Personal Statement - 809 Words

It was a cold autumn night in North Carolina when I realized that my youth was being taken away from me. I wanted to run away and go back to the life that I had known; where I had the opportunity to go to school was happy and understood the language. Instead I was in a foreign land with my family and we could not return for there was no future in my homeland. According to my father, we had to keep migrating because it was the best thing for our family. It was then when I realized that this is not what I wanted for my family and I asked my father that we needed to go somewhere where I can go to school because it was affecting everybody including my little brother. My father raised me to believe I could accomplish anything I set my mind to†¦show more content†¦This passion has animated many causes I have advocated through my work as Latino Community Outreach Student Coordinator for the Inter-American Program and my volunteer work with the White Roses Program. I’ve been able to help Latino youth in pursuing higher education and I’ve also seen students that cannot continue because they’re considered AB 540 and don’t have the financial assistance. I’ve been keynote speaker for conferences, scholarship ceremony and graduations trying to motivate other Latino youth to stay in school. I’ve seen immigrant families suffering because they have no idea whats going to happen with the immigration reforms. I’ve seen loved ones suffer from the effects of their migratory status. And I know I was one of them before, but thanks to my education background I was able to resolve my situation and I am Mexican-American now. During my undergraduate studies I wanted to travel so I can experience something diverse, so I decided to go abroad to Buenos Aires, Argentina. This experience not only allowed me to study with Argentineans, but I also had the opportunity to volunteer with a local journalist. This was the most rewarding experience during my time here; because not only did I travel with her but I also had the opportunity to connect with a lot of different people. With the assistance of the Journalist I decided to write an article for the newspaper, which was focused on immigration and racism issues in Argentina compared to the US.Show MoreRelatedPersonal Statement On Personal Responsibility850 Words   |  4 PagesPersonal responsibility is holding you accountable for all your actions and decisions. Being personally responsible means you take ownership of what you do in and with your life. This means from the time you wake up until you go to bed at night, your life is your responsibility and yours al one. Your values, morals, and beliefs are all contributing factors in how you view being personally responsible. 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Essay on Balanced Federalism - 1376 Words

Debates over how the division of powers between the states and federal government should be handled have been predominant from the very beginning. The founders understood that this decision would have an enduring influence on the types of policies implemented along with how the impact would be felt by the citizens. This would all be dependent on if the laws were coming from Washing D.C. or the state capitals (Barbour and Wright, 78). In light of this the founders established the United States government based on a fair division of powers between Federal and State governments as highlighted in the constitution and tenth amendment. However, in the past few years I believe the country has shifted towards giving more power to the federal†¦show more content†¦This can be noted in the Welfare Reform Act of 1996. The national government based this policy on corresponding models from Wisconsin, California, and Michigan (McClenaghan, 96). An additional feature provided by federalism can be found in the strength of unity. While federalism allows states to deal with their own matters it likewise provides the benefits that come from a union (McClenaghan, 96). These benefits can be experienced in matters corresponding to foreign affairs where the advantages include a standard set of rules for immigration and international interaction. It is also visible in issues dealing with national defense which can be seen in the national security response after the events of September 11, 2001. These advantages serve as an structural mechanism to reduce disarray. Never the less, federalism like most other systems is not free of flaws which highlights a need for the distribution of power to be balanced. For example although the notion of states being used as â€Å"laboratories† is potentially beneficially it too has a defective feature. 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Sons and Lovers as an Autobiographical Novel free essay sample

The Rain bow sons and lovers by D. Lawrence as an autobiographical novel the label, ‘autobiographical’ can safely be attributed to this superb specimen of fiction, bearing the mark of Lawrence’s genius. The most salient characteristic of the characters portrayed by Lawrence is according to Albert, â€Å"the resemblance they bear to their creator. In fact Sons and lovers is one of the most autobiographical of English novels. D. H. Lawrence is one of those great artists who write because of internal compulsion, and in this way seek relief for their inner problems by externalizing them in fiction. He had to endure great emotion stresses in youth and face many urgent personal problems. He was a tortured soul for full forty five years of himself and his writings are an expression of his inner suffering, frustrations and emotional complexes. They are all in the nature of personal revelations, some more, some less, but the autobiographical note runs through them all. We will write a custom essay sample on Sons and Lovers as an Autobiographical Novel or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page The most striking feature of Lawrence’s characters is that they are projections of the novelist’s personalities, Paul morel in Sons and Lovers, is clearly a projection of him. It is a story of Midland miner’s son, Paul Morel, who is Lawrence himself; Walter morel and Mrs. Morel are the father and mother of Paul, Lawrence’s alter ego. The father is an unrefined miner and the mother with refinement and culture, â€Å"a superior woman. † The conflict between Mr. and Mrs. Morel and the reactions of children are all transcripts from life. Miriam is Jessie Chambers whom Lawrence met early in life, where he loved but with whom he failed to establish satisfactory relations, owing largely to the influence of his mother on him. His mother, too died of cancer like Mrs. Morel, the mother of Paul, and his brother Earnest Lawrence, too died early in life as William in the story. However, facts of life-reality has undergone a press of imaginative selection and ordering and the whole experience has been reorganized and shaped for the purpose of art. And that is what Lawrence has done in his most autobiographical of his novels. It was for this reason that Jessie Chambers was shocked when Sons and lovers were published in its final form. She complained that justice had not been done to her, that the whole Paul-Miriam affair presented her in an unfavorable light and that the laurels of victory had been given to Mrs. Morel. She gave her own version of the whole affair. She might be factually true, but she was certainly mistaken in taking the novel to be an autobiography. Lawrence had created a work of art and he as well within this rights to organize and interpret the facts in accordance with the requirements of art. Besides this, he has departed from reality in other respects too. While Lawrence married Frieda Weekly, the other woman, after the death of his mother and lived with her subsequently became a great writer, Paul fails to reach a satisfactory adjustment even with Clare the other woman in the novel and does not marry her. However, through often false as