ICICI Prudential â€Multiple Channel Distribution Essay Example for Free

ICICI Prudential –Multiple Channel Distribution Essay In terms of the future of the Indian insurance industry, what do you think are the measures that can be taken/ have been taken by ICICI Pru to further strengthen its distribution system to meet the competition? Bring out the drawbacks of the existing channels and the need to explore new avenues. Distribution Scenario in the Indian insurance Market The major challenges to insurers and intermediaries in highly competitive Indian insurance market are: 1. To build faith about the company’s insurance services in its customer’s mind  2.  To develop relationship(in terms of credibility) between intermediaries and clients 3. To develop extensive network for providing best service and stay close to the customers Capturing larger segment –Rural India Except ICICI Prudential, all the insurance companies have traditionally tied agents that have been the primary channels for insurance distribution in the Indian market. In case of the public sector insurance companies such as LIC, SBI etc. they have used their branches in almost all parts of the country and have attracted local people to become their agents. While ICICI Pru has used multiple channels such as bancassurance, direct marketing and corporate agents for their insurance distribution and have covered 69 cities and towns in India. By the virtue of these multiple distribution channels, ICICI Pru became leader in Indian insurance sector in short span of time with maximum contribution form bancassurance channel. However, these channels were targeted mostly at urban customers while the 70-80% of the Indian population stays in Rural area. ICICI Pru has tried to cater rural customers by joining hands with BASIX, World vision, Dhan, Shepherd, Uttaranchal Co-operative Marketing Federation, nLog Communiaction, ITC’e eachaupal etc. But, to cover the maximum possible rural market and develop strong rural insurance market at optimum cost for ICICI Pru, according to me India Post is the best intermediary option. India Post is one of the oldest infrastructure developed in India and it would be the best channel to reach Indian rural customers at very low cost. The postman are the best friend and information source to the village people. Hence they are the best fellows to create awareness about the company’s services and to distribute different insurance products. Thus they are the best sales man to build credibility about the company in rural India. Also the postmen have basic education in terms of services, hence the company can train them for their services at a very low cost. Thus the overall cost for reaching rural customer would be lower compare to all other possible options.

The Tate Modern: History and Development

The Tate Modern: History and Development Institutions in the Arts and Media: Galleries and the rise of the art market Focusing on the Tate Modern. (UK) The dazzling success of the Tate Modern has threatened to overwhelm Tate Britain(formerly the Tate Gallery.) But, says Tate Director Nicholas Serota, Brit art was thriving long before Hirst et al renewedLondons international status. (Taken from The Timeout Guide to Tate Britain, Nov 2001.) In his Foreword to Tate Modern: The Handbook, Director Lars Nittve writes: every museum is unique; Tate Moderns individuality lies not just in its collection or its locationbut also in its architecture. Indeed, what was once known as the Tate Gallery has undergone a major overhaul. There are now four branches: two in London (one at Millbank; the Tate Modern at Bankside; one in St. Ives; and one in Liverpool). According to Nittve, the Tate at Millbank used to be the big mother ship, where everything sat-curators, administration, conservation, etc. Now were moving to something more like a federation. This paper will take a close look at the Tate Modern, first exploring its singular history and its architectural uniqueness. We will then focus on the wealth and variety of its collection, which is divided into four basic themes: landscape, still life, history painting, and nudes. Finally, we will examine the Tate Modern in the the larger framework of contemporary art and media, taking note of its influence on the UK art market, and measuring its status in the international art world. History of the Tate Modern Nicholas Serota was appointed Director of the Tate at Millbank in 1988, and shortly after this decided to embark on a number of modifications. In an attempt to re-establish the original architectural integrity of the Millbank building, Serota decided to remove all signs of artifice. He decided to obliterate the false ceilings and temporary walls. He also decided upon a major reorganisation of the collection. Welcome as these changes may have been, they also brought to light the fact that there was simply not enough space to implement all these changes if the museum were to remain in its current setting. This eventually led to the decision to expand, a move which has had far-reaching effects in the art world, not just in the UK but internationally. The search for a new site ultimately led to the old Bankside Power Station. Originally designed and built after the Second World War, the Bankside Power Station was the work of Giles Gilbert Scott, a respected British architect. Scott also designed the [now defunct] power station at Battersea, as well as the Liverpool Anglican Cathedral. He is best known, however, as the designer of the once ubiquitous telephone box (Craig-Martin, 14). Michael Craig-Martin, one of the trustees assigned to investigating potential sites for the new Tate, notes that: The Bankside building was notable for its plain red brick exterior and the powerful symmetry of its horizontal mass bisected at the centre by a single tall, square chimney. The building was articulated on three sides by a series of immense, well-detailed windows. The only decoration came from the brickwork crenellation along the buildings edging, cleverly mitigating its great bulk (Craig-Martin, 14-15). The discovery of the Bankside Power Station opened up new vistas for the trustees of the new Tate. First of all was the issue of size: the Bankside Power Station was larger than any of them had imagined. Adjusting their expectations to include such a vast space opened up an entirely new perspective as well as a world of possibility. Second, of all, building yet they had assumed that they would be commissioning abuilding yet  here was the power station, basically intact. They now had to consider the possibility that there would be no need to raze the existing building and start over what if they were to work with the existing structure, and make changes as needed? This, clearly, would be a break from the way things were traditionally done. Thus, after visiting the Bankside Power Station, the trustees vision of what the new gallery could be began to change, and their preconceived notions were replaced by exciting new concepts (Craig-Martin, 15). The existence of so many positive factors convinced the trustees that the Bankside site was the best choice as the new site of the home of modern art. Not only were the possibilities were inviting; also to be considered was the location, which was ideal; the possibility of development; and the interest and support of the local government. Location was certainly a major consideration; this London location boasted first-rate transport facilities, including the new tube station at Southwark. In addition, there was the possibility of a river bank connection with the Millbank gallery(Craig-Martin, 15). And the local Southwark Council wasted no time in acknowledging the potential impact this could have on the local community, an area much in need of a financial and industrial boost: The local council, Southwark, recognising the potential impact of the Tate project on development and employment in this largely run-down area, enthusiastically supported it from the start (Craig-Martin, 15). Architectural Design Relocation to the Bankside site meant opened up a wealth of opportunity for the Tate. Forstarters, the vast size of the building meant that the Tate would be able tomore than double its capacity for showing its collection as well as housing major large-scale temporary exhibitions (Craig-Martin, 15). Beyond this, the possibilities seemed even more exciting: even after expansion, there would be a vast expanse of untouched space, leaving the possibilities for continued growth and capacity for even greater acquisitions wide open. But questions of how to approach and re-design this space still had to be sorted out. DirectorNicholas Serota enlisted the assistance of Trustee Michael Craig-Martin andsculptor Bill Woodrow to visit some of the newer museums of contemporary art onthe Continent, and to consider them critically from our point of view asartists (Craig-Martin, 17). In this way, Serota helped to best utilize the newspace, with an eye on art, rather than architecture. After visiting a number of modern museums, Martin and Woodrow found that for the most part,modern museums better served the interests of architects and architecture than those of art and artists. Clearly the interests of art were not the primary consideration of those chosen to design the space that would best showcase it. Many architects clearly considered designing a museum to be a prime opportunity for high-profile signature