Free topic Research Paper Example | Topics and Well Written Essays - 1750 words

Free topic - Research Paper Example According to Ferraro and Andreatta, systems of arranged marriages assist to maintain the caste system, while the fathers have a role to marry off their daughters before puberty (214). The variation of social ranks affects the stability and formation of long lasting relationships intended between the betrothed couple. Even though the couple may identify each other early enough, the social status matters and has to be considered by the brides’ family. Most women in the Indian modern society are trying to change the tradition, by involving their free choice of marriage partners based on educational influence. Despite the education level, there has been little effort made in relation to reducing early marriages after increasing education (â€Å"Dommaraju,† cairn.info). The Mahabharata teaching from Yayati story, expresses how Yayati had declined to marry Davayani, since he knew they both belonged to different ranks. Yayati found it unworthy for him to marry a high rank woma n from a Brahmin royalty. The cultural approval of men in the Indian society relates with how Yayati waited for Devayani’s father’s blessing to his marriage. ... According to Thurston, southern Indians superstitions that involve a quivering feeling in the right arm are meant to symbolize a marriage union, with a beautiful lady as some good luck (Gutenberg.org). In the event of a throb or shake of a body part, such an occurrence is identified with a happening and the individuals should be careful to know the next step to take if it was a bad or good sign. This is a body language among the people of India that has been passed from down to the modern generation. Divayani was pulled from the well by the right hand of Yayati, which may have caused a shake on her body. Indian men have to be keen when using their right hands, to avoid extending a burden of marriage on their part. While it may happen, some men and women may feel lucky for having identified a woman of their life based on their traditional cultures. You will find that there is limited shaking of hands in formal and informal gatherings at a public domain, between men and women, even if they are married (Bisht 181). This is probably one of the reasons for young individuals’ disengagement within young individuals, besides an act of showing respect. On the contrary, (Bisht 181) mentions that members of the same sex, like male to male would be free to express their friendship even if it meant walking arm in arm. Women as tempting beings: for a long time the women in the Indian society are considered to be immoral beings, with an ability to seduce men into immoral conduct that the society disassociates from. Women are therefore married at an early age so as to prevent them from engaging into dissolute behaviors. Following Ferraro and Andreatta’s statement, women in Hindu society have for centuries been viewed as lustful beings, who would do any thing to tempt

