The Positive Impact of Legalizing Marijuana Essay -- Drugs Legalize Le

The Positive Impact of Legalizing Marijuana For many years, the United States government has prohibited drugs such as marijuana from sale in the marketplace. Yet, with prohibition, marijuana use has decreased only minimally. Because of prohibition, the media has publicized only the bad aspects of marijuana use. What many people do not realize are the many positive aspects of marijuana legalization, including new medical cures, cleaner and more efficient industry, and reduced marijuana usage. Marijuana, as most people commonly know it, is really a plant called hemp, or 'cannabis sativa'. There are other plants called hemp, but cannabis hemp is the most useful of these plants. 'Hemp' is any durable plant used since prehistory for many purposes. Cannabis is the most durable of the hemp plants, and it produces the toughest cloth, named 'canvass'. The cannabis plant also produces three other very important products that other plants do not (in usable form): seed, pulp, and medicine. To understand why hemp is illegal, it is necessar y that we take a look at the law prohibiting hemp today. The law that prohibits hemp is called the "Comprehensive Drug Abuse and Control Act of 1970". The Comprehensive Drug Abuse and Control Act of 1970 (Public Law 91-513) overhauled the nation's drug regulation apparatus. Title II of the law, known as the Controlled Substances Act, established criteria for determining which drugs should be controlled, mechanisms for reducing the availability of controlled drugs, and a structure of penalties for illegal distribution and possession of controlled drugs. Marijuana, hashish, and THC are listed in Schedule I, the most restrictive classification. We also have to understand the reasons why marijuana, the drug,... ...dystonia can also attest to benefits derived from smoking marijuana. In 1981, it was reported that patients with idiopathic dystonia improved when they smoked marijuana. This is a group of disorders characterized by abnormal movements and postures resulting from prolonged spasms or muscle contractions. Animal studies confirmed that cannabinoids might have antidysotonic properties, and scientists undertook another human experiment in 1986 that showed the same results. There are many uses for marijuana, and many are unexplored. Actually, some are explored in depth because of interest, and others are left behind. There are probably many other uses that have not been found because of the lack of experimentation on the drug as a whole. If the drug is legalized, there will be much more research done on the drug, and hopefully the drug will begin to be approved for use.

