plan is underway and the streetcar is soon getting an operation, however, the project draws a number of criticisms right from its planning to the effects of the finished railroad in the city. Efficiency in transportation reduces time lost in traffic thereby making the economy more efficient. For a long time the city of Tucson has merely relied on the efficient road network to provide connections to all the places within the city. The city has a dedicated metropolitan bus service coupled with a number of private taxi services that have by far ensured efficient transportation in and out of the city. However, the city just as any other part of the country is expanding. The city continues to attract more investors, which implies that more people move into the city all of who require effective means of transportation. This implies that while the sizes and the conditions of the road network have remained unchanged for quite some time, the demand has significantly in creased resulting in both congestion in the public places such as bus stations and traffic jams on the roads and major highways. The city therefore needed some more radical means of transportation, one which could transport a large number of people and do so efficiently fast. This could drastically reduce congestion and save time. Expansion of the road networks seemed more expensive and had more severe economic ramifications, the rest of the world and even New York among other cities in the United States have all tried and tested the efficiency of streetcars a feature, which prompted the council government of Tucson to employ one. However, the cost constructing one would overburden the taxpayers, which is the key source of revenue for the council government. The project, which expected to complete in June 2013, had an initial budget of one hundred and fifty million dollars but that has since increased to two hundred million owing to readjustments on a number of construction features (Golem and Janet 33). The project draws its funding from the voter approved regional transportation authority and federal agents both of which rely on taxes. Once completed the project is expected to relieve the public transport system and revamp business in the city’s major business districts. The project has so far served as one of the highest employers in the city of Tucson, its construction process alone has caused more than a thousand temporary construction jobs but the streetcar project is expected to create more than two thousand permanent jobs once it gets operational. Additionally, more than twenty construction companies set up in the neighborhood to sustain the construction process. More than one thousand five hundred more people will be employed by the Sun Link Tucson Transport Company to sustain the entire transportation process. Furthermore, the electricity powered streetcar promises efficiency, The Sun Link Tucson, which is the company mandated with operating t he streetcar, has a success history with managing public transportation and won the Best Transit system in 2005. It is therefore expected that the streetcar project will attain similar efficiency thereby decongesting the city. The mapping of the streetcar route passes

The university and colleges authorities Essay Example for Free

The university and colleges authorities Essay Blogging presents the users with a unique opportunity to express themselves and air their views on different issues. It gives the students a chance to communicate with their peers on different issue. To many this is an opportunity to tell others what one believes or feels concerning a certain issue. It also gives the user a chance to earn some income depending on the number of people who respond to the issues raised by the person initiating the blog. Basically what is a blog? Blog has been described as a term which is used to describe those website which maintain a continuos series of information which is arranged in a systematic manner. By systematic I mean the information is a arranged according to the time that it was posted. The site is frequently updated . This from of communication dwells on various issues from personal to politics. One can focus on a wide issue or a narrow one depending on ones wish. Therefore blog can be fun informative,entertaining and at the same time it can be used as atool of spreading malicious information concerning a person or a group of people. At the same time blog can be used to offend a certain person or a society. (Bruns, A and Joanne J 2006) Blogging can be used for various purposes by different people,in colleges and universities it has become a tool where students attack each other through posting information which can damage a personal character. Although the American constitution through the first amendment guarantees every citizen the freedom of speech the authorities in the laerning institution should control the use of blog to pass information which can interfere with other students learning process. Hate speeches are common among the students in our laerning institutions,internet has played a very big role in promoting this culture as students can post hate speeches anonymously in the internet. Since access to the websites which provide blog is not restricted to any user anybody can bump on such information. Through reading the content one may feel disoriented and will be affected negatively by the message. This will affect the person phychologically and may go to an extent of affecting the student education depending on the kind of message or information that was relayed. (Kline, D and Burstein, D. 2007 34) Restricting blog which are mostly used to insult and demean others is the best thing that can happen in our institution of higher learning. This will ensure that the learning process is smooth if all the other factors remain constant. This will also guarantee each and every srudents right to a dignified life in the institution. It will protect the most vulnerable group as far as hate speech is concerned. The most tergeted groups include the women,people from different races,disabled or basically those students who have some weakness as far as the college society is concerned. These are people who need protection since they are prone to such henous acts which can leave them traumatized to an extent where their education is intefered with. (Ringmar, E 2007 56) The freedom guaranteed by the American constitution does not give us a leeway to spread rumors against others, pass on some information which can hurt other people or even more give messages which are inciting in nature or pass on messages with a purpose of hurting others. The law clearly spells out that such an action would be tantamount to interfering with other people’s affairs in a manner that suggests that one is malicious and at the same time lacks respect for the others. Regulation of blogs which spread such kind of message will ensure that those vulnerable groups are protected from those malicious people who are only interested in hurting other people’s emotions. The universities authorities ought to take the first step in getting all those culprits who are out to hurt other feeling. Though such a move may attract great opposition it is a move in the right direction as the same constitution that promotes free speech articulates clearly the rights of very American to lead a decent life. Blogs which promote such kind information do not only violate a person freedom but also affects their lives. One may argue that why put so much emphasize on the blogs yet hate speeches are made day and day out in our colleges. One has to appreciate that internet is accessed by many people who are not restricted from visiting sites especially those which largely deals with the blog. This means that if a negative or a hate speech is posted targeting a certain group the message will spread far and wide within a very short time. This will affect the targeted people emotionally and psychologically because they may not be in a position to react or behave different in such circumstances. (Bruns, A and Joanne J 2006 38) Emergence of blog has presented some very complicated issues concerning the rights of those who may be targeted by some of the information posted. There have been several cases which have been filed touching