Touching Spirit Bear Essay Example for Free

Touching Spirit Bear Essay In the novel Touching Spirit Bear by Ben Mikaelsen he discuses the idea of morals. As the reader reads the novel it is filled with many important lessons from many perspectives. Understanding that all these lessons made Cole a better person. The most important lessons learnt from the book are life is what you make it, forgiveness, and that people can change. The lesson â€Å"life is what you make it† was a big part of the novel. But also this lesson was reflective. When Edwin asked Cole to go to the freezing pond, he gave him a stick and says that the right end of the stick represented happiness while the left end represented anger. Cole broke the anger side of the stick, until he recognized that everytime he broke off the angry side it appeared again. Edwin teaches Cole that anger could not be completely destroyed. â€Å"Yes, was a big deal. It was a party. It was a feast. It was a sharing and a celebration. All because that is what I made it. Yours was simply food because that is all you chose for it to be. All of life is a hot dog. Make of it what you will. I suggest you make your time here on the island a celebration. † (Pg. 166) The hotdog also represented that life is what you make it. Cole made his hotdog just a plain hotdog. While Garvey on the other hand made his hotdog with great care. Garvey’s hotdog was a celebration because that’s is what he intended it to be. Cole made his hotdog just a plain hotdog and it did just that. The sky also symbolizes this lesson. Cole had the decision to look at the clouds or the sun. If Cole had looked at the clouds he would think the weather would be cloudy. If Cole had looked at the sun it would seem as if it was sunny outside. If we were to look at life as a horrible and dreadful place that’s how life is going to be, because that is how we made it. If looking at life as a joyful, beautiful place that’s how life is going to be lived. It will be lived like a celebration! Celebrating every moment of life and living everyday to the fullest. Throughout the novel, Cole is challenged to forgive and to earn forgiveness. Cole had to be willing to forgive himself and those who had hurt him. A lot of forgiving had to be done before Cole could fully heal. First, he was to forgive himself. â€Å"You’ll dance that dance when you’re ready. † (Pg. 184) Garvey said to Cole associating to the dance of anger. For most of the novel Cole was full of so much anger, but by dancing the dance of anger, he let go of some of his emotions and forgiving those who had hurt him. After Cole’s infusion of rage of anger Cole was not as angry as before, he will always know that anger was inside of him but he had the choices to let go and forgive those who had hurt him. He was then ready to move on. Cole could not fully move on without Peter’s forgiveness. Next, Cole needed to help Peter. Cole was truly sorry for what he had done but needed to prove that to Peter and his family. He needed to show Peter that he trusted him, and he wanted to see if Peter could trust him. So before he started his healing, Cole asked to bring Peter to the island to give him a new start. He wanted Peter to get the second chance at life just like Cole had gotten a second chance in the circle justice. This lesson is very important to the book. It teaches that forgiveness is the start to moving on. It shows us that Cole got a second chance by forgiving and receiving forgiveness. Cole experiences extreme anger throughout the novel. He was even known and portrayed as a very angry person. As Cole gets to understand the idea of forgiveness and the beauty of life he changed to become a better and a peaceful person. There are no bad people in the world just people who make bad choices. Cole made several mistakes in his life but has learnt from them and is going through taking dips in the freezing pond, rolling the ancestor rock to get rid of his anger so he would not make the mistakes of anger taking over him again. The Cole first sent to the island was feeling consumed by anger, bitterness, and the feeling to unwillingness to change. While the Cole at the end on the novel is a normal boy that is trying control his anger problems and trying to earn forgiveness from others. After Cole had changed he seemed to think that the island could change anyone. Cole thinks to himself that he has really changed. â€Å"He felt like a new and a different person. † (Pg. 198) That’s why he wanted to bring Peter, the boy who had tried to commit suicide twice after Cole had beaten him up to the island to see if he can change on the island and have another chance at life, like Cole had received. At the end, both Peter and Cole changed spiritually and mentally. The lesson â€Å"People can change† is an important lesson from the book because even Cole the juvenile delinquent had changed into a normal teenage boy controlling his anger. The most important lesson that Cole learnt was that life is what we make it, to forgive and to earn forgiveness, and that anyone can change. Cole always had the options to live life happily but he never knew how to start. But as he learned from the lessons taught to him by many perspectives, he now knows how to start living life without the anger taking over him, he knows how to control his anger. Cole is now more knowledgeable looking at the right end of the stick, centering his life on the sun not the clouds, and making his life a celebration.

Liking your job :: essays research papers

Persuasive Essay How many of you think about what you want to be when you grow up? How many see themselves as an upper class citizen in a couple of years? Are you attracted to a particular career because of the money or the adventure? All of these are questions most of us are being faced with at this point in our lives. We have to ask ourselves, would we rather have a job that we love regardless of the money, or would we rather make a ton of money but hate what we do? My future job is going to be something that I love, something with adventure. I have been thinking about becoming a FBI agent. Mostly everything I have heard about the FBI has been interesting. Besides the grueling and arduous process of becoming an agent, the idea of knowing things and being involved with things that the normal person doesn’t have a clue about. Of course there are the basic downfalls, but if I love doing my job I will deal with them. A good example of my theory is my mother, who is a preschool teacher. She doesn’t make much money, compared to a doctor or lawyer, but she is very happy with her job. Her students love her, and to most of them she is their guardian. Her students are with her for most of the day. Often times the whole day. She accepts the responsibility of basically raising the kids in her class. Her job can be very rewarding, from seeing a child move on to kindergarten, to teaching a kid to tie his or her shoe. People have to go to work five days a week. For the most part, your job is your life. If you have a job that you dread going to every morning, sooner or later it will catch up with you and force you to make a career change. Although a huge