Love in Time of Cholera Essay

Time of CholeraLove, as Mickey and Sylvia, in their 1956 hit single, remind us, love is strange. As we grow older it gets stranger, until at some point mortality has come well within the frame of our attention, and there we are, suddenly caught between terminal dates while still talking a game of eternity. It’s about then that we may begin to regard love songs, romance novels, soap operas and any live teen-age pronouncements at all on the subject of love with an increasingly impatient, not to mention intolerant, ear. At the same time, where would any of us be without all that romantic infrastructure, without, in fact, just that degree of adolescent, premortal hope? Pretty far out on life’s limb, at least. Suppose, then, it were possible, not only to swear love â€Å"forever,† but actually to follow through on it — to live a long, full and authentic life based on such a vow, to put one’s alloted stake of precious time where one’s heart is? This is the extraordinary premise of Gabriel Garcia Marquez’s new novel  Love in the Time of Cholera,  one on which he delivers, and triumphantly. In the postromantic ebb of the 70’s and 80’s, with everybody now so wised up and even growing paranoid about love, once the magical buzzword of a generation, it is a daring step for any writer to decide to work in love’s vernacular, to take it, with all its folly, imprecision and lapses in taste, at all seriously — that is, as well worth those higher forms of play that we value in fiction. For Garcia Marquez the step may also be revolutionary. â€Å"I think that a novel about love is as valid as any other,† he once remarked in a conversation with his friend, the journalist Plinio Apuleyo Mendoza (published as â€Å"El Olor de la Guayaba,† 1982). In reality the duty of a writer — the revolutionary duty, if you like — is that of writing well. † And — oh boy — does he write well. He writes with impassioned control, out of a maniacal serenity: the Garcimarquesian voice we have come to recognize from the other fic tion has matured, found and developed new resources, been brought to a level where it can at once be classical and familiar, opalescent and pure, able to praise and curse, laugh and cry, fabulate and ing and when called upon, take off and soar, as in this description of a turn-of-the-century balloon trip: â€Å"From the sky they could see, just as God saw them, the ruins of the very old and heroic city of Cartagena de Indias, the most beautiful in the world, abandoned by its inhabitants because of the sieges of the English and the atrocities of the buccaneers. They saw the walls, still intact, the brambles in the streets, the fortifications devoured by heartsease, the marble palaces and the golden altars and the viceroys rotting with plague inside their armor. They flew over the lake dwellings of the Trojas in Cataca, painted in lunatic colors, with pens holding iguanas raised for food and balsam apples and crepe myrtle hanging in the lacustrian gardens. Excited by everyone’s shouting, hundreds of naked children plunged into the water, jumping out of windows, jumping from the roofs of the houses and from the canoes that they handled with astonishing skill, and diving like shad to recover the bundles of clothing, the bottles of cough syrup, the beneficent food that the beautifu l lady with the feathered hat threw to them from the basket of the balloon. This novel is also revolutionary in daring to suggest that vows of love made under a presumption of immortality — youthful idiocy, to some — may yet be honored, much later in life when we ought to know better, in the face of the undeniable. This is, effectively, to assert the resurrection of the body, today as throughout history an unavoidably revolutionary idea. Through the ever-subversive medium of fiction, Garcia Marquez shows us how it could all plausibly come about, even — wild hope — for somebody out here, outside a book, even as inevitably beaten at, bought and resold as we all must have become if only through years of simple residence in the injuring and corruptive world. Here’s what happens. The story takes place between about 1880 and 1930, in a Caribbean seaport city, unnamed but said to be a composite of Cartagena and Barranquilla — as well, perhaps, as cities of the spirit less officially mapped. Three major characters form a triangle whose hypotenuse is Florentino Ariza, a poet dedicated to love both carnal and transcendent, though his secular fate is with the River Company of the Caribbean and its small fleet of paddle-wheel steamboats. As a young apprentice telegrapher he meets and falls forever in love with Fermina Daza, a â€Å"beautiful adolescent with . . . almondsshaped eyes,† who walks with a â€Å"natural haughtiness . . . her doe’s gait making her seem immune to gravity. Though they exchange hardly a hundred words face to face, they carry on a passionate and secret affair entirely by way of letters and telegrams, even after the girl’s father has sound out and taken her away on an extended â€Å"journey of forgetting. † But when she returns, Fermina rejects the lovesick young man after all, and eventually meets and marries instead Dr. Juvenal Urbino who, like the hero of a I9th-century novel, is well born, a sharp