Imperialism in Africa - 2182 Words

Explain what is meant by the term imperialism. Discuss the causes of imperialism in the 1800s. Kamar Findlay ID# 092165839 Mico University College Imperialism in Africa Mrs. Pitter October 29, 2011 Imperialism is the creation and or maintenance of an unequal economic, cultural, and territorial relationship, usually between states and often in the form of an empire, based on domination and subordination (Johnston, 2000.p.375). In its simplest form Farah and Karls (2001) describes imperialism as one country’s domination of the political, economical and social life of another country. The Europeans imperialism during the 1800s occurs out of the advantages of strong economies, well organized governments and powerful armies and navies.†¦show more content†¦Nationalism in the extreme promotes the idea of national superiority. Industrialized countries therefore felt they had the right to take control of weaker areas. Countries also tried to increase their power through the control of more land and people. In the 1800s Europe underwent a renewed period of imperialism which was very sophisticated in its nature. Much emphasis was placed on gaining or controlling a colony. The resources and wealth gain from the colony was used to finance war and the army as well as the economy. The stronger a European military gets the more power full that country become in Europe and as such gaining the wealth from a colony could either break or build the power and prestige of a nation. When France for example, moved into West Africa, rival nations such as Britain and Germany seized lands nearby to halt further French expansion. In essence the Europeans taught of the colonies as a source of security. So strong and sophisticated was the sentiment of nationalism that it set of what was known as a ‘Scramble for Africa. West Africa was already known to the European but the interior was untouched. The Belgian king Leopold the second occupies and carry profitable economic activities in the Congo (South Central Africa). Before long Britain, France, Germany and Italy were all lock in a tussle, pressing rivals claim to the region. According to Bickers and HenriotShow MoreRelatedImperialism in South Africa1078 Words   |  5 PagesDuring Imperialistic times South Africa was a region of great resources that was greatly disputed over (Ellis). Europe’s main goal during these times was to compete against each other and played a â€Å"game† of which country can imperialize more African countries than the other. Imperialism was a curse to South Africa, because many wars, laws, and deaths were not necessary and would not have happened if South Africa were not imperialized. Imperialism is the domination by one country of political, economicRead MoreImperialism and South Africa1440 Words   |  6 PagesImperialism’s Effect on South Africa Imperialism was a movement that affected all parts of the world, beginning as early as the 19th century. Wealthy and established nations would annex and take control of underdeveloped nations and civilize them. This may sound good in theory, but Imperialism seemed to take advantage of the so-called â€Å"inferior† nations more than truly help them. The economic superpowers seized the land of the territories they thought to be subordinate, using it as trading depotsRead MoreImperialism in Africa Essay620 Words   |  3 PagesMelissa B5 Imperialism in Africa In the late 1800’s Europeans took over Africa, took their resources,enslaving the Africans, and changed the course of history. The Europeans took over Africa, which is called The Scramble For Africa, in 1884-1914. The Europeans took over because Africa was rich in raw materials, they wanted power, and they thought their culture was superior. The driving force behind imperialism was need for resources, political competition, and technological advances. One drivingRead More Imperialism in Africa Essay953 Words   |  4 PagesImperialism in Africa Imperialism is defined as one country’s domination of the political, economic, and social life of another country. In Africa in the nineteenth and twentieth centuries, imperialism was present and growing. The main countries involved in the imperialism in Africa were the French, German, and Great Britain. The French’s empire was mainly in North and West Africa while Britain’s colonies were scattered throughout the continent. Germany ruled over such countries as TanganyikaRead MoreImperialism In South Africa Essay1299 Words   |  6 Pagesfor Lebanon, â€Å"So long as there is imperialism in the world, a permanent peace is impossible†. Throughout history the countries that have experienced imperialism from other countries have seen how it brings only conflicts and not peace. Africa has been one of the largest places to experience imperialism. Imperialism has affected Africa in many ways for a long time. However, one specific example of how imperialism broug ht anguish to people is the country of South Africa. An abundance of resources, butRead MoreEuropean Imperialism in Africa Essays1457 Words   |  6 PagesImperialism By the late 19th and early 20th century, Europe was expanding its borders. In an attempt to grow its economy and culture, Europe’s superpowers began to search for new soil. Africa was an easy target; it wasn’t politically secure and it wasn’t modernized. In addition, it had reliable soil which would enable Europe to produce cash crops. European nations began to pour into Africa, called the Scramble for Africa. Soon, Europe took control of Africa, taking raw materials and destroyed AfricanRead More Colonialism and Imperialism in Africa Essay1158 Words   |  5 PagesDisease and Imperialism in Africa      Ã‚  Ã‚   Diseases were prevalent in Africa during the time of European Imperialism. Disease affected both natives and European peoples in Africa. African diseases affected both natives and European explorers and soldiers as well as diseases brought by the Europeans that affected the Africans.      Ã‚  Ã‚   Numerouks diseases impadcted the Europeans in Africa during the time of Imperialism.   During the time of Imperialism many explorers and soldiers died of diseaseRead MoreEuropean Imperialism in Africa Essays1518 Words   |  7 Pagescontrol of regions in Africa and set up colonies there. In the beginning, colonization caused the Africans little harm, but before long, the Europeans started to take complete control of wherever they went. The Europeans used their advanced knowledge and technology to easily maneuver through the vast African landscape and used advanced weapons to take control of the African people and their land. The countries that claimed the most land and had the most significant effect on Africa were France, EnglandRead MoreMotives for British Imperialism in Africa5664 Words   |  23 PagesMotives for British Imperialism in Africa Before the Europeans began the New Imperialism in Africa, very little was known about the inner parts of the continent. However, after some explorers delved deeper into the heart of Africa, the Europeans soon realized how economically important this area was, and how much they could profit from it. At the time, Britain had only small occupations of land in Africa, but after they realized that they could make money from the rich resources from the inner regionsRead MoreAfrican Imperialism And Its Effects On Africa1954 Words   |  8 PagesAfrica became known as the â€Å"dark continent† through the Europeans eyes. Not only from the skin color of its inhabitants but also from the vast lands still undiscovered. Due to the Europeans’ view that Africa had a backward sense, they believed it was their responsibility to help. Conflict arose from the creation of a new society resulting in ethnic feuds and imperialism. European imperialistic powers subjugated Africa to strengthe n their own economy. Africa’s rich supply of resources such as a large

What Do You Do Plato s Advice - 1525 Words

Imagine you are forced to make a decision between the love of your life or your family’s expectations that have shaped you as you grew. What do you do? Plato’s advice is too simply: â€Å"Know oneself† However, how can one possibly know oneself, if so much of that one is defined from their family? My great great grandmother Elizabeth Cecelia Hughley Gallagher was forced to make the exact decision, and she faced the decision with courage and self-resilience in herself. Although ancestry has a long history and a history of trials and resilience in their trials, my great grandmother Elizabeth Cecelia Gallagher had obvious struggles that are relatable to today including, the struggle in having courage to stand for oneself or settling for family†¦show more content†¦The clan settled in Willington Delaware, and Elizabeth was baptized on August 20, 1876 in St. Peter’s church. The Hughley’s were always very religious and firmly believed in traditio n. As a child Elizabeth went to school and grew up in a very catholic household. Elizabeth was provided with guidance and helped her to create dreams for her future. Family expectations is something every functioning family possess, in general they are looked at as helpful for shaping a child. As a child you need guidance, and without guidance you would grow up without any guidelines causing confusing at a young age. The universal theme of expectations is well accepted and the universal theme that expectations could be considered as a hindrance in one’s life is universal as well. As Elizabeth neared adult hood and lived as an obedient child and faithful servant, Elizabeth would be faced with a decision that would change her life. Bernard Francis Gallagher was born in 1866 in Donegal Ireland and had moved into town, immigrating around 1886. Bernard was a charming, handsome, talented dancer, who had made Elizabeth fall head over heels for him. Every girl loves an accent and Ber nard’s sweet Irish tone was no exception. Bernard was a heaping ten years old than seventeen year old Elizabeth, but the two feel in love, and within a year decided to get married. However, Elizabeth’s parents who were strong Irish Catholics were incredibly upset when they discovered their baby was willing to

Yugoslavia Essay Research Paper One of the free essay sample