on blog and hate speech. It is a form of defamation where perpetrators can be sued in a court of law. May be to start with ,the authorities in our learning institution should sue such character as their aim is harm others while trying to make themselves popular. Through such an action they will be moving in the right direction in curbing such practices in the institutions where students are supposed to be nurtured in a manner where they respect each other. It might be difficult to unmask some of the bloggers who use anonymous addresses but with the advancement of technology this should be an easy task. Involvement of internet service providers in unmasking these malicious people would yield some fruits since they have the proper machinery in netting the culprits. The effects of hate speech have far much reaching effects especially for the students who can be very vulnerable due to their conditions. It impacts some form of resentment to a certain group of people especially those who have characteristics which the blogger writes against. It may also lead to withdrawal of the victim as they tend to come to terms with the message being relayed. This means that the student will not be in a position to concentrate in their studies. (Alavi, N. 2005 26) The university and colleges authorities should not only aim at curbing the practice but should embark on a program where the students are sensitized on the dangers of hate speech especially through blogs. They should be made to understand hate speeches can ignite conflict between different people within the learning institution. Such a conflict can be detrimental to their learning process as they will live in fear of attack from the other group. Another danger as far as this practice is concerning is the time involved. Such a time is supposed to be used to study but most of the students will spend most of their time blogging, an activity which is time consuming. This means that the student will not have enough time as they embark on an activity which is very addictive in nature. Blog when used for the right purpose can have very positive effect but when it is used to hurt other people it has some serious effect on those whom are targeted and at the same time for those who post them. We should not abuse the systems provided for us to ease the process of communication and passing relevant information rather we should utilize such opportunities ti reap as much benefits as possible. The universities can be successful in addressing this issue as they have the capacity to control what the students’ access in the networks provided by the institution. Mostly giving the students the right information can also go along way in ensuring that hate speech is not spread through the internet in form of blog. Work cited Bruns, A and Joanne J Uses of Blogs, Peter Lang, New York, (2006) Alavi, N. We Are Iran: The Persian Blogs, Soft Skull Press, New York,( 2005) Ringmar, E A Blogger Manifesto:Free speech and cesorship in the age of internet,London,Anthem Press(2007) Kline, D and Burstein, D. Blog: How the Newest Media Revolution is Changing Politics, Business, and Culture, Squibnocket Partners, (2005).

Lolita: The Etymology of a Nymphet :: Essays Papers

Lolita: The Etymology of a Nymphet The novel Lolita concerns a relationship characterized by obsession by a middle aged man, Humbert, for a prepubescent girl, Lolita. This fictional relationship has been a source of many questions as to what the writer, Vladimir Nabokov, had in mind when he wrote the novel. Thus, the novel has been looked at from different aspects in attempting to come up with what it portrays. Humbert, in his flowery description of Lolita, uses the word "nymphet" to refer not only to her but also to other girls of her age and characteristics. Little girls that came his way before Lolita, he describes as nymphets too. The purpose of this analysis will be to discover what exactly Humbert refers to as a nymphet in the novel Lolita in relation to the type of image today's society sees as a nymphet with the goal of establishing whether or not the novel portrays the influence of a nymphet. It will attempt to find the similarities and differences between the image of a nymphet that Lolita portrays and the real life image of today. The history of the word "nymphet" in English does not go beyond 1955 when the novel Lolita was published because its first use is in the novel. It was introduced into English by Mr. Humbert Humbert himself. Through his unique sexual perception, Humbert describes the behavior or the sexually luring ability of little girls as unnatural or nymphic: "Now I wish to introduce the following idea. Between the age limits of nine and fourteen there occur maidens who, to certain bewitched travelers, twice or many times older than they, reveal their true nature which is not human, but nymphic (that is, demoniac); and these chosen creatures I propose to designate as "nymphets (16)" Nymphic is adjectival for the noun 'nymph' and the Microsoft Encarta Encyclopedia defines nymphs to be, in "Greek and Roman mythology, lesser divinities or spirits of nature, dwelling in groves and fountains, forests, meadows, streams, and the sea, represented as mortal and beautiful creatures that were sometimes love objects to olympian maidens, fond of music and dancing." They could also be "vengeful and destructive", a character that will be shown to work against Humbert, not physically, but emotionally. Humbert's image of a nymphet is enhanced by the thoughts and memories of Annabel that he harbors. He sees Lolita as a reincarnation of Annabel: "It was the same child - the same frail, honey-hued shoulders, the same silky supple bare back, the same chestnut head of hair" (39). Lolita: The Etymology of a Nymphet :: Essays Papers Lolita: The Etymology of a Nymphet The novel Lolita concerns a relationship characterized by obsession by a middle aged man, Humbert, for a prepubescent girl, Lolita. This fictional relationship has been a source of many questions as to what the writer, Vladimir Nabokov, had in mind when he wrote the novel. Thus, the novel has been looked at from different aspects in attempting to come up with what it portrays. Humbert, in his flowery description of Lolita, uses the word "nymphet" to refer not only to her but also to other girls of her age and characteristics. Little girls that came his way before Lolita, he describes as nymphets too. The purpose of this analysis will be to discover what exactly Humbert refers to as a nymphet in the novel Lolita in relation to the type of image today's society sees as a nymphet with the goal of establishing whether or not the novel portrays the influence of a nymphet. It will attempt to find the similarities and differences between the image of a nymphet that Lolita portrays and the real life image of today. The history of the word "nymphet" in English does not go beyond 1955 when the novel Lolita was published because its first use is in the novel. It was introduced into English by Mr. Humbert Humbert himself. Through his unique sexual perception, Humbert describes the behavior or the sexually luring ability of little girls as unnatural or nymphic: "Now I wish to introduce the following idea. Between the age limits of nine and fourteen there occur maidens who, to certain bewitched travelers, twice or many times older than they, reveal their true nature which is not human, but nymphic (that is, demoniac); and these chosen creatures I propose to designate as "nymphets (16)" Nymphic is adjectival for the noun 'nymph' and the Microsoft Encarta Encyclopedia defines nymphs to be, in "Greek and Roman mythology, lesser divinities or spirits of nature, dwelling in groves and fountains, forests, meadows, streams, and the sea, represented as mortal and beautiful creatures that were sometimes love objects to olympian maidens, fond of music and dancing." They could also be "vengeful and destructive", a character that will be shown to work against Humbert, not physically, but emotionally. Humbert's image of a nymphet is enhanced by the thoughts and memories of Annabel that he harbors. He sees Lolita as a reincarnation of Annabel: "It was the same child - the same frail, honey-hued shoulders, the same silky supple bare back, the same chestnut head of hair" (39).