dresser, somewhat stuck on himself but a terrific catch nonetheless. For Florentino, love’s creature, this is an agonizing setback, though nothing fatal. Having sworn to love Fermina Daza forever, he settles in to wait for as long as he has to until she’s free again. This turns out to be 51 years, 9 months and 4 days later, when suddenly, absurdly, on a Pentecost Sunday around 1930, Dr. Juvenal Urbino dies, chasing a parrot upon mango tree. After the funeral, when everyone else has left, Florentino steps forward with his hat over his heart â€Å"Fermina,† he declares, â€Å"I have waited for this opportunity for more than half a century, to repeat to you once again my vow of eternal fidelity and everlasting love. † Shocked and furious, Fermina orders him out of the house. And don’t show your face again for the years of life that are left to you . . . I hope there are very few of them. † The heart’s eternal vow has run up against the world’s finite terms. The confrontation occurs near the end of the first chapter, which recounts Dr. Urbino’s last day on earth and Fermina’s f irst night as a widow. We then flash back 50 years, into the time of cholera. The middle chapters follow the lives of the three characters through the years of the Urbinos’ marriage and Florentino Ariza’s rise at the River Company, as one century ticks over into the next. The last chapter takes up again where the first left off, with Florentine now, in the face of what many men would consider major rejection, resolutely setting about courting Fermina Daza all over again, doing what he must to win her love. In their city, throughout a turbulent half-century, death has proliferated everywhere, both as el colera, the fatal disease that sweeps through in terrible intermittent epidemics, and as la colera, defined as choler or anger, which taken to its extreme becomes warfare. Victims of one, in this book, are more than once mistaken for victims of the other. War, â€Å"always the same war,† is presented here not as the continuation by other means of any politics that can possibly matter, but as a negative force, a plague, whose only meaning is death on a massive scale. Against this dark ground, lives, so precarious, are often more and less conscious projects of resistance, even of sworn opposition, to death. Dr. Urbino, like his father before him, becomes a leader in the battle against the cholera, promoting public health measures obsessively, heroically. Fermina, more conventionally but with as much courage, soldiers on in her chosen role of wife, mother and household manager, maintaining a safe perimeter for her family. Florentino embraces Eros, death’s well-known long-time enemy, setting off on a career of seductions that eventually add up to 622 â€Å"long term liaisons, apart from . . . countless fleeting adventures,† while maintaining, impervious to time, his deeper fidelity, his unquenchable hope for a life with Fermina. At the end he can tell her truthfully — though she doesn’t believe it for a minute — that he has remained a virgin for her. So far as this is Florentino’s story, in a way his Bildungsroman, we find ourselves, as he earns the suspension of our disbelief, cheering him on, wishing for the success of this stubborn warrior against age and death, and in the name of love. But like the best fictional characters, he insists on his autonomy, refusing to be anything less ambiguous than human. We must take him as he is, pursuing his tomcat destiny out among the streets and lovers’ refuges of this city with which he lives on terms of such easy intimacy, carrying with him a potential for disasters from which he remains safe, immunized by a comical but dangerous indifference to consequences that often borders on criminal neglect. The widow Nazaret, one of many widows he is fated to make happy, seduces him during a nightlong bombardment from the cannons of an attacking army outside the city. Ausencia Santander’s exquisitely furnished home is burgled of every movable item while she and Florentino are frolicking in bed. A girl he picks up at Carnival time turns out to be a homicidal machete-wielding escapee from the local asylum. Olimpia Zuleta’s husband murders her when he sees a vulgar endearment Florentino has been thoughtless enough to write on her body in red paint. His lover’s amorality causes not only individual misfortune but ecological destruction as well: as he learns by the end of the book, his River Company’s insatiable appetite for firewood to fuel its steamers has wiped out the great forests that once bordered the Magdalena river system, leaving a wasteland where nothing can ive. â€Å"With his mind clouded by his passion for Fermina Daza he never took the trouble to think about it, and by the time he realized the truth, there was nothing anyone could do except bring in a new river. † In fact, dumb luck has as much to do with getting Florentino through as the intensity or purity of his dream. The author’s great affection for this character does not en tirely overcome a sly concurrent subversion of the ethic of machismo, of which Garcia Marquez is not especially fond, having described it elsewhere simply as usurpation of the rights of others. Indeed, as we’ve come to expect from his fiction, it’s the women in