to actual fact, Lawrence is undeviating true to emotional reality. Lawrence was never able to make a happy emotional adjustment with other woman. The novelist was a tortured soul through out the full forty five years of his life, and what he suffered, and what he through and served under the stimulus of suffering can very well be guessed from a study of Sons and Lover. The novel faithful presents all his passions and frustrations. Owing to the mother fixation which was acute, the novelist could not make an agreeable and happy emotional adjustment with the other specimens of the fair sex. The soul-corroding experience has been transmuted into the novel. His intense suffering, his passions and emotions, his deprivations have found an artist and vivifying expression in the novel. The Oedipus complex with which was affected with in his private life in manifested in the novel also. The mother image or mother substitute marred his own life also. Although he married Frieda Weekly after the demise of his mother, Lawrence was never happy, failed to derive a real complacency and satisfaction in his married life. Paul moral, his prototype also suffered from similar emotional complexes. His relationship with both Miriam and Clara is inadequate. Sons and Lovers is thus an imaginative representation of the facts of his life. E. Baker has observed that the novel â€Å"is of cardinal importance as a key to his intricate and often paradoxical nature. † 2222 The opening of the book introduces us to Mr. and Mrs. Morel whose marital discord sets the underlying cause of the unnatural bonding between Mrs. Morel and her sons William and Paul More l . Mr. morel’s untamed temper and his wife’s condemnation for his excessive drinking and idle nature create an unhealthy environment for their children who grow up despising their father. Lawrence himself described his father as someone who â€Å"lacked principle as my mother would have said. † â€Å"Their married life has been a carnal bloody fight. † The growing hated of the sons and the mother towards Mr. Morel brings them together into a close relationship which has sexual undertones to it. Both sons are so emotionally bonded to their mother that they find it difficult to maintain normal relationships with the women in their lives. It’s as if their mother possesses their soul due to which they are split between their love for their mother and their love for the women they are involved with. In the case of William, his relationship with Louisa Western comes to and ends when he senses his mother’s inherent disapproval for her. This is followed by his illness and consequent death . Infect he eludes to his death several times post his break up which shows that he is unable to deal with his emotional turmoil in relation to his mother. After William’s death the mother’s fondness for her second son, Paul increases. Problems crop up in Paul’s life when he enters into adolescence. Again in his case the split occurs. He is full of a feeling of guilt when he starts dating Miriam, who again is disliked by Mrs. Morel because she feels that Miriam is responsible for her son’s upset state of mind. But the fact is that Paul’s underlying sexual desires; owing to his adolescence do not get an outlet because he’s deeply attached to his mother and because Miriam confines their relationship to chaste love. Therefore, he is never able to be his true self and give his best to the relationship. Later he does consummate his love affair but it leaves him dissatisfied and his earlier disturbed self returns. He then ends his relationship with Miriam. Source: http://www. shvoong. com/books/1758990-sons-lovers/#ixzz2TZGXuvye Sons and Lovers is in some ways so directly autobiographical as to make it almost a confession. In both the book and in the story of Lawrence’s life, childhood is spent in the poorer parts of a Nottingham mining town. In both the book and Lawrence’s life, the mother and father are at odds socially and intellectually. In both the book and Lawrence’s life, the father drinks too much, distancing himself from his wife, whom he no longer understands. In both, the mother in turn invests all her emotional life into her children – but especially her sons. In both, an older brother dies of erysipelas after being engaged to a stenographer called Louisa. In both, the mother is overwhelmed by grief, but finds herself emotionally alive again when the younger brother becomes ill and she can focus her love on him. In both, there is a strongly sexual element behind the relationship between mother and son, and a bitter and poisoned relationship with the father. In both, the development of a mature sexual life for the son is hampered by his affection for his mother, with two significant women being the possible means to adult freedom, yet ultimately failing because of that maternal attachment. In both, the hero works in a surgical appliance factory. In both, there is an idyllic farm where the protagonist finds intellectual and emotional respite as well as stimulus. In both, the mother’s death is assisted by an overdose administered by the son. In terms of places, the only differences are in the spelling, with Lawrence’s home town Eastwood being given a sarcastic recasting as Bestwood, or – slightly more disguised – Jessie Chambers from Lawrence’s own life being turned into Miriam Leivers. And there is much more that speaks directly from Lawrence’s own experiences with his parents, his background and his early relationships. The book is the story of a family, the Morels; and in particular the relationship between Paul Morel and his mother Gertrude (a name deliberately recalling Hamlet’s mother). She marries Walter, who at first is a vital and powerful man for whom she has a genuine passion. But she is intellectually far stronger than he, socially more ambitious; and as she retreats from him, so he becomes boorish and drunk. Instead, the mother finds solace in her children, who in turn are devoted to her. The elder, William, can hardly enjoy himself without his mother’s approval. Perhaps sensing this, he goes to take up a job in London. But an infection kills him and leaves his mother bereft. Shortly afterwards, her second son Paul falls seriously ill (as Lawrence did) and is near death himself. This crisis brings the mother out of mourning, and she devotes herself to Paul. This relationship is at the heart of the novel. Paul is a sensitive, artistic, slightly effeminate child – another close echo of Lawrence, who was so weak as a child that he could not play with the other boys at school – who shares every aspect of his life with his mother. When he becomes attached to a girl at a nearby farm, his mother’s disapproval is as significant a factor in his relinquishing her as his own indecision, which is itself a product of his feelings for his mother. But Paul finds himself attracted to another woman and continues his struggle to – as Lawrence puts it – ‘realise’ himself as a man independent of his mother. The friction created between the many conflicting desires of the characters is explored with Lawrence’s habitual combination of candour, depth and a vigorous mysticism about the relationships between the mind and the body, sex and love, religion and the soul, industrialisation and humanity, instinct and intellect. Lawrence examines these both overtly and covertly. There are whole passages discussing the nature of a relationship; elsewhere issues are hinted at in symbolic set-pieces (Walter cutting the hair of one of his children; Paul and Miriam going to look at a rose-bush). Lawrence’s philosophy can also be seen in the structure of the work as a whole – Mrs Morel cannot find deep enough satisfaction from her husband, so the children become a conduit for her love; but this damages the growth of the child. The immediacy of the autobiographical aspects of the book gives it the impression of having been written quickly – there are sudden, unclear shifts of time or perspective, for