Yugoslavia Essay, Research Paper One of the youngest states of Europe, Yugoslavia was created after World War I as a fatherland for several different rival cultural groups. The state was put together largely from leftovers of the collapsed Ottoman Empire and Austria-Hungary. Demands for self-government by Slovenes, Croats, Serbs, and others were ignored. Yugoslavia therefore became an uneasy association of peoples conditioned by centuries of cultural and spiritual hates. World War II aggravated these competitions, but Communist absolutism after the war controlled them for 45 old ages. When the Communist system failed, the old competitions reasserted themselves ; and in the early 1990s the state was rent by secessionist motions and civil war. Within several old ages these struggles had drastically altered the size of the state. As it existed in 1990, Yugoslavia was bounded on the North by Austria and Hungary, on the nor-east by Romania, on the E by Bulgaria, on the South by Greece, and on the West by Albania, the Adriatic Sea, and Italy. We will write a custom essay sample on Yugoslavia Essay Research Paper One of the or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page It was 600 stat mis from north to south and 250 stat mis from West to east at its widest portion. Its entire country was 98,766 square stat mis. Three old ages subsequently the state s country had been reduced by 60 per centum and its population of 23 million cut by more than half. The states of Slovenia, Croatia, Macedonia, and Bosnia and Herzegovina had seceded, go forthing Serbia and Montenegro as the Federal Republic of Yugoslavia. The description below screens Yugoslavia, as it existed prior to decomposition. Yugoslavia has a cragged terrain. The northwesterly country consists of the Karawanken and Julian alps in Slovenia. The latter scope contains Mount Triglav at 9,396 pess. The Dinaric Alps occupy much of the West with extremums making more than 8,000 pess. To the south the Sar Mountains and next scopes belong to the Rhodope massif, which extends due south into Greece. The major country of flatland prevarications in the nor-east and is portion if the big Mid-Danube, or Pannonian, Plain. Along the shore of the Adriatic Sea is a little coastal field known as the Dalmatian seashore. The longest river in Yugoslovia is the Sava, which flows from the Austrian boundary line due east for 584 stat mis to fall in the Danube at Belgrade. The Danube flows for 367 stat mis through Croatia and Serbia. Its major feeders are the Sava, Drava, Tisa, and Morava. Other rivers are the Drina, Bosna, Neretva, and the Vardar. There are more than 200 lakes of which the largest is Lake Scutari on the Albanian boundary line. The cragged nature of the state causes considerable climatic differences from one topographic point to another. The Dalmatian seashore has a typical Mediterranean clime with hot, dry summers and mild, showery winters. The Mid-Danube Plain has a Continental clime with cold winters, hot summers, and moderate precipitation. The mountain parts have on the whole colder and shorter summers and more terrible winters compared with other parts. The major environment jeopardy in Yugoslovia is temblors. The whole part is capable to temblors of considerable badness, and in 1963 the metropolis of Skopje was about wholly destroyed by one. Yugoslavia has legion sedimentations of brown coal, or brown coal, exist, but there is small good-grade black coal. There are some little crude oil and natural gas field. The major beginning of energy is waterpower, which provides about one tierce of the state s electricity. Yugoslavia is a major European manufacturer of lead and Cu. Other minerals include Fe ore, Zn, Ag, gold, nickel, quicksilver, and Sb. About 37 per centum of the state is forest covered. The prevailing species are oak, beech, and other deciduous trees, with such evergreens as pine and fir in the mountains. The dirts of the Mid-Danube Plain are the best in the state for farming. Yugoslavia has a broad scope of animate beings, including cervid, foxes, wolves, Canis aureuss, bears, and seldom, lynxes. Birds include grouse, partridge, swans, turkey vultures, peckerwoods, and pelicans. The Adriatic Sea contains anchovies, pilchards, mackerel, tuna, and other fishes. The dwellers of Yugoslavia were of varied cultural beginnings. Harmonizing to the 1981 nose count the largest group was the Serbs, who numbered 8.1 million, or 36 per centum of the population. Like the bulk of Yugoslavs, they speak a Slavic linguistic communication. They belong to the Eastern Orthodox Church. The Croats totaled 4.4 million, 20 per centum of the population. They speak a linguistic communication similar to that of the Serbs but are Roman Catholics. The Slovenes totaled 1.8 million and lived in the northwesterly corner of the state. They have their ain Slavic linguistic communication and are Roman Catholics. Other Slavs include the Macedonians 1.3 million and the Montenegrins 600 1000. Both groups are Eastern Orthodox. There were about 2 million Muslims, descended from Slavs who converted to Islam during the long Turkish business. In 1991 the nose count showed a entire population of 23,475,887, with the cultural proportions staying about the same. A non-Slavic people, the Albanians, live in the southern portion of the state. They figure about 1.7 million and are the fastest-growing cultural group. Many are Muslims. There are smaller groups of Hungarians, Romanians, Bulgarians, Slovaks, Czechs, and others who live largely in the northeasterly state of Vojvodina. The largest metropolis is Belgrade, in Serbia, with about 1.6 million dwellers. Zagreb, in Croatia, is the 2nd largest, with over 930,000. Other metropoliss with more than 250,000 dwellers are Skopje, Sarajevo, Ljublijana, and Novi Sad. Yugoslav civilization has been influenced by the Slavs, Turks, Italians, and Austrians. In general the impact of the long Turkish business is seen in the nutrient, common people costumes, and architecture of many of the people. Modern Yugoslav art is best known for it sculpture. Ivan Metrovic achieved universe celebrity for his dramatic statues. He spent the ulterior old ages of his life in the United States and had a figure of talented followings, including Anton Augustin. Such contemporary painters as Mila Milunovic, Petar Dobrovic, and Milan Konjovic have been influenced by the Gallic school. The earliest Yugoslav literature was spiritual in nature. The first popular literature appeared in medieval Serbia, chiefly in the signifier of heroic poem verse forms depicting the battle of the Serbs against the Turks. These verse forms were chanted by folk singers who traveled from small town to village. In Dubrovnik and other topographic points on the Dalmatian seashore, a more sophisticated literature influenced by the Italian Renaissance developed. Poetry and play were peculiarly popular. In the nineteenth century Serbian authors laid the foundations of a modern literature. Vuk Karadzic reformed the linguistic communication and collected common people poesy, while Petar Petrovic Njego produced heroic poesy on the subject of autonomy. In Croatia, Ljudevit Gaj, and in Slovenia, France Preeren, were taking figures in the development of their peoples literature. Among modern authors are the Serbs Branimir Cosic, Branko Opic, and Ivo Andric, whose novel The Bridge in the Drina has been translated into many linguistic communications. The Croat authors Vladimir Nazor, Miroslav Krleza, and Slavko Kolar are besides popular. Yugoslav folklore is really colourful. Each cultural group has its ain costumes, vocals, and dances. The most popular common people dance is the kolo, a circle dance performed to lively music. Soccer is the most popular athletics, and Yugoslavia has produced some star participants. Yugoslav hoops squads have besides had some success in international competitions. Winter athleticss are popular, particularly in the Alps of Slovenia. The winter Olympic games of 1984 were held in Sarajevo in Bosnia and Herzegovina. Farming is a major business, using about 29 per centum of the labour force. Most farms are owned in private and are little. The major harvests are maize, wheat, barley, oats, murphies, sugar Beta vulgariss, helianthuss, baccy, and alfalfa. About one tierce of the agricultural country consists of grazing lands for croping sheep, hogs, and cowss. Much of this is in the mountains. The turning of fruit includes plums, apples, Prunus persicas, pears, apricots, Cydonia oblongas, and cherries. Figs and olives are grown chiefly along the seashore. Grapes are widely grown and vino produced, some for export. Fishing is carried out along the Adriatic seashore and on the Danube River. Forestry is concentrated manfully in the mountain woods of the northwest. It supports mush and paper and furniture industries. Much of Yugoslavia s industry is located in the Northwest, where it was originally established by the Austrians. The oldest Fe and steel works is at Jesenice in Slovenia, and the largest is at Zenica in Bosnia and Herzegovina. The processing and refinement of metallic minerals gives considerable employment. There is an technology industry based chiefly in the North and around Belgrade. The car industry has been developed with foreign assistance. A little, low-priced auto called the Yugo, based on an Italian Fiat theoretical account, is manufactured for export. Ships are built in the Adriatic ports of Rijeka, Pula, and Split. Fabrics and chemicals are besides produced, and fruits, fish, and baccy are processed. Factories and other economic endeavors in Yugoslavia have non been run by the province as in other Communist states. They are operated by workers councils, which compete with one another for clients and advertise as in the West. The jobs of rail building in a cragged state such as Yugoslavia have favored the development of a main road web. There are two major main roads one running from the Austrian boundary line to Greece and the other along the Adriatic seashore. The latter is used by the big Numberss of tourers who visit the coastal metropoliss and resorts. Tourism is a major beginning of foreign income. The major ports are Rijeka, Split, PloCe, Koper, and Bar. Yugoslav Airlines is province owned and flies to many foreign finishs. The chief international airdromes are at Belgrade and Zagreb. Postal, telegraph, and telephone services are run by the province. Radio and telecasting broadcast medium are besides under the control of a province organisation. Education is mandatory between the ages of 7 and 15. All instruction is free, including that at the university degree. There are particular schools for the smaller cultural minorities. Each democracy