work. On the other hand few architects seemed truly to understand or be interested in the needs of art (Craig-Martin, 17). They reported these findings to Serota and the other trustees, with the ultimate result that there was a shift in the thinking behind the architectural approach. Now, the  central concern of the design of the new building would be to address the needs of art through the quality of the galleries and the range ofopportunities, both sympathetic and challenging, for showing art. While seeking the best possible architectural solution, we determined that the project would be art led not architecture led (Craig-Martin, 17). The decision ofthe trustees was not a popular one in many circles. Architects in particular felt deprived, seeing the decision only in light of their own potential growth or lack thereof: Some, seeing this as the betrayal of a unique architectural opportunity for London, interpreted it as the result of a loss of institutional nerve (Craig-Martin, 17). Ultimately, Herzog de Meuron were selected to be the architects. They were the only ones whose design managed to keep the building intact without making major changes to its basic structure, to appreciate the beauty and value already inherent in the existing structure: Herzog de Meurons was the only proposal that completely accepted the existing building its form, its materials and its industrial characteristics and saw the solution to be the transformation of the building itself into an art gallery (Craig-Martin, 17). Indeed, as pointed out by Insight Guides: Tate Modern has captured the publics imagination in a quite unprecedented way, both for its displays and its building, which establishes a magnificent presence on the South Bank (194). The Collection Insight Guides states that the arrangement of the collection makes it both more accessible to, and more popular with, the general public (194). Instead of achronology, the work is organized by a four separate (though admittedly overlapping) themes. The displays replace a single historical account with many different stories of artistic activity and suggest their relationship to the wider social and cultural history of the 20th and early 21stcentury (Insight Guides 194). The four themes are, basically: landscape, still life, history painting, and nudes. Within each of these broad themes it is possible to explore a rich syntax of intention and strategy, (Blazwick Morris, 35). Landscape/Matter/Environment When one thinks of landscapes, a variety of scenes may come to mind: waves crashing on a rocky beach; a horizon of dark, menacing clouds; skyscrapers silhouetted against a sunset. As Blazwick Morris point out, the genre of landscape is primarily understood as a representation of a natural or urban scene, which might be topographic, metaphoric or sublime (35). At the Tate Modern, however, the genre of landscape has been reconceived to include the zone of the imaginary, uncanny dreamscapes, symbolic visualisations of anxiety and desire (Blazwick Morris, 35). As Jennifer Mundy points out, landscape is an ambiguous term and can have several overlapping meanings: much of its resonance derives from the often uncertain boundary between nature and culture, the objective and the subjective (42). Thus a landscape may be a faithful rendering of the physical world, such as the dreamy middle-class countrysides of Impressionism. Or it may be symbolic rendering of an interior landscape, such as the more obscure works of the Surrealists. The Tate Moderns Landscape collection tries to reflect the range and diversity of this genre, while also addressing the complex threat of modern technology. As Mundy notes,today the threat posed to the environment by modern technology and the growth of the human population has made the natural landscape a topical, even urgent, subject for art (50). StillLife/Object/Real Life Paul Moorhouse posits that among the many radical developments in the visual arts during the last hundred years, one of the most significant has been the extraordinary growth and transformation of the genre known as still life (60). By the period of Cubism, still life no longer meant an apple on a plate, but rather the complexity of the relationship of the objects to each other and to the viewer: The inertness of such objects as a glass, a bottle, a pipe or a newspaper provided a perfect vehicle for evoking the complex phenomenological relationships between such artefacts, the surrounding space and the viewer perceiving them (62). The Tate Moderns collection is a reflection of the evolution of the form referred to as still life, and which today defies definition. According to Moorhouse, this fusion of the actual and the symbolic has created the conditions for a remarkable vitality and diversity in contemporary art (68), a vitality and diversity reflected in the Tate Moderns ever-changing representations of the genre. History/Memory/Society The concept of history/memory/society is wide-ranging and ambitious, perhaps intentionally so. Public morality, politics, ideology, idealism and suffering among other themes still preoccupy artists today comments Jeremy Lewison (88). The Tate Modern collection attempts to represent these themes as they are expressed in modernity, while reflecting the continuum in which they necessarily exist. Clearly this is an ambitious task, considering the multitude of methods used to express and relate these concepts across the ages. The study of history has descended to the micro level, posits Lewison, adding that it has been, in a sense, democratised. History is no longer solely the provenance of leaders and heroes; it is rather, in the hands of the common individual. The artists of today have followed a similar course, Lewison suggests, and, by employing the same strategies, by opening themselves to techniques and concepts derived from the human and social sciences, artists today address issues relevant to contemporary life (88). Nude/Action/Body Among the most ancient man-made objects recognisable as belonging to the category that we callart are small naked human figures carved from stone or ivory posits SimonWilson (96). Clearly, as humans we are obsessed with representations of the body and this has been reflected throughout history. The final decades of the twentieth century have seen remarkable changes in the concept of the human body. Significant advances in technology, combined with the lengthened lifespans of our population, have spurred a re-thinking of what the body is indeed, at times it has seemed to become objectified. These changes are of course reflected in art. As Wilson points out, during this time period artists began to use their own body as the expressive medium, initially creating necessarily ephemeral works in the form of what became known as Performance art (104). This, in conjunction with use of various media such as film, video, and still photography, is all part of the Tate Moderns programme in accurately capturing and representing this genre. The Tate Modern and the International Art World The success of the Tate Modern may have initially seemed to eclipse the Tate Britain however, a response like this surely had to have been expected. The selection of Giles Gilbert Scotts Bankside Power Station as its new home was itself a newsworthy event. The subsequent choice of Herzog de Meuron as architects caused considerable buzz in the art world and the country at large. Therefore it issmall wonder that when it finally opened its doors, the world was indeed dazzled by the Tate Modern. Stephen Deuchar, Director of the Tate Britain, writes in the Foreward to Humphreys book: the creation in 2000 of Tate Modern and Tate Britain as distinctive entities with the Tate organisation, were initial steps towards the renaissance of Millbank. Now, with many new galleries for displays and exhibitions, and with a future programme setting our collections withina plethora of new contexts, national and international, our role here as the worlds centre for the study and enjoyment of British art may emergewith fresh clarity There is, however, no doubt that the Tate Modern will play an influential role in the art world. It is unique in conception, as noted earlier, because it was carefully designed to meet the needs of the artist, as opposed to those of the architect. As Craig-Martin pointed out, while seeking the best possible architectural solution, we determined that the project would be art led not architecture led(17). In addition, there is the simple, yet vitally important issue of size and space alone. The discovery of the Bankside Power Station opened up new vistas for the trustees of the new Tate. Bankside Power Station was larger than any of them had imagined, and the process of adjusting their expectations to include such a vast space opened up an entirely new perspective. Not only were the possibilities were inviting; also to be considered was the location, which was ideal; the possibility of development; and the interest and support of the local government. Beyond the mere physical properties such as architecture and size are the ways in which these attributes are utilised. The vision of the Tate Modern thus far seems to be on the cutting edge. The best museums of the future willseek to promote different modes and levels of interpretation by subtle juxtapositions of experience writes Nicholas Serota. He further asserts that the best museums will contain somerooms and works that will be fixed, the pole star around which the others will turnin this way we can expect to create a matrix of changing relationshipsto be explored by visitors according to their particular interests and sensibilities (54-55). As Deuchar hassaid, we no longer choose to relate a single narrative of British art and culture, but to explore a network of stories about art and about Britain, with our collections at its core (Foreward to Humphreys book). And has Nittve has pointed out the Tate at Millbank used to be the big mother ship, where everything sat curators, administration, conservation, etc. Now were moving to something more like a federation (Frankel). The Tate Modern, the necessary extension of this core, may in fact be viewed as a pole star in itself, at the forefront of the modern art scene, with a world of limitless potential ahead. Reference List Adams, Brooks, Lisa Jardine, Martin Maloney, Norman Rosenthal, and Richard Shone. 