Romeo and Juliet Essay Example for Free

Romeo and Juliet Essay Romeo and Juliet has always been known as one of Shakespeares most popular and tragic love story plays. It is known for its dramatic ending love scene and tale of twisted fate. This essay is based upon the pathos of the last scene of Romeo and Juliet. Pathos is a quality that arouses emotions such as pity, sympathy or despair. This is therefore why the essay is based upon the last scene as it is the most tragic and dramatic scene in the play which successfully arouses sympathy in the reader due to the tragic atmosphere created by Shakespeare. The atmosphere is created in Act 5 by Shakespeares gift of writing that effectively arouses emotions and passions in the reader. For example, Romeos death was unnecessary as Juliet was merely sleeping which Romeo was unaware of. Shakespeare increases the feeling of pathos in the audience by the dramatic use of irony as the audience know that Juliet is alive therefore there is an alternative ending possible however Romeo is convinced of her death and with a broken heart takes his own life leaving the audience feeling a sense of despair at this unnecessary tragedy. Another example of dramatic irony is shown in the quote: thou art not conquerd beautys ensign yet Is crimson in thy lips and in thy cheeks, And deaths pale flag is not advanced there.. Here Romeo is distraught that she is dead and is saying shes looking beautiful, how can she be dead. Of course she isnt dead, merely sleeping, and the audience painfully know this. This then increases the feeling of pathos with the use of dramatic irony. O my love, my wife, Death, that hath suckd the honey of thy breath.. the language used in this section is beautiful and very dramatic, the deep, in depth language has a great affect on the atmosphere, and the feeling and emotions in the audience. Written plays, unlike most novels perhaps, are composed in the present tense which engages the reader as they know directly what is going on in the characters head, rather than being presented historically in the past tense, which has a less dramatic effect on the reader. It is more gripping when written in the present tense as the story unfolds directly before the reader. Heres to my love! (drinks) oh true apothecary ! thy drugs are quick then thus with a kiss I die this quote from Act 5, Scene 3 is when Romeo drinks the poison and is an example of Shakespeares dramatic language. The pathos and atmosphere builds up as Juliet awakes I do remember well where I should be; and where is my Romeo? as she rises to find Romeos body. This scene is very tragic as fate has struck in such a terrible way. This is mostly due to the heavy, strong tragic language used, it has a dramatic affect on the scene. O churl, drunk all, and left no friendly drop To help me after? I will kiss thy lips.. as you can notice from the quote, the language used is so deep and poetic, especially at this dramatic stage in the play. It is so affective as the audience sympathise with the characters, because the language succeeds in involving them with the plot. The build up to the ending scene has a great affect on the pathos, as the letter does not get to Romeo, and there is a worried, anxious atmosphere in the audience- as nobody knows what shall become of Romeo, and if Friar Lawrence will get to Romeo in time to tell him. There is a great build up which grows through the play, and by the ending scene there is a great anxious atmosphere, which has gradually built up through the play. The above scene and setting (in a tomb) creates a sombre mood and makes the reader empathise with the language more effectively (again increasing the whole pathos and feeling to the scene). The scene is taking place in a gloomy tomb with sleeping bodies, including Juliet who is looking peaceful in her sleep, the setting is therefore dark and gloomy and even more tragic. Shakespeare has therefore created a very tragic and saddening mood by choosing that setting for the most dramatic scene. I am almost afraid to stand alone Here in the churchyard, yet I will adventure. The setting is therefore creating an atmosphere as well as the language-which arouses peoples emotions even more and helps contribute to the pathos. To conclude, what contributes towards the pathos of Shakespeares play is the atmosphere he creates through language, characters, scene, setting and ironic situations through his clever development of the storyline, the other characters also contribute, as it seems as though they are all against Romeo and Juliet- apart from Friar Lawrence and Juliets nurse. Friar Lawrences good intentions precipitate the tragedy- although it wasnt his fault and he was only trying to help the difficult situation. As for Old Capulet and Lady Capulet who do make the situation worse-and could in fact be blamed for the tragedy, this is something the audience think about after the play, which characters could be blamed for the tragedy, this therefore does affect the pathos in a great way. The language, setting, characters and build up all come together at the end to create a great atmosphere and pathos.

Strategic Management And Decision Making

Strategic Management And Decision Making When the benefits of actions are predictable, when the forces or variables that drives the firm are known and move in deterministic manner, when the deviations arent high , one can easily use standard decision making optimization techniques. But when the situations are unpredictable, forces are unknown and move in unpredictable and non-linear manner, and then optimization principles will not help much. And this is what we are facing today. The utter necessity of tactical, operational and strategic approach is the solution to such dynamic situations that can be achieved through making important decisions strategically. CHARACTERISTICS AND APPROCHES TO STRATEGIC DECSION MAKING Unlike routine decisions, strategic decisions are highly substantial and significant that has pervasive and long term effect on an organization life. Such decisions must have following characteristics to be considered as a direction for future actions throughout an organization, these are: Rare: Strategic decisions are rare and unusual and do not have any example or model to follow. Consequential: Since strategic decisions are substantial, therefore its demands lot of dedication from people at all levels. Percussive: Good strategic decisions serve as a role model and set standards for upcoming decisions in future. Also as stated by Cyert and March(1963) that in established organization, the scope for decision making is limited by prior decision, either explicit or implicit, as well as being limited by morally committed to resources and departments etc. According to Thompsons (1967) decisions has 2 major dimensions i.e. preference about possible outcomes and cause and effect relations. And the degree of certainty and uncertainty is defined by causation and outcome preference, as shown in figure below: Fig.1 Situation Certainty Uncertainty Certain Computational Compromise Uncertain Judgmental Inspirational Computational Decision Making: Computational decisions are the outcomes of linear relation between causation and preferred outcomes. For examples, if company wishes to increase its sales by 2%, it must increase its advertisement by 4% , and for 4% sales, it must increase advertisement by 8%, knowing linear relation exists between cause and effect. Thus increasing advertisement increase sales by double and this is called programmed decisions by Simon(1997). Judgmental Decision Making: It occurs when cause and effect relation is uncertain, but outcome preference is certain. For examples a company targets to increase its sales by 2% for the coming year, but is uncertain about how to much increase advertisement to reach such target. So some kind of experienced powerful individual of committee with high intuition is required for effective decisions. Compromise Decision making: Compromise decisions are the outcomes of situations where there is certainty about causation and uncertainty about preferred outcomes. From previous examples, if company knows from its historical data that for every 2% increase in sales, the advertising must be increased by double, this is causation certainty, but there is uncertainty about achieving desired goals with respect to increase in sales. Inspirational Decision Making: Such decisions are the outcomes of both uncertainty about cause and effect as well aS preferred outcomes. For an instance, a company isnt sure that how much advertising percent be increased to get certain percent of sales increment. So for such cases a entrepreneurial mode or well planned mode is required to make careful decisions. Because of uncertain business environment, decision makers face difficulty matching probability with outcomes, having many decision tools in hand. However, again despite of having such tools, lack of accuracy is also one of the biggest obstacles in making decisions strategically. In short we can summarize typical problems involved in strategic decision making are: Uncertainty: Dealing with excessive complexity and rapid changes Self-fulfilling prophecies: Coping with situations that external factors arent fixed, but are affected by decisions. Fragmentation: Working to connect regional functional groups. According to Mintzberg, there are different approaches to making strategic decisions, that could be done by one person or by team. Entrepreneurial Mode The strategy is developed by one individual with strong entrepreneurial capabilities, supported by the owners vision of direction. It is a good example of availing the available opportunities. Example AOL, Amazon.com. Adaptive Mode Unlike entrepreneurial mode, adaptive mode is the focus on the threats posed by external conditions, rather than search for opportunities. Planning Mode Planning mode is the combination of both entrepreneurial mode and adaptive mode, which consist of proactive search for opportunities and reactive solutions to current problems. It is a typical form of decision making where set alternatives strategies are presented and the best are chosen and implemented. Logical Incrementalism This philosophy of decision making is characterized by achieving organizational objectives by disseminating large organizational objectives into small steps for better focus. Though it is time consuming, but offers greater flexibility. STEPS IN STRATEIC DECISION MAKING PROCESS One of the distinguishing factor of strategic decisions from other decisions is context in which decision is made. The figure below represents this context in 3 Cs form i.e. Company, Competitor and Customer. This means that managers ( company) make decision within organizational context ,with influence from other players like customers and competitors .Thus we can say that managerial strategic decision is outcome of number of players like manager himself, customers, competitors, public, media etc. As we can also see