this story who are stronger, more attuned to reality. When Florentino goes crazy with live, developing symptoms like those of cholera, it is his mother Transito Ariza, who pulls him out of it. His innumerable lecheries are rewarded not so much for any traditional masculine selling points as for his obvious and aching need to be loved. Women go for it. â€Å"He is ugly and sad,† Fermina Daza’s cousin Hildebranda tells her, â€Å"but he is all love. † And Garcia Marquez, straight-faced teller of tall tales, is his biographer. At the age of 19, as he has reported, the young writer underwent a literary epiphany on reading the famous opening lines of Kafka’s  Metamorphosis,  in which a man wakes to find himself transformed into a giant insect. â€Å"Gosh,† exclaimed Garcia Marquez, using in Spanish a word in English we may not, â€Å"that’s just the way my grandmother used to talk! † And that, he adds is when novels began to interest him. Much of what come [sic] in his work to be called â€Å"magical realism† was, as he tells it, simply the presence of that grandmotherly voice. Nevertheless, in this novel we have come a meaningful distance from Macondo, the magical village in  One Hundred Years of Solitude  where folks routinely sail through the air and the dead remain in everyday conversation with the living: we have descended, perhaps in some way down the same river, all the way downstream, into war and pestilence and urban confusions to the edge of a Caribbean haunted less by individual dead than by a history which has brought so appallingly many down, without ever having sopoken, or having spoken gone unheard, or having been heard, left unrecorded. As revolutionary as writing well is the duty to redeem these silences, a duty Garcia Marquez has here fulfilled with honor and compassion. It would be presumptuous to speak of moving â€Å"beyond†Ã‚  One Hundred Years of Solitude  but clearly Garcia Marquez has moved somewhere else, not least into deeper awareness of the ways in which, as Florentino comes to learn, â€Å"nobody teaches life anything. There are still delightful and stunning moments contrary to fact, still told with the same unblinking humor — presences at the foot of the bed, an anonymously delivered doll with a curse on it, the sinister parrot, almost a minor character, whose pursuit ends with the death of Dr. Juvenal Urbino. But the predominant claim on the author’s attention and energies comes from what is not so contrary to fact, a human consensus about â€Å"reality† in which love and the possibility of love’s extinction are the indispensable driving forces, and varieties of magic have become, if not quite peripheral, then at least more thoughtfully deployed in the service of an expanded vision, matured, darker than before but no less clement. It could be argued that this is the only honest way to write about love, that without the darkness and the finitude there might be romance, erotica, social comedy, soap opera — all genres, by the way, that are well represented in this novel — but not the Big L. What that seems to require, along with a certain vantage point, a certain level of understanding, is an author’s ability to control his own love for his characters, to withhold from the reader the full extent of his caring, in other words not to lapse into drivel. In translating  Love in the Time of Cholera,  Edith Grossman has been attentive to this element of discipline, among many nuances of the author’s voice to which she is sensitively, imaginatively attuned. My Spanish isn’t perfect, but I can tell that she catches admirably and without apparent labor the swing and translucency of his writing, its slang and its classicism, the lyrical stretches and those end-of-sentence zingers he likes to hit us with. It is a faithful and beautiful piece of work. There comes a moment, early in his career at the River Company of the Caribbean when Florentino Ariza, unable to write even a simple commercial letter without some kind of romantic poetry creeping in, is discussing the problem with his uncle Leo XII, who owns the company. It’s no use, the young man protests — â€Å"Love is the only thing that interests me. † â€Å"The trouble,† his uncle replies,† is that without river navigation, there is no love. For Florentino, this happens to be literally true: the shape of his life is defined by two momentous river voyages, half a century apart. On the first he made his decision to return and live forever in the city of Fermina Daza, to persevere in his love for as long as it might take. On the second, through a desolate landscape, he journeys into love and against time, with Fermina, at last by his side. There is nothing I have read quite like this astonishing final chapter, symphonic, sure in its dynamics and tempo, moving like a riverboat too, its author and pilot, with a lifetime’s experience steering us unerringly among hazards of skepticism and mercy, on this river we all know, without whose navigation there is no love and against whose flow the effort to return is never worth a less honorable name than remembrance — at the very best it results in works that can even return our worn souls to us, among which most certainly belongs  Love in the Time of Cholera,  this shining and heartbreaking novel.