Image Analysis Program :: essays research papers

Purpose: to become familiar with the image analysis program and to develop an understanding to the size and age of planetary nebulae Procedure The first part of the experiment involved using a picture of a church and back round to understand different pixels, ADU, zoom, and how to get the (x,y) coordinates. We then took this brief understanding of pictures and applied it to the stars. We loaded a picture of nebulae m42. After this we needed to calculate the average number of stars or solar masses. We found the (x,y) coordinates of a position in the center of the nebulae and on the edge of the nebulae. We used the following distance formula to find the distance between the points. After this calculation the answer in pixels needed to be converted to arc seconds for use in the small angle formula where 1 pixel approx. = 3 arc seconds. We now could use the small angle formula to find the actual radius in pc. Where d is the radius D is the distance from the Earth in pc and theta is the value we had just found out in arc seconds. After the calculation we needed to convert pc to meters so we used the calculation factor of 1pc=3*10^16m Now we needed to find the density. Density was figured out by multiplying the majority substance in the nebulae (hydrogen) per cubic m^3 by the mass of hydrogen in kg, which gave us the formula We then had the info we needed to find the mass of the nebulae. We calculated this by using a spherical shape for ease of calculation. We used the following formula where m is the mass p is the density and r is the radius found above from the small angle formula (d). Now that we had the amount of mass we needed to find the solar masses so we divided the mass of the nebulae by one solar mass unity in the following equation. Our next part of this lab was to find the age of the nebulae m57 . We used the same formula and procedure as before to find the radius of the star. The distance from Earth was given to us to complete the small angel formula. We then needed to convert from the au to km by the following equation. We were told the expansion of the nebulae to be 20 km/s and assumed this had been going on since the birth of the nebulae for simplicity of calculation.

The Villancico

During the late fifteenth century in Spain, King Ferdinand along with other Spanish courts influenced the idea to develop their own idea of music. The Villancico was the product of this movement and became the most influential secular polyphonic style in the Spanish Renaissance. Songs were based on subjects that were talked about throughout Spain and were only composed for aristocracy. These short songs included a refrain and one or more stanzas. Meanwhile, in Italia the counterpoint to this was the Frottola, which was a four part strophic song that is set syllabically with the melody in the upper voice, that include marked rhythms and very simple diatonic harmonies. However, as history progresses new things are invented and soon the madrigal endured the frottola, the madrigal would to be the most important secular style in the sixteenth century Europe, predominantly Italia, and one could argue of the entire Renaissance era and its entirety. During the course of this essay I will be discussing the background of how the madrigal came to be, as well as an introduction to how it slowly rose to the top of the charts in Italia as well as Europe, as well as the madrigal itself explaining its influence in society and to musicians all over Europe, and lastly the composers and what inspired them to grow the movement that would stand strong for years after their departure. To the knowledge of mankind at the moment we are unsure directly of the condition the madrigal had before the invention of the printing press by Johannes Gutenberg; but, though there is missing evidence, there is a very small margin of doubt that the early phases must have some correlation as we are aware of the later ones have done. It is thought that the people responsible for the origination process were, the Troubadours and the Minnesingers, these groups had a very strong influence in popular music during the middle ages. In Florence during the fourteenth century a very unique style of poetry was introduced to the composers that would spark the madrigalists and would produce one of the best composers of the time Francesco Landini to write madrigals. Now a side note, the fourteenth century madrigals are different from the sixteenth century ones. â€Å"Madrigal, in music, secular composition for two or more voices, introduced in Italy in the fourteenth century and revived in a different form during the sixteenth century, at which time it also became popular with English, French, German, and Spanish composers.† (4). For the most of the fifteenth century the music of Italy was sought out by the composing masters in the northern regions of France along with parts of the Netherlands. Late into the fifteenth century the native tradition of music that was very keened to the Italians, whos way of life was soon salvaged by the patronage noblemen in Florence as well as Mantua. As the fifteenth century carries on, Spain begin to see a slight rise in the musical field during the Ferdinand and Isabella campaign – yes the very same who sent Christopher Columbus to find a new way to India – the king and queen wanted the courts to find a new style that would encourage unity and glorify Spain. The product of this is the Villancico, which was the most important polyphonic form for them in the Renaissance time period. The form of this style uses AAB stanza structures like most songs from the middle ages, the melody was always carried by the top voice while the other parts could be either sung or played by instruments. When Italia knew the news of this new form being produced in Spain, they slowly developed a counterpart which is called the Frottola. The frottola was a tune that was used to sing poetry with, with the ending of each line having a cadence of some sort, with the upper voice providing the melody and lower parts the harmonial foundation. The features of this music was very simple and satritical, made for the courtly elite during the late fifteenth and early sixteenth century. According to Fenlon and Haar, â€Å"the publication of Pisano's Musica of 1520 put a stop to the publication of frottola collections without encouraging the rise or development of the madrigal or even the publication of new compositions of this sort†¦ It was only with the appearance of the undated Libro primo de la Fortuna, which Einstein placed about fifteen twentynine, that the first true madrigals reached print. The intervening period was regarded as an ‘artistic pause', a larval stage of undermined length and character.