Ryanair’s Management and Creativity

1. In the book â€Å"Management and Creativity† (Bilton, 2007), Wilson and Cummings define strategy as two distinctive approaches; strategy as position and strategy as process. The former, also referred to as strategy as orientation, takes a more top-down approach and is concentrated around a single leader. It attempts to establish a strategic position that will serve as a basis for differentiation, which is commonly seen as original and innovative. However, a successful implementation of the strategy often requires high monitoring and a hierarchal structure. Thus, the process itself is quite uncreative and there is little room for changes and innovation after the strategy has been established. The leader plays an important role in this strategic approach by setting vision and directing employees, and he or she is often strongly associated with the organization. Ryanair’s CEO Michael O’Leary is a great example of a leader within an orientation strategy organization. The other approach outlined by Wilson and Cummings is strategy as animation. This adhocracy style is commonly adapted by creative organizations and the strategy is more of an evolving process than a fixed strategic position. It is built upon small, continuous changes that emerge incrementally within the organization. In difference from orientation, adhocracy takes a bottom-up approach and the strategy is developed through a collective activity. The leaders role is not to govern and direct, but to set frames, and recognize and build upon meaningful patterns. Shared goals and values hold the company together and serve as the glue in the organization. The animation film studio Pixar serves as a great example of the adhocracy approach. Their process-oriented strategy and bottom-up approach has helped to nurture creativity and build a culture where everyone’s ideas matters and all employees are urged to speak their minds. Thus, creativity is seen as something that evolves through systems and networks, and not something that is isolated to a single leader. Posthocracy is a type of non-strategy. The style is often adapted by organizations that are subject to a lot of uncertainty and changes in their environment. The unpredictability of the future makes it difficult for the organizations to establish a strategy beforehand and decisions are often rationalized after they have been made. This approach is based on ego, emotions and personality. 1. 1 It can be argued that Michael O’Leary follows a strategy as orientation approach. The low-cost strategy has come to define Ryanair and is deeply enrooted in the company. The attempt to reduce prices at all costs set the strategic direction. As in most orientation strategies, the company takes a top-down approach and the creativity is concentrated to the leader; the CEO Michael O’Leary. His controversial ideas are often seen as both new and revolutionary and he continuously finds the most radical ways to reduce prices. Still, the organization itself is highly monitored and controlled as to successfully keep costs down in every part of the value chain. Furthermore, as commonly seen in these types of strategy tendencies, Michael O’Leary is strongly associated with the company. As described in the article, â€Å"O’Leary chose to embody the role of a cheap, no-nonsense, slightly unpleasant Everyman, which he would exploit to sell a cheap, slightly unpleasant flying experience to the Everyman. Arguably, M. O’Leary is Ryanair. 2. According to current popular theories creativity is concerned with novelty and individualism. For an idea to be considered novel, it should provide something new or a new combination of elements. The individualism concerns the originator of the idea who is seen as a â€Å"brain† who needs space and loose control to be able to flourish. The psychological theory modifies this idea by taking away the component of individualism and adding the idea of value and meaning. For an idea to be creative, the innovation also needs to be valuable and give meaning. Merely innovation is not enough. Both the concept of innovation and the one of value is context dependent; to whom is the idea novel and to whom will it give meaning and value? According to Margaret Boden, novelty can be defined as new to the individual, H-creativity, or new to the world, P-creativity. A novel idea should be able to fit into one of these two. For an idea to give value and meaning it has to be â€Å"fit for purpose† and there will be different criterions for different situations. In a business context, a creative idea could be valuable if it improves the return on investment or if it fits with the times. In another context, a panel of experts might decide if the innovation is valuable or not. An idea might also be defined as valuable if it has a specific intention. 2. 1 Ryanair has a low-cost strategy with the vision to be â€Å"quick, efficient, affordable and safe†. Michael O'Leary is a visionary leader with â€Å"nutty† ideas that are considered radical by the rest of the airline industry. O'Leary says that in the airline business, organizations need to have a radical point of view otherwise everything will stay the same. However, new ideas should be in line with the low cost strategy of the company. Could the Ryanair idea of removing the pockets on the back of the seats be considered creative? It decreased Ryanair’s cleaning time and thereby also the turn-around time at the airport and increased the punctuality. The idea was a new combination of elements and was new to the airline industry. It could therefore be argued to be novel. The idea was valuable for customers as it fulfilled the criterion of fitness to times: customers are more time-sensitive today and therefore values on-time flights. O'Leary argued that it is also valuable for the customers as they are price-sensitive, they do not want to have a pleasant experience; they just want to be transported from A to B. For Ryanair, the idea is valuable as it decreases costs and improves the company's return on investment. At Ryanair, the organizational style of change is incremental: the company is continuously improving and developing itself. One distinguishing feature of this style is that change is happening even though the company is not in a maturity state or crisis of their life cycle. This is apparent as the company has presented net profits in 9 out of 10 recent years. The changes at Ryanair might look as radical to the rest of the airline industry, but it is in line with today's price-sensitive society. O'Leary is boundary tweaking; he is not thinking entirely outside the box but merely â€Å"modifying the edges of the core business†. It can be questioned if Ryanair sometimes make change just for change's sake. There is an impression that O'Leary might implement changes (or propose them) just to provoke the industry. And is cheaper always more valuable? Do customer's still value cheap tickets if they have to stand up or pay for the toilet?