has its ain university. The Socialist Federal Republic of Yugoslavia consisted of six democracies: Bosnia and Herzegovina, Froatia, Macedonia, Montenegro, Serbia, and Slovenia. The democracy of Serbia contains the independent states of Kosovo and Vojvodina. Each democracy and state had its ain fundamental law and assembly. Local personal businesss were handled by smaller assemblies. At the top of this system of assemblies was the Assembly of the Socialist Federal Republic of Yugoslavia, which was divided into two Chamberss the Federal Chamber and the Chamber of Republics and Provinces. There was a State Presidency with nine members. It functioned as a corporate presidential term with a president at its caput. The place of president rotated every twelvemonth among the representatives of the democracies and states. Until 1990, merely one political party, the League of Communists, was permitted. Any effort to organize parties based on cultural beginnings was strongly opposed. The ascendants of the Yugoslavs appeared in the part in the seventh century. The Slovenes formed a little province that was absorbed by the ninth century by the Franks, a Germanic people. The Croats developed an independent province under King Tomislav at the beginning of the tenth century. At the terminal of the 11th, nevertheless, Croatia came under Magyar control. By the twelfth century the Serbs had established a powerful province, and the fourteenth century Stefan Duan, male monarch of Serbia, extended his imperium to include Macedonia and much of Greece. A major catastrophe overtook the South Slavs with the Turkish invasion of southeasterly Europe in the 15-century. Turkish control of the part lasted for five centuries. At the same clip Slovenia and Croatia became portion of the Austrian Hapsburg Empire. Rebellions broke out at assorted times. In 1555 the Slovenes and in 1573 the Croats revolted against Hapsburg regulation to no help. In 1804 the Serbs rose against the Turks under their national hero, Karageorge, and once more in 1815 under Milo Obrenovic. In 1830 Serbia won partial independency from Turkey with Obrenovic as male monarch, and in 1867 full independency was achieved. During the period of Turkish control, the little province of Montenegro maintained its independency. The city state of Ragusa ( now Dubrovnik ) besides remained free of foreign control by adept diplomatic negotiations. In 1812 and 1913 Serbia was winning in the Balkan Wars against Turkey and Bulgaria. In 1914 the blackwash of Archduke Francis Ferdinand of Austria by a Serb gave Austria-Hungary the alibi to declare war on Serbia, and event that led to World War I. After the war the dissolution of Austria-Hungary made possible the creative activity of a new province for the South Slavs. In 1918 the Kingdom of Serbs, Croats, and Slovenes was proclaimed ; it was renamed the Kingdom of Yugoslavia in 1929. The land endured as an uneasy alliance of reciprocally hostile cultural groups. In 1939 an understanding was reached to give Croatia liberty, but in 1941 Yugoslavia was invaded by Germany, Italy, and Hungary. Serbs resisted the business forces, and the Communist Partisans under the leading if Josip Broz, known as Tito, became the dominant group. The Croats and Slovenes, nevertheless, sided openly with Germany and Italy. In 1945 the state became a democracy with the Communists as its swayers. Although Serbs remained the dominant population, Tito himself was half Croat and half Slovene. In 1948 Yugoslavia was expelled from the Soviet axis for declining to subject to Soviet orders. Tito managed successfully to maneuver a nonaligned way between the two world powers, the Soviet Union and the United States. After Stalin died in 1953, this undertaking became easier. Then Tito died in 1980, and the delicate federation he had held together began to unknot. The League of Communists relinquished their constitutionally guaranteed monopoly on power, and in 1990 the first free multiparty elections were held since Tito took power. In May 1991 Serbia and its Alliess blocked the election of a Croat to the federal presidential term, go forthing the state without a president. A new Serbian leader emerged Slobodan Milosevic, who renewed the antique promise of a Greater Serbia. This end entailed taking parts of other democracies where Serbian minorities lived and unifying them with Serbia. On June 25, 1991, Croatia and Serbia declared their independency from Yugoslavia. Federal military personnels made up largely of Serbs poured into Slovenia, resisted by Slovenian reserves. The Serbs invaded Croatia. At the terminal of 1991 Germany, followed by the European Community and the United States, recognized the independency of Croatia and Slovenia. A cease-fire went into consequence, go forthing Slovenia and Croatia mostly at peace fro the clip being. But Serbia had taken approximately one tierce of Croatia s district. The force spread following to Bosnia and Herzegovina. Early 1992 the democracy voted for independency, but the big Serb minority boycotted the referendum. Recognition by the European Community and the United States followed in April. A new Yugoslavia, made up of Serbia and Montenegro, was proclaimed in April of 1992. Meanwhile, a civil war had erupted throughout the democracy as Serb reserves shelled metropoliss and towns. The state of affairs in Bosnia was complicated by spiritual differences. Many of its occupants, Serb and Croat likewise, were Muslims. Serbs tended largely to be Serbian Orthodox, while Croatians were largely Roman Catholic. These competitions added to the cultural hates. Croat and Serb Christians besides turned their arms on the Muslim minority. A run of terrorist act and race murder, which they termed cultural cleaning, was started by the Serbs against Muslim. Many Muslims were killed outright. Muslim adult females were raped, and work forces and male childs were put into concentration cantonments. At least two million people became refugees, and about 140,000 were losing presumed dead. By the terminal of 1992, Serb forces had occupied more than 70 per centum of Bosnia. Many of its metropoliss were in ruins, among them Sarajevo, the capital. The United Nations imposed economic countenances but obtained no peace colony. Croatia and Serbia had determined to split Bosina between them, go forthing little enclaves for Muslims to populate. In Serbia itself the countenances had created mayhem. Hyperinflation was running at the unparalled per centum rare of quadrillions per twelvemonth, presenting a menace to the endurance of the province. 31c

The Lost Tribes Essay Example For Students

The Lost Tribes Essay Following the death of Solomon in c. 937 B.C. his crown passed to his son, Rehoboam. Due to Rehoboams rather tyranical rule revolution broke out against the House of David and the Kingdom of Palestine split in two. Of the twelve tribes of Israelites which Moses had led out of Eygpt, ten joined in the revolt while two remained loyal to Rehoboam. These loyalist, comprised of the tribes of Benjamin and Judah formed the southern Kingdom of Judah with its capital at Jerusalem. In the north, a new kingdom was formed, Israel, with its capital at Samaria. The tribes of Reuben, Gad, Zebulon, Simeon, Dan, Ascher, Ephraim, Manasseh, Naphtali, and Issacher comprised the Kingdom of Israel. For 200 years Israel and Judah waged war against each another until 734 B.C., when the Assyrian King Tiglath-pileser III attacked the Kingdom of Israel and carried of hundreds of thousands of Samarians into capitivity. His sucessors, Shalmaneser V and Sargon II, continued on to complete the conquest of Israel. In 722 B.C. the city of Samaria fell to the Assyrians and the last of the members of the ten tribes were carried away into captivity. (II Kings 17:6).

CMA Essay Sample: How to Prepare For the CMA MBA Exam

CMA Essay Sample: How to Prepare For the CMA MBA ExamWhy do people choose to take the CMA BC Business Writing and Essay test? If you have taken the exam before or are thinking about taking it, you are certainly curious as to what the exam is like. Here is a look at how it works and what to expect on the exam.The CMA exam is often considered the gold standard in business writing for MBA students. It is given on a mock exam that is similar to the actual exam. The only difference is that this exam has a few real questions that the student will be required to answer on their own. This can make the test more difficult than other exams because the test can be biased in a certain way. That is why it is important to prepare for it well in advance.The first thing you need to do is find a good CMA essay sample. The exam will require you to complete a number of essays that you will use to help you gauge your ability to write. You can use a lot of different resources, including essays you have a lready written yourself or the works of others, to find a great essay.Once you have found the essay sample, you should work with a tutor to ensure that you understand the material thoroughly. Tutors can help by answering any questions you have about the CMA exam. They will also give you some useful tips and pointers about writing the essays. A good tutor will not only get you ready for the exam, but also make sure that you are able to ace it!You are not likely to see many hints or tips in the CMA writing sample that are relevant to the exam, but a good tutor will help you find them. While the essay is on your mind, you will also want to focus on the other elements of the exam, including the structure and format of the exam. You should try to prepare yourself ahead of time for the structure of the CMA exam, and make sure that you know exactly what to expect.The CMA exam will have several parts and you will need to learn each part well. This is why it is so important to get a good qua lity essay sample. The essay should also be well researched and organized, so that you will know what to say to be successful on the exam.There are a few resources available to help you prepare for the CMA exam. Some are very specific and can only be used once, while others are general guides that can be used over again. Make sure that you find the right resources to help you get ready for the CMA exam.A good guide can go a long way towards helping you ace the CMA MBA essay test. You do not want to find yourself failing on the final exam simply because you did not prepare properly. A guide can go a long way toward getting you ready for the CMA.