example – but this is misleading. Its descriptions of the scenery in the area are suffused with an almost ecstatic sense of the power of nature, allowing the characters inspired insights, or reflecting elements of their emotional state. Throughout the book, Lawrence uses the characters’ responses to lowers and plants to illustrate aspects of their nature. He also uses events in ways that may be directly symbolic (such as picking cherries) or allows sensuality to seep into the descriptions of actions that are not specifically sexual. The characters themselves are painted with an honesty that early readers found unsympathetic. They did not recognise that this was a means to greater understanding of the characters than could be afforded by the over-simplification and emotional manipulation of other writers. This extends to portraying Paul – a cipher for Lawrence himself – as pompous, misogynistic and mother- ixated; and managing to make Walter – the drunken, violent, fearful father – movingly real. Lawrence started the book when his mother was diagnosed with cancer and died in 1910, but it went through several rewrites and revisions; and even then he had a troubled time getting it published (something Lawrence would get used to). His editor, friend and dedicatee of the novel Edward Garnett cut some eighty passages, and the book, Lawrence’s third, was published in 1913. Despite these excisions, the book deals with several topics that the critics of the day found repellent – mother / son lust (however repressed), descriptions of sex (however symbolic or tangentially expressed) and an unapologetic setting of the book among the working classes, dialect and all. Lawrence may have escaped England for much of his life, but he could never find relief from the attacks on his works for their directness, their bold attempt to bring to literature what had never been examined in it before, and for their portrayal of the realties of life outside the literary, cosmopolitan or establishment circles who were responsible for censorship. David Herbert Richards Lawrence (known in the family as Bert) was born in 1885, and was a studious if sickly child. He became a teacher and started to write short stories and poems, several of which were accepted by Ford Maddox Hueffer for publication in The English Review. Hueffer also recommended Lawrence’s first novel The White Peacock for publication, and his career as a writer could be said to have begun in 1912, when, with one novel out, another being published, a play completed and poems in print, he resigned his teaching post. His lived life – rather than his written one – also stems from that year. He had been engaged, but had fallen in love with the married mother-of-three Frieda Weekley (the wife of a professor under whom Lawrence had studied, and the cousin of Baron von Richthofen, a German air ace). They eloped, later to marry after her divorce. The marriage survived a difficult and peripatetic life, but was not without its crises. Lawrence’s sexuality was not always fixed. He had a homosexual affair when he was sixteen (something that he described as the nearest thing to perfect love in his life), and a brief affair with a farmer in Cornwall some years later. Frieda also had a long affair with Angelo Ravagli, who lived with her after Lawrence’s death. But through all this, a pattern for Lawrence’s life was established. They travelled, he wrote, they had very little money, he was often ill (tuberculosis haunted him and finally killed him in 1930). His books were rarely successful and sometimes only published in small, private editions because they fell foul of the censors. Their travels were seldom straightforward, and he and Frieda were twice arrested for spying: once in Germany just before the First World War, and once in Cornwall during it, when her ancestry was a cause for much suspicion (the fact that they used to sing German songs when on walks probably didn’t help). But despite this questing (sometimes enforced) wandering, Lawrence produced novels that changed the genre forever, as well as over 800 poems, several volumes of short stories, and literary, psychological and historical works. His travel writing is so highly regarded that Sardinia offers an international prize for it in his name. Lawrence managed to become one of the greatest names in twentieth-century English literature by refusing to allow himself to be cowed despite extraordinary pressure, both socially and financially. He produced works that remolded the imaginative life of anyone who can read English, from The Rainbow to Sons and Lovers to Women in Love and Lady Chatterley’s Lover. He released into fiction a kind of reality about life that had never been properly explored, and did so with an emotional fearlessness and a muscular language that occasionally belied its philosophical undertones. He became and remains notorious for the explicit nature of some of his works (Sons and Lovers is relatively restrained, in part thanks to Garnett, though the pulse of sexuality runs through many passages), but this prurience again overlooks the depth of his thinking about the characters, and the complex, conflicting needs of humans in their physical, emotional and spiritual lives. Sons and Lovers as an Autobiographical Novel free essay sample Novel gained immense popularity during the 20th century. In the history of English novel D. H. Lawrence’s Sons and Lovers is a typical 20th century novel. The 20th century novels bear the characteristics of realism, romanticism, modernism, impressionism, expressionism etc. It was a time of complex human psychology. A contiguous overflow of a thought, which is happening in human psychology become the theme of the novel of the time. After the havoc and destruction of the First and the Second World Wars a great change in human psychology took place. Prominent psychological writers like- Sigmund Freud, Jung and Lucka came forward with their stimulating psychoanalytical theory. Freud’s theory of Oedipus complex and Lacka’s theory of child’s life or self-development greatly influenced the Novelists of The 20th century. Son’s and lovers by D. H. Lawrence is also a psychological novel where Lawrence as a psychoanalyst brings into focus the subtle and intricate happening in the minds of his characters, like Gertrude Morel , Paul Morel , Miriam and others. We will write a custom essay sample on Sons and Lovers as an Autobiographical Novel or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Sons and Lovers deal with the psychology of the characters. Lawrence examines human life minutely and represents the complexity of human mind in his novel, Sons and Lovers. He brings out the deepest and subtle psychological aspect of his characters specially of Gertrud Morel and Paul Morel. According to the psychologists’ theory, there are three levels of human thought: conscious, subconscious and unconscious. Most of the thoughts lie dominant in subconscious and unconscious level. Sometimes it comes out into surface. Oedipus complex is one of such instinct. A psychological novelist like Lawrence externalizes the hidden and inner recondite thoughts of subconscious and unconscious mind. The theme of Oedipus complex is a dominant theme of Lawrence’s Sons and Lovers. Gertrude morel is a lady of delicate and refined taste and she married a miner named Walter Morel. Though it was a love marriage, within a few months of their marriage she discovered him as a stranger, a gambler, drunkard and an agitated person. Besides the poverty of Morels family disillusioned her. In spite of remaining as his wife, she lost all the interests for him. Morel’s rude and aggressive behavior with her and their children made her burdened with life with him. But nevertheless she remains with him because she had loving children as- Annie and William. All her love and affection was transferred to her children specially to her eldest son William who also loves his mother very much. When