† (6). It was around this time in the sixteenth century that the madrigal made its appearance into the Italian lives, and began to have a long outstanding impact on the composers and music as a whole. â€Å"As a literary type, the madrigal of the sixteenth century is a free imitation of the fourteenth century madrigal. This literary movement was a great stimulus to musical activity. The musicians of the early sixteenth century, at first Netherlands composers working in Italy, cooperated with the poets in order to achieve a new style of artistic refinement and expression.† (2) † A Madrigal, is a form of vocal chamber music that originated in northern Italy during the fourteenth century, declined and all but disappeared in the fifteenth, flourished anew in the sixteenth, and ultimately achieved international status in the late sixteenth and early seventeenth centuries.† (1). Madrigals date back to Italia in the fourteenth century, the madrigals then were based on a poem that was pretty constant of a couple to three stanzas with each having exactly three lines, with about seven to eleven syllables per line. It was most often seen polyphonically (many voice parts) in just two parts, the form that was used reflected musically from the structure of the poem that was used for the piece. The most common madrigals have a form that is AAB with both of the stanzas as the A section being sung to the exact same music as the first, this is then followed by the B section, or the coda, which kinda finishes up the poem. In the early sixteenth century the madrigal owed the style to the lyrics of Petrarch, the poetry at this time was very enjoyed and had an asstounding revival. â€Å"Madrigali de diversi musici: libro primo de la Serena (Rome, fifteen thirty) is the first collection of pieces to bear the title ‘madrigal'. Its eight works by Verdelot, one by the Ferrarese Maistre Jhan and two by each of the Festas are characteristic of the new genre but it contains, like the diverse prints of the fifteen twenties, some lighter pieces and even a few French chansons.† (5). In the very early stages many songs were written in homophonic style (this is a dominant melody, sometimes predominant, with a somewhat subordinate accompaniment) and is typically intended for four voices. One of the most influential composers of the madrigal was Philippe Verdelot, the french international spent most of his time in Italy, he is arguably considered to be called the father of the Italian madrigal even though he is french. However, he is the most prolific and one of the earliest composers of the madrigal in his time, spending most of it in Florence after the city was revived by Medici. In fifteen thirty three or fifteen thirty four, two books of Verdelot madrigals were officially printed in Venice, Italy. These books were soon to be the most popular collections of music at the time. By fifteen forty, Verdelot and Arcadelt were seen as the masters of the madrigal, although there are many other composers of the first generation some include, Francesco Layolle, Corteccia, Domenico Ferrabosco, and Costanzo Festa. Festa was an important figure in the creation of a subcategory of madrigals, the three voice. The possible interest in this three voice madrigal is said to be stimulated by the three voice chansons in Rome around the fifteen twenties to fifteen thirties. His three voice madrigals were printed and reprinted countless times due to popularity for the simple and elegant style. It is difficult to see from Festa's point of view to assess his importance, but nonetheless he was a figure that helped grow popularity for the musical genre. Arcadelt was seen to have followed in the footsteps of Verdelot, the madrigals of Arcadelt were published in five books that had a good diversity of one, three or four voices between the time of fifteen thirty eight to fifteen forty four, and many of his works appear alongside Verdelot in manuscripts. Many of the poetic literature that Arcadelt chose showed a very close relationship to the ballata style and some form of the canzone as well. His madrigals are shown to contain a fairly decent about of counterpoint, within this texture he was able to blend the idea of sound and sense. There is however no proof in any form that shows that Arcadelt or Verdelot lived in Venice, Italy at any point in time. During the middle of the sixteenth century the classical style of Arcadelt was still widely used even though the madrigal genre was very rapidly changing. The rising composer in Venice was Willaert, he soon became the head musical figure ther from fifteen twenty seven until his death in fifteen sixty two. According to the Oxford University Press, â€Å"In several respects this differs from what Verdelot and Arcadelt had done, even from Willaert's own earlier work. Willaert here set the verse of Petrarch in preference to that of that of 16th-century Petrarchists; he favoured the sonnet, dividing it so that a piece in two sections or partes, like a motet, resulted.† (5). The voices that are used in his madrigals are freed as if someone were speaking more so than exact. The pupils of his fairly imitated his style in many ways with questionable success. Due to Willaert's strong impact in the fifteen forties the town of Venice, Italy was the prime center of all madrigal composition in europe. The outer cities were were greatly influenced by the Venetian way of musical culture. In the fifteen fifties, the level of chromaticism began to please the ear of society, again it is said that Willaert and his circle of pupils took the head figure. A composer by the name of Rore became of prime importance to the new innovations that were sweeping the madrigalists. The early madrigals shows that there must be some association with Willaert. The focus on the meaning of poetry led Rore to be able to fluidly run lines together, ending some phrases in the middle of the line, even disregarding some rules here and there. However, a new power emerges in fifteen fifty five as Palestrina and Lassus both finished their first book of madrigals. The figure of Palestrina though could not be deciphered, as he was very commonly opinionated as a follower of Arcadelt, which to many historians seems unfitting and unjust. Although Lassus was strongly associated with Rore and Willaert, his writings were very complex in nature. Palestina on the other hand was seen as a stand out, a conservative of sorts from the experimental side of things. â€Å"The madrigals are as a class appropriately lighter in texture and more flexible in rhythmic motion than the motets, and they make sharper use of contrasts. Yet they share the general lucidity of texture common in his music, and this quality may well have contributed to the popularity of the most famous among them.