Stylistic Analysis free essay sample

â€Å"On Colonizing Education† By Chief Canassatego Education is usually viewed with a positive connotation. Chief Canassatego, however, sees education as a burden and a set back to his culture. The Virginia government offered Chief Canassatego formal education for his people, leaving him grateful for the opportunity, resentful of the â€Å"colleges of the northern provinces,† unsure of the future. (Cumulative) To Chief Canassatego, the consequences of education are too great to ignore, such as men of his tribe forgetting how to do the seemingly simple tasks that the tribe has done daily for years upon years. Should he allow his people to leave the tribal ways? Should he risk the undermining of his culture? Should he allow his people to forget the skills and teachings of generations that came before? (Rhetorical) After spending an extended period of time living like the people of Virginia, the young men came back, and when they did, â€Å"they were bad runners, ignorant of every means of living in the woods, unable to bear either cold or hunger, knew neither how to build a cabin, take a deer, or kill an enemy, spoke [their] language imperfectly†¦Ã¢â‚¬  He feels resentful that his people have been uncultured by the colleges in Virginia. We will write a custom essay sample on Stylistic Analysis or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Along with feelings of resent, Chief Canassatego also feels gratefulness towards the people of Virginia for giving his tribe such an extraordinary offer. Though the offer is good in theory, Chief does not like the numerous negative consequences. As a chief, Canassatego was open to a relevant education; as an Indian, he was closed to a formal education. (Balanced) Similar to his feelings of gratefulness, Chief Canassatego feels so appreciative of the offer that he reciprocates the offer to the Virginians. He does not want to reject them completely so he offers up a compromise: instead of sending his tribe to them, he suggests they send â€Å"a dozen of their sons† to teach them their ways. Eventually, out of the confusing issue related to accepting the offer, Chief Canassatego counters with a compromise. (Periodic) He feels understanding towards the Virginians. Although he disagrees with their methods of education, he understands that â€Å"different nations have different conceptions of things. Understanding that concept helps him to deny the offer kindly and try to compromise with them. In essence, even though he rejects the offer, Chief Canassatego feels resentful towards the â€Å"Colleges of the northern province,† but also feels grateful and appreciative to have been offered such an opportunity. He understands that they have conflicting methods of education, and he even reciprocates the offer. Stylistic Analysis free essay sample The theme of the course paper is concerned with the stylistic analysis of five poems by different authors (D. H. Lawrence, H. W. Longfellow, R. Burns, Ch. Kingsley, B. Googe). The issue of stylistics and stylistic analysis has been extensively studied in recent years and the problem of stylistics has been a subject of special interest. Various scientific paradigms, trends and methods of stylistics and literary studies have been developed and explored in the works by such prominent scholars of pre-soviet, soviet and post-soviet linguistic schools as Larin B.A. , Peshkovsky A. M. , Polivanov E. D. , Scherba L. V. , Galperin I. R. , Akhmanova O. S. , Arnold I. V. , Skrebnev Yu. M. , Golovin B. N. , Kukharenko V. A. , Morohovsky O. M. and many others. â€Å"Thus the term â€Å"stylistics† is not old but the discipline originated from ancient Greek and Roman poetics and rhetoric. Modern poetics is a discipline concerned with the structural forms of literary art, both poetic and pr osaic, and its crucial problem is: what turns a verbal message into a work of art† [10, p. We will write a custom essay sample on Stylistic Analysis or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page 3]. The term â€Å"stylistics† became associated with detailed linguistic criticism because, at the time it developed, the study of authorial style was a major critical concern, and linguistic analysis, allied to statistics, was popular with the more linguistically inclined critics. According to some modern scholars, it is now moved away from the study of style and towards the study of how meanings and effects are produced by literary texts. Nowadays by stylistics the modern British linguist Henry Widdowson means â€Å"the study of literary discourse from a linguistic orientation, i. . stylistics is an area of mediation between the two disciplines, the two subjects: language and literature† [18, p. 43]. In R. de Beaugrande’s words, â€Å"stylistics applies linguistics to literature† [2, p. 18]. So, the object of stylistic analysis is language represented in literary texts. Stylistic analysis is a part of literary studies, of any adequate linguistic description . It is practiced as a means of understanding the possible meanings in a text as well as finding out the individual properties of concrete texts or text types. Its ultimate aim is to clarify the message of the author’s work through careful observation and consistent description of language phenomena in the text under study. Done at the junction of linguistic and literary analysis the work is concerned with a number of problems of the poems interpretation, stylistic, linguistic and literary analysis. Although considerable amount of research has been devoted to the problem of the stylistic analysis few attempts have been made to investigate aspects such as structural-semantic parameters of he given poems, lexical and syntactic expressive means, some stylistic devices which are used in these poems. This defines the actuality of the work and its theoretical value. The objective of the paper is to examine the linguistic, stylistic, lexical and syntactic nature of poems, types of expressive means on the different levels of language and their informational significance. The given aim predetermines the concrete tasks of the research. The the sis will cover the following research tasks: 1) to analyse such poems as â€Å"Don’ts† by D. H. Lawrence, â€Å"The Song of Hiawatha† (Introduction ) by H. W. Longfellow, â€Å" My Heart’s in the Highlands† by R. Burns, â€Å"Young and Old† by Ch. Kingsley, and â€Å"Out of Sight, Out of Mind† by B. Googe; 2) to point out various types of syntactic and lexical-syntactic stylistic devices in them; 3) to dwell upon their structural, logical-semantic peculiarities and functions; 4) to determine the structural, semantic types of metaphors, metonymies, epithets and similes; 5) to lay emphasis on the great number of themes developed in poems; 6) to give general characteristics of poetic methods of D. H. Lawrence, H. W. Longfellow, R. Burns, Ch. Kingsley, B. Googe. 7) to provide detailed analysis of the stylistic devices employed by the poets in their verses; 8) to give the close observation of the meanings of separate words and word combinations as well as of the significations of the various sentences and supra-phrasal units. So, the object of the paper is poetry by above mentioned poets. The subject is the main themes and stylistic peculiarities of these poems. The materials and theoretical basis for the given course paper were chosen among the research works of the established literary critics and biographers, who studied the life and the distinctive features of poets’ legacy. Special attention was paid to the book by Thomas Crawford â€Å"Burns. A study of the Poems and Songs†, Arvin Newton â€Å" Longfellow:His Life and Work† and other related works. The methodic base on the work became the works of Galperin I. R. , Kucharenko V. A. , Lototska K. materials from the Internet, different types of dictionaries, World Book Encyclopedia. In accordance with the purpose and tasks of the paper the following methods of investigation were used: words definitions analysis, contextual and systematic analysis of the poems, interpretational and stylistic analysis of the rhetorical figures for revealing the informational value of expressive means. The topicality of the research paper is determined by the necessity of systematic and resumptive comprehension of the notion â€Å"stylistic analysis†. The scientific novelty of the work consists in the fact that we will provide with the thorough analysis of poems on taxonomic, content-grasping, semantic, stylistic and functional stages of investigation. Besides, we will try to investigate the use of polysemanticism of the word in combination with repetition in such poems as â€Å"Don’ts† by D. H. Lawrence and â€Å"Song of Hiawatha† (Introduction) by H. W. Longfellow. From the theoretical point of view, this work presents the comprehensive study of lexical, syntactic expressive means and stylistic devices that makes it possible to reveal its lingvo- stylistic and functional features. So, the theoretical value of the given research paper is based on analysis of poets’ verses which promote the further development of fundamental principles of the theory of poetry. The practical value of the work lies in the fact that the results of the investigation can be used in the courses of lectures in stylistics, seminars in style and text interpretation and also can be useful for practical courses of English language. The course paper consists of an introduction, three chapters, conclusion and list of references. The introduction explains the topicality of the research paper, underlines its theoretical and practical value and identifies the theme, aim, tasks, object, subject, methods of investigation of the work. The first chapter deals with the stylistic peculiarities of D. H. Lawrence and H. W. Longfellow’s poetry. Mainly it is focused on the polysemantic aspect and lingvo-stylistic potential of such poems as â€Å"Don’ts† and â€Å"The Song of Hiawatha† (Introduction). The second chapter is dedicated to the detailed analysis of poem by Robert Burns which is called â€Å"My Heart’s in the Highlands†. It involves investigation of the style, expressive means, syntax of the given poem. The third chapter is concerned with two poems: â€Å"Young and Old† by Ch. Kingsley and â€Å" Out of Sight, Out of Mind† by B. Googe. Considerable emphasis is put on the lexical, syntactic expressive means and the stylistic devices at different levels. To illustrate the use of rhetorical figures these poems are analysed, considering theoretical issues of modern Stylistics. Chapter 1 Stylistic peculiarities of D. H. Lawrence and H. W. Longfellow’s poetry 1. 