A Teachers Basic Guide to Making a Referral

A referral is a process or steps a teacher takes to get extra assistance for a student with whom they work directly on a regular basis. In most schools, there are three distinct types of referrals: referrals for disciplinary issues, referrals for special education evaluations, and referrals to receive counseling services. A referral is completed when a teacher believes that a student needs some intervention to help them overcome obstacles that may be preventing them from being successful. All referral situations are dictated by the behavior and/or actions of the student. Teachers need professional development and training to recognize specific signs that would indicate when a student may have an issue that requires a referral. Prevention training is more appropriate for discipline referrals, but recognition training would be beneficial for referrals associated with special education or counseling.   Each type of referral has distinct steps that a teacher must follow according to school policy. With the exception of a counseling referral, a teacher must establish that they have attempted to improve the issue before making a referral, and thus they should document any steps they have taken to help a student improve. Documentation helps establish a pattern which ultimately justifies the need for a referral. It may also help those involved with the referral process in designing the right plan to help the student grow. This process can take a lot of time and extra effort on the teachers part. Ultimately, in most cases, the teacher must prove that they have exhausted all of their individual resources before making a referral. Referral for Discipline Purposes A discipline referral is a form a teacher or other school personnel writes up when they want the principal or school disciplinarian to deal with a student issue. A referral typically means that the issue is serious or that the teacher has tried to handle it without any success. Key Questions to Ask Before Making a Disciplinary Referral Is this a serious issue (i.e. fight, drugs, alcohol) or a potential threat to other students that requires immediate attention by an administrator?If this is a minor issue, what steps have I taken to handle the issue myself?Have I contacted the students parents and involved them in this process?Have I documented the steps I have taken in an attempt to correct this issue? Referral for a Special Education Evaluation A special education referral is a request for a student to be evaluated to determine whether the student is eligible to receive special education services. This may include areas such as speech-language services, learning assistance, and occupational therapy.  The special education referral is typically written by either the students parent or their teacher. If the teacher is completing the referral, they will also attach evidence and samples of work to show why they believe the student needs to be evaluated. Key Questions to Ask Before Making a Special Education Referral What are the exact issues the student has that lead me to believe special education services are appropriate?What evidence or artifacts can I produce that support my belief?What documented steps of intervention have I taken to try to help the student improve before making a referral?Have I discussed my concerns with the childs parents and gained insight into the childs history? Referral for Counseling Services A counseling referral can be made for a student for any number of legitimate concerns and does not always necessitate the teacher to take intervening steps prior to filling out the referral. Some common reasons for counseling referrals include: A student is going through a traumatic family issue (i.e. divorce, death in the family).A student exhibits signs of depression and/or withdrawal.A students grades suddenly dropped or there is a drastic change in behavior.  A student cries often, gets sick daily, or expresses anger/frustration regularly.A student who has difficulty functioning in the classroom (i.e. behavior issues, will not do work, skips school often, extreme aggressiveness).

Impact of Terrorist Attacks on Tourism and How to Prevent...

Introduction Acts of terrorism has greatly affected multiple countries, including the United States. The horrific events that took place on 9/11 left the American people shocked, devastated, and furious. Many innocent American’s lost their lives on this infamous day. While airports and airlines are not free from security breaches, a set of new security measures and requirements have been implemented by the International Air Transport Association and the International Civil Aviation Organization (Beirman, 2011). Increased security at airports and airlines, have left terrorists to target more vulnerable areas such as tourist destinations. Attacking tourists’ spots such as hotels, restaurants, nightclubs, conference venues and other forms†¦show more content†¦Attacks on tourists can negatively impact the tourism industry by damaging the economy (Horner Swarbrooke, 2004). If tourists feel threaten and scared that they will be victims of an attack, they will not travel over sees or participate in tourism related activities. Thirdly, attacking tourists rather than the native population lowers the risk of losing the support of other countries (Horner Swarbrooke, 2004). If terrorists attack the native population, they will lose the support of an undeveloped and developed country. They will be seen as enemies rather than heroes. Lastly, while many foreign tourists are on vacation they may act inappropriately. Local people as well as terrorists groups may find this behavior unacceptable. This gives a terrorist group a legitimate reason to target foreign tourists (Horner Swarbrooke, 2004). While there are many advantages for terrorist to attack foreign tourists, a majority of these attacks have similar trends. One trend is that tourists are targeted while they are at their destination (Horner Swarbrooke, 2004). Whether the tourists are at an amusement park, hotel, or nightclub, terrorists seem to attack while tourists are at their destination. This may be because tourists let their guard down and are enjoying the activity or location that they are at. Another trend is that terrorists target tourists in the transition or travel zone (Horner Swarbrooke, 2004). Examples are when touristsShow MoreRelatedTerrorism And Areas Of Global Terrorism1391 Words   |  6 Pagesthan a decade terrorism has been a growing concern in the news. One of the most notorious acts of terrorism was 9/11. The events and aftermath of 9/11 was a wakeup call for many Americans. Not only was it a wakeup call to the citizens but also businesses were affected by it. The following paper will investigate terrorism and areas of global strategy impacted by terrorism. The paper will also investigate efforts to curb terrorist threats against globalization. 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That day, Al-Qaeda terrorists hijacked four passenger jets and crashed two into the World Trade Center in New York, one into the Pentagon in Virginia and the last into a field in Pennsylvania. b) 2008 Mumbai Attacks (India):Read MoreThe Future of Cruise Industry3702 Words   |  15 Pagessecurity issues, which significant raised concern recently; and whether the cruise industry is environmental sustainable. Three key sources are used to compare and contrast the viewpoints: Hospitality 2010, which is written by Dr. Cetron; Cruise Ship Tourism, written by Dr. Dowling; and the Cruise Ship Experience, written by Dr. Douglas. These key sources are very up-to-date and reliable, the key authors are admitted as experts whether in the business or academic field, their works are in line with the