1997. Sensation: Young British Artists from the Saatchi Collection. London: Royal Academy of Arts. Blazwick, Iwona and Frances Morris. 2000. Showing the Twentieth Century. In Tate Modern: The Handbook, eds. Iwona Blazwick and Simon Wilson, pp. 28-39. Berkeley: U of CA Press with Tate Gallery Publishing Limited. Craig-Martin, Michael. 2000. Towards Tate Modern. In Tate Modern: The Handbook, eds. Iwona Blazwick and Simon Wilsonpp. 12-23.Berkeley: U of CA Press with Tate Gallery Publishing Limited. Frankel, David. April 2000. Art Forum. http://www.24hourscholar.com/p/articles/mi_m0268/is_8_38/ai_61907715  Accessed May 26, 2005. Humphreys, Richard. 2001. The Tate Britain Companion to British Art. London: Tate  Publishing. Insight Guides: Museums and Galleries of London. 2002. Basingstoke, Hants: GeoCenter InternationalLtd. Lewison, Jeremy. 2000. History Memory/Society. In Tate Modern: The Handbook, eds. Iwona Blazwickand Simon Wilsonpp. 74-93. Berkeley: U of CA Press, with Tate Gallery Publishing Limited. Massey, Doreen. 2000. Bankside: International Local. In Tate Modern: The Handbook, eds. Iwona Blazwick and Simon Wilsonpp. 24-27.Berkeley: U of CA Press with Tate Gallery Publishing Limited. Moorhouse, Paul. Still Life/Object/RealLife. 2000. In Tate Modern: The Handbook, eds. Iwona Blazwickand Simon Wilsonpp. 58-73. Berkeley: U of CA Press with Tate Gallery Publishing Limited. Mundy, Jennifer. 2000.Landscape/Matter/Environment. In Tate Modern: The Handbook,eds. Iwona Blazwick and Simon Wilsonpp. 40-53.Berkeley: U of CA Press with Tate Gallery Publishing Limited. Serota, Nicholas. 1996. Experience or Interpretation: The Dilemma of Museums of Modern Art. WalterNeurath Memorial Lectures, London: Birkbeck College. Shone, Richard. 1997. From Freeze to House: 1988-94. In Sensation: Young British Artists from the Saatchi Collection. London: Royal Academy of Arts. Wilson, David M., ed. 1989. The Collections of the British Museum. London: British MuseumPress. Wilson, Simon. 2000. Nude/Action/Body. In  Tate Modern: The Handbook, eds. Iwona Blazwick and Simon Wilsonpp. 94-107. Berkeley: U of CA Press with Tate Gallery Publishing Limited. What is mental health? What is mental health? What is mental health? Mental health refers to our emotional wellbeing, it is all about how we think, feel and behave. The relevance of working with patients with mental health problems for me will be a challenge to start with. While on my placement I come across many patients why are suffering with Alzheimer and Dementia and most are suffering with mental health disorders of various kinds. In my central discussion I intend to cover the case of one patient named Joe who has metal health problems. Mental health is a term that encompasses a range of experiences and situations. It can be an on going experience from mental wellbeing through to a severe and enduring mental illness affecting a persons overall emotional and psychological condition. Incidents in life such as bereavement, financial and personal happiness such as the way we feel about ourselves can lead to depression and anxiety. Mental illness may be experienced by people who have a mental health problem to such a degree that they may be diagnosed as having a mental illness, requiring the involvement of specialist services and support. Consequently, some people with mental illness will need no support, others may need only occasional support, and still others may require more substantial, ongoing support to maintain their quality of life. To understand the difference between mental health and mental illness specifically relates to both the length of time and severity of the changes to a persons behaviour thought patterns and display of emotions. The more severe and lengthy the impact of these changes, the more a person may struggle to manage their everyday life and the greater the chances of them developing a mental illness. One mental health problem that an individual may experience could be through the loss of a loved one. People who are already suffering with a mental health issues are going to find that the trauma of discovering that some one who they loved has passed away will be an even greater burden on their already mental fragility. Such feelings that one will experience after being told about the death of a close relation can range from depression, suicidal thoughts, feelings of hopelessness, loneliness and unable to cope with daily life. The mental health state of this individual patient would give me a lot of concerns after such a shock as a bereavement of a close relative. His mental health state before this news was given to him, was giving me great concerns as he was already showing signs of suicidal tendencies. This gentlemens demure was one of a frail individual lacking any self esteem and of a nervous disposition. Other symptoms noticed were a sense of instability, inability to communicate verbally in a precise and understandable manner. As a nurse the care and assistance I can assist the patient with would be to speak to the patient in a quieter none judgmental manner and listen in attentively to what the patient has to say dependant on the severity of the mental illness the patient suffering and his behavior would really be an indication as to what help I could be most useful to assisting him/her in. If the patients mental illness is severe and of a violent nature the nurse would have to understand her limitation and abilities before confronting the patient. Otherwise one you could do more harm than good and put your self in danger. If you as a nurse feel comfortable and confident in your own judgment with the placement you can then start to talk and listen to what the patient has to say. It is important to talk to the patient in a non professional spoken manner, using none technical word and phrases, so that the patient feels comfortable and confident in your approach to them. For this assignment the chosen topic will be depression. The patient in this case study will have his name protected by the NMC code of professional conduct 2009 and for that matter he will be referred to as Joe. Joe was admitted into hospital during my placement. Joe was admitted onto the ward after suffering a fractured femur when he fell to the ground coming down his stairs in his house. He was calling out for help and was discovered one hour later by a neighbour who was passing by his house. On admission Joes medical notes indicated that Joe has a history of depression and is on a daily medication of Fluoxetine which has a brand name of Prozac. Joe is British gentlemen aged 68 years old and Joe has now been separated from his wife for the last 8 years. He has three grown up sons but does not now have any contact or get any support from them. Joe dwells alone in a council run flat and his occupation was a bus driver. His depression over the years had made him isolated and a reclusive person. He stated that he had been a depressive person on and off for his whole life and that his depressive state had only now in old age become a hindrance to his normal lifestyle, thus accumulating in recent bouts of dizziness, fainting and the subsequent breaking of bones after falls. Joe was quite lucky this time around in that his fall from the stairs was quite a short fall of some 4 steps, if he had fallen from the top flight of stairs he could be in hospital with far greater injuries than what he actually sustained and his fall could have been fatal. Reference Mental health http://www.liv.ac.uk/counserv/self_help/mental_health/definition_mhealth.htm Difference illness and health Bowers, L. â€Å"; The Social Nature of Mental Illness†, 1998, Routledge. Bereavement: Studies of Grief in Adult Life (Paperback) by Colin Murray Parkes (Author), Holly Prigerson (Author) 1st edition 1972, page 1 Appendix Action Plan Summary: The Story Of Deirdre Essay Summary: The Story Of Deirdre Essay In the middle ages, there were a lot of stories written that were tied together with the culture in which they were written by. Some even had an intense connection with the author that wrote them. A few examples are Thorstein the Staff- Struck in which was tied with the Norse culture, Everyman which has a Christian tie, and The Story of Deirdre with an Irish Celtic tie. To me the one that has the strongest tie to its culture is that of The Story of Deirdre and the Celtic culture. Just from reading the story and knowing a little about the Celtic culture will make this evident. So Ill start by giving you a