1. The use of polysemanticism of the word in combination with repetition in poems by D. H. Lawrence and H. W. Longfellow. The poem â€Å"Don’ts† which is under consideration was written by David Herbert Richards Lawrence ? an English novelist, poet, playwright, essayist, literary critic and painter. Although best known for his novels, D. H. Lawrence wrote almost 800 poems. His early works clearly place him in the school of Georgian poets. What typified the entire movement, and Lawrence’s poems of the time, were well-worn poetic tropes and deliberately archaic language. He wrote in a very free verse form, unbounded by traditional structures. Much of his work deals with issue of the working classes, relationships between men, women and the natural world. D. H. Lawrence was especially fond of writing about animals, flowers, and other aspects of nature ? usually in a deeply symbolic manner. His poetry collections include â€Å"Love Poems and others† (1913), â€Å"Amores† (1916), â€Å"Look! We have come through† (1917), â€Å"Birds, Beasts and Flowers† (1923), â€Å"The Collected Poems of D. H. Lawrence† (1928), â€Å"The Complete Poems of D. H. Lawrence† (1964), edited by Viviande Sola Pinto and F. Warren Roberts and many others. The poem â€Å"Don’ts† is devoted to the author’s instructions, pieces of advice given to a little boy. The basic theme is the protest against narrow-minded, philistine morality, ideals and hypocrisy. This theme manifests itself in some peculiar word usage which imitates adult’s word usage in the conversation with children. The author foresees the insincere, artificial exhortation which a young boy is going to hear from mealy-mouthed adults who demand from him to be well-behaved boy. They require that a boy ry to â€Å"be a good little boy being as good as you can† [6, p. 375]. However, D. H. Lawrence insistently recommends not to listen to these pieces of advice, not to be that humble good child whom sanctimonious persons want to see. The author admonishes him to fight and to be a courageous man. The tone of the poem is moralizing and contrast between the s ignificance of theme and parodic infantility of vocabulary creates acute satirical effect. D. H. Lawrence in his poem â€Å"Don’ts† uses â€Å"polysemanticism of the word in combination with repetition and this approximates by its stylistic function to casuistry. It occurs in reference to the adjective â€Å"little† which is used here in various variants with different connotations, furthermore, in some connotations it suppresses greatly the denotative components of meaning. That is why the notion of metre is completely insignificant. Due to the fact that repetition along with parodic usage of unceremonious-informal style, especially baby-talk, are the key stylistic devices with which we should start analysis of the given poem. They are diverse by nature. Alongside with a simple repetition of two or more absolutely identical components: mealy-mouthed, mealy-mouthed, greedy-mouthed, greedy-mouthed new repetition with some variation is introduced. Such repetition is, for example, greedy-mouthed as against mealy-mouthed. Similarity between mealy-mouthed and greedy-mouthed at the same time make them be compared, however difference between them supplements the characteristic of the â€Å"sly†, â€Å"every old lout†. Guite effective is partial repetition: â€Å"earning your living while your life is lost† [6, p. 375], where morphological closeness only sharper shades that living and life are not the same. (translation from Russian ? M. Andrushko) [22, p. 126-127]. In some cases repetition also can not collocate with the usage of polysemanticism. Then its function is intensifying or emotional or even intensifying-emotional as it is in the first two lines: Fight your little fight, my boy, Fight and be a man. [6, p. 375] S emantics variations in the repetition are very interesting for the theme of the given paragraph, i. e. the usage of different lexical-semantic variants which are included in the semantic structure of one and the same word. Due to the parallel usage of the word in one context, these semantic variations accentuate differences in connotations. The word â€Å"little† is used in the given poem in two various lexical-semantic variants with antithetical connotations. In such phrases as â€Å"good little, good little boy†, â€Å"dear little girl†, â€Å"dear little home† the word little has one meaning and in such phrases as â€Å"little fight†, â€Å"let in a little air†, â€Å"a little hole in the holy prison†, â€Å" your own little bit†, â€Å"your own little cry† another meaning. â€Å"The usage of the word â€Å"little† here is guite difficult. First of all, there is need to resort to a dictionary to find out what in general is observed in the language. In the direct meaning â€Å"little† signifies the small size and is synonymic with neutral word small. In the informal style of speech this objective-logical meaning is strongly suppressed by its emotional meaning. So, little expresses sympathy, tenderness, compassion and is equivalent to affectionate diminutive suffixes of the Ukrainian language. Exactly this meaning forms the basis of the stylistic connotation of the first group of examples†. (translation from Russian ? M. Andrushko) [22, p. 127]. It is interesting that compatibility of the word â€Å"little† in this meaning with the following adjectives â€Å"dear† and â€Å"nice† is characteristic for informal speech, especially for the speech used in conversations with children. For instance, a dear little cottage, a dear little boy, a dear little kitten, a nice little wife and etc. Frequent usage of the word â€Å"little† sounds like affectation in the same way as in the conversational speech the misuse of diminutive suffixes creates an impression of insincere baby-talk. The stereotypy of those combinations used in not characteristic of direct speech shows their pretence, falsity and insincerity. The poet mocks those people who will tempt a young boy by dreams about bourgeois welfare. It is worth to be noticed that the word â€Å"little† can be used ironically, for example, one of my little ideas and even with the tone of sarcasm: â€Å"so that’s your little plan, is it! † [22, p. 375]. Since in the semantic structure of the word â€Å"little†, is included the meaning which is synonymic to the adjectives: unimportant, mean, paltry, so this estimation is introduced in the implication of the poem and in combination with an absurd repetition makes it grotesque. It also destroys sweetness of promises about family happiness and comfort which are waiting for a good boy. The second group of examples ? â€Å"let in a little air†, â€Å" fight your little fight† etc. ? belongs to the author’s direct speech. A reader can not find here any irony, the direct meaning of a metrical rhythm is preserved. The repetition underlines the idea that even modest results of everyone’s fight for ability to breathe in â€Å"the hole prison† easier are valuable and necessary for common good. In such way this poem acquires acute social orientation. At the same time the contrast between lexical meanings of two lexical-semantic variants of one and the same word plays an important role as well. In the examined case the comparison of two variants of one and the same word occurs syntagmatically, i. e. both variants are in the text: little synonymic to affectionate diminutive suffix and little with the meaning of dimension or significance. The second type of comparison between direct and figurative meaning occurs in the following metaphors : â€Å"don’t be beholden to the herd inside the pen†, â€Å"money sty†, â€Å" holy prison†. The first metaphor is the metaphor in which in the text only one member of comparison is represented, i. e. only figurative meaning where people are resigned to their fate, to the institutionalization of D. H. Lawrence surrounding world.   Alongside with many other stylistic devices these metaphors express very clearly the author’s attitude towards reality. Repetition can perform several functions simultaneously. In â€Å"Song of Hiawatha† by H. W. Longfellow repetition creates folk colour, song rhythm and underlines interrelation of separate images combining them in one common picture: Should you ask me, whence these stories? Whence these legends and traditions, With the odors of the forest With the dew and damp of meadows, With the curling smoke of wigwams, With the rushing of great rivers, With their frequent repetitions, And their wild reverberations As of thunder in the mountains? I should answer, I should tell you, From the forests and the prairies, From the great lakes of the Northland, From the land of the Ojibways, From the land of the Dacotahs, From the mountains, moors, and fen-lands Where the heron, the Shuh-shuh-gah, Feeds among the reeds and rushes. I repeat them as I heard them From the lips of Nawadaha, The musician, the sweet singer. Should you ask where Nawadaha Found these songs so wild and wayward, Found these legends and traditions, I should answer, I should tell you, In the birds-nests of the forest, In the lodges of the beaver, In the hoofprint of the bison, In the eyry of the eagle! [8, p. 9-10] In these first stanzas of â€Å"Song of Hiawatha† a reader encounters with the convergence of stylistic devices and in the first place with repetitions. This convergence puts him in the genre of lyrical epic stylized in a spirit of indian national-poetical creativity. Repetition adds rhythmical and song colour to the tale and integrates the enumeration of elements concerning the nature of the land. It is interesting that frequent repetitions are mentioned intentionally and are explained by the author as borrowing from the indian singer Nawadaha. D. H. Lawrence explains the emergence of repetitions in the songs of Nawadaha as the influence of the surrounding nature ? â€Å"reverbarations/ As of thunder in the mountains† [8, p. ]. â€Å"Various kinds of repetition can be an important means of connections inside the text. Connection by means of pronouns has more specific meaning. In the given example connection is accomplished by anaphoric repetition of such pronouns as â€Å"with†, â€Å"from† and â€Å"in† together with parallel constructions and some other kinds of repetitions. † (translation from R ussian ? M. Andrushko) [22, p. 185]. Alongside with lexical synonymic repetition: â€Å"stories-legends†, â€Å"moors-fenlands† here is represented purely syntactical repetition in the form of homogeneous parts of the sentence. To be more precise, lexical synonymical repetition is like the extension of syntactical repetition. The poem by H. W. Longfellow is called a song. However, the word song is polysemantic and the meaning implied by the author is explained by three homogeneous nouns: stories, legends and traditions. The homogeneous parts of the sentence specify and details the content of the author’s opinion. The type of legends and traditions mentioned in the song is explained by a set of prepositional phrases which starts with the preposition â€Å"with†. The indirect question with the word â€Å"whence† makes us think about the sources of the song. The answer to this question is a set of similar by its syntactic function parallel constructions with anaphoric preposition â€Å"from†. Inside this syntactic convergence is the convergence of single-word components: â€Å"the forests and the prairies†, â€Å"from the mountains, moors and fenlands† [8, p. 9]. So, the usage of polysemanticism of the word in combination with repetition is very important for the right understanding of the poem’s content. 1. 2. Lingvo-stylistic potential of D. H. Lawrence’s â€Å"Don’ts† Stylistic devices and expressive means are very significant for complete understsnding and perception of the whole artistic colouring of a poem. That is why it is worth to consider some other stylistic devices in these two poems: â€Å"Don’ts† by D. H. Lawrence and â€Å"The Song of Hiawatha† (Introduction) by H. W. Longfellow. In the poem â€Å"Don’ts† the author imposes upon the reader his personal attitude towards a young boy and people who surrounds that boy. The repetition brings the necessary rhythm into the utterance. There are many types of repetition in this poem. The first and the most vivid example is â€Å"Fight your little fight†. It is morphemic repetition which â€Å"is a variety of polyptoton, a figure based on the repetition of two or more words of the same stem (but belonging to different parts of speech or word classes within the same part of speech) † [9, p. 132]. Also the poem is full of lexical repetitions, especially successive or juxtaposed: a good little, a good ittle, mealy-mouthed, mealy-mouthed, greedy-mouthed, greedy-mouthed, dear little, dear little, don’t drink, don’t drink. Apart from successive, there is ordinary repetitions of the word â€Å"dear† in the collocation with different nouns: girl, mother, home and the repetition of the word â€Å"hit-hit† which is invented by the author. The most interesting and effective is the repetition in strong positions ? lexical anaphora which in this poem is represented by the word â€Å"don’t†: Don’t be sucked in by the su-superior, don’t swallow the culture bait, don’t drink, don’t drink and get beerier and beerier†¦ [6, p. 375] To grasp and hold the reader’s interest the author uses a number of epithets. Semantically they are classified into two major groups: 1) Without the violation of semantic agreement: a good little boy, dear little girl, dear old mother, dear little home, little fresh air, own little try, comfortable feeling, culture bait. All these epithets, apart from the last two, structurally are pair epithets. The last one is a word-epithet or simple. Also they all belong to explanatory epithets because they indicate an important features of the defined object. 