from figure that many factors, both external and internal are involved in strategic decision making. There are modifiers, influencers, and controllers and so on that decides the viability of decision making. As mentioned before that most appropriate approach to strategic decision making is Planning mode, because it is more analytical, flexible in dealing with complex and changing environment, and consist of presenting set alternative strategies in response to solution for existing problems or looking for new opportunities. Following are the steps involved in strategic decision making process, shown in fig. 4 Evaluate current performance result: The first step in decision making is (a) evaluating current performance of the company in terms of various measuring tools of decision making i.e. NPV, ROI, profitability etc and (b) evaluating the current mission, vision, strategies and policies of the organization. Review corporate governance Assess the performance of the organizations board of directors and top management, and agency head. Scan and assess the external environment Analyze the external environment. i.e. Societal and Task environment, for opportunities and threats and weigh external strategic factors. Scan and assess the internal environment Analyze the internal environment i.e. organization Culture, Structure and Resources for example programs, IT needs, constraints and weigh strategic factors in terms of strengths and weaknesses. Analyze strategic (SWOT) factors Consider strategic factors in light of current department situation and review and revise the firms mission, vision, strategies and objectives. Generate, evaluate and select the best alternative strategy Keeping in view the previous step of analyzing strategic factors, operate and evaluate strategic alternatives and options and choose the best feasible options. Implement selected strategies Once the strategies are chosen, the next important step is to implement them keeping in considerations factors like budget, resources etc. Evaluate implemented strategies This is a very important step in decision making to check for any deviation from actual desired and pre- planned outcomes. CONCLUSION Strategic management is one of the very important areas in business environment and making decisions strategically is one of the biggest challenges in todays rapidly changing and complex environment. Strategic decision making is a process of generating alternatives and choosing the best feasible alternatives for achieving long run objectives of the organization. Good strategic decisions are rare, consequential and directive, that set standard for future actions. The context in which the decisions are made is very important, as mentioned; it is external players like customers, competitors, media etc along with internal input from managerial efforts that effect quality of decisions. And also it is very important to know how these factors influences the quality and effectiveness of strategic decision making and be proactive to convert threats into opportunities, rather than being re-active in finding solutions to current problems. REFERENCES http://www.dol.gov/cio/programs/ITStrategicPlan2006/decisionmakingprocess.jpg http://www.stratrisk.co.uk/about/execSummary/fig3x470x345.jpg http://en.wikipedia.org/wiki/Strategic_management http://books.google.ae/books?id=c35YVifvGekCprintsec=frontcoverdq=strategic+decision+makingsource=blots=EPD5PfXGS-sig=WcXC9bk8R0bxKf1TZpZriuic-Ashl=enei=kLUhTKazFsaLONHUiTosa=Xoi=book_resultct=resultresnum=1ved=0CBYQ6AEwAA#v=onepageqf=false Raghbir S. Basi, University Professor of Management and Glenn and Eva Olds Professor of International Understanding, Alaska Pacific University, Anchorage, Alaska, Administrative decision making: a contextual analysis http://en.wikipedia.org/wiki/Strategic_management#cite_note-79 Understanding Managers Strategic Decision-Making Process, WILIAM BOULDING ~ Fuqua S «hool of B «Ã‚ «siness, Duke Universitv Box 90121, Durham, NC 27708-1020 Retrived from URL : http://www.springerlink.com/content/rg6770h0148641l7/fulltext.pdf (Mulcaster, W.R. Three Strategic Frameworks, Business Strategy Series, Vol 10, No1, pp68 75, 2009) Our book Wheelen T.L ( ) and Hunger J. D Strategic Management and Business Policy Strategic decision making : Applying The Analytical Herarchical Process Navneet Bhushan and Kanwal Rai Retrieved from URL http://books.google.ae/books?id=c35YVifvGekCprintsec=frontcoverdq=strategic+decision+makingsource=blots=EPD5PfXGS-sig=WcXC9bk8R0bxKf1TZpZriuic-Ashl=enei=kLUhTKazFsaLONHUiTosa=Xoi=book_resultct=resultresnum=1ved=0CBYQ6AEwAA#v=onepageqf=false

Educational Strategies for Students with Autism

Educational Strategies for Students with Autism Have a look at the following video which interviews a number of teachers about their work with autistic students. They explain some of the underlying differences in individuals with ASD and suggest strategies for increasing their success in the school setting. Make a note of some of the strategies that they mention. Are they strategies that you have seen used? Within the video there were several different strategies that were introduced, these ranged from individual approaches to work with the student as well as strategies that involved the whole class; not only the student with autism. Kurth and Mastergeorge (2010) comment that there are many teachers and paraeducators that do not have adequate training for students with autism, videos like this can be used as resources for these teachers. The video goes over these strategies and how teachers can integrate them into their classrooms daily. With how the video is set out, there are several teaching strategies that are explicitly talked about however there are also some that are only subtly mentioned or that you can see the teachers doing within the video. However, all these strategies; not just the ones that are explicitly mentioned, have their own places within the classroom to help the students not only succeed but feel comfortable within the classroom and school. The strategies that are mentioned explicitly within the video are; Priming, which is noted as how the teacher; or primary care giver or an aide, informs the student or class about something that is coming. Academic Modification, is explained as modifying lessons and/or activities to be suitable to the student. Home Base, listed as a place for the student to go to when they are needing time to calm down and collect their thoughts. Visual Support, describes the different visual aids that can be utilised within the classroom and outside of the classroom to support the students learning. Reinforcement, this was directly related to positive reinforcement of their behaviours within the classroom and to support personal growth. Although there were only five strategies that are explicitly mentioned within the video, each strategy had other strategies subtly mentioned within their field. Examples of the subtle strategies mentioned are: Priming: Creating classroom and school schedules for the students to follow, explaining to the class the lesson structure, and talking with the student about what anything that may be coming to prepare them. Academic Modification: Explicit teaching of different skills for the student, offering repetition of a certain skill for the student to master, goal setting, and individual learning plans. Visual Support: Seating arrangements for students needing to be closer to the visual aids, cue cards for students to refer to for additional support in the classroom or in social situations, and having the classroom labelled for students to know where everything is located. These strategies whilst on their own may help in individual situations, however when utilised all together, develop into a teaching approach that allows the student to receive optimal support from their teachers and other support staff. During my short time as a casual relief teacher and pre-service teacher I have been privileged enough to use these teaching strategies. These strategies come into practice daily, although I may go between schools these strategies are utilised within each school, however in their own way with subtle differences. Whilst I was teaching at a special school however, there was one classroom that has stood out for me where all 5 overarching strategies were used to a high level. This grade had 7 students ranging from the ages of 8 to 10 all with a mild to severe disorder, with ability levels ranging from mild intellectual disabilities to a student that cannot speak or write. This promoted one aspect that came in on a lesson to lesson basis; academic modification. How this was utilised was that the teacher had an individual learning plan for each student within the classroom and they all had their individual goals that they were aiming for in each lesson. Individual learning plans are intended to have goals and objectives that an individual student can make progress towards within an achievable timeframe, whilst providing an educational benefit (Kurth Mastergeorge, 2010). This became prominent in every lesson as it was separated into different tasks for each student however maintaining the overarching subject topic. Within this grade as well, was the use of priming and visual supports. This was through having a class schedule for each day in pictures that are displayed on a Velcro board. This had a list of pictures for each lesson described as a picture; such as writing had a writing book and pencil, and lunch had a sandwich, in a descending order for the students to look at to have an understanding what the day entails. When I was in the classroom as a relief teacher I would also follow this support with verbal explanations of how the day would go to additionally prime the students for the day. Although the students were already feeling anxious when I do come into their grade because it is a change of routine not having their teacher, through using these priming strategies I have been able to calm the students down enough to begin to feel comfortable with me there for the day. There is one strategy however that I have only seen small amounts of in schools; I was lucky to have the strategy used in this classroom, and that is the use of home base. How the support staff explained to me how the class used this strategy was that when a student is feeling anxious, stressed, aggravated, or distressed they had a soft calming room that they can go to so they can take themselves out of the situation. This was not able to be done on the students own will as they are unable to recognise this, however myself or the support staff would ask the student if they wanted some time in the room. This provided a safe secluded area for the student to calm down from whatever they were experiencing at the time.   