William came into maturity he managed to earn for family and it made her happy but gradually Mr. Morel becomes an outsider of the family. Because of the crude and vulgarity of his manner his children William and Annie also began to despise him. Mrs. Morel’s extreme love for her son William made the father jealous. In a state of conflict between husband and wife, both of them felt dreary and lonely. So all the love and affection of a disappointed soul like Gertrud Morel find place in her lovely children especially in the sons- first in William then in Paul. The sons gave hope and spirit in Mrs. Morel’s life. Her heart filled with love and affection first for William then for Paul, her second son. Lawrence in a letter to his friend Edward Garnett said about the relation between mother and son: â€Å"But as her sons grew up, she settles them as lovers. This is the kind of love Sigmund Freud mentions as Oedipus complex. According to the theory, if the marriage between the mother and father is not happy and loving, the parents become interested in love for the child of opposite sex. The child functions as the substitute of husband or wife. Lawrence as a psychologist brings out the innermost psychology of his characters , Mrs. Gertrud Morel and her son Paul Morel. Mrs. Morel prevented her sons making love with other woman except her. She prevented William from getting intimate with the gipsy girl Lily. After the death of William she was slowly transforming her possessive feelings to Paul. Lawrence showed them wandering along the street of Nottingham with joy and excitement just like two lovers. She is a victim of an unhappy marriage. Her failure in life with Morel paved the way of Oedipus complex in her life. She gets attracted to her sons’ manhood. Nothing except Paul is valuable in her life. Paul also knew her passion for him. He loved his mother from his very childhood and could not break her heart. So he remained passive with any relationship with other women like Miriam and Clara. Miriam loved him intensely. He also had love for her but an unknown hand prevented him from the fulfillment of their relationship. He thought that he is only for his mother. His mother also knows that her only means of life on earth is Paul. What is the horrible consequence of an unhappy marriage, she knows it well. That’s why she says William, â€Å"Nothing is as bad as marriage that is a hopeless failure. † The relation between Paul and Miriam is a kind of spiritual love, yet nothing but his Oedipus feeling prevented him from marrying her. Both Mrs. Morel and Miriam desired Paul’s love and affection and it eats up the self of Paul. Mrs. Morel knew that Miriam is not like an ordinary woman who can leave her the share she desires in Paul. So she felt awfully worried about Paul. She could not bear it. She could let another woman have Paul but not Miriam. The tormented soul of Mrs. Morel says: â€Å"she’d leave me no room, not a bit of room. † Then she piteously utters: â€Å"And I’ve never- You know Paul- I’ve never had a husband- not really. † Paul helplessly comes forward to console his mother by asserting that he did not love Miriam. He strokes his mother’s hair and placed his mouth on her throat. Before parting for the night Mrs. Morel kissed him a long fervent kiss. Thus physical intimacy between mother and son become more explicit in the novel. Paul fells disturbed with Miriam as he thinks her foe between him and his mother. Nothing should disturb their relationship. Paul was aware of his helplessness. He frankly admits that he could only give Miriam his friendship- nothing more. Paul’s passion for his mother is also seen when in a railways carriage he noticed that his mother’s body looks frail, he thought that his mother is slipping away from him. Again in climbing the Cathedral hill, when she was out of breath and had to take rest Paul regrets that his mother is aging. He frankly says his mother: â€Å"Why can’t a man have a young mother? What is she old for? † He regrets for not being her eldest son to find her younger. After Annie’s marriage, Paul realized his mother’s loneliness. So, he asserts to Mrs. Morel that he would never marry and leave her alone. Another woman Clara came in Paul’s life. She aroused the long repressed and over-refined sexual instinct of Paul who is a man of twenty-three. But yet sex remained complicated in him. Clara’s physical attraction also failed to bring Paul out of his psychological complexity. He thinks that only an over strong virginity in him and Miriam prevented them from physical contact. Paul realizes that the deepest of his love belongs to his mother. The clear sexual over tone of their relationship is seen during their excursion to Lincoln where Paul behaves almost like a lover when he tells his mother, â€Å"You forget I am a fellow taking his girl for an outing. † Mrs. Morel also accepts this sexual aspect in a pleasant mood. Mrs. Morel disapproved not only Miriam but also Clara saying hat he had not yet met the right woman. Paul could understand his mother’s passion for him as well as his weakness for her. So he felt that he would not meet that right woman during her lifetime. Even Clara too realized that Paul cannot come out of himself, so she leaves him and returned to Baxter. Mrs. Morel’s pangs and miseries of life and Paul’s emotional crisis ended with the tragic death of Mrs. Morel. Being unable to carry the psychological torture any more, Paul fed her a heavy dose of morphia with her night milk and next morning at about twelve eternal rest and peace came to the agonized soul. Paul knelt down by her death-bed and put his face to hers and his arms round her and whispered mournfully, â€Å"My love, my love- oh, my love. ’ And after the death of his mother he often moved aimlessly from one place to another, drinking, knocking about with men he knew. The real agony was that he had nowhere to go, nothing to do, nothing to say and was nothing himself. According to Lucka’s theory there are three stages of self-development: imaginary stage, mirror stage and symbolic stage. In the imaginary stage a child often birth thinks its mother as self. It finds itself in it mother. In the mirror stage he starts to think it differently. In the symbolic stage a child gets the name of his father. In Sons and Lovers Paul first identifies himself with his mother. He then finds his own self and then is identified with his father. But as he found his father, Walter Morel, unattractive and complex he again seeks place in his mother. So he could not found his own self-identity and could not come out of his mother. Lawrence employed the stream of consciousness technique which means a continuous overflow of a thought what is happening in human psychology. It saves his plot from the bondage of time and chronology. As a modern writer, Lawrence writes from the subjective point of view in order to share his own personal experience with the readers. He tactfully delineates the psychology of the perturbed souls of Gertrude Morel and her son Paul Morel. How psychological complexity destroys a man or woman is seen in the character of Mrs. Morel. As a frustrated wife she failed to enjoy properly the life of a woman and goes through a great complexity and psychological breakdown. She took shelter in a loving male person to make good of an unhappy young lady. The man also loves her deeply as she expect yet she could not satisfy her mind completely because the loving male person is none but her own loving son to whom all sexual aspects are forbidden for her as his mother. Obsessed with the mix emotional and passionate feelings her mind is completely shattered down. Side by side as a victim of her passionate love her son Paul also lost himself in her and goes through the same psychological complexity. Thus the emotional and sensual crisis of human psychology dominates the plot of Lawrence novel Sons and Lovers. So it is a great psychological novel in the history of English literature.