2) With the violation of semantic agreement to the metaphoric epithets belong mealy-mouthed cowardice, golden opinions, sweet joys, dull death. Structurally they are word epithets. A significant metaphor is used in this poem: don’t swallow the culture bait. This is verb metaphor, where bait is tenor and the vehicle is food which is only implied by a reader. According to the structure this metaphor is simple. D. H. Lawrence by this stylistic device wants to say that a little boy does not believe the words of other people. One more special variety of metaphor is allusion. D. H. Lawrence resorts to allusion in the last line of the poem ? â€Å"the risen Christ should be risen†. The author makes reference to the Bible, to the religious theme. Concerning the vocabulary of the poem it is quite neutral, although some peculiar, special words occur. For example, the word â€Å"lout†. The origin of this word is uncertain and it has some stylistic colouring. The Oxford Dictionary gives the following definition: an uncouth and aggressive man or boy. Another interesting word is â€Å"suck in† which is slang and means â€Å" to deceive†. The author also creates a new word ? â€Å"hit-hit† which is repeated twice. This stanzaic poem with the cross rhyme is one of the D. H. Lawrence’s masterpieces. 1. 3. The main stylistic-semantic features of H. W. Longfellow’s poem â€Å"The Song of Hiawatha† (Introduction) â€Å"Longfellow, Henry Wadsworth (1807-1882) was the most widely published and most famous American poet of the 1800’s. His reputation among critics declined sharply after his death, and he had much less influence on modern poetry than such other poets of his day as Walt Whitman and Emily Dickinson. However, many of his poems remain among the most familiar in American literature. Longfellow’s best-known longer works include â€Å"Evangeline†, â€Å"the Song of Hiawatha†, and â€Å"The Courtship of Miles Standish†. Among his popular shorter poems are â€Å"The Village Blacksmith†, â€Å"The Children’s Hour†, â€Å"Paul Revere’s Ride†, â€Å"The Wreck of the Hesperus†, and â€Å"Excelsior†. Longfellow’s works achieved great popularity in Europe as well as in the United States. He was the first American writer to be honored in the Poet’s Corner of Westminster Abbey in London. † [15, p. 448] â€Å"The Song of Hiawatha† is regarded as Henry Wadsworth Longfellow’s greatest, most characteristic, and most original epic poem. Intentionally epic in scope, it was described by its author as â€Å"this Indian Edda†. It is, from beginning to end, a metrical version of legends originating with the Algonquin family of Indians. H. W. Longfellow had taken an interest in Indians from early youth, and early formed a plan to commemorate their legends in his verse. From Schoolcraft he obtained nearly all the material utilized in the cycle he named â€Å"Hiawatha†. Originally his intension was to group the legends about the mythical personality of the Algonquin deity ? Manabozho. The poet’s imagination has invested his hero with much of the character of the strong man who bound together the most compact and efficient league of Indian tribes. The Song of Hiawatha† was begun on June 25, 1854, and its 5,314 lines were concluded on March 29, 1855. Its meter, derived from that of the great Finnish epic, the Kalevala, consists of eight-syllabled lines, with stresses falling on the first, third, fifth and seventh syllables. Octosyllabic verse, whether trochaic, as here, or iambic, as in Scott ’s â€Å"Lays of the Last Minstrel†, is by far the easiest of all measures to write; and the fact that â€Å"The Song of Hiawatha† is unrhymed made the American’s task greatly easier than that of the Scotchman. H. W. Longfellow left a careful pronouncing vocabulary of all the proper names used from the Indian languages in his poem. These show an almost bewildering confusion of vowels, some having the quality of French, some that of English. The name of the titular hero himself is to be pronounced as if spelled hee-ah-wah? -tha, though the French transliteration made it Haye? nwatha, with the accent on the second syllable. The proper names throughout are used with the rarest skill, both to give melody and variety to the verse and to lend it that more subtle quality known as atmosphere. The main character appears in the tales of Indians under various names. He endowed with many fine features and embodied the idea of overcoming every kind of discord, rejection of strife and wars in the name of labor peace on generous ground. H. W. Longfellow is rich in some special vocabulary or different realities: geographical, ethnographic, religious, mystical. Geographical realities mainly include the names of settlements, their location, characteristics of plant and wildlife and natural conditions. Using a large number of realities, indicating the birds, animals and insects, H. W. Longfellow was trying to show the diversity of nature and its inhabitants. He mentions such birds as â€Å"Shuh, shuh-gah, the heron†, â€Å"Chetowaik, the plover†, â€Å"Mahng, the loon†, â€Å"the wild-goose, Wawa†, â€Å"the grouse the Mushkodasa†[8, p. 9-10]. Another special vocabulary concerns the names of nations, since each nation has evolved a way of life and culture that initially led them to division into different clans: Ojibways, Dacotahs, Hurons and others. Several times the author refers to â€Å"the vale of Tawasentha†[8, p. 10]. the word â€Å"vale† according to Oxford American Dictionary is a poetic term for a valley. In the introduction a reader can also meet an archaic word â€Å"ye† which according to Collins Cobuild Dictionary means â€Å"an old-fashioned, poetic, or religious word for you when you are talking to more than one person†. Concerning the stylistic devices, repetition is one of the most frequent stylistic means in Longfellow’s poem. In the poem it can be founded on all levels of language, but the most frequent used is lexical anaphora: â€Å"With the odors of the forest With the dew and damp of meadows, With the curling smoke of wigwams, With the rushing of great rivers, With their frequent repetitions†¦Ã¢â‚¬  [8, p. 9] or â€Å"From the forests and the prairies, From the great lakes of the Northland, From the land of the Ojibways, From the land of the Dacotahs, From the mountains, moors, and fen-lands †¦Ã¢â‚¬  [8, p. 9] and some others starting with prepositions â€Å"from†, â€Å"and†, â€Å"by†. These lines also can be characterized as parallel anaphoric syntactic constructions. Apart from lexical anaphora, the author uses distant repetition of such hrases as â€Å"pleasant water-courses†, â€Å"to this Song of Hiawatha†, morphemic repetition ? â€Å"Sang the Song† [8, p. 11] ? which belongs to root repetition. Affixational repetition in the line â€Å"There are longings, yearnings, strivings† brings the necessary rhythm into the utterance. In the same time, this line is a nice example of gradation, the type of gradation ? climax. Its function is to give a vivid emotional-evaluative cha racteristic of the phenomenon described. One more instance of gradation: â€Å"how he lived, and toiled, and suffered† only gives some additional emotive effect. Antonymous syntactic parallel constructions: â€Å"Should you ask me†, â€Å"I should answer† form antithesis. A very nice lexical-syntactic stylistic device used in the poem is simile : And the thunder in the mountains, Whose innumerable echoes Flap like eagles in their eyries†¦ [8, p. 11] It describes the nature of the valley, the weather in the mountains and this description trough using simile gives a reader the clear picture of that locality. The poem is rich in epithets among which it is worth to mention such as â€Å"songs so wild and wayward†(a pair metaphoric epithet), â€Å"melancholy marshes†(simple metaphoric), â€Å"green and silent valley†(the first is tautological, the second is metaphoric, structurally it is a pair epithet), â€Å"singing pine-trees†(simple, metaphoric), â€Å"wondrous birth†(simple emotive proper or affective epithet) and some others. However, the above mentioned epithets in the best way to convey the mood, feeling and emotions of the poem. The excessive use of repetition have made â€Å"The Song of Hiawatha† the most parodied poem in the English language, spawning more than a thousand variations, some of them as long as the original. Despite the flaws of critics, caused by H. W. Longfellow’s choice to mimic the solemn, unrhymed tetrameter of the Finns’ Kalevala, â€Å"The Song of Hiawatha† is still widely accepted as a significant nineteenth-century American poem. Chapter 2 Romantic and lyrical figure of Robert Burns 2. 1. General stylistic features of R. Burns’s â€Å"My Heart’s in the Highlands† Robert Burns was one of the great poets of the eighteens century and the only great poet ever to emerge from the British peasant class†[11,p. 23]. According to Merrian-Webster’s Encyclopedia of Literature, R. Burns was â€Å"national poet of Scotland who wrote lyrics and songs in the Scottish dialect†[12, p. 187]. John Anderson mentions that â€Å"most of Robert Burns’s poetry is written in Scotch brogue. The poet used dialect deliberately. It was not that he knew no better. You will notice that when it pleased him, he could turn out stanzas in pure English as polished and smooth as those of any classic poet†[13, p. 36]. â€Å"Burns was interested in authentic folk songs. He collected about 300 original and traditional Scottish songs for books compiled in his day, including The Scots Musical Museum (1787). Burns wrote many poems to be sung to Scottish folk tunes†[14, p. 716]. He is regarded as a pioneer of the Romantic movement, and after his death he became a great source of inspiration to the founders of both liberalism and socialism, and a cultural icon in Scotland and among the Scottish Di aspora around the world. His poem â€Å"Auld Lang Syne† is often sung at Hogmanay (the last day of the year), and â€Å"Scots Wha Hae† served for a long time as an unofficial national anthem of the country. Other poems and songs of Burns that remain well known across the world today include â€Å"A Red, Red Rose†, â€Å"A Man’s a Man for A’That†, â€Å"To a Louse†, â€Å"To a Mouse†, â€Å"The Battle of Sherramuir†, â€Å"Tam o’Shanter†, and â€Å"Ae Fond Kiss†. However, the poem which we are going to analyse is called â€Å"My Heart’s in the Highlands†. The title of this poem tells us quite a bit. The poet identifies a place that is important to him, and the word â€Å"heart† indicates a strong emotional attachment to the Highlands. The poem is lyric, in fact, a song, and the musical language expresses the emotions of the speaker. In this poem we can assume that the speaker and the poet are the same. It is a poem about Robert Burns leaving his home, the Highlands. He looks back on his life to remember all of the good times he had there. This shows love for a place, the Highlands of Scotland and proves that R. Burns was homesick. Concerning the poetical form, R. Burns wrote four-line stanzas, called quatrains, with a very simple aabbccdd rhyme scheme. The metrical pattern includes an opening iambus followed by two dactyl feet and ends with an accented syllable. Since the dactyl feet