little background or brief summary from the story. First Ill start by giving you a brief summary of The Story of Deirdre. The story started off with a gathering of warriors and counselors and their wives and kids. The host is Felim MacDall. His wife is pregnant with a child. All of a sudden the unborn child screams from within its mother loud enough for all of the guests to hear it. After so a Druid named Cathbad tells the prophecy of the child. It is a girl and she will be named Deirdre, but she will cause a great amount of grief and also cause the death of many kings. Hearing this prophecy the King of Ulster, Conchubar mac Nessa wanted Deirdre for himself. So her family agreed and gave her to him. He thought he would wait for her to turn of marrying age and then they would be together forever. However a young warrior named Naoise came and Deirdre fell in love with him. They eventually ran away together causing a great deal of anger with Conchubar mac Nessa. Time passed and Conchubar mac Nessa agreed to let them return to the kingdo m unharmed. That was a lie. Naoise was killed. But still Deirdre didnt want him so he gave her to one of his warriors, MacDurthacht. Deirdre couldnt stand the fact that she was being used like this so while she was in a chariot going down the road she put her head out of the window and smashed it on some passing rocks, which killed her. In a few parts of that summary the Irish Celtic culture ties in with The Story of Deirdre. The beginning in which they are all gathered up is one. It is very typical of the Irish Heroic Age tradition for it all to start off with a large gathering where they are eating and drinking. The supernatural screaming of the unborn child also added to this tradition. Then the next thing would be the entrance of a druid. The druid comes in and gives a prophecy that sets the outcome of the future. All of these examples ties the story with an Irish Heroic Age tradition. Another connection between the Irish Celtic culture and The Story of Deirdre is how Deirdre kills herself. The Irish Celtic people believed that the skull was where the soul rested, not the heart. The Celtic people were well known for the fact that they were the only known to date head hunters. They cut the heads off of the warriors they killed because they believed it to bring them supernatural abilities. Also when one of them died, the remaining living warriors would find the dead warriors bodies and crack their skulls. This was because they believe that the soul could not travel to the afterlife if it were not possible for it to leave the skull. So in the case of Deirdre she wasnt going to continue life with Conchubar mac Nessa and his warrior so she decided to kill herself. But without cracking her skull, her soul wouldnt be able to move on to the afterlife. So in a split second she hung her head out of the Carriage window and cracked her head against some passing rocks. The Story of Deirdre also portrays its characters as being associated with the manner in which the Celtic personalities were portrayed then and continued to be portrayed now. One example is that of Conchubar mac Nessa. He planned on marrying Deirdre from before she was even born. This meant that he had to wait till she turned of age. This was often the case in the Celtic culture. Old men would declare a marriage to a young teenage girl before she was even the age to birth a child. This happened often with high ranked men such as counselors, warriors, and high up others. Also the girls that they declare marriage to often had a high social status themselves, most being kings or counselors daughters. Another example in which The Story of Deirdre ties in with the Celtic culture is that it has a similar format in which all of the other stories followed. Started off with a large group of people feasting or just a basic meeting. The characters are all basically believable but then it adds a supernatural event. In this case the unborn child screaming from within its mothers womb. The rest of the story is filled with a controversy between to highly rated people, until the death of one of them. Also the story was based on the determination of fate. Deirdre was destined to cause all of this drama and also the death of these men. The middle ages period was filled with great works of literature that reflected the culture in which it was written and some of the time even reflected the author that wrote it. The stories I mentioned in the beginning are just a few examples that can be used to prove this true. The Story of Deirdre gave a good insight into the Celtic culture. Whether it be the characters personalities in the stories, the format in which the story was written, or the actions of some of the characters, Deirdre bashing her head on the rocks.

The Necklace Essay -- Literary Analysis, Guy de Maupassant

â€Å"The Necklace† Around the world, values are expressed differently. Some people think that life is about the little things that make them happy. Others feel the opposite way and that expenses are the way to live. In Guy de Maupassant’s short story, â€Å"The Necklace†, he develops a character, Madame Loisel, who illustrates her different style of assessments. Madame Loisel, a beautiful woman, lives in a wonderful home with all the necessary supplies needed to live. However, she is very unhappy with her life. She feels she deserves a much more expensive and materialistic life than what she has. After pitying herself for not being the richest of her friends, she goes out and borrows a beautiful necklace from an ally. But as she misplaces the closest thing she has to the life she dreams of and not telling her friend about the mishap, she could have set herself aside from ten years of work. Through many literary devices, de Maupassant sends a message to value less substance arti cles so life can be spent wisely. â€Å"The Necklace† ends up to be a very ironic story as it explains why valuing the more important things in life can be very effective towards a person’s happiness. One example of the story’s irony is when she is at the party dressed as a beautiful and fancy woman. ‘She danced madly, wildly, drunk with pleasure, giving no thought to anything in the triumph of her beauty, the pride of her success†¦Ã¢â‚¬â„¢ (pg 193). This is a form of dramatic irony because Guy explains earlier that Mme. Loisel is just a middle class woman who dreams of a wealthy life, but she is just alluding herself as a luxurious woman. Another example of irony in the story is when Madame found out that the necklace was paste. On page 196, Mme. Forestier, Ma... ...ches and expenses. The message to value more important things in order to have a wisely spent life is demonstrated very well through literary devices in â€Å"The Necklace†, by Guy de Maupassant. Madame undergoes an ironic moment in life as she learns what is worth valuing. She is a very greedy woman who only cares about herself. The reader would never think of her as the person to do work, but that thought changes as she misplaces what she thinks of as a valuable item. If Madame just learned how to live life in a way that will not make her upset and to value things that are valuable towards life instead of expenses, she will be better off. But this is how Madame views her life, while others take notice of the significance in their lives. Values are different towards people across the world, and Guy de Maupassant defines that in his short story, â€Å"The Necklace†.

Create a Monster :: Essays Papers

Create a Monster As a product of his own society, Stupi was raised to his horrible fate at Georgia. He one day snapped and went on a killing spree of all the non-management majors for he felt that they were smarter than he. Because of his inferior intellect he always felt below the engineers and this inferiority was the case of his psychological breakdown. He grew up in the â€Å"rich† part of town so his parents had to send him to the best private school around. The only trouble was that he did not have the mind capacity that he needed to succeed at that school. He was always one level below everyone else. This always messed with his mind because his name was always on the bottom of the list and everyone teased him about this. Stupi never fit in with anybody. He parents kept pushing him and pushing him to succeed and he was always letting them down and this scarred his mind. Stupi just was not cut out for the work that the top private school in the state offered. Stupi’s parents still thought that he should go to a good school and learn with the rest of the smart people. Well his parents chose Georgia, even though he wanted to go to UCF with the rest of his friends. While he visited he found some friends who he would hang out with. He didn’t even think it was that bad until he started to see how smart a lot of the people were. Stupi had to drop out of his industrial engineering major because it was too hard for him. When his friends were making good grades, he was always at the bottom just trying to look to the light for some help. It was never there. His friends started to realize his inferior intellect and casually stopped seeing him. At this point Stupi realized that he just couldn’t take it anymore. He went to someone’s room and grabbed his club and went on a mass-murdering spree of all those who were smarter than he. He would pound people until they were dead and then move on to the next one in a massive fit of rage.