Project Report Medical College Essay Example

Project Report Medical College Essay Application for Letter of Intent (LoI) and Letter of Permission (LoP) of the Central Government to establish a new Medical College in Bhopal (M. P) Detailed Project Report L. N. Medical College Research Centre (LNMCRC) J. K Hospital Medical Research Centre - (JKHMRC), Bhopal (M. P) - - - - - - - - - - - A new Medical College project promoted and managed by: H. K. KALCHURI EDUCATION TRUST 31, SHYAMLA HILLS, BHARAT BHAWAN ROAD BHOPAL – 462 002 (MP) Ph. : 0755 – 2660930 ; Fax: 0755 – 2661179 Email : [emailprotected] com Web site : lnctbpl. in Detailed Project Report of L. N. Medical College Research Centre (LNMCRC) and J. K Hospital Medical Research Centre (JKHMRC), Bhopal (M. P) Detailed Project Report Techno – Economic – Feasibility Report of a new Medical College Hospital ___________________________________________________________________________________________________________________________________ Detailed Project Report Prepared by: MediSys Project Consultants Pvt. Ltd Admn. Office: 202 Saba Apartments D-3, Sector 44, Noida 201 301. NCR Delhi Tel: (Mob): 98 711 33772 email : [emailprotected] com , [emailprotected] com [emailprotected] com visit us www. edisys. co. in -Index- 1. Copy of the covering letter 11 2. FORM – I : Application for Letter of Intent Permission of the Central Government to establish a New Medical College†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦14 2. 1. Particulars of Applicant – 14 3. List of Enclosures for Project Profile – Annexure Profile (as separate enclosure)– 16 4. We will write a custom essay sample on Project Report Medical College specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Project Report Medical College specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Project Report Medical College specifically for you FOR ONLY $16.38 $13.9/page Hire Writer List of References Govt. Notifications to Establish a New Medical College 17 5. PART – I: Desirability Prima-facie Feasibility of Setting up a Medical College at Bhopal, Madhya Pradesh.. 18 5. 1. Eligibility Criteria – . 18 5. 2. Qualifying Criteria – 18 5. 2. . Objectives . 18 5. 2. 2. Land Details 19 5. 2. 3. Essentiality Certificate 19 5. 2. 4. University Affiliation. 19 5. 2. 5. Time Bound Program .. 9 5. 2. 6. Admission of Students 20 5. 2. 7. Grant of Permission Completion of the Project . 20 5. 2. 8. Medical College as an Independent Institution 20 5. 2. 9. Teaching Hospital 20 5. 2. 10. Performance Bank Guarantee (PBG) .. 21 6. Basic Infrastructural Facilities and Managerial Financial Capabilities†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 22 6. 1. Infrastructural facilities for the proposed LNMCRC 22 6. 1. 1. L. N. Medical College Research Centre (LNMCRC) J. K Hospital and Medical Research Centre (JKHMRC)– Hospital Planning and Management 22 6. 1. 2. Organization of the JHHMRC Hospital .. 3 6. 1. 3. JKHMRC Hospital Services – presently available .. 23 6. 1. 4. JKHMRC – Hospital Supportive Services – presently available .. .. 24 6. 1. 5. JKHMRC – Hospital Engineering Services – presently available 25 6. 1. 6. JKHMRC– Administrative Services. 25 6. 1. 7. JKHMRC – Staff Requirements and other Infrastructure/ Building Requirements . 25 6. 1. 8. J. K Hospital and Medical Research Centre as referral Hospital.. 26 6. 2. Hospital as a Teaching Hospital with its expansion program 28 6. 2. 1. Number of Beds as per MCI .. 28 6. 3. Distribution of Beds as per MCI . 29 6. 4. Built up area of the upcoming Teaching Hospital 30 6. 5. Teaching Hospital built-up area (building wise) .. 31 6. 6. Projected built up area for a new Medical College buildings (150 annual admissions) in two phases 32 6. 7. Teaching Staff for a proposed new Medical College Hospital.. 33 6. 8. Number of Students Hostel Staff quarters year wise requirements . 34 6. 9. Staff Quarters year wise requirements- Nos Built up area†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦35 6. 10. Hostel Buildings year wise requirements†¦Ã¢â‚¬ ¦.. 36 6. 11. College of Nursing – proposed College of Nursing .. 37 6. 12. Consolidated built up area for proposed new College of Nursing . 38 7. Managerial Financial Capabilities of the Trust .. 39 7. 1. Managerial Capabilities .. 39 7. 1. 1. H. K. Kalchuri Education Trust, Bhopal .. 39 7. 1. 2. Composition of the Trust . 39 7. 1. 3. Particulars of the Members of Present Trustees 40 7. 1. 4. Project Consultant – MediSys Project Consultants, Private Ltd, New Delhi 42 7. 1. 5. Specialist Advisory Committee / Other Key Personnel 43 7. 1. 6. Governing Council / Board – H. K. Kalchuri Education Trust . 3 7. 1. 7. Present Governing Council . 43 7. 1. 8. Organizational Structure of H. K. Kalchuri Education Trust: 44 7. 2. Financial Capabilities of H. K. Kalchuri Education Trust– . 45 8. FORM I PART II : Techno-Economic Feasibility Report- Proposed Medical College :- 46 8. 1. Name and Address of the Medical College . 46 8. 2. Market Survey and Environmental Analysis .. 46 8. 2. 1. National Medical Education Policy 46 8. 2. 2. Medical Manpower in India (Planning commission report) .. 46 8. 2. 3. State Govt. Medical/Medical Education Policy its main Features.. 46 8. 2. 4. Main Features of State Medical Education Policy .. 48 8. 2. 5. Present Health Care Scenario of the State . 49 8. . Healthcare Status of Madhya Pradesh-An Overview and Availability of Doctors in the State and need for Increase . 50 8. 3. 1. Demographic Profile of the State . 50 8. 3. 2. Vital Statistics 51 8. 3. 3. Beds (Sanctioned) in Government Medical Institution . 52 8. 3. 4. Number Of Medical Institutions and Clinics †¦Ã¢â‚¬ ¦. 3 8. 3. 5. Districts Wise Number Of Allopathic Institutions And Beds 1998-99 †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 54 8. 4. Healthcare facilities of Bhopal .. 55 8. 