I would personally enjoy to see more classes use this strategy as well as it noticeably had a positive effect on the student when they returned to the classroom. Although I may not have a grade of my own yet, using these strategies through relief teaching has improved my own teaching skills in relation to not only students with autism or students with disabilities, but all students. I would suggest that all teachers use these strategies within their daily routine as they have been proven to have a positive impact on the students. Search the WWW for more resources that relate to ABA or Applied Behaviour Analysis. You should search for videos as well as texts. Applied Behaviour Analysis (ABA) is an intervention process that uses positive reinforcement to work towards change in behavioural responses. Susan Dodd (2005) suggests that to optimise the ABA persons within it should have interventions for 40 hours per week for a duration of at least 2 years. Dodd (2005) also lists that the interventions be carried out by a team of trained people including that of supervisors, therapists, parents, and peers. This is supported by Granpeesheh et al (2009) in the findings that a within two groups of children; one receiving 40 hours of intervention the other receiving 10 hours, the group with 40 hours per week showed expediential improvements whereas the 10-hour group showed very little improvement. Matson (2012) also explains that the younger the child with autism is when they undertake ABA, they will receive greater benefits from the program than that of older children. What would positive reinforcement be like for a student with autism? All students with autism, all students in general, react to positive reinforcement differently. What one child may experience as positive reinforcement, another may see as the complete opposite. This suggestion is that when positive reinforcements are given, the student is first to be understood. For example, a child with hypersensitivity towards physical contact may take a high five to be a largely positive reinforcement. However, a child with hyposensitivity towards physical contact may see it as an annoyance as their feelings are different to the other child. Temple Grandin (2008) suggests that positive reinforcements be directed towards the childs interests, such as time on the computer; however, she suggests a laptop rather than a desk top as the laptop screens do not flicker in comparison to that of a desk top screen. Although you can have positive reinforcements such as a high five, verbal recognitions such as praising, or activities, when a reinforcement is specialised toward s the individual student a greater outcome can be obtained. An example is when I was teaching a 10-year-old boy in a local special school. I had already developed a relationship with this student at the school so he was comfortable around me within the classroom when his teacher was away. He had come into the school in an upset mood in the morning from an incident at home and whilst not seeing his regular teacher his mood did not improve. However, through building up prior knowledge on the child I knew that he has a very strong passion for Doctor Who. Luckily for me I had brought a book that I was going to surprise him with after I found out I had his grade for the day; my personal Doctor Who pop-up book. After seeing his attitudes, I used this book as positive reinforcement for him, if he could do some work for 10 minutes, he can read for a bit, then 15 minutes then he can read. This proved to not only calm him down as it was his interest, but he also was more productive within the classroom. This would not work on other students for a behav iour reinforcement however with this individual child it is within his interests and can be utilised. Why is it important to observe the consequences and repetition of behaviours? Reinforcers help students with autism build up and improve on their behaviours inside and outside of the classroom. These reinforcers can be positive, negative, and neutral; all of which will prompt different reactions from the student. However, it is imperative that the student be observed before and after the reinforcer is given in the aim to give the student the optimal reinforcer. Food reinforcers are common practice within schools and have been seen to be affective most the time; such as an extra piece of fruit for good behaviour or lunch with the principal. Although food reinforcers are good to utilise, there are many people that will rapidly eat; which can lead to choking or possibly death, and if not recognised will continue their unwanted behaviours to get more food (Matson, Turygin, Beighley, Rieske, Tureck, Matson, 2012). To prevent this from occurring teachers may utilise journals and/or notes on observing student behaviours to try and understand what the student is tryi ng to portray. Common behavioural traits of autistic children are repetitive behaviours these can include rocking, hand flapping, or spinning (Kluth Shouse, 2013). It is important to observe the repetition of behaviours as functional assessment can follow as a form of behavioural intervention. Matson (2012) describes that in a situation of repetitive stretching after observation and assessment treatment packages could be developed and resulted in the behaviours being effectively lessened. How can you calm a student with autism who is anxious and upset? To deliver appropriate calming strategies for a student with autism it is imperative that you first understand the student.   The effective way of getting to understand the student is through getting to know what their triggers are, what may cause this anxiety or upsetting moods. For example, if a student has low communication skills they may be anxious because they are unable to communicate if they require something such as food or trying to express their opinion on a situation. Ways that can be utilised in this situation can be helping the student communicate through alternate means; such as through hand motions, or through talking charts. An example of a student with autism whom I have taught whilst they were upset resulted in the student feeling uncomfortable with a blinking overhead light. Their hypersensitivity towards light resulted in them being upset towards the flickering light. Although I had quickly turned off the set of lights that the flickering one is in, the student remained upset and distressed. The way that I had calmed the student further was that I let the student go to a calming room, where they had access to different sensory items such as stress balls and beanbags (both large to sit on and small to hold); the student was there for about 5 minutes before they returned on their own accord. Through this removal from the situation, the student could calm down and eventually return to the classroom with prompting. Videos and Texts that can be used for teachers and primary care givers. This YouTube video is the beginning of a series of videos that involve different steps of ABA. https://www.youtube.com/watch?v=7pN6ydLE4EQ This YouTube video is a university presentation that discusses ABA in an academic approach. https://www.youtube.com/watch?v=ri0owHvCDAk Primary care givers may not have the time to research ABA for themselves, however teachers may link them to this YouTube video and website. Autism Speaks not only gives an overview of what ABA is but also how it is utilised in schools. The website also has further autism information for primary care givers to read. https://www.youtube.com/watch?v=iyCx-OLzgJw https://www.autismspeaks.org/what-autism/treatment/applied-behavior-analysis-aba The book; Clinical and Organizational Applications of Applied Behavior Analysis by Roane, Ringahl and Falcomata (2015), is a useful resource for teachers to acquire a basic understanding of the applications of ABA in different situations, Roane, H., Ringdahl, J. E., Falcomata, T. S. (2015). Clinical and Organizational Applications of Applied Behavior Analysis. London: Elsevier Explain how stress and anxiety underpin sensory difficulties (hyper and hypo sensitivities). What strategies can be used to reduce anxiety and stress related to sensory issues. Stress and anxiety effect many people worldwide from children with sensory difficulties; hyper and hypo sensitives, up to fully able adults. Moree and Davis (2010) state that those on the autism spectrum range from 11% to 84% having anxiety disorders as well, averaging out to being 40-50%. Anxiety can be described as someone having excessive fear and avoidance in response to specific objects or different situations, whilst being absent of true danger (Shin Liberzon, 2010). Although anxiety is a known trigger of stress, it is not to be confused as being the sole trigger of stress; another primary trigger is trauma through social, emotional, physical, and psychological occurrences. People with hypersensitivity are understood to have strong emotional and physical reactions, heightened detections of stimuli, and having a heightened apprehension of the stimuli together with an unfocused or unselective attention (Elwin, Ek, Schrà ¶der Kjellin, 2012). This commonly relates back to vision, hearing, and touch (Elwin, Ek, Schrà ¶der Kjellin, 2012), however it also relates to smell and taste as well as can affect all senses. The National Autistic Society (2016) lists some examples in which hypersensitivity may occur: Visual: Can be distorted resulting in objects and bright lights appearing to jump around. Sound: Noise can become magnified to the person. Smell: Smells can be intense and overpowering. Taste: Foods and flavours can be found too strong and overpowering. Touch: Being touched or touching things may become painful or uncomfortable. Individuals that live with hypersensitivities towards different senses may become anxious when they are in different situations as the experiences that they have are predominantly negative. An interviewee by Elwin et al. (2012) mentions that the noise of other children around them was torment, they could not shut it out, it frightened them as well as wearing them out. If someone is experiencing this daily within a classroom, they will begin to associate the classroom with fear and torment, which will lead to having anxiety before entering the classroom and being stressed when they are in the classroom.   