Broadway Theatre – a History

Broadway Theater Broadway is the longest street in New York, starting in downtown Manhattan, and running through town, crossing the Broadway Bridge, and continues to Bronx (Greiner, visit- new-york-city. com) Then why when people hear this street name, do they think of theater? That’s because this street, commonly referred to as the â€Å"Great White Way†, has 36 theaters. These 36 theaters, along with 4 other, make up what is called the Theatre District. Broadway history dates back to the late 1600's, when a coffee house called ‘The King's Arms' opened in 1696 on Broadway.Some scholars think this may have held Manhattan's earliest theatrical performances (Kenrick, J, musicals101. com). However, it isn't until December 6, 1732, when the first professional performance of a specific play is recorded in New York City. The play was â€Å"The Recruiting Officer†, and was performed by a group of actors from London, in an empty building near Maiden Lane and Pearl Street. Performances continued in this unnamed place through the end of the decade. For it wasn't until 1750, when New York had around ten thousand citizens, that it received its first formal theater (Kenrick, J, musicals101. om). However, the theater was still not on Broadway, but slightly east on Nassau Street, which gave it the name â€Å"Theatre on Nassau Street. † This theater was a wooden, two story structure that could only hold about 280 people. Walter Murray and Thomas Kean presented Shakespeare’s â€Å"Richard III† on March 5, 1750. They also presented the first documented musical in New York, which was John Gay's â€Å"The Beggars Opera†, on December 3, 1750. Historians don't know much about the Theater on Nassau Street, which results in mostly guesswork. In her book â€Å"Theater In American†, Mary C.Henderson said, â€Å"May have been either a warehouse or a brewery (or both). . . probably fitted up with a stage at one end, benches in front of it, and a raised gallery at the rear for common folk. Murray and Kean made a significant addition to their New York playhouse – they added boxes along the side walls, not only to increase the seating (a sign that they attained a moderate success) but also to provide a special place for the elite of the city. † (Henderson, 237). Unfortunately, the theater was later sold and turned into storage space, and then was eventually torn down in 1754 to make way for a church (Kenrick, musicals101. om). In 1798 the city's first world-class theater was built (Kenrick, musicals101. com). The â€Å"Park Theatre† could hold 2,000 people, had a spacious bench-filled pit, four tiers of private boxes, and a top gallery. Lewis A Erenber talks about the Park theatre in his book â€Å"Steppin' Out† saying, â€Å"All kinds of performances were housed under one roof, so that audiences in the 1830s might see drama, circus, opera and dance on the same bill. New York's P ark Theater, despite a reputation as an elite house, had a relatively large room that permitted the masses to govern the stage.Each class had its own part of the theatre, but all attended – mechanics in the pit, upper classes and women in the boxes, and prostitutes, lower class men, and blacks in the balcony. The rowdy audiences often yelled, stamped, drank and smoked during the performance. † (Erenberg, 15). Admission for the theater was 50 cents for the pit, 25 cents for the gallery, and a full dollar for the boxes (Kenrick, musicals101. com). The behavior of the rowdy audience was often drowned out by the action on stage, though showers of nuts and fruits from the balcony were common.Prostitutes often conducted business in the balcony, which led to much belief by the church that theatres were â€Å"foyers of hell†. One of the next theaters to open, was the ‘Bowery Theatre' in 1826 (Kenrick, musicals101. com). It aimed at the upper class at first, but whe n new management took over, decided to cater to the working class, by more action packed plays. According the Broadway League, it â€Å"Presented varied popular fare through the years, including spectacle, variety, melodrama, Italian vaudeville (c. 1915), and Chinese theatre (1920s).Burned down (and rebuilt) five times: 1828, 1836, 1838, 1845, and 1923–until a June 5, 1929 fire closed the theatre for good. † (Broadway League, ibdb. com) On the other side of the spectrum, for the upper class, The ‘Astor Place Opera House' was built in 1847, by wealthy New Yorkers, with the sole