4. 1. Government Hospitals .. 55 8. 4. 2. Private Hospitals of Bhopal . 55 8. 4. 3. Number of Registered Doctors with State Medical Council (source: Medical Council of India 2007-08) – a comparative analysis .. 59 8. 4. 4. State wise details of Govt. / Private Medical Colleges their allotted Medical Seats (MCI 2007-08 and as on April 2008) . 61 8. 4. 5. State wise details of Number of Medical seats in Govt. / Private Medical Colleges . 3 8. 4. 6. All India Comparative Status of Registered Medical Doctors with State Councils (MCI 2007-08) .. 66 8. 4. 7. Need and availability of trained Medical manpower Gap Analysis .. .. 66 8. 4. 8. Healthcare of Madhya Pradesh at a Glance . 70 8. 4. 9. Healthcare Indices . 70 8. 4. 10. Morbidity and Mortality . 71 8. 4. 11. Hospitals, Dispensaries Hospital Beds . 72 8. 4. 12. Heath Care Infrastructure in Madhya Pradesh .. 74 8. 4. 13. Availability requirement of medical manpower in the state : .. 74 8. 4. 14. Health care status at Bhopal : . 74 8. 4. 15. Need for a Healthcare Institution at Bhopal, Madhya Pradesh 75 8. 4. 16. Desirability Feasibility of Establishing a New Medical College at Bhopal, M. P – Gap Analysis 76 8. 4. 17. No. of Medical Institutions / Clinics available in the Catchments Area 77 8. 4. 18. List of Hospitals in around catchment areas: .. 78 8. 4. 19. Augmentation of Medical Health Care – NGOs / VHOs Involvement . 78 8. 4. 20. Desirability Feasibility Summary and Conclusion . 80 8. 5. Site Characteristic and Availability of External Linkages – . 82 8. 5. 1. Topography Location.. 82 8. 5. 2. Plot Size.. 82 8. 5. 3. Permissible FSI .. 82 8. 5. 4. The ground coverage 2 8. 5. 5. Building Height .. 83 8. 5. 6. Road Access . 83 8. 5. 7. Availability of Public Transport . 83 8. 5. 8. Electric Supply 83 8. 5. 9. Water Supply .. 84 8. 5. 10. Sewage Connection .. 84 8. 5. 11. Tele-Communications.. 84 8. 6. Educational Program . 85 8. 6. 1. Proposed Annual Intake of Students . 85 8. 6. 2. Admission to the Medical Course ‘Eligibility Criteria’ (MCI) .. 85 8. 6. 3. Selection of Students. 6 8. 6. 4. Method of Admission 88 8. 6. 5. Reservation / Preferential Allocation Seats .. 88 8. 6. 6. Training Period and Time Distribution (MCI) . 88 8. 6. 7. Phase Distribution and Timing of Examinations : . 91 8. 6. 8. General Considerations and Teaching Approach 93 8. 6. 9. Objectives of Medical Graduate Training Program .. 95 8. 7. Examination Regulations (MCI) 96 8. 7. 1. Proposed Schedule of Internal Assessment and University Examination 96 8. 7. 2. Attendance 97 8. 7. 3. Internal Assessment .. .. 97 8. 7. 4. University Examinations 98 8. 7. . Syllabi for MBBS Course of Study (MCI) 99 8. 8. Facilities available in the Teaching Hospital 99 8. 8. 1. Medical – Clinical Services 99 8. 8. 2. Hospital Supportive Services . 100 8. 8. 3. Hospital Engineering Services . 100 8. 8. 4. Hospital Beds – Number Distribution (as per MCI) : 101 9. Functional Program – Proposed New Medical College (after letter of intent) 103 9. 1. Minimum Physical Requirements for Teaching Hospital 103 9. 2. Provisional carpet / built-up area (building wise)- Teaching Hospital .. 104 9. 3. Projected built up area for a new Medical College buildings (150 annual admissions) .. 105 9. 4. Teaching Staff for a new Medical College Hospital . 06 9. 5. Number of Students Hostel Staff quarters year wise requirements . 107 9. 6. Staff Quarters year wise requirements- Nos Built up area 108 9. 7. Hostel Buildings year wise requirements 109 9. 8. College of Nursing – College of Nursing 110 9. 9. Consolidated Built up area for a new College of Nursing 111 10. Proposed Equipment Program (after letter of intent) .. 112 10. 1. Instruments Equipments of Medical College – .. 112 11. Proposed Manpower Program (after letter of intent) .. 137 11. 1. Teaching Staff – Medical College Medical Hospital. 137 11. 1. 1. Minimum Staffing Pattern for MBBS Course 150 Admission (MCI) 137 11. 1. 2. Teaching Other Staff Available in the Medical College and Hospitals . 37 LNMCRC JKHMRC, Bhopal 5 -5 11. 1. 3. Proposed dept. wise Ancillary Staff for Medical College Hospitals . 148 11. 2. Minimum Basic Qualification and Teaching Experience Required for Teachers for Under-Graduate Medical Studies (MCI). 155 11. 2. 1. Medical Staff . 155 11. 3. Recruitment of Staff for the Proposed Medical College 155 11. 4. Provisional Salary Structure for Teaching Faculty .. 155 12. Proposed building program – New Medical College .. 157 13. Planning and Layout New Medical College Hospital . 158 13. 1. Plan of Medical College Medical Hospital Complex 158 13. 2. Architectural Layout Plans . 158 13. 3. Section, Elevations 158 13. . Floor-wise Area Calculations of Medical College Hospital . 158 13. 5. Ancillary Buildings and Miscellaneous . 158 13. 6. Student Hostel Buildings . 158 13. 7. Buildings for Staff Quarters .. 158 14. Phasing and Scheduling – of Medical College .. 159 14. 1. Phasing and Schedule Medical College Teaching Hospital . 159 14. 1. 1. Commencement and Completion of Building Design . 159 14. 1. 2. Local Body Approvals .. 159 14. 1. 3. Civil Constructions . 159 14. 1. 4. Provision of Engineering Services .. 159 14. 1. 5. Equipments 59 14. 1. 6. Recruitment of Staffs (Teaching) . 159 14. 1. 7. Phasing of Commissioning . 159 14. 2. Phasing and Schedule Medical College Medical Hospital . 160 14. 2. 1. Commencement and Completion of Building Design . 160 14. 2. 2. Local Body Approvals .. 160 14. 2. 3. Civil Constructions .. .. 160 14. 2. 4. Provision of Engineering Services Equipments 160 14. 2. 5. Recruitment of Staffs (Teaching) . 160 14. 2. 6. Phasing of Commissioning . 160 LNMCRC JKHMRC, Bhopal 6 -6 15. Financial Profile Medical College and Hospital . 161 15. 1. Project Cost and Capital Budgeting Process .. 61 15. 2. Means of Finance and Project Cost .. 161 15. 3. Revenue Assumptions. 161 15. 