Theory and Practice in Post-Colonial Literatures Essay -- English Lite

Theory and Practice in Post-Colonial Literatures Introduction More than three-quarters of the people living in the world today have had their lives shaped by the experience of colonialism. It is easy to see how important this has been in the political and economic spheres, but its general influence on the perceptual frameworks of contemporary peoples is often less evident. Literature offers one of the most important ways in which these new perceptions are expressed and it is in their writing, and through other arts such as painting, sculpture, music, and dance that the day-to-day realities experienced by colonized peoples have been most powerfully encoded and so profoundly influential. What are post-colonial literatures? This book is concerned with writing by those peoples formerly colonized by Britain, though much of what it deals with is of interest and relevance to countries colonized by other European powers, such as France, Portugal, and Spain. The semantic basis of the term ?post-colonial? might seem to suggest a concern only with the national culture after the departure of the imperial power. It has occasionally been employed in some earlier work in the area to distinguish between the periods before and after independence (?colonial period? and ?post-colonial period?), for example, in constructing national literary histories, or in suggesting comparative studies between stages in those histories. Generally speaking, though, the term ?colonial? has been used for the period before independence and a term indicating a national writing, such as ?modern Canadian writing? or ?recent West Indian literature? has been employed to distinguish the period after independence. We use the term ?post-co... ...rad, Patrick White and Margaret Atwood?, World Literature Written in English 24, no. 2 (Autumn). Campbell Praed (1981). Policy and Passion. London: Richard Bentley & Sons. Howe, Joseph (1874). Poems and Essays. Montreal: Lovell. Ngugi wa Thiong?o (1972). Homecoming: Essays on African and Caribbean Literature, Culture, and Politics. London: Heinemann. Ngugi wa Thiong?o (1986). Writers in Politics. London: Heinemann. Phillips, Arthur (1958). ?The cultural cringe?. The Australian Tradition: Studies in a Colonial Culture. Melbourne: Cheshire. Said, Edward W. (1984). The World, the Text and the Critic. London: Faber. Tiffin, Chris, ed. (1978). South Pacific Images. St Lucia, Queensland: SPACLALS. Viswanathan, Gauri (1987). ?The beginnings of English literary study in British India?. Oxford Literary Review 9:1 & 2.

Succubus Dreams CHAPTER 5

Peter, Cody, and Hugh already had a table when I arrived at the Cellar. Tawny sat with them, much to my dismay. I'd completely forgotten about my apprentice. At least she didn't have Niphon in tow. I hoped that meant she'd finally bagged a guy, though her lack of a post-sex succubus glow suggested otherwise. Neither Carter nor Jerome had deigned to show. I recalled that Jerome was out of town and figured the angel was out with his colleagues. They could all still be at my apartment for all I knew. â€Å"Hey,† Cody called in greeting, making room for me beside him. â€Å"I thought you said you were busy.† â€Å"Yeah, well, plans change,† I grumbled. I gestured to Hugh. â€Å"Got a cigarette?† He tsked me. â€Å"No smoking in public places anymore, sweetie.† Groaning, I flagged down a waitress. Smoking was an ugly habit I'd given up for the sake of the mortals around me. Still, after smoking for over a century, I found I craved the occasional hit during stressful times. The city smoking ban was good for Seattle but damned inconvenient for me and my bad mood. Cody couldn't let my vague answer go. â€Å"How'd your plans change? Weren't you and Seth going out?† Hugh laughed when I didn't answer. â€Å"Uh-oh, trouble in paradise.† â€Å"He had things to do,† I replied stiffly. â€Å"Things or people?† asked Peter. â€Å"Didn't you give him the go-ahead to sleep around if he wanted?† â€Å"He's not doing that.† â€Å"Tell yourself that if it makes you feel better,† teased Hugh. â€Å"No one can write as much as he claims to.† Since my friends apparently had no lives of their own, I had to endure a number of other pokes and jibes. They probably didn't mean to do any real damage, but their words hurt anyway. Seth had already upset me enough without their help. Anger simmered within me, and I tried to channel it into my rate of gimlet consumption rather than my friends. The only person who looked more miserable than me was Tawny. She wore a strapless red dress, almost identical in cut to the satin sheath I still had on from the ballet. Unlike mine, hers was made of spandex – what was it with her and that fabric anyway? – and about six inches shorter. Mine also fit. â€Å"Why so glum?† I asked, hoping the others would find someone else to obsess on. Her lower lip trembled, either from sadness or an inability to hold its own massive collagen-filled weight. â€Å"I still haven't, you know†¦Ã¢â‚¬  It was enough to allay my own distress. It also meant Niphon was still in town, as I'd suspected upon seeing her. â€Å"How? How is that possible?† She shrugged and leaned forward wretchedly, her elbows resting on knees that were spread open guy-style. With grace like that, no wonder she couldn't get laid. I waved my hand around us. â€Å"Well, go out there, young succubus. This place is a buffet. Grab a plate and take your pick.† â€Å"Oh, yeah, like it's that easy.† â€Å"It is that easy. You might not be up to scoring a priest or anything, but you can definitely get some sort of fix.† â€Å"Maybe you can. I don't†¦I don't really know what to say to them.† I honestly couldn't believe this conversation was happening. It was weirder than me trying to convince Dante I was a succubus. Maddie had trouble talking to guys too, but a giant, crazily proportioned blonde throwing herself at men could get someone to sleep with her. It was a basic law of the universe. â€Å"Well†¦if you really don't know what to say, just try going up and asking them if they want to have sex. Crass, but it'll probably work for someone.† She scoffed. â€Å"Right. That's all there is to it.† â€Å"That is all there is to it,† I said. Hugh returned from the bathroom, and I glanced over at him. â€Å"You want to go have sex?† He didn't even blink. â€Å"Sure. Let me pay my bill.† I turned back to Tawny. â€Å"See?† â€Å"Wait,† said Hugh, one hand on his coat. â€Å"Was that a joke?† â€Å"You were an instructive example,† Peter explained. â€Å"Fuck.† Tawny shook her head, tousled blond curls fluttering. â€Å"I can't do that.† â€Å"Oh my God.† I resisted rubbing my eyes, lest I muss the makeup. â€Å"Tawny, this isn't rocket science.† â€Å"Weren't you telling us how hard it was to do your job, back when your incubus buddy was around?† asked Peter. My friend Bastien's recent visit had elicited a veritable cheerleading squad of admirers for him and what my male friends deemed â€Å"the hardest job ever.† â€Å"Shut up,† I snapped. â€Å"You're ruining my mentoring.† â€Å"I don't want a bad one,† Tawny said petulantly. â€Å"I want to corrupt a good one. One that'll give me lots of energy.† â€Å"Start small. Don't worry about the good ones when you probably can't even pick them out in the first place.† â€Å"How do you find one?† â€Å"It's an art. One you'll learn. I'm telling you, though, just start small.† I did give her a few pointers, recalling my alleged role as mentor. We studied some of the men in the bar, spotting wedding rings and one bachelor party. A guy about to get married was a really nice hit. I also advised on demeanor, how a quiet man was often (but certainly not always) a better bet than a loud, obnoxious one – if you were going for good ones. Of course, serial killers tended to be quiet too. Really, it came down to reading people, which wasn't a skill she could learn overnight. Keeping this in mind, I tried to reiterate how she should just try easy fixes for now. â€Å"I really like how you've got the entire male population pegged,† said Peter when I'd finished lecturing. â€Å"I'm glad you don't believe in stereotyping or anything.† I shrugged. â€Å"I've been doing this for a while.† â€Å"Okay, prove it,† said Hugh. He and I were at about equal levels of intoxication now. â€Å"Find three decent souls in here.† I grinned. Imps could gauge the strength and goodness of a person's soul with a glance. Accepting the challenge, I scanned for a long time. When I picked my three, he shook his head. â€Å"You got two out of three. The two that are right are really good. The one you got wrong is pretty bad. At least you're dealing in extremes.