Another example given through an interview by Elwin et al. (2012) is that someone has a hypersensitivity in their vision, bright lights are not a good thing to them, they mention that there were times when they would go outside and the light from the sun would make them quite literally sick as well as having the same affect with flashing lights however they describe it as wors e. If this person is in a classroom with one of the lights flickering, which is common, it can cause them to feel anxious as it will be affecting them and from previous experiences they may relate it to being sick. Hyposensitivity is recognised as people that have no indistinct registration of stimuli, less discrimination and recognition of stimuli, and having strong cravings for specific stimuli (Elwin, Ek, Schrà ¶der Kjellin, 2012). These reactions were common to pain, proprioceptive, and interoceptive stimuli. The National Autistic Society (2016) lists some examples in which hyposensitivity may occur in visual, sound, smell, taste, and touch senses: Visual: May have poor depth perception, problems with throwing and catching, clumsiness. Sound: May only hear sounds in one ear, the other ear having only partial hearing or no hearing at all. Smell: Can have no sense of smell and fail to notice extreme odours; this may also include their own body odour. Taste: They may eat or mouth non-edible items such as stones, dirt, and metal. Touch: They may have a high pain threshold. Individuals that are living with hyposensitivity may not have the same anxieties and stresses as those of hypersensitivities however they will still have their own. An example by Elwin et al. (2012) is of one person who describes that he is unable to tell when they are hungry or thirsty and relies on the post symptoms of feeling sick or dizzy from being without food or water for too long. This can lead to stressors arising for when they are going places as they may feel that if they cannot tell when they are hungry or thirsty, theyll get sick or dizzy in public and can result in further issues. Temple Grandin (2008) elaborates that when someone has sensory issues they are to be addressed however not to be mistaken by behavioural issues. Grandin (2008) further explains that there are different accommodations that need be put in place to help people with these sensory issues. Different strategies related to both hyper and hyposensitive sensory issues suggested by Grandin (2008) as well as the National Autistic Society (2016) include: Visual: Wearing a hat inside or sunglasses inside to reduce the lighting in the room. Using a laptop screen over other screens as they do not flicker Having incandescent lights rather than fluorescent. Doing different balancing games such as using a ball to sit on. Having dull coloured paper rather than white. Sound: Wearing headphones or earplugs for half the day, Grandin (2008) suggests not the entire day as no improvements will be made. Using visual supports as teaching tools such as visual outlines of the day. Minimal usage of verbal instructions. Priming people before going to a loud area. Smell: Creating routines in hygiene such as regular times for bathing / washing. Creating a routine of having deodorant or body spray applied to the person with hyposensitivity. Using unscented shampoos for people with hypersensitivity. Creating fragrance-free environments. Taste: Developing dietary programs in relation to having food that is either blander for hypersensitive people or having strong flavours for hyposensitive people. Touch: Limit physical contact. Preparations prior to any physical contact such as telling people that you are going to hug them. Turning clothes inside out to prevent the seam from rubbing. Constrictive clothing for hyposensitive responses. Squeeze machine sessions. If strategies such as these are implemented the environmental and social factors relating to the sensory issues will be reduced, which in result will further bring down anxiety and stress levels within hyper and hyposensitive people. Although it may not entirely remove anxiety and stress, it will help lessen the symptoms to create a more comfortable environment. Reference List: Autism Speaks. (2015). Applied Behaviour Analysis (ABA). Retrieved from https://www.autismspeaks.org/what-autism/treatment/applied-behavior-analysis-aba Autism Speaks. (2008, September 8). Introduction to Applied Behavior Analysis (ABA) [Video File]. Retrieved from https://www.youtube.com/watch?v=iyCx-OLzgJw Dodd, S. (2005). Understanding Autism. Sydney: Elsevier. Elwin, M., Ek, L., Schrà ¶der, A., Kjellin, L. (2012). Autobiographical Accounts of Sensing in Asperger Syndrome and High-Functioning Autism. Archives of Psychiatric Nursing, 26(5), 420-429. Grandin, T. [University of California Television (UCTV)]. (2008, February 7). My Experience With Autism [Video File]. Retrieved from https://www.youtube.com/watch?v=2wt1IY3ffoU Granpeesheh, D., Dixon, D. R., Tarbox, J., Kaplan, A. M., Wilke, A. E. (2009). The Effects of Age and Treatment Intensity on Behavioral Intervention Outcomes for Children with Autism Spectrum Disorders. Research in Autism Spectrum Disorders, 3(4), 1014-1022. Kluth, P, Shouse, J. (2013). The Autism Checklist. Hoboken: Wiley. Kurth, J., Mastergeorge, A. (2010). Individual Education Plan Goals and Services for Adolescents With Autism: Impact of Age and Educational Setting. The Journal of Special Education., 44(3), 146-160. Matson, J. L, Turygin, N. C., Beighley, J, Rieske, R, Tureck, K, Matson, M. L. (2012). Applied behavior analysis in Autism Spectrum Disorders: Recent developments, strengths, and pitfalls. Research in Autism Spectrum Disorders, 6(1), 144-150. Moree, Davis. (2010). Cognitive-behavioral therapy for anxiety in children diagnosed with autism spectrum disorders: Modification trends. Research in Autism Spectrum Disorders, 4(3), 346-354. Roane, H., Ringdahl, J. E., Falcomata, T. S. (2015). Clinical and Organizational Applications of Applied Behavior Analysis. London: Elsevier Shin, L., Liberzon, I. (2010). The Neurocircuitry of Fear, Stress, and Anxiety Disorders. Neuropsychopharmacology Official Publication of the American College of Neuropsychopharmacology., 35(1), 169-191. The National Autistic Society. (2016). Sensory Differences. Retrieved From http://www.autism.org.uk/sensory The Organization for Autism Research. [ResearchAutism]. (2013, March 7).Understanding Autism: A Guide for Secondary School Teachers (Part 2) [Video File]Retrieved from https://www.youtube.com/watch?v=veQKDDE9C_w Wiley, M. [Matt Wiley]. (2012, February 7). ABA Autism Training Chapter 1 The Discrete Trial [Video File]. Retrieved from https://www.youtube.com/watch?v=7pN6ydLE4EQ Wiseman, E. [HopeNetworkServices]. (2012, June 15). Applied Behavior Analysis for Autism Spectrum Disorders [Video File]. Retrieved from https://www.youtube.com/watch?v=ri0owHvCDAk

Free Glass Menagerie Essays: The Characters’ Weaknesses and Strengths :: Glass Menagerie essays

The Characters' Weaknesses and Strengths in The Glass Menagerie In an interview, Tennessee Williams once said, "I have always been more interested in creating a character that contains something crippled... They have a certain appearance of fragility, these neurotic people I write about, but they are really strong." In Tennessee Williams' The Glass Menagerie, the strengths and weaknesses of the characters is the focus of the play. There have been several critics who have raised interesting points concerning this subject. Critic Judith J. Thompson takes the stance that Amanda's "embodiment of 'The Great Mother'" is blinded by her weakness of an unrealistic world (p. 17). She states that Amanda's character is made up of "the Good Mother, the Terrible Mother, the seductive young witch, and the innocent virgin" (Thompson 17). She supports her theory with the incident in which Amanda says that she had seventeen gentlemen callers in one day. Thompson goes on to say that the "exaggeration of the number of Amanda's beaux recalls fairy tale and legends of romance in which the princess is beleaguered by suitors until the ideal knight or prince returns" (17). Here, Thompson shows that Amanda's weakness is living in a sort of dream world which overwhelms her intentions of being a "Great Mother" (Thompson 17). A second critic, Joseph K. Davis, takes the stance that Laura's weakness overpowers her ability to be sensitive. Davis divides the dramatic pattern of The Glass Menagerie into two parts. Part of the pattern is "the dramatization of men and women by a display of their fragmented, tortured psychologies" (Davis 192). He states in his analysis of The Glass Menagerie: "His [Tom's] sister Laura tries to live in the present, but her crippled body and grim prospects in the secretarial school overcame her fragile sensibilities" (194). Davis implies that, like Amanda, Laura's weakness consumes her ability to live in reality and her sensibility, her one strength. A third critic, Tom Scanlan takes the stance that Tom's weakness is overcome by his strength. Tom is easily entrapped and persuaded into situations that he may or may not want to be which weakens his character but his strength is greater than this weakness. The critic states that "the reappearance of Tom as narrator force the reader back to the present" (Scanlan 99). He shows the reader that Tom's strength is the ability to keep in touch with reality. Free Glass Menagerie Essays: The Characters’ Weaknesses and Strengths :: Glass Menagerie essays The Characters' Weaknesses and Strengths in The Glass Menagerie In an interview, Tennessee Williams once said, "I have always been more interested in creating a character that contains something crippled... They have a certain appearance of fragility, these neurotic people I write about, but they are really strong." In Tennessee Williams' The Glass Menagerie, the strengths and weaknesses of the characters is the focus of the play. There have been several critics who have raised interesting points concerning this subject. Critic Judith J. Thompson takes the stance that Amanda's "embodiment of 'The Great Mother'" is blinded by her weakness of an unrealistic world (p. 17). She states that Amanda's character is made up of "the Good Mother, the Terrible Mother, the seductive young witch, and the innocent virgin" (Thompson 17). She supports her theory with the incident in which Amanda says that she had seventeen gentlemen callers in one day. Thompson goes on to say that the "exaggeration of the number of Amanda's beaux recalls fairy tale and legends of romance in which the princess is beleaguered by suitors until the ideal knight or prince returns" (17). Here, Thompson shows that Amanda's weakness is living in a sort of dream world which overwhelms her intentions of being a "Great Mother" (Thompson 17). A second critic, Joseph K. Davis, takes the stance that Laura's weakness overpowers her ability to be sensitive. Davis divides the dramatic pattern of The Glass Menagerie into two parts. Part of the pattern is "the dramatization of men and women by a display of their fragmented, tortured psychologies" (Davis 192). He states in his analysis of The Glass Menagerie: "His [Tom's] sister Laura tries to live in the present, but her crippled body and grim prospects in the secretarial school overcame her fragile sensibilities" (194). Davis implies that, like Amanda, Laura's weakness consumes her ability to live in reality and her sensibility, her one strength. A third critic, Tom Scanlan takes the stance that Tom's weakness is overcome by his strength. Tom is easily entrapped and persuaded into situations that he may or may not want to be which weakens his character but his strength is greater than this weakness. The critic states that "the reappearance of Tom as narrator force the reader back to the present" (Scanlan 99). He shows the reader that Tom's strength is the ability to keep in touch with reality.