purpose of bringing Italian opera to the city (Broadway League, ibdb. com). These two theaters are commonly remembered for the Astor Place Riot, when in the spring of 1849, they were both performing the production of Macbeth.American ‘Edwin Forest' was directing the play along the middle and lower classes at the Bowery, while British ‘William Macready' appealed to the upper clas s at the Astor Place Opera House. As one source states, â€Å"A volatile combination of press ballyhoo and widespread anti- British sentiment incited a claque of Forrest's fans to disrupt a few of Macready's performances. † (Kenrick, musicals101. com). On the night of May 10, 1849 while the mainly upper class audience was enjoying their performance of Macbeth at the Astor Place Opera House, a mob of twenty thousand lower and working class men broke into a full-scale riot.When the violence got out of control, the police fired their guns directly into the crowd, killing at least twenty-two, while wounding more than 150 (Kenrick, musicals101. com). Robert W. Snyder says in the Encyclopedia of New York City that, â€Å"After the Astor Place Riot of 1849 entertainment in New York City was divided along class lines: opera was chiefly for the upper middle and upper classes, minstrel shows and melodramas for the middle class, variety shows in concert saloons for men of the working c lass and the slumming middle class. (Jackson, 1226).While there will always be fighting between the classes, it never again was centered around a theatrical event. As New York City grew in population, more ways of entertainment were on the rise. Laura Keene became one of the first nationally recognized actress managers of the American Stage (Kenrick, Musicals101. com). She produced and starred in many comedies and musicals at 622 Broadway. She set Broadways first â€Å"long-run† record with a 50 performance hit called ‘The Elves' in 1857, and continued to astound everyone with her musical ‘Seven Sisters' in 1860, which had 253 performances.With the Civil War going on during this time (1861-1865), this vastly expanded and upgraded railroads, which made it much more easier and affordable for the theatrical productions to tour. It was during one of these tours, when Laura Keene's troupe came to Ford's Theater in Washington, DC for the Spring of 1865, that President A braham Lincoln was assassinated while attending the performance of â€Å"Our American Cousin† on April 14. Even though Keene had no control over Lincoln's assignation, her name because so linked to the tragedy, that it soon forced her into retirement.Charles Hoyt's â€Å"A Trip to Chinatown (1891) became Broadway's long-run champion, with 657 performances (Kenrick, Musicals101. com). A â€Å"Trip to Coontown† was performed in 1898, and was the first musical comedy entirely produced and performed by African Americans in a Broadway theatre. In 1894, â€Å"The Passing Show† was the first Broadway revue. However, it received little attention, and revues would not really catch in popularity until Floren Ziegfeld introduced his Follies in 1907. (Zenrick, musicals101. om) Hundreds of musical comedies were staged on Broadway in the 1890s and early 1900s, but New York Runs continued to be relatively short, in comparison to London runs. In 1910, smaller off-Broadway thea tre groups really took up. They would setup shop in smaller downtown venues, with the purpose of promoting experiments works, with people who may not make it to the city to see them. Some of the first groups were â€Å"The Washington   Square Players (later renamed the Theatre Guild), The Provincetown Players, and The Neighborhood Playhouse† (Zenrick, Musicals101. om). Most of the first off-Broadway performances were â€Å"Socially challenging dramas (Zenrick, musicals101. com)†, for it wasn't until later when musicals became a part of the off-Broadway scene. Since gaslight was not strong enough to be used with colored filters, theatre district advertising was dull through the 1890's. The first animated electric billboard appeared in Times Square in 1903, with Victor Herbert's musical â€Å"The Red Mill†, installing a sign with carbon lights that imitated the revolving arms of a windmill.This sign used electric light, which was far brighter, and made advertisi ng much easier. Soon, every Broadway show had some sort of electric sign, but since colored bulbs burned out too quickly, at first white lights were standard. This is where Broadway gets