† Tawny moaned. â€Å"You see? This is hard.† â€Å"For Christ's sake,† I exclaimed, finishing another gimlet. â€Å"It's not. Not in the rookie leagues you're playing in. Look, you want a tip? Go get a job that gives you easy access.† â€Å"I am not going to go stand on a corner,† she said huffily. â€Å"Then go†¦I don't know. Go to Hugh's date auction.† The imp glared at me. â€Å"Or go work at a strip club. It's about the easiest thing a succubus can do. Hang out at the bar after your number, and they'll come to you. A stripper's a hot commodity, particularly when a lot of those guys'll think you're a prostitute anyway.† â€Å"I don't know. It still sounds degrading.† â€Å"You're going to be fucking to sustain your existence for the rest of eternity! Get off your high horse. You wait much longer, and your first-one's-free energy stash will dry up. Stripping's easy. And fun. And you get to wear pretty costumes. Trust me, it's a good racket.† â€Å"I guess,† she said at last. She exhaled heavily, the motion pushing her breasts out even further than usual. â€Å"Georgina's a pro,† said Hugh, reaching over to give her a comforting pat. Considering he really wasn't a warm and fuzzy kind of guy, I suspected he just wanted to brush her breasts. â€Å"Or so I hear. I guess I'll never find out.† He gave me a bitter glance. â€Å"If that's true,† Tawny said, â€Å"then how come her own boyfriend blew her off?† The guys let out a collective â€Å"ooh† and glanced eagerly between the two of us, apparently in anticipation of the catfight they'd long predicted. All of my earlier fury resurfaced, fueled now by alcohol and Tawny's incompetence. Grabbing my glass, I strode up to the bar to get a refill in person. Hanging out with my friends was rapidly losing its charm. A newbie succubus didn't have any right to mock me about my dating difficulties, particularly when she couldn't land one guy. I could have landed a dozen if I'd wanted to tonight. At the same time. And, glancing over beside me, I realized I might very well have an easy score right here. The guy from the bookstore, the one with the fetish books, stood at the bar, talking to the bartender. He didn't appear to be with a group. Hastily, I turned away so he wouldn't recognize me. After I got my drink, I set it on my friends' table and retreated to the bathroom without another word to them. I'd had to use bathrooms as shape-shifting hideouts for years, but there was nothing to be done for it in these situations. Inside a stall, I changed into a long, graceful body with flowing gold hair – not unlike some of the ballerinas I'd seen tonight. I'd show Tawny how to do blond right. Walking back out, I caught Cody's eye. My friends could recognize me in any shape, of course, and he gave me a puzzled look as I strode back to the bar. Standing beside the guy from the bookstore again, I ordered another drink. This time, he turned and caught sight of me. I smiled. â€Å"That any good?† I asked, nodding to the red concoction he was drinking. â€Å"I guess.† He lifted up the glass and peered at it. â€Å"It's a pomegranate cosmo. I think. Kind of girly, honestly – no offense.† â€Å"None taken.† The bartender slid my whiskey on the rocks to me. The guy beside me laughed. â€Å"I suddenly feel emasculated,† he said. I grinned and extended my hand, speaking the first name that came to mind. â€Å"I'm Clara.† â€Å"Jude.† â€Å"Hey, Jude.† He sighed. â€Å"Sorry,† I said. â€Å"Couldn't resist.† â€Å"You and everyone else.† â€Å"You here alone?† I asked. He looked embarrassed and absentmindedly rubbed the empty finger his wedding ring had been on the last time I saw him. â€Å"Yeah.† â€Å"Me too.† He looked me over, attempting covertness and not doing a good job. â€Å"I find that hard to believe.† â€Å"Well†¦Ã¢â‚¬  I looked down at my drink, playing with its edge. â€Å"It's kind of a long story†¦Ã¢â‚¬  And slowly, skillfully, I crafted a tale about how I'd come here to meet a guy and how he'd stood me up. He was supposed to go to a sex club with me, though I didn't come right out and say that immediately. That would have been too much for someone like Jude, someone who was intrigued but still nervous about the whole idea of exotic sexuality. So, I spoke vaguely at first, using innuendoes, hinting at my own interest in exhibitionism, how I just wanted to go see what a place like that was all about. As I concluded, I used the same line he'd used in the bookstore. â€Å"I feel like such a pervert. Honestly†¦I don't know why I'm telling you this. I don't even know you. It's just†¦Ã¢â‚¬  I looked up at him with big blue eyes. â€Å"You're easy to talk to.† A long silence followed as Jude held my gaze. â€Å"I don't think†¦I don't think there's anything wrong with what you're saying†¦what you want†¦Ã¢â‚¬  Snick! I started reeling in the line. â€Å"Really?† â€Å"Yeah†¦I mean, sometimes†¦I've kind of†¦you know, wanted†¦Ã¢â‚¬  â€Å"Really?† He nodded. I allowed a five-second hesitation. â€Å"You want to go with me? Just to, you know, watch?† After a bit of rumination, Jude agreed. Unsurprisingly, he didn't know where any sex clubs were in the city. Also unsurprisingly, I did. I didn't even look back at my friends as Jude and I left the bar. I hadn't clocked it or anything, but I was pretty sure my solicitation had been accomplished in record time. That'd teach the gang to question my pro status. The club we went to was one I'd visited a number of times before. I'd been to better ones in my day, but I liked this one simply because of its name: Insolence. Establishments that catered to sex and fetishism all operated in different ways. In places where everyone expected to participate – like swingers' clubs – admission was strictly regulated. Single girls always got into places like that, and couples usually only had a few requirements. Single guys had a harder time. In a place like Insolence that was focused primarily on watching, admission was more lax. We simply had to pay our cover, and we were in. Mine was still cheaper, though. The place was packed and had a dance club kind of feel. Techno music pulsed through the darkened room, the only illumination coming from recessed lights that shone blue and purple. Most of this light focused down on roped off areas that were reserved for those who wanted to â€Å"perform.† They were like small stages that the club-goers could gather around. Some of the stages were themed – one with a doctor's office and operating table setup – while most were couches and beds. There appeared to be no system about who could use them. It was a first-come, first-served system, and since about half the platforms were empty, there didn't seem to be too much urgency. But the spectators eagerly crowded around those areas that were occupied, people craning their necks to get a better view. â€Å"There sure are a lot of guys here,† Jude told me as we pressed our way through the people. â€Å"It's the way of the world,† I told him. â€Å"You think guys are more interested in this stuff than women?† â€Å"To a certain extent, yeah. Guys tend to be more visual, so stuff like this is about as good as it gets. Plenty of girls are into it too – just harder to get them to come out to something like this.† I promptly shut up, immediately realizing I sounded a bit too knowledgeable for a shy novice. We finally made our way up to the edge of a roped-off area. There, we watched a man thrusting eagerly into a woman bent over an elegantly set dining room table. Jude and I studied them for a while, neither of us saying a word. We then moved on to the next couple, a man and woman going at it on an ordinary bed. She wore a shiny leather bustier and hiked-up skirt. After the third couple – pressed up against a wall – Jude finally spoke. â€Å"These people aren't what I expected.† â€Å"How so?† I asked. â€Å"They just look†¦ordinary.† I laughed. â€Å"Because they are. What'd you expect, porn star couples coming in off the streets?† â€Å"Well, no.† I suspected he was blushing in the darkness. â€Å"Everyone's entitled to do what's sexy to them. And really, when you see how they're getting into it†¦Ã¢â‚¬  My gaze drifted to the couple going at it against the wall. Their eye contact was so powerful, so intense†¦you could totally see how much they aroused each other. I shivered. â€Å"Yeah, this is all sexy, even if it's not airbrushed. This is real. That's what gives it its edge.