The Prisoners Dilemma and the Ability of Firms to Collude :: Business Economics Management Essays

The Prisoners Dilemma and the Ability of Firms to Collude An oligopoly is a market consisting of a few large interdependent firms who are usually always trying to second-guess each other's behaviour. There is a high degree of interdependence between each firm in the industry meaning individual firms must take into account the effects of their actions on their rivals, and the course of action that will follow as a result on behalf of the rival firm which will also have consequences. The market as we will see is also allocatively inefficient as price is above marginal cost. There are barriers to entry and exit in an oligopoly meaning that potential new firms will have huge costs if they try to enter the industry and sometimes firms collude in order to prevent new firms from becoming any threat. For example if a new firm tries to enter the industry the cartel can quite easily reduce its prices in the short run so as to remove the new firm. An example of a heavy barrier to entry for new firms is the cost of National or even International adver tising. As a result of the firms being interdependent, there are various varieties of collusion in oligopolies to try and create some stable space for the firms to operate in. There are three kinds of collusion:  · cartel (contractual)  · covert  · tacit Cartels usually exist where there are agreements between incumbent firms with prices so that they can share what would be monopoly supernormal profits between them, acting as a monopoly. Firms will get together to decide to restrict the output and raise the price, for example OPEC (Organisation for Petroleum Exporting Countries). In the UK legally binding agreements in cartels are against the restrictive practices legislation and are therefore illegal. Some cartels last longer than others do as some cartels may break contracts. Some examples of cartels include Rowntrees, Cadbury's, the concrete industry with three firms (Rugby, Blue Circle and United). An example of covert collusion would be the cement industry, which was found guilty of rigging contracts and was fined eight million pounds. Tacit collusion is forming implicit contracts as if they are colluding; for example the soap powders industry. In this type of market rather than competing using prices, non-price competition occurs. Examples of non-price competition are special offers, advertising and quality of service, all of which are to establish their own brand loyalty and maintain a high concentration ratio of the market.

Assess the view that what participant observation lacks in terms of reliability Essay

Assess the view that what participant observation lacks in terms of reliability & representativeness, it more than makes up for in terms of validity. Participant Observation is where the researcher infiltrates themselves into a certain group or gang to study them from within. The researcher usually puts themselves in a position where they are in the main part of the group, and they usually study the activities and attitudes of the different gang/group members. The observation is usually carefully thought through, & it is usually recorded in field notes, and can often take months, even years to complete. Participant Observation usually doesn’t start with a definite hypothesis, so new ideas and thoughts about the group or the way that an idea may turn out usually come through when the observer is part of the group. You can either do overt (people know you are doing it) or covert (undercover) observations, or even a combination of both. Although this may seem like a very kosher method to use, there are quite a few disadvantages of doing this; Bias is a concern because if the observer starts being drawn into the group, their own views will be abandoned because they may start seeing things through the group’s eyes, and may blind the researcher to other views that may be available. The influence of the researcher may also be a problem, because if a group know that they are being studied, they may alter their behaviour, and so the research is pointless. For example, with James Patrick’s study of a Glaswegian Gang, he was suspected of holding back in fights and being reluctant to participate in some of the activities of the Gang, and this was pointed out by a member of the gang, but thankfully, the leader of the Gang stood up for Patrick, because he was the only one who actually knew that the gang was being studied. Ethical Issues are also a problem, because if the researcher goes in really deep with the group, then they may have to illegal or immoral activities, which may go against the researcher’s own values. The actual proof of the study is also a problem because you have no way of replicating the exact study, and so have no way of knowing if the research is true or not. This kind of study is also on too small a scale, and so you cannot repeat it again. Also, due to the micro-ness of it, you cannot make generalisations for the whole population based on one group, or if you were studying gangs and their motives for committing crimes or something like that, you can’t assume that all other gangs will have the same motives. And finally, most researchers like to study the less powerful groups in society, and there has been a debate over whether this is right or not because we can possibly miss the important issues that are going on. However, there are some advantages to using this method, and so we cannot just assume that all sociologists see this as a bad method to use; By joining a certain group, the sociologist would be able to gain knowledge of certain subjects from that group’s point of view, and they would be able to fully understand the sorts of things that were going on, and gaining different perspectives. Also, you can generate new ideas from being in a new group, and this can lead you to new perspectives and ideas. You also get more of the truth and honesty if you are doing overt participant observation, so you can quite easily prove or disprove any hypotheses you have come up with. You are also to dig deeper into the group so to speak, because if you are a part of the group, then you can uncover issues that may normally remain hidden or are secretive. Participant observation is also dynamic because if you are with a group over time, you understand how they work and how attitudes and behaviour change over time. Lastly, you can dig deeper into areas that you aren’t typically able to reach, for example, with young offenders or religious groups. It is, however, simplistic to assume that participant observation will automatically produce valid results, as there are many threats to this validity.

The Twilight Saga 3: Eclipse Chapter 10. SCENT

IT WAS ALL VERY CHILDISH. WHY ON EARTH SHOULD EDward have to leave for Jacob to come over? Weren't we past this kind of immaturity? â€Å"It's not that I feel any personal antagonism toward him, Bella, it's just easier for both of us,† Edward told me at the door. â€Å"I won't be far away. You'll be safe.† â€Å"I'm not worried about that.† He smiled, and then a sly look came into his eye. He pulled me close, burying his face in my hair. I could feel his cool breath saturate the strands as he exhaled; it raised goose bumps on my neck. â€Å"I'll be right back,† he said, and then he laughed aloud as if I'd just told a good joke. â€Å"What's so funny?† But Edward just grinned and loped off toward the trees without answering. Grumbling to myself, I went to clean up the kitchen. Before I even had the sink full of water, the doorbell rang. It was hard to get used to how much faster Jacob was without his car. How everyone seemed to be so much faster than me. . . . â€Å"Come in, Jake!† I shouted. I was concentrating on piling the dishes into the bubbly water, and I'd forgotten that Jacob moved like a ghost these days. So it made me jump when his voice was suddenly there behind me. â€Å"Should you really leave your door unlocked like that? Oh, sorry.† I'd slopped myself with the dishwater when he'd startled me. â€Å"I'm not worried about anyone who would be deterred by a locked door,† I said while I wiped the front of my shirt with a dishtowel. â€Å"Good point,† he agreed. I turned to look at him, eyeing him critically. â€Å"Is it really so impossible to wear clothes, Jacob?† I asked. Once again, Jacob was bare-chested, wearing nothing but a pair of old cut-off jeans. Secretly, I wondered if he was just so proud of his new muscles that he couldn't stand to cover them up. I had to admit, they were impressive – but I'd never thought of him as vain. â€Å"I mean, I know you don't get cold anymore, but still.† He ran a hand through his wet hair; it was falling in his eyes. â€Å"It's just easier,† he explained. â€Å"What's easier?† He smiled condescendingly. â€Å"It's enough of a pain to carry the shorts around with me, let alone a complete outfit. What do I look like, a pack mule?† I frowned. â€Å"What are you talking about, Jacob?† His expression was superior, like I was missing something obvious. â€Å"My clothes don't just pop in and out of existence when I change – I have to carry them with me while I run. Pardon me for keeping my burden light.† I changed color. â€Å"I guess I didn't think about that,† I muttered. He laughed and pointed to a black leather cord, thin as a strand of yarn, that was wound three times below his left calf like an anklet. I hadn't noticed before that his feet were bare, too. â€Å"That's more than just a fashion statement – it sucks to carry jeans in your mouth.