prevail, the poem is written in dactylic tetrameter. Poets often vary the meter and feet slightly to avoid a work that sounds like a metronome. This poem has strong visual elements. R. Burns writes about the â€Å"wild deer†, â€Å"green valleys†, and â€Å"wild-hanging woods†. In addition, there is an aural image in the line â€Å"Farewell to the torrents and loud-pouring floods†[1, p. 54]. These images convey the poet’s love for the region, a love that the audience recognizes. Thus, the sensory images elicit an emotional response. R. Burns uses repetition to great effect. Not only does he repeat the first stanza as the last, which is called in stylistics lexical framing, he also repeats words: â€Å"Wherever I†, â€Å" farewell to the†. [1, p. 254]. In the third stanza the author uses repetition in strong position ? lexical anaphora: â€Å"Farewell to the mountains high coverd with snow; Farewell to the straths and green valleys below; Farewell to the forrests and wild-hanging woods; Farwell to the torrents and loud-pouring floods. † [1, p. 254] By using repetition, the poet makes â€Å"My Heart’s in the Highlands† sound like a song. R. Burns also uses the devices to emphasize his ideas. The word â€Å"Highlands† is repeated eight times, and â€Å"Farewell† is repeated six times. The most repeated phrase â€Å"My Heart’s in the Highlands† contains the most important idea in the poem. At the same time it is a very nice noun metaphor (T ? Heart, V ? implied by the author: human body or even the author himself). According to the degree of unexpectedness, it is genuine metaphor which evokes images and suggests some associations, reveals the author’s emotional attitude towards the described place. Repetition creates an emotional response because the reader must acknowledge the importance of the poet’s attachment to the place. Similarly, the poet uses parallelism, the repetition of the same grammatical form structure, to convey his message and elicit an emotional response: â€Å"Chasing the wild deer, and following the roe†, â€Å"Farewell to the Highlands, farewell to the North†, â€Å"Wherever I wander, wherever I love†[1, p. 54]. The whole third stanza also serves as an example of parallelism. All these repetitions add the feeling of homesickness and nostalgia in the poem. The opposition in this poem is between â€Å"the Highlands† and â€Å"here†. This opposition in stylistics is called antithesis. Since a reader do not know what kind of plac e â€Å"here† is, we imagine that it is quite the opposite of the Highlands. This establishes the sense of sadness, the sense of feeling out of place that most people felt at some time. A significant stylistic device is periphrasis : â€Å"the birth-place of Valour, the country of Worth†. The author in such way gives proper names to his Highlands. He wants to emphasize that his country is very beautiful and he will miss it. Usage of epithets enriches the aesthetic perception of the poem. In the poem we can find such epithets as â€Å"wild-hanging woods† which is compound structurally and metaphorical semantically; â€Å"loud-pouring floods† also compound metaphorical epithet. â€Å"Wild deer†, â€Å"green vallies† are examples of simple tautological epithets. R. Burns also resorts to using a Scottish dialect. He mentions the word â€Å"Straths† which means a broad mountain valley. John Anderson writes about R. Burns: â€Å"Burns used dialect because ? however well educated a Scotsman may be ? when he is with those he loves and trusts, he drops naturally into brogue. It is cozy, familiar speech of the home†¦Burns, writing for his neighbors and cronies, uses the daily speech, homelike and comfortable as their old clothes†[13, p. 336]. 2. 2. The style in â€Å"My Heart’s in the Highlands† In the poem â€Å"My Heart’s in the Highlands†, the reflectively longing and lyrical tones reflect an inner feeling of yearning for the Highlands and a love for the land that liberates those who have been exposed to it. The narrator consistently reminisces about his memories of the Highlands and as he does so, he explains these feelings in a rhythmic and melodic fashion. The feelings that the narrator exhibits reflect the natural tendency of humans to maintain a connection with their original homeland. The poem’s diction emphasizes the liberation that the Highlands provide and the narrator’s feelings pertaining to his deep affection toward the Highlands. As the narrator â€Å"wander[s]† throughout the Highlands, he ventures to places as widespread as â€Å"mountains covered in snow† where he [â€Å"chases†] wild deer. The Highlands are a place where one experiences freedom as evidence by how expansive they appear. The lack of bothersome interaction and the presence of wide-open spaces allow the narrator to maintain a sense of no restrictions. As the Highlands, or the â€Å"birthplace of valor†, are described, it is evident that the narrator is â€Å"forever [in] love† with them, and that memories of the Highlands are with him â€Å"wherever† the narrator travels. The Highlands symbolize bold strength that has stuck with the narrator throughout his life. This results in the narrator feeling a close bond with the Highlands. Along with the diction, the point of view allows for observation of the various tones. The first-person point of view reinforces the feelings of wistfulness and release that the poem conveys. The narrator says â€Å"my Heart is not here† in order to convey the fact that he longs to be in â€Å"[his] contry of Worth†, or the Highlands. There is a sense of immediacy as the narrator describes his experiences roaming throughout the hills and vallyes, and his longing is directly conveyed through the first-person point of view. It is clear that, as the Highlands are described, the narrator would rather be there than anywhere else, and the first-person point of view is beneficial in conveying this. The narrator says that he will think of the Highlands â€Å"wherever I wander,† since he claims that â€Å"my heart’s in the Highlands, where’er I go. † The narrator is not able to let go of his thoughts and feelings about the Highlands when he is not there. This reflects the strong feelings that the narrator has for the Highlands and how he feels incomplete without their presence. Other things, such as the syntax, serve to provide a deeper meaning for the poem. The syntax in the poem moves from short phrases separated by commas, to a rhythmic and repetitive farewell, and finally to a structure that parallels the opening. Initially, the text is very ephemeral, and there is almost no defined rhythm associated with it. The narrator is incredibly attached to the Highlands, and his thoughts seem almost unfocused as he continually thinks about and longs for the Highlands. This reflects how detached the narrator is to his current life and how he would rather be somewhere where he can live with no restrictions. In the middle, the poem gains a defined rhythm, and repetition occurs. The narrator repetitively says goodbye to the Highlands, and during this farewell, he drifts off into somewhat of a euphoric daydream. His thoughts flow freely and in a distinct rhythm. This free-thinking coincides with the freedom that the narrator feels when he is in the Highlands. In the end, the text returns to the brief and disjointed format that it begins with. The narrator realizes that he is not physically at the Highlands, and he resumes wishing that he was. The end reflects a snap back to reality that occurs as the narrator finishes his imaginative farewell. Once again, the broken-up text reflects the uneasiness that the narrator has with his current life. While the syntax serves to provide the poem with a deeper meaning, the imagery and detail expound upon the meaning is evident on the surface of the text. The poem’s imagery and detail reflect both the physical characteristics that make the Highlands such a special area and the deep emotional love that the narrator has for them. The Highlands are very expansive areas that span from â€Å"mountains high covered with snow† to the â€Å"green valleys below,† and the narrator feels a connection with these areas as he â€Å"a-chas[es] the deer† across the hills. The narrator feels free in an environment as widespread as this. Because of this freedom, he reaches a comfort level that is unmatched in any other respect; he even feels comfortable enough to chase wild deer across the hills. The narrator’s passion for â€Å"the country of Worth† is evidenced by the fact that his â€Å"heart is not here. † His strong love for the Highlands makes it seem as though no other land can be compared to them. In fact, he cannot devote his unyielding love to anything other than the Highlands because no love that he has ever experienced has been as strong as his love for the Highlands. The imagery, syntax, point-of-view, and diction each reflect the two original tones of the poem. Because they demonstrate that the poem exhibits a reflective longing for the past and that the text is lyrical and expressive of feelings, the styles of writing that the poem exhibits are very effective. As in A Dictionary of English Literature is said: â€Å"Burns is important because he deserted the artificial tradition of eighteenth-century poetry, replacing poetic diction with the pungent vernacular, false sentiment with true tenderness, sharms with realities. He taught the Romantics, in Wordsworth’s words: How Verse may build a princely throne On humble truth. † To the world at large he is merely a singer of timeless song†[19, p. 45]. Chapter 3 Lexical, syntactic, expressive means and stylistic devices in: 3. 1. â€Å"Young and Old† by Charles Kingsley As The Encyclopedia Americana informs:â€Å"Charles Kingsley (1819-1875) was English clergyman, author, a nd teacher and a leader in social and economic reform movements†¦A founder of the Christian Socialist movement, he was an active supporter of the British working-class movement known as Chartism, as is demonstrated in his early novels ? Yeast (his first novel, originally published in Fraser’s Magazine in 1848) and the powerful Alton Locke (1850). Openly didactic, they were meant to educate the upper classes in their social responsibilities. Ch. Kingsley is best known for his later novels, which include historical romances and children’s stories. Perhaps the most popular novels were Hypatia (1853) and Westward Ho! (1855)†¦Among his works for children in The Water-Babies (1863), a fairy tale based on natural history† [16, p. 420]. Our task is to analyze one of the poems by Ch. Kingsley â€Å"Young and Old†. This poem originally appeared as a song sung by a character in the Reverend’s book entitled â€Å"The Water-Babies†. Before we get into the specifics of symbols I would like to dwell upon the meter and rhyme scheme. This poem is written in an altered iambic trimester. The alteration is very slight: a substitution of a single tribrachin place of the last iambic meter of every odd line. The simple rhyme scheme ababcdcdefefghgh contributes to the easiness of the song and prevents the subject from feeling overly forced by use of other unnecessarily more intricate schemes. This poem is about the dissimilarities of youth and old age. There is a certain sentimental connotation to be further explored, but the basis of the poem is rooted in the differences. In the first stanza the author addresses youth. A spry horse to carry along the boot, and the idea that â€Å"every dog [has] his day† paired alongside the comments of a young world and queenly lasses provide us with a clear idea that the topic we broach is that of youth. The line â€Å"young blood must have its course, lad, and every dog his day† come across as a call to action, demanding perhaps as busier and more productive youth. Additionally, we are treated to a slue of natural imagery in the form of green trees, geese, swans, the horse etc. The allusion