† (5). This made Palestrina a strong figure as a known madrigalist than people tend to admit. His books show a joy in the popularity of Rome during the time period, and many works are seen to be written for a private devotional setting. Meanwhile in england during the latter sixteenth century there was a greater concentration of madrigal compositions being written. The madrigal is said to be associated with London music printing, which in fifteen eighty eight began under Byrd. In the fifteen nighties, Morley, weelkes and Wilbye began to shine as prolific composers for england. Morley was a young chap that was very keen to Italy was a major role in guiding the english madrigal development. He enlisted more madrigals than anyone else in his time, he set a stylistic normality that was soon followed by other madrigalists in england, this game him a position of quality power along with prestige. Unfortunately for England, the madrigal was short lived after the death or Morley and Queen Elizabeth, once then the madrigal began a decline. This new growing mood struck and action against Petrarchism. The history after the year sixteen hundred merely comes down to the study of minor figures who wrote only a few songs with some success. The period of English madrigals to some composers were seen as more abstracted in tradition. Many of whom seemingly ignored or merely did not understand the madrigal, they style of text or how to treat the words in a harmonic style. â€Å"After the second decade of the 17th century, no work of any lasting reputation was produced, and the style soon fell into neglect. Under the Stuart dynasty polyphonic song lost much of its popularity, and the civil war crushed out all artistic feeling† (3). The madrigal was a popular choice throughout the Renaissance, but like most good things, they come to and end for a period of time before they are drawn out again. The madrigal gave a new enlightenment to the people and the composers that wrote them. Without the madrigal we may not have the style that we use to day when we sing or hear instruments play. It opened doors that were used for many years and gave the opportunity for improvement. The madrigal set norms that may not have been set without it and if they were it would have been many years after and who knows where we would be today without its unique style. Although this style is no longer written today, there are still societies and groups in schools that show a great appreciation to the genre, and form madrigal clubs that only sing them. After the madrigal fell out the opera became the talk of the town and it is believed the reason as to why the madrigal fell short is what seems like only an eighty year span. Work CitedBritannica, The Editors of Encyclopaedia. â€Å"Madrigal.† Encyclopà ¦dia Britannica, Encyclopà ¦dia Britannica, Inc., 19 Nov. 2017, www.britannica.com/art/madrigal-vocal-music. â€Å"The Italian Madrigal of the Renaissance.† The Italian Madrigal of the Renaissance, www.lcsproductions.net/MusicHistory/MusHistRev/Articles/ItMadrglRen.html.†History of the Madrigal.† Music Of Yesterday, musicofyesterday.com/history/history-madrigal/. â€Å"Madrigal.† Edited by Wilfrid Mellers, Madrigal, Colorado University, autocww.colorado.edu/~toldy3/E64ContentFiles/MusicAndTerms/madrigal.htm.†Madrigal.† Grove Music, Oxford University Press, 22 Dec. 2017, www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000040075#.Fenlon, Lain, and James Haar. â€Å"The Italian Madrigal in the Early Sixteenth Century.† Google Books, Cambridge University Press, books.google.com/books?id=ffA8AAAAIAAJ;printsec=frontcover;dq=madrigal;hl=en;sa=X;ved=0ahUKEwjmn9eM7vvZAhWJ3YMKHU1FBhIQ6AEISDAG#v=onepage;q=madrigal;f=false.

Principles of Ecotourism

Introduction Definition of sustainability. Briefly mentions environmental, experiential, socio-cultural and economic sustainability in relation to ecotourism. Environmental sustainability Importance of environmental sustainability in managing ecotourism and examples of impacts Strategies for achieving sustainability and how they are applied Experiential sustainability Importance of experiential sustainability in managing ecotourism and examples of impacts Strategies for achieving sustainability and how they are applied Socio-cultural sustainability Importance of socio-cultural sustainability in managing ecotourism and examples of impacts Strategies for achieving sustainability and how they are applied Economic sustainability Importance of economic sustainability in managing ecotourism and examples of impacts Strategies for achieving sustainability and how they are applied Conclusion Introduction Environmental sustainability Importance of environmental sustainability *Strategies* for achieving environmental sustainability Accommodating for hundreds of visitors has disadvantages for a site if the wildlife or vegetation isn’t capable to withstand an increased level of exposure. That’s why hardening of a site allows that site’s carrying capacity to be increased e. g. pit toilets, board walks and but still limiting number to ensure minimal impact of that site. The Cradle Mountain-Lake St Clair National Park in Tasmania, Australia, have installed board walks along the track for the concerns of environmental degradation and overcrowding. The boarded sections are established in sensitive areas in the national park with significant importance for an ecosystem. The softening of a site refers to soil replacement and replanting of native vegetation to rehabilitate the site as much as possible. There are many businesses that were built with very low levels of impact, because of the extensive research done before the construction of their building. The Couran Cove Resort in Queensland assessed the area for their resort before construction and removed the native vegetation, planning to replant them after the completion of facilities. A number of environmental measures were put in place during the construction of the resort, such as installation of solar powered cabins, identification and mapping of significant trees, strategies to manage acid sulphate soils, and an integrated water management system. As a result of many of these management strategies, the resort has become an industry leader in environmentally sensitive technologies. Visitation quotas and fees are a clever strategy to maintain a high revenue flow for the protected area and continue appropriate management. Zoning and site hardening influence visitation levels in specified areas, so these factors are considered when implementing fees and quotas. The overall number of visitors can be limited through the imposition of quotas and user fees; quotas are formal restrictions on visitor numbers and user fees (entry fees and other fees) increase the latter until visitor demand falls below the carrying capacity threshold. Mt Buffalo National Park in Victoria, Australia charges entry fees for visitors, whether camping or just visiting. These fees are put towards managing the park, including regular maintenance of provided facilities. There are methods to restricting and allowing appropriate viewing or access of wildlife by providing information and education to tourists; informing users about the recreational resource and current level of use. Making the users more sensitive to the potential impacts their behaviours might have