† I didn't know what to say to that. He grinned. â€Å"Does my being half-naked bother you?† â€Å"No.† Jacob laughed again, and I turned my back on him to focus on the dishes. I hoped he realized my blush was left over from embarrassment at my own stupidity, and had nothing to do with his question. â€Å"Well, I suppose I should get to work.† He sighed. â€Å"I wouldn't want to give him an excuse to say I'm slacking on my side.† â€Å"Jacob, it's not your job -â€Å" He raised a hand to cut me off. â€Å"I'm working on a volunteer basis here. Now, where is the intruder's scent the worst?† â€Å"My bedroom, I think.† His eyes narrowed. He didn't like that any more than Edward had. â€Å"I'll just be a minute.† I methodically scrubbed the plate I was holding. The only sound was the brush's plastic bristles scraping round and round on the ceramic. I listened for something from above, a creak of the floorboard, the click of a door. There was nothing. I realized I'd been cleaning the same plate far longer than necessary, and I tried to pay attention to what I was doing. â€Å"Whew!† Jacob said, inches behind me, scaring me again. â€Å"Yeesh, Jake, cut that out!† â€Å"Sorry. Here -† Jacob took the towel and mopped up my new spill. â€Å"I'll make it up to you. You wash, I'll rinse and dry.† â€Å"Fine.† I gave him the plate. â€Å"Well, the scent was easy enough to catch. By the way, your room reeks.† â€Å"I'll buy some air freshener.† He laughed. I washed and he dried in companionable silence for a few minutes. â€Å"Can I ask you something?† I handed him another plate. â€Å"That depends on what you want to know.† â€Å"I'm not trying to be a jerk or anything – I'm honestly curious,† Jacob assured me. â€Å"Fine. Go ahead.† He paused for half a second. â€Å"What's it like – having a vampire for a boyfriend?† I rolled my eyes. â€Å"It's the best.† â€Å"I'm serious. The idea doesn't bother you – it never creeps you out?† â€Å"Never.† He was silent as he reached for the bowl in my hands. I peeked up at his face – he was frowning, his lower lip jutting out. â€Å"Anything else?† I asked. He wrinkled his nose again. â€Å"Well . . . I was wondering . . . do you . . . y'know, kiss him?† I laughed. â€Å"Yes.† He shuddered. â€Å"Ugh.† â€Å"To each her own,† I murmured. â€Å"You don't worry about the fangs?† I smacked his arm, splashing him with dishwater. â€Å"Shut up, Jacob! You know he doesn't have fangs!† â€Å"Close enough,† he muttered. I gritted my teeth and scrubbed a boning knife with more force than necessary. â€Å"Can I ask another one?† he asked softly when I passed the knife to him. â€Å"Just curious, again.† â€Å"Fine,† I snapped. He turned the knife over and over in his hands under the stream of water. When he spoke, it was only a whisper. â€Å"You said a few weeks. . . . When, exactly . . . ?† He couldn't finish. â€Å"Graduation,† I whispered back, watching his face warily. Would this set him off again? â€Å"So soon,† he breathed, his eyes closing. It didn't sound like a question. It sounded like a lament. The muscles in his arms tightened and his shoulders were stiff. â€Å"OW!† he shouted; it had gotten so still in the room that I jumped a foot in the air at his outburst. His right hand had curled into a tense fist around the blade of the knife – he unclenched his hand and the knife clattered onto the counter. Across his palm was a long, deep gash. The blood streamed down his fingers and dripped on the floor. â€Å"Damn it! Ouch!† he complained. My head spun and my stomach rolled. I clung to the countertop with one hand, took a deep breath through my mouth, and forced myself to get a grip so that I could take care of him. â€Å"Oh, no, Jacob! Oh, crap! Here, wrap this around it!† I shoved the dish towel at him, reaching for his hand. He shrugged away from me. â€Å"It's nothing, Bella, don't worry about it.† The room started to shimmer a little around the edges. I took another deep breath. â€Å"Don't worry?! You sliced your hand open!† He ignored the dish towel I pushed at him. He put his hand under the faucet and let the water wash over the wound. The water ran red. My head whirled. â€Å"Bella,† he said. I looked away from the wound, up to his face. He was frowning, but his expression was calm. â€Å"What?† â€Å"You look like you're going to pass out, and you're biting your lip off. Stop it. Relax. Breathe. I'm fine.† I inhaled through my mouth and removed my teeth from my lower lip. â€Å"Don't be brave.† He rolled his eyes. â€Å"Let's go. I'll drive you to the ER.† I was pretty sure I would be okay to drive. The walls were holding steady now, at least. â€Å"Not necessary.† Jake turned off the water and took the towel from my hand. He twisted it loosely around his palm. â€Å"Wait,† I protested. â€Å"Let me look at it.† I clutched the counter more firmly, to hold myself upright if the wound made me woozy again. â€Å"Do you have a medical degree that you never told me about?† â€Å"Just give me the chance to decide whether or not I'm going to throw a fit over taking you to the hospital.† He made a face of mock horror. â€Å"Please, not a fit!† â€Å"If you don't let me see your hand, a fit is guaranteed.† He inhaled deeply, and then let out a gusty sigh. â€Å"Fine.† He unwound the towel and, when I reached out to take the cloth, he laid his hand in mine. It took me a few seconds. I even flipped his hand over, though I was sure he'd cut his palm. I turned his hand back up, finally realizing that the angry pink, puckered line was all that was left of his wound. â€Å"But . . . you were bleeding . . . so much.† He pulled his hand back, his eyes steady and somber on mine. â€Å"I heal fast.† â€Å"I'll say,† I mouthed. I'd seen the long gash clearly, seen the blood that flowed into the sink. The rust-and-salt smell of it had almost pulled me under. It should have needed stitches. It should have taken days to scab over and then weeks to fade into the shiny pink scar that marked his skin now. He screwed his mouth up into half a smile and thumped his fist once against his chest. â€Å"Werewolf, remember?† His eyes held mine for an immeasurable moment. â€Å"Right,† I finally said. He laughed at my expression. â€Å"I told you this. You saw Paul's scar.† I shook my head to clear it. â€Å"It's a little different, seeing the action sequence firsthand.† I kneeled down and dug the bleach out of the cabinet under the sink. Then I poured some on a dusting rag and started scrubbing the floor. The burning scent of the bleach cleared the last of the dizziness from my head. â€Å"Let me clean up,† Jacob said. â€Å"I got this. Throw that towel in the wash, will you?† When I was sure the floor smelled of nothing but bleach, I got up and rinsed the right side of the sink with bleach, too. Then I went to the laundry closet beside the pantry, and poured a cupful into the washing machine before starting it. Jacob watched me with a disapproving look on his face. â€Å"Do you have obsessive-compulsive disorder?† he asked when I was done. Huh. Maybe. But at least I had a good excuse this time. â€Å"We're a bit sensitive to blood around here. I'm sure you can understand that.† â€Å"Oh.† He wrinkled his nose again. â€Å"Why not make it as easy as possible for him? What he's doing is hard enough.† â€Å"Sure, sure. Why not?† I pulled the plug, and let the dirty water drain from the sink. â€Å"Can I ask you something, Bella?† I sighed. â€Å"What's it like – having a werewolf for a best friend?† The question caught me off guard. I laughed out loud. â€Å"Does it creep you out?† he pressed before I could answer. â€Å"No. When the werewolf is being nice,† I qualified, â€Å"it's the best.† He grinned widely, his teeth bright against his russet skin. â€Å"Thanks, Bella,† he said, and then he grabbed my hand and wrenched me into one of his bone-crushing hugs. Before I had time to react, he dropped his arms and stepped away. â€Å"Ugh,† he said, his nose wrinkling. â€Å"Your hair stinks worse than your room.† â€Å"Sorry,† I muttered. I suddenly understood what Edward had been laughing about earlier, after breathing on me. â€Å"One of the many hazards of socializing with vampires,† Jacob said, shrugging. â€Å"It makes you smell bad. A minor hazard, comparatively.† I glared at him. â€Å"I only smell bad to you, Jake.† He grinned. â€Å"See you around, Bells.† â€Å"Are you leaving?† â€Å"He's waiting for me to go. I can hear him outside.† â€Å"Oh.† â€Å"I'll go out the back,† he said, and then he paused. â€Å"Hold up a sec – hey, do you think you can come to La Push tonight? We're having a bonfire party. Emily will be there, and you could meet Kim . . . And I know Quil wants to see you, too. He's pretty peeved that you found out before he did.† I grinned at that. I could just imagine how that would have irked Quil – Jacob's little human gal pal down with the werewolves while he was still clueless. And then I sighed. â€Å"Yeah, Jake, I don't know about that. See, it's a little tense right now. . . .† â€Å"C'mon, you think somebody's going to get past all – all six of us?† There was a strange pause as he stuttered over the end of his question. I wondered if he had trouble saying the word werewolf aloud, the way I often had difficulty with vampire. His big dark eyes were full of unashamed pleading. â€Å"I'll ask,† I said doubtfully. He made a noise in the back of his throat. â€Å"Is he your warden, now, too? You know, I saw this story on the news last week about controlling, abusive teenage relationships and -â€Å" â€Å"Okay!† I cut him off, and then shoved his arm. â€Å"Time for the werewolf to get out!