to a simple, natural order is a compelling one. This is continued in the second stanza, though the trees are marked as being brown, the sport of the previously accelerated and youthful life has gone stale, the cart wheels are run down, and the lad is forced to â€Å"creep home† and take his place among the â€Å"spent† and â€Å"maimed† occupants. The final lines provide the wish that, God willing, you are alongside the one that you love. The poem â€Å"Young and Old† is full of many kinds of stylistic devices. The main stylistic device used in the text under analysis is antithesis: â€Å"When all the world is young, lad/ When all the world is old, lad†[5, p. 334]. The whole poem is written by means of parallel constuctions: â€Å" And all the trees are green; And every goose a swan, lad, And every lass a queen;† [5, p. 334] The quatation above mentioned also is a vivid example of repetition in strong positions, namely lexical anaphora. Another example containing anaphora: â€Å"And all the trees are brown; And all the sport is stale, lad, And all the wheels run down†¦Ã¢â‚¬  [5, p. 334] Apart from lexical anaphora, there is also lexical epistrophe. In every two stanzas the word â€Å"lad† is repeated. A very significant stylistic device used by Ch. Kingsley is ellipsis or apokoinu: â€Å"And all the trees are green, And every goose [is] a swan, lad†¦Ã¢â‚¬  [5, p. 334] In the second stanza predicate is omitted but it is implied by the author. I can point out another instance of an ellipsis: â€Å"Young blood must have its course, lad And every [must have] dog his day† [5, p. 334] Concerning metaphors, they are not so numerous. However, the poem contains two structurally very similar metaphors: â€Å"When all the world(T) is young(V)† and â€Å"When all the world(T) is old(V)†. They are, in my opinion, personal metaphor, i. e. personification. Here world obtains the characteristics of human. It can be young or become old. Also these two lines are, to some extent, hyperbolized by usage of the word â€Å"all†. This poem was analyzed by T. Hoagwood. He shows that it is impossible for the song to be fully understood when first encountered in The Water-Babies. It is only later in the story that we recognize that the song is the old dame’s lament for her son Grimes who left her. The realization at the end of the novel that Grimes is her son â€Å"enables us to revisit the lyric and to revise our understanding of its latent, private, and even secret significance for the grieving old dame†. 3. 2. â€Å"Out of Sight, Out of Mind† by Barnabe Googe One more poem which we are going to analyze is called â€Å"Out of Sight, Out of Mind† by Barnabe Googe. According to The Encyclopedia Americana, B. Googe (1540-1594) was â€Å"English poet and translator. Googe’s only original work is Eglogs, Epytaphes and Sonnets, a collection of poems published in 1563. His eclogues are among the earliest examples of English pastoral poetry. He also translated into English some minor contemporary works in Latin prose†[17, p. 742]. As a translator, Googe is noted for his English versions of Marcellus Palingeniuss Zodiake of Life (1560) and Conrad Heresbachs Four Books of Husbandry (1577). Googes reputation, which considerably declined following his death in 1594, has been revived by literary historians who recognize in his work transmissions of both ideas and stylistic practices that would influence such better-known English writers as Edmund Spenser, William Shakespeare, and John Milton. In â€Å"Out of Sight, Out of Mind† B. Googe worked with a proverbial theme. He stacks caesuras in thirteen lines of the eighteen-line poem, all of them more or less in the exact middle. Because of the repetition, these caesuras speed up the lines rather than slowing them down, hence allowing the lines from which Googe suddenly omits caesural pause ? â€Å"The heavy heart breeds mine unrest†, â€Å"Such pleasures rife shall I obtain/ When distance doth depart us twain† [4, p. 96] ? to gather greater emphasis since, on top of the newly introduced spondees and trochees, they are also made to slow down. This particular poem also demonstrates Googe’s stoical approach to verse as an adequate container for human feeling. He combines a monotonous rhythm and rhyme scheme with a predominantly monosyllabic lines, pithy both in content and length. The author uses in his poem repetition in strong position through the whole poem namely chain-repetition: â€Å"The oftener seen, the more I lust, The more I lust, the more I smart, The mire I smart, the more I trust, The more I trust, the heavier heart†¦Ã¢â‚¬  [4, p. 96] This repetition brings the necessary rhythm into the utterance. A very interesting device used in the poem is gradation. A reader can find an emotional climax that expresses the ideas in a descending order of significance: The rarer seen, the les in mind, The less in mind, the lesser pain, The lesser pain, less grief I find, The lesser grief, the greater gain† [4, p. 96] The leading feature of the poem is usage of comparison. I. R. Galperin in his book â€Å"Stylistics† states that â€Å"comparison means weighing two objects belonging to one class of things with the purpose of establishing the degree of their sameness or difference†[3, p. 167]. In â€Å"Out of Sight, Out of Mind† we also can observe comparison. It is almost in each line: â€Å"the oftener/ the more†, â€Å"the more/ the heavier†, â€Å"the rarer/ the less†, â€Å"the lesser/the greater†, â€Å"the more/the happier†. A device greatly favoured by the writer is irony: â€Å"Such pleasure rife shall I obtain When distance doth depart us twain† [4, p. 96]. According to Lototska K. â€Å"English Stylistics†: â€Å"Irony (from the Greek â€Å"eironeia†= hidden mockery) is a device based on the interaction of dictionary and contextual meanings standing in opposition†¦Irony is transference by contrast†[9, p. 86]. The last two lines of the poem â€Å"Out of Sight, Out of Mind† is the vivid instance of irony. The whole poem is very symbolic. Even the tittle means the idea that if you do not see someone or something frequently, you will forget about it. Barnabe Googe wrote poems in the Native Tradition, a species of plain style. In this relatively early period, accents were heavy, unaccents were light, alliteration survived from old Anglo-Saxon verse, and the subject was usually serious. Conclusion The general purpose of the paper was to investigate stylistic, linguistic, lexical and syntactic peculiarities of five selected poems by different authors, to check earlier observations on the subject of stylistic analysis and to obtain new information. This course paper explored the comprehensive study of stylistic devices. Despite the fact that there are many works devoted to the problem under analysis some important aspects such as structural-semantic parameters of the poems and some lexical stylistic devices have not been fully investigated. In this work, to some extent, were used the elements of stylistics under lexico-syntactic patterns and choices, phonological, morphological and graphological devices to analyze such poems as â€Å"Don’ts† by D. H. Lawrence, â€Å"The Song of Hiawatha† (Introduction ) by H. W. Longfellow, â€Å" My Heart’s in the Highlands † by R. Burns, â€Å"Young and Old† by Ch. Kingsley, and â€Å"Out of Sight, Out of Mind† by B. Googe. The display of stylistics in the poems, their functions and their effects have been the major focus of this research work. To make a striking impression on one’s readers and stir up their emotions, nothing else could be done to achieve this purpose than employing the right and appropriate use of language. The study revealed that poets made use of various stylistic devices in a way that interrupts the normal syntactical flow of the sentences to secure emphasis and focus the reader’s attention. As can be seen from the data, each poet uses different techniques in his poem. In â€Å"Don’ts† by D. H. Lawrence we can find polysemanticism of the words in combination with repetition, metaphors, epithets, allusion. â€Å"The Song of Hiawatha† by H. W. Longfellow is rich in special vocabulary and different realities. The stylistic value of R. Burns’s poem â€Å"My Heart’s in the Highlands† can not be overestimated. Ch. Kingsley and B. Googe are considered to be masters in usage of stylistic devices. Under the lexico-syntactic choices, the authors use similes, metaphors which are both related to the topic of similarity to give clearness and liveliness to words. Under the phonological devices, rhyming scheme, consonance, assonance are found and they have been used to reinforce meaning. They also provide tone and musical colour and aid memorality. Different kinds of repetition, which is greatly favoured by the authors, and punctuation marks have been used to play various roles to achieve cohesion in discourse for varying stylistic effects. All of these things found out have worked together in attaining and ensuring effective meaning and communication. The choice of words by the poets also plays a very important role in meaning making. It helps the reader to understand the intention and the message the poets were trying to pass across. The obtained results give a clue to the understanding of stylistic analysis. As the previous researches on the given theme are not numerous, it is difficult to compare the findings of this research paper with the results of other study. In the course of investigation I had solid theoretical base. The inconsistency of data is probably a consequence of the lack of practical material and previous research. The problems associated with stylistic analysis and meaning of various expressive means are far from being solved and require further theoretical and experimental efforts. To sum up, different poets in their poems cultivates various styles and techniques which are worth of being studied. Each poem that was analyzed in this course paper fascinates readers by its stylistic originality.

Gregor Mendel essays

Gregor Mendel essays Gregor Johann Mendel was born on July 22, 1822 in Heinsendorf, Austria (which is in the present-day Czech Republic) to peasants (Mendel, Gregor). In 1843, Mendel entered the monastery of St. Thomas in Brunn, Austria (which is in the present-day Czech Republic) (Mendel, Gregor Johann). He then became a priest in 1847. Mendel was then sent to study science and mathematics at the University of Vienna in 1851 (Mendel, Gregor). He then returned back to the monastery in 1853 and taught biology and physics at a local high school which he did for the next 14 years (Mendel, Gregor). Between the years 1856 and 1863, Mendel grew at least 28,000 pea plants in the garden of the monastery (Mendel, Gregor Johann). While growing them he began to notice the laws of heredity. While working with the plants he studied seven different traits: plant height, seed color, seed shape, seed-coat color, pod shape, pod color, and flower distribution. In each of the traits he studied he compared two different expressions of the seeds, such as whether the seeds were tall or short. Based on the characteristics he would make crosses of the plants using artificial pollination. Using careful records Mendel studied the plants. It was using this data that he came up with the foundation for modern-day genetics. Mendel concluded that traits were handed down through hereditary elements in the gametes of plants (Mendel, Gregor Johann). He reasoned that each plant received two of these hereditary elements, one from each parent. He concluded that the hereditary elements must either be dominant or recessive and that the dominant elements would be the traits seen. Mendel also was able to summarize his findings into three theories. He first stated that during sperm or egg formation the alleles that code for a trait separate so that the egg or sperm only contains one allele or the other which was call...