4. Expenditure Assumptions 161 15. 5. Operating Results Income Expenditure Statements 161 15. 6. Cash Flow Analysis 161 15. 7. Projected Balance Sheet 161 16. Form I Part III : Hospital Details. 162 16. 1. Name and address of the existing Hospital 162 16. 2. Details of the proposed Hospital 162 16. 2. 1. Bed Strength . 162 16. 2. 2. Bed Distribution .. 162 16. 2. 3. Built up area Phase- I 62 16. 2. 4. Clinical Paraclinical disciplines 162 16. 2. 5. Out Patient Department OPD attendance, department wise.. 163 16. 2. 6. Architectural and layout plans . 163 16. 2. 7. List of Medical and allied equipments 163 16. 2. 8. Capacity and configuration of Hospital Engineering Services .. 163 16. 2. 9. Hospital services and administrative, supportive Services . 164 16. 2. 10. Other Ancillary and supportive services .. 164 16. 2. 11. Category wise staff strength * .. 164 17. Up gradation and expansion Program .. 165 17. 1. Details about additional land for the project proposal . 165 17. 1. 1. Land Particulars . 165 17. 1. 2. Plot size 65 17. 1. 3. Authorized land usage .. 166 17. 1. 4. Geography . 166 17. 1. 5. Soil Conditions . 166 17. 1. 6. Road access 166 17. 1. 7. Availability of Public Transport .. 66 17. 1. 8. Electric Supply . 167 17. 1. 9. Water Supply 167 17. 1. 10. Sewage Connection 167 17. 1. 11. Telephone Lines 168 17. 2. Upgraded Medical Program 169 17. 2. 1. Preclinical Departments – Phase – I (2008-09) : 169 17. 2. 2. Para-clinical Departments – Phase – II (2009-10) . 169 17. 2. 3. Clinical Departments (2010 – 2012) .. 169 17. 2. 4. Specialty wise bed distribution : .. 170 17. 3. Building expansion program . 171 17. 3. 1. Staff housing . 71 17. 3. 2. Students / Staff hostels . 171 LNMCRC JKHMRC, Bhopal 7 -7 17. 3. 3. Other Ancillary buildings 171 17. 3. 4. Phase wise Project Proposal .. 172 17. 4. Planning and layout . 173 17. 4. 1. Layout plan 173 17. 4. 2. Sections 173 17. 4. 3. Elevations .. 173 17. 4. 4. Floor wise area calculation of the Hospital. 173 17. 4. 5. Floor wise area calculation of ancillary buildings .. 173 17. 5. Up gradation of Hospital engineering services 173 17. 5. 1. Power Supply .. . 74 17. 5. 2. Vertical transportation 174 17. 5. 3. Waste disposal . 174 17. 5. 4. Other Engineering services 174 17. 6. Up graded Equipment program .. 176 17. 6. 1. Upgraded Instrument Equipment of the Hospital .. 176 17. 7. Up graded manpower program 17 17. 8. Phasing and scheduling of expansion scheme . 217 17. 9. Project cost of the expansion scheme Financial Profile . 217 17. 10. Means of financing in the project .. 217 17. 11. Revenue assumptions . 217 17. 12. Expenditure assumptions 217 17. 13. Operating results 217 18. Time Bound Program schedule . 218 18. 1. Chart I – Time Bound Program (MCI) – 219 19. Financial Profile – LNMCRC J. K. Hospital Medical Research Centre 232 19. 1. Project Cost Capital Budgeting Process . 232 19. 2. Means of Finance Project Finance – 235 19. 3. Revenue Assumption from the Hospitals – 35 19. 4. Revenue Assumption from the Medical College – . 236 19. 5. Projected Schedule of Income from the Project Operation – .. . 236 19. 6. Expenditure Assumption for the Hospitals – 236 19. 7. Expenditure Assumptions for the Medical College – .. 237 19. 7. 1. Chemicals, Consumables and Disposables for the College 238 19. 7. 2. Stationeries, Printing and Office Expenditures . 38 19. 7. 3. Hospital Administrative Service Expenditures . 238 LNMCRC JKHMRC, Bhopal 8 -8 19. 8. Projected Operating Results – Income Expenditure Statements – .. 238 19. 9. Projected Profitability Statements Including Depreci ation – 238 19. 10. Cash Flow Analysis – 38 19. 11. Project Finance Calculation for the Interest and Repayment Schedule of the Principle –. 238 19. 12. Projected Balance Sheet of the Health Care Projects – . 238 19. 13. Calculation for Depreciation Statements – 238 19. 14. Note by Financial Advisor / Chartered Accountants (given separately) .. 238 19. 15. Notes Forming Part of the Capital Budgeting Process – .. 38 19. 15. 1. Land : .. 239 19. 15. 2. Buildings : .. 239 19. 15. 3. Instruments and Equipments : . 239 19. 15. 4. Furniture and Fixtures : .. 240 19. 15. 5. Intangibles and Other Miscellaneous Fixed Assets : 240 19. 15. 6. Margin money for Performance Bank Guarantee : 240 19. 15. 7. Interest on Project Finance :.. 240 19. 15. 8. Escalation in the Construction Cost : . 240 19. 15. 9. Project Finance and Release of Funds : 241 19. 15. 10. Monitoring and Evaluation of the Project : 241 19. 15. 11. Project Expansion Program : 241 19. 5. 12. Details of Cost of Construction . 242 19. 16. Calculation Assumptions for Project Cost and Capital Budgeting Process – ..

The truly tragic figure in Shakespeares Antony and Cleopatra is Cleopatra. Discuss

The truly tragic figure in Shakespeares Antony and Cleopatra is Cleopatra. Discuss Barbara Everett rightly claims that the play ‚‘is continually suggestively of different kinds and categories of drama.‚ This is not simply a tragedy and no character is simply and ‚‘truly‚ tragic. However, Cleopatra, Antony and Enobarbus have tragic elements ‚ grandeur, nobility, fateful misjudgements and a fall from the heights ‚ as well as lesser qualities. It would be true to add, though, that Cleopatra is the dominating presence in the play.Even the hard-bitten Enobarbus is captivated by her, telling Antony he is ‚‘blest‚ to have met her. In his great speech in Act 2:2, she is presented as queen, ricer goddess, rival to Venus and exquisite work of art. Gold, silver, mermaids, nymphs, perfumes and the enchanting sound of flutes combine to create a sensual paradise. This picture-painting is one f the chief means whereby Shakespeare establishes Cleopatra‚s greatness; not moral or spiritual, but into the realm of myth: ‚‘Age can not wither her, nor custom stale/ Her infinite variety.‚English: The Battle of Actium, 2 September 31 BC, ...