† He grinned. â€Å"Bye, Bells. Be sure you ask permission.† He ducked out the back door before I could find something to throw at him. I growled incoherently at the empty room. Seconds after he was gone, Edward walked slowly into the kitchen, raindrops glistening like diamonds set into the bronze of his hair. His eyes were wary. â€Å"Did you two get into a fight?† he asked. â€Å"Edward!† I sang, throwing myself at him. â€Å"Hi, there.† He laughed and wrapped his arms around me. â€Å"Are you trying to distract me? It's working.† â€Å"No, I didn't fight with Jacob. Much. Why?† â€Å"I was just wondering why you stabbed him. Not that I object.† With his chin, he gestured to the knife on the counter. â€Å"Dang! I thought I got everything.† I pulled away from him and ran to put the knife in the sink before I doused it with bleach. â€Å"I didn't stab him,† I explained as I worked. â€Å"He forgot he had a knife in his hand.† Edward chuckled. â€Å"That's not nearly as fun as the way I imagined it.† â€Å"Be nice.† He took a big envelope from his jacket pocket and tossed it on the counter. â€Å"I got your mail.† â€Å"Anything good?† â€Å"I think so.† My eyes narrowed suspiciously at his tone. I went to investigate. He'd folded the legal-sized envelope in half. I smoothed it open, surprised at the weight of the expensive paper, and read the return address. â€Å"Dartmouth? Is this a joke?† â€Å"I'm sure it's an acceptance. It looks exactly like mine.† â€Å"Good grief, Edward – what did you do?† â€Å"I sent in your application, that's all.† â€Å"I may not be Dartmouth material, but I'm not stupid enough to believe that.† â€Å"Dartmouth seems to think that you're Dartmouth material.† I took a deep breath and counted slowly to ten. â€Å"That's very generous of them,† I finally said. â€Å"However, accepted or not, there is still the minor matter of tuition. I can't afford it, and I'm not letting you throw away enough money to buy yourself another sports car just so that I can pretend to go to Dartmouth next year.† â€Å"I don't need another sports car. And you don't have to pretend anything,† he murmured. â€Å"One year of college wouldn't kill you. Maybe you'd even like it. Just think about it, Bella. Imagine how excited Charlie and Rene would be. . . .† His velvet voice painted the picture in my head before I could block it. Of course Charlie would explode with pride – no one in the town of Forks would be able to escape the fallout from his excitement. And Rene would be hysterical with joy at my triumph – though she'd swear she wasn't at all surprised. . . . I tried to shake the image out of my head. â€Å"Edward. I'm worried about living through graduation, let alone this summer or next fall.† His arms wrapped around me again. â€Å"No one is going to hurt you. You have all the time in the world.† I sighed. â€Å"I'm mailing the contents of my bank account to Alaska tomorrow. It's all the alibi I need. It's far enough away that Charlie won't expect a visit until Christmas at the earliest. And I'm sure I'll think of some excuse by then. You know,† I teased halfheartedly, â€Å"this whole secrecy and deception thing is kind of a pain.† Edward's expression hardened. â€Å"It gets easier. After a few decades, everyone you know is dead. Problem solved.† I flinched. â€Å"Sorry, that was harsh.† I stared down at the big white envelope, not seeing it. â€Å"But still true.† â€Å"If I get this resolved, whatever it is we're dealing with, will you please consider waiting?† â€Å"Nope.† â€Å"Always so stubborn.† â€Å"Yep.† The washing machine thumped and stuttered to a halt. â€Å"Stupid piece of junk,† I muttered as I pulled away from him. I moved the one small towel that had unbalanced the otherwise empty machine, and started it again. â€Å"This reminds me,† I said. â€Å"Could you ask Alice what she did with my stuff when she cleaned my room? I can't find it anywhere.† He looked at me with confused eyes. â€Å"Alice cleaned your room?† â€Å"Yeah, I guess that's what she was doing. When she came to get my pajamas and pillow and stuff to hold me hostage.† I glowered at him briefly. â€Å"She picked up everything that was lying around, my shirts, my socks, and I don't know where she put them.† Edward continued to look confused for one short moment, and then, abruptly, he was rigid. â€Å"When did you notice your things were missing?† â€Å"When I got back from the fake slumber party. Why?† â€Å"I don't think Alice took anything. Not your clothes, or your pillow. The things that were taken, these were things you'd worn . . . and touched . . . and slept on?† â€Å"Yes. What is it, Edward?† His expression was strained. â€Å"Things with your scent.† â€Å"Oh!† We stared into each others eyes for a long moment. â€Å"My visitor,† I muttered. â€Å"He was gathering traces . . . evidence. To prove that he'd found you?† â€Å"Why?† I whispered. â€Å"I don't know. But, Bella, I swear I will find out. I will.† â€Å"I know you will,† I said, laying my head against his chest. Leaning there, I felt his phone vibrate in his pocket. He pulled out his phone and glanced at the number. â€Å"Just the person I need to talk to,† he murmured, and then he flipped it open. â€Å"Carlisle, I -† He broke off and listened, his face taut with concentration for a few minutes. â€Å"I'll check it out. Listen . . .† He explained about my missing things, but from the side I was hearing, it sounded like Carlisle had no insights for us. â€Å"Maybe I'll go . . . ,† Edward said, trailing off as his eyes drifted toward me. â€Å"Maybe not. Don't let Emmett go alone, you know how he gets. At least ask Alice keep an eye on things. We'll figure this out later.† He snapped the phone shut. â€Å"Where's the paper?† he asked me. â€Å"Um, I'm not sure. Why?† â€Å"I need to see something. Did Charlie already throw it out?† â€Å"Maybe. . . .† Edward disappeared. He was back in half a second, new diamonds in his hair, a wet newspaper in his hands. He spread it out on the table, his eyes scanning quickly across the headlines. He leaned in, intent on something he was reading, one finger tracing passages that interested him most. â€Å"Carlisle's right . . . yes . . . very sloppy. Young and crazed? Or a death wish?† he muttered to himself. I went to peek over his shoulder. The headline of the Seattle Times read: â€Å"Murder Epidemic Continues – Police Have No New Leads.† It was almost the same story Charlie had been complaining about a few weeks ago – the big-city violence that was pushing Seattle up the national murder hot-spot list. It wasn't exactly the same story, though. The numbers were a lot higher. â€Å"It's getting worse,† I murmured. He frowned. â€Å"Altogether out of control. This can't be the work of just one newborn vampire. What's going on? It's as if they've never heard of the Volturi. Which is possible, I guess. No one has explained the rules to them . . . so who is creating them, then?† â€Å"The Volturi?† I repeated, shuddering. â€Å"This is exactly the kind of thing they routinely wipe out – immortals who threaten to expose us. They just cleaned up a mess like this a few years ago in Atlanta, and it hadn't gotten nearly this bad. They will intervene soon, very soon, unless we can find some way to calm the situation. I'd really rather they didn't come to Seattle just now. As long as they're this close . . . they might decide to check on you.† I shuddered again. â€Å"What can we do?† â€Å"We need to know more before we can decide that. Perhaps if we can talk to these young ones, explain the rules, it can be resolved peacefully.† He frowned, like he didn't think the chances of that were good. â€Å"We'll wait until Alice has an idea of what's going on. . . . We don't want to step in until it's absolutely necessary. After all, it's not our responsibility. But it's good we have Jasper,† he added, almost to himself. â€Å"If we are dealing with newborns, he'll be helpful.† â€Å"Jasper? Why?† Edward smiled darkly. â€Å"Jasper is sort of an expert on young vampires.† â€Å"What do you mean, an expert?† â€Å"You'll have to ask him – the story is involved.† â€Å"What a mess,† I mumbled. â€Å"It does feel that way, doesn't it? Like it's coming at us from all sides these days.† He sighed. â€Å"Do you ever think that your life might be easier if you weren't in love with me?† â€Å"Maybe. It wouldn't be much of a life, though.† â€Å"For me,† he amended quietly. â€Å"And now, I suppose,† he continued with a wry smile, â€Å"you have something you want to ask me?† I stared at him blankly. â€Å"I do?† â€Å"Or maybe not.† He grinned. â€Å"I was rather under the impression that you'd promised to ask my permission to go to some kind of werewolf soire tonight.† â€Å"Eavesdropping again?† He grinned. â€Å"Just a bit, at the very end.† â€Å"Well, I wasn't going to ask you anyway. I figured you had enough to stress about.† He put his hand under my chin, and held my face so that he could read my eyes. â€Å"Would you like to go?† â€Å"It's no big thing. Don't worry about it.† â€Å"You don't have to ask my permission, Bella. I'm not your father – thank heaven for that. Perhaps you should ask Charlie, though.† â€Å"But you know Charlie will say yes.† â€Å"I do have a bit more insight into his probable answer than most people would, it's true.