on the environment is an effective way to make them aware. Experiential sustainability Importance of experiential sustainability The experience of the tourist is important to be aware of to evaluate the sustainability in the way it is implemented. People learn better when they are actively involved in the learning process and use as many senses as appropriate. Interpretation is effective way to educate tourists because it works with the visitors rather than against them. Such techniques include; visitor centres, education centres, displays and exhibits, self-guided trails and guided tours. These techniques are strategies to inform tourists of the natural environment to which they participate in, to help understand the importance of sustainably managing activities in a site. Strategies for achieving experiential sustainability Socio-cultural sustainability Importance of socio-cultural sustainability Socio-cultural sustainability of ecotourism relates to the stability of social and cultural systems, including the wellbeing of local and indigenous communities. Their involvement is important for tourism to be successful and unique. It is a significant contribution to ecotourism’s global following. Socio-cultural and economic sustainability are linked together to also facilitate the wellbeing and satisfaction of visitors. Strategies for achieving socio-cultural sustainability Economic sustainability Importance of economic sustainability Economic sustainability is associated with socio-cultural sustainability; relating to the stability of social and cultural systems, including the wellbeing of local communities. The impacts of economics in local communities include start-up expenses (acquisition of land, establishment of protected areas, superstructure, and infrastructure), ongoing expenses (maintenance of infrastructure, promotion, and wages), revenue uncertainties, and revenue leakage due to imports and non-local participation. Examples of positive aspects of economics include direct employment, improvement of transportation and communication systems; negative aspects of economics include no local employment opportunities, and leakages may be high. Establishing a protected area requires lots of expenses to be able to maintain the environment sustainably. The development of buildings and infrastructure such as visitor centres and toilets require regular maintenance, which means there needs to be enough income to retain a standard quality. Employing staff can be limited when money is scarce, maybe even overworking employees. For example, the Cape Otway Centre for Conservation Ecology in the Great Otway National Park is an ecotourism operation that was established in 2004. The owners of the Conservation Centre opened the business to become involved in conservation projects and research biodiversity conservation. When opening the operation, the owner’s budget was limited and was unable to employ enough staff to keep up with the daily routine activities; such as delivering service to guests and running of education programs. Their only choice was to employ enough to manage the business and providing the services themselves. *Strategies for achieving economic *sustainability Economic sustainability relates to the income of an operation or protected area to maintain the natural environment or site. Such income can come from user fees (public’s willingness to pay), taxation (sales tax, accommodation tax) and donations (lack of resources or money for endangered species). Earth Sanctuaries is a company that operates a network of privately-owned sanctuaries, set up with the aim of conserving native wildlife species. The company has eradicated exotic species from all of its properties, and has erected fencing that excludes feral animals from each sanctuary. To fund its conservation efforts, the company offers a mix of ecotourism products including accommodation, tours, and an environmental education program. These products are managed to provide the ongoing profit needed to run the sanctuaries, and to provide dividends to the company’s shareholders. Conclusion Sustainable tourism is important to be properly managed when utilising the natural environment. The four components of sustainability are environmental, experiential, socio-cultural and economic sustainability, each is critical principle for achieving ecotourism. Each component is linked to another and one cannot function well without the others. Ecotourism is difficult to be completely sustainable for the natural environment, but can be managed to minimise low impact. This is done by the four components between each; they interact with one another’s resources to appropriate management the natural environment; linking together to facilitate the wellbeing of local communities. References

We Real Cool by Gwendolyn Brooks Essay

The Poem We real cool. We Left school. We Lurk late. We Strike straight. We Sing sin. We Thin gin. We Jazz June. We Die soon. Summary: This poem was written in 1959, which was in the midst of the Civil Rights Movement. In the case of Brown v. Board of Education, in 1954, the Supreme Court ruled that it was unconstitutional to segregate schools; however, desegregation was slow and many African Americans became frustrated. Segregation caused more than just separation, it caused many youths to question their roles in society. Many youths gave up on the idea of having a future, because they were told that they had no future; so why try. The boys in the poem seem to be struggling with identity. This poem is only eight lines long, so you probably don’t need a summary. What isn’t included in the text of the poem, however, is a bit of background framing the lines we read. The poem lists off the thoughts of some young guys playing pool at a pool house called â€Å"The Golden Shovel,† that seems pretty straightforward. But it’s actually more complicated than that. In fact, the lines we read are what an outside observer thinks these boys might be feeling. So this observer, our speaker, thinks the boys might have dropped out of school, be drinking gin, staying out late at night, enjoying jazz, and will have short lives. How do we know all of this background information? From Gwendolyn Brooks, of course. You can listen to Brooks talk about â€Å"We Real Cool† (and listen to her read the poem, too) We Real Cool Theme of Identity The word â€Å"We† is repeated eight times in this eight-line poem as a signal that the boys have a group identity. The boys want to be defined by their rebellious actions, which place them at odds with polite society. We Real Cool Theme of Pride The young pool players seem to take pride in their aimless behavior, and critics have debated whether they may also take pride in the prophecy they will â€Å"die soon.