† He didn't answer but glanced around as though he was reassessing it all. As he did, I studied his profile. He wasn't quite six-foot, but he had a nice upper body and neatly styled, sandy blond hair. He turned toward me, sensing my scrutiny. â€Å"You know,† I said, â€Å"if you're so concerned about raising the bar around here†¦well, we're pretty attractive.† He didn't get it at first. â€Å"Yeah, I suppose we – oh. Oh.† His brown eyes went wide. I looked back at the wall couple. â€Å"We're already here. We could really give these people something to watch.† His eyes grew wider still, like they might pop out. â€Å"I†¦I couldn't. I mean. God. Not in front of all these people. And what if someone I know is here†¦Ã¢â‚¬  â€Å"I doubt it. Besides, what are they going to do? If they tell anyone, they'd have to acknowledge that they were here too.† I caught hold of his hand. â€Å"Come on, I know you're interested.† â€Å"Yeah,† he admitted. â€Å"But I've never†¦I don't think I could†¦Ã¢â‚¬  I tugged him toward one of the stages. â€Å"You gotta start sometime. It's easy.† Jude looked terrified but let me drag him. â€Å"You act like you've done this before. I thought it was all new.† â€Å"It is.† â€Å"You sure? Maybe you just play innocent and then seduce random men into crazy sexual acts.† I scoffed. â€Å"That's ridiculous.† We'd barely ducked under the stage's ropes when a mob suddenly swarmed around us. I doubted this had as much to do with us in particular – yet – as it did the fact that we were a new couple. Ah, variety. The spice of life. Jude still looked terrified, but I didn't have the patience for his hesitancy anymore. The performer in me had clicked on. All those people were waiting and watching, and I had to deliver. One of our props was a chaise lounge covered in white velvet that glowed blue under the lights. White, I decided, probably hid certain stains better than other colors. â€Å"Come on,† I said, pushing Jude toward the chaise. â€Å"Lie down.† He did, but still looked panicked. â€Å"Clara – â€Å" â€Å"You're already here,† I said sharply. â€Å"What are you going to do? You going to slink off in front of all these people? You didn't strike me as a coward when I first met you.† I'd become someone else now, someone commanding and terrifying. He shook his head. I climbed onto the chaise with him, straddling his hips with my legs. The lack of energy within me suddenly burned and ached, and I didn't want to be gentle. Leaning down, I kissed him hard, my teeth scraping his lips as I thrust my tongue into his mouth. He let out a small sound of surprise that was lost in the kiss. Meanwhile, my hands were already frantically unfastening the buttons of his shirt. I think I ripped one of them off. Jude lay there limply, still in shock. It didn't matter to me, though, so long as he didn't fight me. And from the feel of him underneath my hips, not all of him was limp. I ran my fingers down his chest, digging my nails into the flesh there. A kindly part of me wondered how he'd explain scratch marks to his wife. The rest of me didn't care. I'd given â€Å"Clara† a black tank top and gray skirt – simple but sexy. I yanked the top off over my head, shaking my hair out afterwards like a golden veil. I contemplated taking off the black lace bra underneath but decided to leave it on. My mouth moved down from his lips, traveling to his neck and chest, pausing to tease one of his nipples. Then I kept going, down to the edge of his khakis. While there, I undid his belt and unfastened his pants in one swift motion. I pushed them and his underwear down to his knees, just enough to give me access to the erection underneath. I took it into my mouth, letting its long shaft glide into me, almost to the back of my throat. He gasped, a noise echoed by some of the appreciative spectators. I felt the early twinges of his life force. It twinkled like starlight, seeping into me. As it did, I got a taste of his thoughts and emotions, as well as his strength and character. When I'd gleaned enough of his energy to assess its quality, I almost laughed. This wasn't the first time he'd done anything like this with a strange woman. He'd actually done it twice before. He was still shy about it all, but some of his innocence had been faked, a lure for dominant women like me. Hugh had been right – I couldn't always gauge a soul. But, infidelity still didn't sit right with Jude, so he had enough goodness and life force to fill the void that the dream had left inside me. My mouth moved with more urgency, sucking and teasing. He groaned as my lips slid back and forth. His back arched, and I pulled away, fearing this might end right now if I wasn't careful. Climbing off him, I stood up and pulled my skirt off, letting it fall in a crumpled pile on the floor. Jude looked at me with pleading eyes, not proactive yet, but definitely wanting more. An ornate wooden chair stood near the chaise. I moved over to it and knelt on its cushioned seat, pressing my breasts up against its carved slats. I peered back at Jude over my shoulder. â€Å"Showtime,† I said. I expected hesitation or reluctance, but Jude had apparently overcome his initial reticence. Good. I didn't want to feel like I was raping him or anything. He clambered off the chaise and walked over to me. I had pushed his pants to his knees earlier, and now he finished the job, kicking the khakis off. Positioning himself behind me, he ran his hands along the sides of my hips, letting his fingers slide along the edges of the black panties I still wore. I shifted, pressing my ass up closer to him. He sighed. â€Å"You are so sexy.† â€Å"I know,† I told him impatiently. He pulled the panties down, letting them rest near my knees. I ground against him even more and felt him push into me, the penetration forceful and deep. Gripping my hips, he began moving in and out, shoving me into the chair's hard back with each thrust. I moaned loudly, but whether it was for his benefit or the crowd's, I couldn't say. And speaking of the crowd, I was now literally in a position to look at them, at the faces and eyes all directed toward me. I'd shed most of my self-consciousness over the years, and God only knew this wasn't the first time I'd had sex in public. Sometimes, I appreciated privacy, but tonight I loved being the center of attention. Maybe it was simply my longing for more life energy. I would have taken it under any conditions right now. Whatever the cause, I found myself getting turned on by making eye contact with different guys in the audience while Jude continued pumping away at me. As I'd noted earlier, eye contact was a powerful thing. It took you away from the realm of superficial study and moved you into something deeper and more intimate. I favored the guys watching me with a heavy, sultry look – the look of a woman being fucked within an inch of her life and who wanted nothing more than to do it with them next. It thrilled me to think of all the men I was arousing, of all of them aching for sex – of all of them aching for me. In meeting the gazes of my admirers, I almost forgot that it was Jude who was behind me. It could be any of these men, and their expressions clearly showed that they'd be happy to trade places with him. I looked from face to face, imagining what each man would feel like, how each one would fuck differently. The thrill of it was so arousing that my wandering mind soon fantasized about having more than one at the same time. One in back, one in front†¦ One of Jude's hands gripped my hair and jerked my head back while the other hand still steadied itself on my hip. The rough maneuver pulled me out of my daydreams, but I was so turned on now that I welcomed his aggression. He thrust harder, driving me painfully into the chair, and I hoped it wouldn't fall over. The sweetness of his life energy coming into me continued building, and I felt his thoughts stream into me as well. So good, so good, so good. And it was good. The voyeurs around us and him fucking me on my knees had aroused me to dizzying heights. The whole act was dirty and exciting and thrilling. â€Å"So good, so good,† I cried, echoing his thoughts. â€Å"Don't stop, don't stop, don't – oh.† Talk about irony. The trick I'd used on Bryce or Bruce or whatever his name was had worked here too. Only, I hadn't actually wanted it to end this time. Maybe this was Jude's normal style – short and sweet – and not actually my doing. Regardless, it was done, and I hadn't even come. Damn it. But I'd gotten my energy fix, a burst of life and wonder that had exploded into me with his orgasm. Ecstasy or no, he'd felt a pang of guilt at the last minute, regret over this continued desire to cheat on his wife. That guilt had been a bonus for me. Sin was subjective, and often, the magnitude of a sin was in the eye of the beholder. I'd gotten him to sin – which Hell always liked and gave me bonus points for – and I'd cracked his morals, giving me more energy than I would have stolen if he were completely corrupt. I felt that life reinvigorate my essence, fueling my immortality and ability to shape-shift. He pulled out. I stood up from the chair, catching his hand as he started to stagger. A few people whistled and clapped. Jude wore a look of wonder – and exhaustion. I handed him his pants. â€Å"Wow,† he gasped. â€Å"That was†¦wow.† â€Å"Yeah,† I said with a grin. â€Å"I know.†