Identifying Potential Genres of Viral Videos Essay

Can a medium be a genre? If we casually substitute genre for more general synonyms like category, class, or group, then the answer is â€Å"yes,† as demonstrated by the information architecture of online super-retailers like Amazon.com. Amazon subdivides its massive inventory first by medium, like â€Å"Books† or â€Å"Movies,† before incrementally working toward a finer degree of granularity. Taking books as our example medium, we can navigate by sub-genres to find a title in Books Science Fiction Fantasy Science Fiction Adventure. But this understanding of genre-as-synonym largely ignores the more formal identification process performed within the established field of genre studies. Frow (2005) provides several structural dimensions to use when†¦show more content†¦In the absence of more helpful and readily definable structural dimensions—structure of address, formal features, thematic content—that we could find in more traditional li terary or film genres, we are forced to determine whether viral videos constitute a genre by looking at which videos have â€Å"gone viral† to see what, if anything, they have in common. These common elements are elusive, however, much to the consternation of those seeking to cash in on this digital phenomenon. Because of their ability to reach a large audience from a grassroots approach, viral videos are of particular interest to marketing firms. And yet, a telling sign of why viral videos may not constitute a genre is the inability of marketing gurus to define a set of must-haves for producing a video that â€Å"goes viral,† gaining popularity on its own apparent volition. 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However, the successful company like Tencent proves other potentials of monetization. Because the business model is critical to make profit for a company, a company’s financial performance could be better achieved when it has a good business model. This study will focus on business models analysis of social mediaRead MoreComment on How Changes in Macro and Market Environment Forces Impact on the Level of Competition in an Industry.18606 Words   |  75 PagesPolitical and Legal Forces The marketing environment FIGURE CHAPTER 3 73 marketing-orientated ï ¬ rm looks outwards to the environment in which it operates, adapting to take advantage of emerging opportunities and to minimize Macroenvironment potential threats. In this chapter, we will examine the marketing environment and how to monitor it. In particular we will Microenvironment look at some of the major forces acting on companies in their macro- and Economic Political / legal microenvironmentsRead MoreStrategic Marketing Management337596 Words   |  1351 Pages11 Learning objectives Introduction Against whom are we competing? Identifying and evaluating competitors’ strengths and weaknesses Evaluating competitive relationships and analysing how organizations compete Identifying competitors’ objectives Identifying competitors’ likely response profiles Competitor analysis and the development of strategy The competitive intelligence system The development of a competitive stance: the potential for ethical conflict Summary CONTENTS vii Stage Two: WhereRead MoreA Comprehensive Analysis of Hyatt Hotels Corporation and How It Relates to Competition Within the Hotel Industry27390 Words   |  110 Pageshotel environment, and in destination hotels and casino resorts the information gathered from the card can be used to market and promote both gaming and non-gaming activities. Thirdly, Coda Research estimates that 74 million Americans will have video technology built into their phones, by 2015, up from 15 million in 2009, and 78 million will be able to access mobile banking via their phone. (CMO Council, 2014) These figures reaffirm the importance of communicating with tomorrows consumer via mobile

Dear Evan Hansen (Original Broadway Cast Recording) by Pasek Paul free essay sample