† They live in a culture where even the most talented people find that economic and social opportunities are scarce. Dying early could seem like a badge of honor. On the other hand, the last line could be read as evidence of the speaker’s disapproval as she tries to pop the boys’ inflated sense of pride like a balloon. We Real Cool Theme of Mortality We never learn why the speaker thinks the young pool players will â€Å"die soon,† though it might have something to do with their enjoyment of sin, rum, and (perhaps) gambling. The speaker could also be thinking that the boys are living to the fullest, as though they might die tomorrow. Additionally, this moment could point to the boys’ fears, and the struggles and violence that they might encounter in their young lives. We Real Cool Theme of Language and Communication This poem is so full of music that we can easily imagine pool players reciting it while wearing sunglasses and snapping their fingers under soft, blue lighting. It’s jazz†¦in a poem. The seductive rhythm and the use of alliteration and internal rhyme might cause us to feel more sympathetic toward the pool players. The poem also leads us to ask whether their portrayal is meant to be satirical, or whether the pool players might be trying to trick us into celebrating their lifestyle. We Real Cool Analysis We Real Cool: Rhyme, Form & Meter We’ll show you the poem’s blueprints, and we’ll listen for the music behind the words. Couplets with Internal Rhyme Apart from its subtitle (â€Å"THE POOL PLAYERS/SEVEN AT THE GOLDEN SHOVEL†), â€Å"We  Real Cool† has four stanzas, each of which is a two-line couplet. Every word in the poem has only one syllable. While many traditional couplets in poetry have a rhyme at the end of the line, this poem takes rhyming to a new level: the couplets rhyme in the middle. Thus, â€Å"cool/school† in the first stanza, and â€Å"late/straight† in the second. But the pause after each rhyme word effectively makes itsound like the end of the line. It’s almost as if each line ends on a rhyme word, and â€Å"We† is tacked on as a grace note. (In musical terminology, a grace note is a short note that gets squeezed in before a beat.) The poem has a regular meter, with three beats and a pause, but these three beats can be pronounced in different ways. You could say, â€Å"We real cool,† or â€Å"We real cool,† or â€Å"We real cool,† or, even, â€Å"We real cool.† In the recording we listened to (hear it on Poets.org), Brooks lay the most emphasis on the second two beats: â€Å"We strike straight.† Speaker Point of View Who is the speaker, can she or he read minds, and, more importantly, can we trust her or him? Perhaps we’d better let Brooks speak for herself here: â€Å"I wrote [‘We Real Cool’] because I was passing by a pool hall in my community one afternoon during school time, and I saw, therein, a little bunch of boys – I say here in this poem, seven – and they were shooting pool. But instead of asking myself, ‘Why aren’t they in school?’ I asked myself, ‘I wonder how they feel about themselves?’ And just perhaps they might have considered themselves contemptuous of the establishment . . .† (source). The speaker is trying to imagine what the boys think of their own lives. She is concerned with the community, but unlike some critics, we don’t think her tone is harsh or judgmental. Rather, we think she’s curious and wants to get inside the heads of these kids. Maybe she even thinks the boys have good reason to be contemptuous of the powers that be. But what about those boys? What are their lives really like, apart from the momentary glimpse that we get through the door of â€Å"The Golden Shovel†? After  all, they are speakers, too, or at least they are spoken for. We Real Cool Setting Where It All Goes Down A Pool Hall in the South Side of Chicago, the late 1950s Brooks once said that she was thinking of a certain pool hall in her hometown of Chicago when she wrote this poem (source). As we read and hear â€Å"We Real Cool,† our imaginations are set on fire. We close our eyes and, suddenly, we are in a neighborhood of bungalows and old, brick buildings. At the corner of the street stands â€Å"The Golden Shovel.† It’s hot outside and cool inside the pool hall. In the dimly lit building, we see several billiard tables. There’s a bar in the back serving cheap gin, and an old-style radio plays scratchy jazz in the corner. Seven young guys are gathered around a couple of the tables. Two of them have made a bet on one of the games, and the money is down on the table, ready to be claimed by the winner. They’re competitive with one another, but they also spend most of their time together, hanging out as a group. A person walks by, and they stare at her vacantly until she passes. What’s Up With the Title? The title of this poem is the same as the first line. It lets us know that the speaker will be imitating the voice of a group of young men in Chicago. The title’s musical qualities make it particularly expressive. The vowel sounds go from high to low, like walking down three steps. â€Å"We† – high. â€Å"Real† – middle. â€Å"Cool† – low. You might also put a heavy emphasis on the word â€Å"real†: â€Å"We reeaaal cool.† After reading this poem, you might find yourself repeating the title over and over again, fiddling with different ways to say it. The poem also has a subtitle, which you can read about in our â€Å"Line-By-Line† walk though. Sound Check Read this poem aloud. What do you hear? Before reading this section, you’ve got to listen to Brooks reading the poem herself, which you can do at Poets.org. Is it different from how you imagined it? We could sit and listen to her say, â€Å"Seven at the Golden Shovel† all day long. Her voice produces deep  vibrations like a low saxophone. It may be obvious to say, but there’s no avoiding it: â€Å"We Real Cool† reads like the lyrics of a jazz tune. Brooks has even provided musical instructions to how it should be read, with the low, quiet, uncertain â€Å"We.† When you listen to the recording, the most obvious musical element is syncopation, or the uneven distribution of the rhythm. That’s why it’s so hard to talk about meter with this poem. A meter implies a regular rhythm, and, on the page, â€Å"We Real Cool† seems pretty regular, with three beats followed by a pause. But the arrangement of the words lends itself to wild swings of improvisation. Listen to how Brooks pronounces â€Å"strike straight,† by laying into the first word and backing off the second slightly. She literally â€Å"strikes† at the first word like a fist coming down on a piano. If you were reading the poem, you might be inclined to give both words the same amount of emphasis, but Brooks lengthens the first beat just a tad: that’s syncopation. Also, when she says, â€Å"Thin gin,† it sounds like a bunch of people shouting and clanking their glasses so hard they’re about the fall off their bar stools: â€Å"Thiinnnnn Ginnnn!† To some readers, â€Å"We real cool,† may sound like an ironic whisper saying, â€Å"No, you’re not. Stay in school!