it's name â€Å"The Great White Way†, because the largest of these eletric billboards, oftenly called spectaculars, were actually stopping traffic with the night glow that they gave off. (Zenrick, musicals101. com) In 1927, neon lighting was introduced, which helped elongate shapes and bright colors.Broadway's business peaked in the 1927-1928 season, as more ten 70 legitimate theatres housed over 250 shows, but then later dropped tremendously in the 1930's in the depression, some Broadway productions even had to file for bankruptcy, such as Lee Shuberts productions (Zenrick, musicals101. com). Though eventually, World War II booseted the American economy, and many great musicals appeared in the 1940's, such as â€Å"Oklahoma†. Off-Broadway also increased, in small downtown theatres in Greenwich Village, and the Lower East Side that had been home to experimental theatre since the 1920's.Such shows such as â€Å"The Fantasticks† opened in 1960, â€Å"Godspell† (1971), â€Å"Little Shop of Horrors† (1982) â€Å"Nunsense† (1985) were born off-Broadway, and were very successful (Zenrick, musicals101. com)   During this time, marked the beginning of the â€Å"Theatre Wing’s Tony Award†. This award is theatre’s most prestigious and coveted prize, designed to celebrate excellence in theatre (Tony Awards, tonyawards. com) The 1980's Broadway was took over by imported â€Å"Mega-Musicals† (Cats, Les Miserables), and the 1990's saw the rise of big corporations   such as Disney (Beauty and the Beast, Lion King).These hits brought more people to Times Square, showing that the district had fresh commercial potential. Big, new, hotels were built, and a series of corporations (MTV, ABC, etc) were now present in the neig hborhood. (Zenrick, musicals101. com). For the book, â€Å"New York, An Illustrated History† states, â€Å"By the late 1990s, a new Times Square had emerged – cleaner, better lit, and more wholesome than it had been in half a century, and busier and more profitable than it had been in decades. Each night as the sun went down, the district was transformed into a glowing, shimmering diaphanous dish of light. (Burns, Sanders, & Ades, 554). Unfortunately, As theatrical productions got more technologically advanced, and theatrical production costs continued to rise, so did the price of tickets. Orchestra seats that once went for $8 in 1965, were $45 in 1985, and up to $100 in 2001, which is a much higher rise than the overall price of living (Zenrick, musicals101. com) Modern day Broadway shows that can very expensive. The production of the play â€Å"Wicked†, which is currently in its seventh year on Broadway, has grossed nearly $1. billion dollars, and has been se en by nearly 23 million people worldwide (Wicked Facts, newsobserver. com). â€Å"The Phantom of the Opera† is another Broadway play that has seen phenomenal success in its run. The show has received 7 Tony Awards, and been see by more then 10 million people. It has been on Broadway for over 17 years, making it the most successful production in the history of Broadway. In conclusion, New York's theatre district is once again a prime tourist attraction, and the theatrical productions remain a huge factor in the city's financial well-being.According to the League of Theatre Owners and Producers, Broadway shows currently sell one and a half billion dollars worth of tickets annually (Zenrick, musicals101. com). Broadway Theater is a staple in live entertainment, and something that is amazing to be able to see. Works Cited Kenrick, John. â€Å"Theatre in New York: A Brief History. † Musicals101. com – The Cyber Encyclopedia of Musicals. N. p. , n. d. Web. 14 June 201 0. . Henderson, Mary C.. Theater in America: 200 Years of Plays, Players, and Productions. First Edition ed.New York: Harry N Abrams, 1991. Print. Erenberg, Lewis A.. Steppin' Out: New York Nightlife and the Transformation of American Culture. Chicago: University Of Chicago Press, 1984. Print. â€Å"IBDB: The official source for Broadway Information. † IBDB: The official source for Broadway Information. N. p. , n. d. Web. 14 June 2010. . Jackson, Kenneth T. (Edited). The Encyclopedia of New York City. New Haven: Yale University Press, 1955. Print. Ades, Lisa, Ric Burns, and James Sanders. New York: An Illustrated History. Exp Sub ed. New York: Knopf, 2003. Print.Greiner, Julie. â€Å"A Brief Early History of Broadway Plays. † A Brief Early History of Broadway Plays. N. p. , n. d. Web. 14 June 2010.