Bacteria

Bacteria ? small prokaryotic microorganisms that can be found everywhere ? can cause disease. This may seem like basic knowledge today, but it was not in the past. In the 19th century, the spread of disease was believed to be either inherited, due to lifestyle choices, or a result of environmental factors; water and air-borne infections were not generally accepted, which was, in reality, the cause of a significant amount of diseases during that time period. In addition, their treatments were largely based on the change of location to an area with cleaner air along with the removal of the disease through blood, vomit, and feces. (Marsh, 2016) These beliefs started to disappear when scientists and physicians such as Robert Koch began to undergo breakthroughs. Koch had a significant number of discoveries that helped create and develop what we now call bacteriology such as discovering the bacteria responsible for anthrax, tuberculosis, and cholera. (Nobel Media AB, 2014) In fact, he is even considered the father of bacteriology. Without the research conducted and discoveries made by Robert Koch, the field of bacteriology would not be nearly as advanced and evolved as it is today. Robert Koch, born on December 11, 1843 in Clausthal, Germany, showed great intelligence throughout his life, even during its first few years; he taught himself to read by the age of five through newspapers and showed interest in biology in high school, foreshadowing the significant contributions he would go on to make in the field. (Nobel Media AB, 2014) Koch attended the University of GÃ ¶ttingen to study medicine during which he was influenced by the view of his anatomy professor, Jacob Henle, that infectious diseases were caused by living parasitic organisms which was published in 1840. (Nobel Media AB, 2014) This led to him developing a strong interest in pathology and infectious diseases as a medical student. (Famous Scientists, n.d.) Following him receiving his M.D. in 1866, Koch went to Berlin to study chemistry under Virchow and then worked in the General Hospital at Hamburg in general practice. (Nobel Media AB, 2014) Later on, he settled in the Province of Posen where he passed the District Medical Officer's Examination. (Nobel Media AB, 2014) After serving as a field surgeon in the Franco-Prussian War in 1870, he served as the District Medical Officer in Wollstein from 1872 to 1880. (Nobel Media AB, 2014) As the District Medical Officer, he built a small laboratory that contained a microscope, a microtome, and a homemade incubator in which he began his study of algae and then pathogenic organisms. (Stevenson, 1998) The beliefs of the early 19th century, such as those mentioned previously, were all about to change. The germ theory was being developed by Louis Pasteur (Brought to Life, n.d.) who had shifted from studying fermentation to studying disease. (Ullmann, n.d.) However, the role of bacteria in contagious disease was uncertain, which is where Koch decided to begin his research. (Brought to Life, n.d.) Robert Koch made significant discoveries regarding the cause of three diseases that were prevalent at the time: anthrax, tuberculosis, and cholera. His study of anthrax began when he noticed many of the farm animals in the Wollstein district, where he worked, were being infected by anthrax. (Nobel Media AB, 2014) The bacteria Bacillus anthracis had already been discovered, but Koch scientifically proved it was the cause of anthrax. (Nobel Media AB, 2014) He did this by infecting mice with the bacteria and observing it had contracted anthrax and had even passed it to other mice (Brought to Life, n.d.) In addition, while studying anthrax, Koch discovered the anthrax life cycle by growing cultures on an ox eye. The life cycle showed how the bacteria can turn into spores that can survive harsh conditions and then redevelop into the disease-causing bacteria years later. (Stevenson, 1998) Along with the anthrax research, Koch discovered the tubercle bacillus responsible for causing tuberculosis, Mycobacterium tuberculosis, and the method for growing pure cultures of it. (Nobel Media AB, 2014) He did this by developing and altering his method of staining to find a more efficient way to view samples. (Stevenson, 1998) The last disease Koch studied was cholera, and he discovered the vibrio that causes the disease, Vibrio cholerae, in Egypt where he was sent to observe the outbreak of the disease. (Nobel Media AB, 2014) The discovery of these bacteria had an immense impact on the medical field. First, the discovery of the cause for anthrax, tuberculosis, and cholera led to the development of their vaccines, for had scientists not known for sure what caused those diseases, they would not have been able to develop the preventative measures. Also, Koch's work and research with anthrax produced the first definite piece of proof of the causal relationship between a specific microorganism and a specific disease, providing the basis of Koch's postulates. (Stevenson, 1998) He developed Koch's postulates which are four standards that must be met in order to determine the cause of an infectious disease ? another way he impacted the medical field. (Famous Scientists, n.d.) It was very useful because it was, and still is, a universal method for testing whether a specific bacterium causes a particular disease which also helped him discover the cause behind tuberculosis. (Hodkinson, 2015) It was for his work with tuberculosis that Robert Koch received a Nobel prize in 1905 in physiology or medicine. (Brought to Life, n.d.) This research conducted by Koch successfully provided proof for the germ theory, strengthening the understanding of disease. Without the work done by Koch to determine the bacteria that cause these diseases, many deadly diseases may have still been around decades after they should have been eradicated, for it was largely due to him that other scientists went on to figure out the causes of various other diseases.(Brought to Life, n.d.) While finding and determining the cause of these diseases, Robert Koch discovered more efficient methods for viewing bacteria. One of the methods is the process of heat fixing. In his paper published in 1877, Koch described his technique of preparing a thin layer of bacteria on a glass slide and fixing them by passing the slide over a flame, exposing it to gentle heat. (Stevenson, 1998) Moreover, Koch and his team developed methods of staining bacteria to improve its visibility under a microscope. (Brought to Life, n.d.) Along with that, he created a solid substance on which to grow bacteria. He reached the final product by first evaluating coagulated egg albumen, starch paste, and a clean slice of potato and then deciding on a broth solidified using gelatin or agar. (Nobel Media AB, 2014) These procedures greatly impacted bacteriology, providing scientists with more efficient ways to carefully study bacteria under a microscope and in the pure form. The processes of heat fixing and staining allowed Koch himself to discover the tubercle bacillus and have enabled scientists after that to make remarkable breakthroughs and discoveries. The creation of the solid medium using gelatin was an extraordinary achievement; it made it possible to isolate bacterial colonies. This was crucial during the research conducted, for pure cultures were necessary in order to isolate the bacteria and definitively carry out experiments. The development of all these procedures assisted Koch himself in his discoveries along with other scientists and physicians later on. Robert Koch, with the help of methods he developed including heat fixing, staining, and isolating colonies on a hard medium, successfully determined and proved the bacteria that cause anthrax, tuberculosis, and cholera. All the discoveries and achievements have had a great impact in medicine, especially in bacteriology which is what it is today due to the work of Robert Koch.