† But if you read it aloud like Brooks does, the irresistible pull of the rhythm can also lead us to sympathize with and relate to the boys. Gwendolyn Brooks’s Calling Card What is the poet’s signature style? Portraits of the Urban Poor Brooks’s poetry draws heavily on her native Chicago. It focuses attention on poor, simple city dwellers. In another one of her poems, â€Å"The Bean Eaters,† for example, describes a couple living in a rented room, and they can only afford to eat beans for dinner. â€Å"We Real Cool† describes urban youths, and for the most part, her tone is neither angry nor judgmental. She describes the way things are using straightforward, matter-of-fact language, and  allows the reader to draw his or her own conclusions. Tough-O-Meter We’ve got your back. With the Tough-O-Meter, you’ll know whether to bring extra layers or Swiss army knives as you summit the literary mountain. (10 = Toughest) (2) Sea Level â€Å"We Real Cool† is written in everyday language, and it achieves its effect primarily through its glittering, jazzy tone. There are ambiguities and questions, like exactly what â€Å"Jazz June† means, but to hear the poem is to understand it. We Real Cool Trivia Brain Snacks: Tasty Tidbits of Knowledge Brooks was born in Kansas but raised in Chicago. Her father was a janitor; her mother, a schoolteacher. (Source) Brooks said of the popularity of â€Å"We Real Cool†: â€Å"Most young people know me only by that poem. I don’t mean that I dislike it, but I would prefer it if the textbook compilers and the anthologists would assume I had written a few other poems.† (Source) In 1968, Brooks succeeded Carl Sandburg, who coined the phrase â€Å"City of Big Shoulders† to describe Chicago, as poet laureate of Illinois. (Source) Brooks won the Pulitzer Prize in 1950 for her experimental long poemAnnie Allen. She was the first African-American woman to win the award. (Source) Brooks was awarded more than 70 honorary doctorate degrees. (The walls of her office must have been completely covered.) We Real Cool Steaminess Rating Exactly how steamy is this poem? PG-13 We wonder what these boys are doing until â€Å"late† at night, and we’re curious about exactly which â€Å"sins† (5) they are celebrating. But Brooks isn’t going to give us any more than clues and innuendo. You might be able to push this up to an â€Å"R† rating if you bought the interpretation that â€Å"jazz† (7) is a slang word for sex. Brooks has said this wasn’t what she meant, but that she doesn’t mind if people want to take it that way We Real Cool Allusions & Cultural References When poets refer to other great works, people, and events, it’s usually not accidental. Put on your super-sleuth hat and figure out why. Pop Culture Jazz (line 7) We Real Cool Symbolism, Imagery & Wordplay Here’s more to a poem than meets the eye. Youth Symbol Analysis Despite the implication that these young guys are up to no good and should have better things to do, the poem might remind you of your own mischievous youth and of bored summers you spent hanging out in video game arcades even when it was a beautiful day outside. Nonetheless, there is something ominous about these boys who â€Å"lurk† and â€Å"strike.† Subtitle: The word â€Å"golden† is symbolic of summer, youth, and daytime. This is an ironic name for the pool hall, because the aimless lives of the pool players seem anything but golden. Line 7: Brooks has said that the month of June is â€Å"fragrant† and â€Å"non-controversial.† It represents polite society and authority figures. The boys rebel against June by â€Å"jazzing† it up. Music Symbol Analysis Chicago is the world capitol of the blues, and the city also played a major role in the rise of jazz as an art form. This poem has jazz themes and rhythms in its very bones. Its frequent use of alliteration has a percussive effect, like crashing symbols or the twang of a double bass. The pool players seem to know something about the deep jazz culture. Line 5: This poem has a lot of alliteration, and â€Å"sing sin† is one example. Line 7: â€Å"Jazz June.† You guessed it: alliteration. Pool Players Symbol Analysis Brooks has said she was intrigued by the mix of rebelliousness and insecurity she perceived in the boys she saw playing pool. They want to be noticed, but they also want to seem like they don’t give a darn either way. The repeated use of the word â€Å"We† reinforces their group identity, which could be interpreted as solidarity in the face of great social obstacles. Subtitle: â€Å"POOL PLAYERS† is the first example of alliteration in the poem. Lines 1-7: The word â€Å"We† is repeated at the end of these lines to create enjambment, or  a part of a sentence that carries over the line break. http://www.shmoop.com/we-real-cool/symbolism-imagery.html http://voices.yahoo.com/analysis-gwendolyn-brooks-poem-we-real-cool-5059520.html Gwendolyn Brooks’ poem â€Å"We Real Cool† sums up the reality that many youths faced if they chose to leave school. This poem was written in 1959, which was in the midst of the Civil Rights Movement. In the case of Brown v. Board of Education, in 1954, the Supreme Court ruled that it was unconstitutional to segregate schools; however, desegregation was slow and many African Americans became frustrated. Segregation caused more than just separation, it caused many youths to question their roles in society; if you are told enough times that you don’t belong, that you are different (in a bad way), or that you are less than others, then you will eventually start to believe it. Many youths gave up on the idea of having a future, because they were told that they had no future; so why try. The boys in the poem seem to be struggling with identity. The poem opens with the scene of seven boys at a pool hall named the Golden Shovel. Seven is a number that is typically associated with being lucky. The seven pool players can also be seen to represent a small gang, and they need luck on their side, in order to survive their various financial and risky endeavors. The name of the pool hall, the Golden Shovel, signifies the short life expectancy of those who choose a life of crime over education. The golden part of the title implies that these pool players are young; they should be in school instead of in a pool hall. The shovel is an image that is commonly associated with graves. Therefore, the significance of the name of the pool hall is that the pool players who hang out there are digging their own graves by conducting illegal business. The pool players have an air of mystery around them that makes them seem cool. They seem exciting, because they aren’t doing what they are supposed to be doing; they aren’t playing it s afe. In the second stanza, the narrator, who appears to be one of the pool players, says that they are cool because they left school. They are sabotaging themselves by not going to school and living up to their potential. These boys are in fact not cool. The monosyllabic diction of the poem promotes the idea that these boys are uneducated. Brooks has said that â€Å"the WEs in â€Å"We Real Cool† are tiny, wispy, weakly argumentative â€Å"Kilroy-is-here† announcements