The eNotes Blog Top Ten Pick-Up Lines inLiterature

Top Ten Pick-Up Lines inLiterature For the Power of Words, I give you Exhibit A: Arthur Miller (Death of a Salesman, The Crucible)  and Marilyn Monroe. As Exhibit B: Salman Rushdie (The Satanic Verses, Midnights Children)  Ã‚  and  Padma Lakshmi. I could go on. Here are ten great lines from literature that just might help you get lucky, too.   1.   Ã¢â‚¬Å"The only way to get rid of a temptation is to yield to it. From  The Picture of Dorian Gray  by Oscar Wilde 2.   Ã¢â‚¬Å"What holds the world together, as I have learned from bitter experience, is sexual intercourse.†   From  Tropic of Cancer  by Henry Miller 3.   Ã¢â‚¬Å"I used to think marriage was a plate-glass window just begging for a brick.†   From  Written on the Body  by Jeanette Winterson 4.   Ã¢â‚¬Å"I seemed like a baby bird keeping its truly innocent animal lusts hidden under its wing. I was being tempted, not by the desire of possession, but simply by unadorned temptation itself.†   From  Confessions of a Mask  by Yuko Mishima (yep, thats really him) 5.   Ã¢â‚¬Å"If you ask me what I want, I’ll tell you. I want everything.† From  Pussy, King of the Pirates  by Kathy Acker 6.   Ã¢â‚¬Å"The first breath of adultery is the freest.† -From Couples  by John Updike 7.   Ã¢â‚¬Å"Stuff me in a tutu and let’s screen experimental videos all day.†   From  The Ask  by Sam Lipstye 8.   Ã¢â‚¬Å"He was now in that state of fire that she loved. She wanted to be burnt.†   From  Delta of Venus  by Anais Nin 9.   Ã¢â‚¬Å"I want to do with you what spring does with the cherry trees.†   From  Twenty Love Poems and a Song of Despair  by Pablo Neruda 10.   Ã¢â‚¬Å"A little she strove, and much repented, /  And whispering, ‘I will ne’er consent’ - consented.†   From  Don Juan  by Lord Byron

Indian Law and Karma essays

Indian Law and Karma essays Indian society operates under two very different systems of law, one ancient, cyclical and metaphysical in nature, and the other modern, statutory, and civil, being grounded in the tradition of English common law as established during the imperial period of the Raj. The one system has jurisdiction over eternal matters of life, death and rebirth, and over social status and obligation in the sphere of earthly existence. The other, Western-based system is familiar to us through the institutions of a local, state and federal judiciary, presided over by a high court that dispenses justice according to the laws and proceedings of a formal, independent and constitutional system. India's independent judicial system originated under the British imperial regime, and today its concepts and procedures resemble those of Anglo-American countries also grounded in common law.(Lingat, 1973) India's chaotic legal system is, however, something of an impediment to the country's economic and political unity. Derived variously from the constitution, statutes, customary law and case law, it is largely based on English law as it existed under British colonial rule. While U.S. or U.K. law have been revised several times since World War II, India's has not been overhauled once. While certain areas have been adapted and modernized, the body of law as a whole is arcane and outdated, confused by updates and revisions, and circumnavigated with regulations and bureaucracy. Indian courts have jurisdiction over most economic and political transactions, regardless of their nature. At the apex of the entire judicial system is the Supreme Court of India in New Delhi. It has original, appellate and advisory jurisdiction and is empowered to issue directions, orders or writs, and to enforce them. Supreme Court judges are appointed by the president of India and remain in office until the age of 65. At the next level is the High Court, of which there is one in each stat...