† I just stared at him, trying to understand what he wanted, and trying to put out of my mind the yearning I felt to go to La Push so that I wouldn't be swayed by my own wishes. It was stupid to want to go hang out with a bunch of big idiot wolf-boys right now when there was so much that was frightening and unexplained going on. Of course, that was exactly why I wanted to go. I wanted to escape the death threats, for just a few hours . . . to be the less-mature, more-reckless Bella who could laugh it off with Jacob, if only briefly. But that didn't matter. â€Å"Bella,† Edward said. â€Å"I told you that I was going to be reasonable and trust your judgment. I meant that. If you trust the werewolves, then I'm not going to worry about them.† â€Å"Wow,† I said, as I had last night. â€Å"And Jacob's right – about one thing, anyway – a pack of werewolves ought to be enough to protect even you for one evening.† â€Å"Are you sure?† â€Å"Of course. Only . . .† I braced myself. â€Å"I hope you won't mind taking a few precautions? Allowing me to drive you to the boundary line, for one. And then taking a cell phone, so that I'll know when to pick you up?† â€Å"That sounds . . . very reasonable.† â€Å"Excellent.† He smiled at me, and I could see no trace of apprehension in his jewel-like eyes. To no one's surprise, Charlie had no problem at all with me going to La Push for a bonfire. Jacob crowed with undisguised exultation when I called to give him the news, and he seemed eager enough to embrace Edward's safety measures. He promised to meet us at the line between territories at six. I had decided, after a short internal debate, that I would not sell my motorcycle. I would take it back to La Push where it belonged and, when I no longer needed it anymore . . . well, then, I would insist that Jacob profit from his work somehow. He could sell it or give it to a friend. It didn't matter to me. Tonight seemed like a good opportunity to return the bike to Jacob's garage. As gloomy as I was feeling about things lately, every day seemed like a possible last chance. I didn't have time to procrastinate any task, no matter how minor. Edward only nodded when I explained what I wanted, but I thought I saw a flicker of consternation in his eyes, and I knew he was no happier about the idea of me on a motorcycle than Charlie was. I followed him back to his house, to the garage where I'd left the bike. It wasn't until I pulled the truck in and got out that I realized the consternation might not be entirely about my safety this time. Next to my little antique motorcycle, overshadowing it, was another vehicle. To call this other vehicle a motorcycle hardly seemed fair, since it didn't seem to belong to the same family as my suddenly shabby- looking bike. It was big and sleek and silver and – even totally motionless – it looked fast. â€Å"What is that?† â€Å"Nothing,† Edward murmured. â€Å"It doesn't look like nothing.† Edward's expression was casual; he seemed determined to blow it off. â€Å"Well, I didn't know if you were going to forgive your friend, or he you, and I wondered if you would still want to ride your bike anyway. It sounded like it was something that you enjoyed. I thought I could go with you, if you wished.† He shrugged. I stared at the beautiful machine. Beside it, my bike looked like a broken tricycle. I felt a sudden wave of sadness when I realized that this was not a bad analogy for the way I probably looked next to Edward. â€Å"I wouldn't be able to keep up with you,† I whispered. Edward put his hand under my chin and pulled my face around so that he could see it straight on. With one finger, he tried to push the corner of my mouth up. â€Å"I'd keep pace with you, Bella.† â€Å"That wouldn't be much fun for you.† â€Å"Of course it would, if we were together.† I bit my lip and imagined it for a moment. â€Å"Edward, if you thought I was going too fast or losing control of the bike or something, what would you do?† He hesitated, obviously trying to find the right answer. I knew the truth: he'd find some way to save me before I crashed. Then he smiled. It looked effortless, except for the tiny defensive tightening of his eyes. â€Å"This is something you do with Jacob. I see that now.† â€Å"It's just that, well, I don't slow him down so much, you know. I could try, I guess. . . .† I eyed the silver motorcycle doubtfully. â€Å"Don't worry about it,† Edward said, and then he laughed lightly. â€Å"I saw Jasper admiring it. Perhaps it's time he discovered a new way to travel. After all, Alice has her Porsche now.† â€Å"Edward, I -â€Å" He interrupted me with a quick kiss. â€Å"I said not to worry. But would you do something for me?† â€Å"Whatever you need,† I promised quickly. He dropped my face and leaned over the far side of the big motorcycle, retrieving something he had stashed there. He came back with one object that was black and shapeless, and another that was red and easily identifiable. â€Å"Please?† he asked, flashing the crooked smile that always destroyed my resistance. I took the red helmet, weighing it in my hands. â€Å"I'll look stupid.† â€Å"No, you'll look smart. Smart enough not to get yourself hurt.† He threw the black thing, whatever it was, over his arm and then took my face in his hands. â€Å"There are things between my hands right now that I can't live without. You could take care of them.† â€Å"Okay, fine. What's that other thing?† I asked suspiciously. He laughed and shook out some kind of padded jacket. â€Å"It's a riding jacket. I hear road rash is quite uncomfortable, not that I would know myself.† He held it out for me. With a deep sigh, I flipped my hair back and stuffed the helmet on my head. Then I shoved my arms through the sleeves of the jacket. He zipped me in, a smile playing around the corners of his lips, and took a step back. I felt bulky. â€Å"Be honest, how hideous do I look?† He took another step back and pursed his lips. â€Å"That bad, huh?† I muttered. â€Å"No, no, Bella. Actually . . .† he seemed to be struggling for the right word. â€Å"You look . . . sexy.† I laughed out loud. â€Å"Right.† â€Å"Very sexy, really.† â€Å"You are just saying that so that I'll wear it,† I said. â€Å"But that's okay. You're right, it's smarter.† He wrapped his arms around me and pulled me against his chest. â€Å"You're silly. I suppose that's part of your charm. Though, I'll admit it, this helmet does have its drawbacks.† And then he pulled the helmet off so that he could kiss me. As Edward drove me toward La Push a little while later, I realized that this unprecedented situation felt oddly familiar. It took me a moment of thought to pinpoint the source of the dj vu. â€Å"You know what this reminds me of?† I asked. â€Å"It's just like when I was a kid and Rene would pass me off to Charlie for the summer. I feel like a seven-year-old.† Edward laughed. I didn't mention it out loud, but the biggest difference between the two circumstances was that Rene and Charlie had been on better terms. About halfway to La Push, we rounded the corner and found Jacob leaning against the side of the red Volkswagen he'd built for himself out of scraps. Jacob's carefully neutral expression dissolved into a smile when I waved from the front seat. Edward parked the Volvo thirty yards away. â€Å"Call me whenever you're ready to come home,† he said. â€Å"And I'll be here.† â€Å"I won't be out late,† I promised. Edward pulled the bike and my new gear out of the trunk of his car – I'd been quite impressed that it had all fit. But it wasn't so hard to manage when you were strong enough to juggle full-sized vans, let alone small motorcycles. Jacob watched, making no move to approach, his smile gone and his dark eyes indecipherable. I tucked the helmet under my arm and threw the jacket across the seat. â€Å"Do you have it all?† Edward asked. â€Å"No problem,† I assured him. He sighed and leaned toward me. I turned my face up for a goodbye peck, but Edward took me by surprise, fastening his arms tightly around me and kissing me with as much enthusiasm as he had in the garage – before long, I was gasping for air. Edward laughed quietly at something, and then let me go. â€Å"Goodbye,† he said. â€Å"I really do like the jacket.† As I turned away from him, I thought I saw a flash of something in his eyes that I wasn't supposed to see. I couldn't tell for sure what it was exactly. Worry, maybe. For a second I thought it was panic. But I was probably just making something out of nothing, as usual. I could feel his eyes on my back as I pushed my bike toward the invisible vampire-werewolf treaty line to meet Jacob. â€Å"What's all that?† Jacob called to me, his voice wary, scrutinizing the motorcycle with an enigmatic expression. â€Å"I thought I should put this back where it belongs,† I told him. He pondered that for one short second, and then his wide smile stretched across his face. I knew the exact point that I was in werewolf territory because Jacob shoved away from his car and loped quickly over to me, closing the distance in three long strides. He took the bike from me, balanced it on the kickstand, and grabbed me up in another vice-tight hug. I heard the Volvo's engine growl, and I struggled to get free. â€Å"Cut it out, Jake!† I gasped breathlessly. He laughed and set me down. I turned to wave goodbye, but the silver car was already disappearing around the curve in the road. â€Å"Nice,† I commented, allowing some acid to leak into my voice. His eyes widened in false innocence. â€Å"What?† â€Å"He's being pretty dang pleasant about this; you don't need to push your luck.† He laughed again, louder than before – he found what I'd said very funny indeed. I tried to see the joke as he walked around the Rabbit to hold my door open for me. â€Å"Bella,† he finally said – still chuckling – as he shut the door behind me, â€Å"you can't push what you don't have.†