â€Å"Dear Evan Hansen† is a Tony Award-winning Broadway musical about an anxious teen trying to find his place in the world while dealing with the aftermath of a fellow student’s suicide. With music from the famed duo, Benj Pasek and Justin Paul, and vocal talents including Ben Platt and Laura Dreyfuss, this musical addresses tough issues such as mental illness, teen suicide, and the influence of social media. It’s no wonder the rock musical dominated at the 2017 Tony Awards. â€Å"Dear Evan Hansen† has music that almost anyone can relate to. â€Å"Waving Through a Window† perfectly describes what it’s like living with social anxiety, and â€Å"Requiem† gives you a solid, emotional punch to the gut as you sympathize with a frustrated Zoe Murphy. Lighthearted, upbeat tunes such as â€Å"If I Could Tell Her† and â€Å"Sincerely, Me† bring a smile to your face, but â€Å"So Big/So Small† and â€Å"Words Fail† will surely make you sob. We will write a custom essay sample on Dear Evan Hansen (Original Broadway Cast Recording) by Pasek Paul or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Of course, nothing quite compares to the touching anthem â€Å"You Will Be Found,† which reminds us that we aren’t alone, even if we feel like we are. Though I’ve only had the pleasure of listening to the cast recording, I have found that the album in no way dims the spirit presented in the musical. Ben Platt, who plays the titular character, conveys a wide range of emotions with his voice alone. Rachel Bay Jones captures the essence of parenthood in one song, and Laura Dreyfuss had me convinced that she was a distraught sister instead of a 28-year-old actress. And, of course, we can’t forget the raw power the entire cast presents in ensemble songs â€Å"Disappear† and â€Å"You Will Be Found.† I was in tears by the time the album finished playing. Even if you don’t consider yourself a â€Å"musical theater person,† this show is worth investigating. The morals and issues presented are ones seldom found in today’s pop cul ture. There’s no doubt that â€Å"Dear Evan Hansen† will remain as a musical ensign for generations to come.

platos three waves Essays - Dialogues Of Plato, Socratic Dialogues

According to the above plan, the Republic is made up of three somehow embedded blocks : From the most superficial viewpoint, the Republic is made up of three parts : a main body, the dialogue proper, preceded by an introduction and followed by a conclusion of almost exactly the same size. The introduction presents five challenges to Socrates' notion of justice, each by a different character, the first three in dialogue form, and the last two mostly in the form of monologues. The conclusion may be viewed as a set of answers to these five challenges, based on what has been said in the dialogue proper, even though they are not directly addressed each to the individual who presented the answered challenge, and are not given in the order the challenges were presented, for reasons that are explained elsewhere. The main body of the dialogue may further be split in two, based on explicit indications given by the author : it begins and ends with a three part "history" of the genesis and corruption of the city, viewed as a mirror image "in large letters" of man's soul, whose justice the discussion is all about. The first part is totally dedicated to the "rebuilding" "in speech" of the city, presented as a gathering of men attempting to live in society, and leads to an organization in three classes : workers, guardians and rulers. The second part moves from the justice in the city to that in man's soul, whose structure is depicted in between, in what may thus be viewed as the center of this whole "history". And the third part explains how the city and man together degenerate over time from the best form of government down to the worst forms of tyranny : in this later parts, man and city are "woven" together to show that they interact in such a way as to make it impossible to say which one exp lains the troubles in the other. But between the second and third part of this "history", another discussion takes place, which is explicitly depicted by the author as sort of a foreign body within the surrounding discussion by the use of the image of three succeeding "waves" engulfing it. At the beginning and at the end of this "digression", as well as at each new "wave" that is brought forth, Socrates wants us to believe that we get once again sidetracked, or at least that we are tackling a topic that might not be fit for the "many". Yet again, this discussion in the discussion is structured in three parts, three "waves", each bigger that the previous one (in terms of "volume" measured by the approximate number of pages, the second is about twice as long as the first, and the third four times as long as the second). And the third part, the longest, can itself be further split in three parts in a movement that is the exact opposite of that of the "history" of the city : whereas the "history" starts with the "buil ding" of the city, deciphers in it the structure of man's soul to get to the principles of justice, and from there falls back towards the corrupted city and man, the discussion in the third "wave" starts with the corrupt city which doesn't understand the need for true philosophers, and the men who only pretend to be philosophers, to move toward the "forms" which should enlighten men's lives, chief among them the good beyond being, and build from there the program of education of the true philosopher-kings, that is, the recipe for "building" those men who might "rebuild" the well behaved city. At all levels of this plan can be found a three-step pattern consonant with the threefold structure of the soul introduced in the middle of the middle section of the "middle" discussion : a desiring, passionate, part (which is actually manifold), the epithumiai, which is the "reflection" in us of nature, phusis, matter, biology and the like ; a reasoning part, the logos, which makes it possible for us to get in touch with the intelligible, with order, with the "forms" outside time and space, with the divine ; and