Dynamic Character vs. Static Character How Are They Different

Dynamic Character vs. Static Character How Are They Different Dynamic Character vs. Static Character: How Are They Different? A common piece of criticism you'll hear in fiction is that characters are "too static." Modern audiences can tell when a character isn’t interesting or realistic, based on their own lack of emotional investment in that character’s journey. As a result, authors feel compelled to ensure that their protagonist is a dynamic character - and that many of their other characters are, too.And we want to help them out! Which is why in this article, we'll take a look at the different types of dynamic characters and how authors can write them into their books. We'll also examine static characters and why authors should avoid them most (but not all) of the time.As a fun bonus, we've created an exciting new infographic that illustrates three common narratives associated with these characters. To jump straight to the infographic, click on Infographic: "The Book Deal" in the table of contents to your left! You can also watch our video on how to create dynamic characters below. Otherwi se, let's dive in. What is a dynamic character?A dynamic character  is a character who undergoes substantial internal change - in personality, attitude, or worldview - over the course of the narrative. This change usually happens gradually, though sometimes a character will have a revelation that changes everything about them very suddenly.Most well-developed characters are naturally dynamic. After all, characters who don't change at all typically don't have book-worthy adventures. And no matter what the story, readers almost always prefer reading about dynamic characters over static ones. That's why some of the most classic tales of all time feature distinctively dynamic protagonists: Ebenezer Scrooge, Elizabeth Bennet, Don Quixote, the list goes on and on.Keep in mind that protagonists, antagonists, and minor characters can all be dynamic. For the sake of focus, this article deals with main characters. However, everything we cover re: how to write a dynamic protagonist can also apply to supportin g characters. Ebenezer Scrooge - one of the most famous dynamic protagonists ever. (Image: Walt Disney Studios)The difference between "dynamic" and "well-rounded"Many people mistakenly believe that a dynamic character is exactly the same as a well-rounded character. But "dynamic" simply means that the character changes, while "well-rounded" means that they're fleshed out with a backstory, motivations, strengths, weaknesses, etc.There's a great deal of overlap, and most well-written protagonists are both dynamic and well-rounded. However, it's possible to have a character that changes throughout the story, but otherwise lacks substantial development (though this is a pretty unusual occurrence).You'll more commonly see well-rounded characters who change very little (if at all) in a story - usually to serve as a constant for another character. For example, in To Kill a Mockingbird, Atticus Finch is clearly well-rounded. But that doesn't mean he's dynamic; indeed, his attitude and views remain the s ame through the story. His steadfast morality serves to teach his daughter, Scout, about right and wrong. Consequently, she is the dynamic protagonist, while he facilitates that change. Dynamic character = well-rounded character: true or false? Find out here! What is a static character?As you might expect, a static character does not develop or change throughout a narrative. Their beliefs do not evolve, their personalities remain the same, and their worldview does not expand or adapt whatsoever.So why do static characters even exist? The answer is twofold. Firstly, static characters exist because not all authors know how to write a good character arc. Particularly in shorter pieces of fiction, you'll often see a character who seems  like they should undergo some kind of development or change, but ultimately doesn't.But secondly, sometimes static characters are written that way intentionally, to make a point or poke fun at a certain type of person. For example, Mr Collins in Pride and Prejudice is a static character. However, he acts as an example of a silly society man, and his foolishness and pomposity contrast humorously with Lizzy's perceptive wit.Static characters may be used as foils or even enemies to the dynamic protagonist, such as the Dursleys in Harry Potter, or just about every Disney villain ever. Finally, static characters can sometimes be positively symbolic or instructive, as in the TKAM example above. But this is relatively rare compared to the other types of static characters, who tend to be stupid and/or malevolent.The important thing to remember about static characters is that they should almost always be accompanied by dynamic characters. Dynamic characters give static characters purpose; without them, our static friends would just be languishing in a plotless wasteland. The sole exception to this rule is satire - if the entire story functions as a critique, all the characters may be unchanging in order to demonstrate their unintelligence or weakness. The wicked stepsisters are static character "foils" to the sweet, kind Cinderella. (Image: RKO Radio Pictures)How to write a dynamic characterIn a creative writing course, you could spend weeks learning different approaches for writing dynamic characters. This guide won't provide you with "the key" to creating a dynamic protagonist, but it will offer questions and considerations to guide you toward that goal.We also won't talk about how to write static characters, as you want to avoid them most of the time. However, if you're hoping to create a static character to serve some significant purpose in your story, know that most of the steps are basically the same - you'll just stop short of actually setting them on a journey.We recommend downloading this free character profile template before you start. Then read on for some helpful tips!Character creationThe first step to writing  any  character, but especially a dynamic one, is to get their essentials down first. For this, many au thors find it useful to create a character sheet. This is  a little dossier that answers some basic questions about each individual in your story, both physically and personality-wise.So let's say your protagonist is a doctor. Her character sheet might answer these questions:What kind of medical school did she go to, and what kind of student was she?How is her relationship with her family? Does she currently have a partner?What is her religious faith and how does it affect her work (if at all)?Does she have any bad habits  or strange quirks?How self-conscious or confident is she?How frugal is she with her money?And so on. The answers to these questions might not always make it onto the page, but knowing even seemingly inconsequential details about your characters can have a big impact on your story. These kinds of character development exercises really help build believable people to populate your book - characters who readers want to follow, even before they begin to change.Ch aracter motivationAnother critical component of dynamic character creation is  motivation.  In order for a protagonist to go on a journey of self-discovery, they have to pursue something that they want, need, or are otherwise compelled toward.For instance, your main character might be a jet-setting career man who wants romance and a family; an army medic who wants to survive the war; or a retired gunslinger who wants to be left alone. This desire don’t have to be grand and philosophical! There have been great stories told about no more than a young boy who wants a new pair of shoes. There's that retired gunslinger. (Image: Warner Bros)A protagonist’s desires will become a driving force in the story. How close or far a character comes to achieving a goal creates tension and moves their journey along. Typically, in order to change, a character must either A) reach their goal, or B) fail to do so, but realize something greater in the process.Here are a few questions to help you determine your characters' motivations and trajectories:Will the character get what they  want, but at a dear cost?What personal obstacle(s) must they overcome before the desire is reached/obtained?How will securing this goal - or failing to do so - alter them as a character?What if your protagonist’s greatest desire is simply impossible?Internal character conflictWhile conflict is often interpreted as "protagonist vs. antagonist," it’s far more important to consider a character’s internal conflict. When telling the story of your character’s personal jo urney, it's important for them to encounter conflict, as they  themselves  hinder their own success. Here are a few examples of dynamic characters' inner conflicts to show you what we mean:Dumbo is a story about fighting fears and self-doubt. Dumbo’s buddy, Timothy Mouse, gives him a "magic feather" to help him fly. He loses this feather in the final scene, and must overcome his internal fear and self-doubt to save the circus.In Great Expectations, it is only when Pip realizes his worldview has been wrong - that Miss Havisham is not his benefactor, that Estella has not been promised to him, and that he has treated his closest friends and family terribly in order to "become a gentleman" - that he can start to make things right.Elizabeth Bennet has feelings for Darcy, but before she can find happiness, she must overcome her own wounded pride. Likewise, Darcy must grapple with his class-bred prejudices before he can successfully woo Ms. Bennet. These internal conflicts are the essence of Pride and Prejudice.Before you write your first draft, consider how your protagonist’s flaws or specific worldview will work as an obstacle between them and their goal. Likewise, consider how the resolution of these issues will bring your protagonist closer to their desires - and ultimately to a different state of being.Use external conflict to show internal strugglesMost novels can’t unfold in an entirely internal, psychic landscape. Authors need to find ways to move their protagonists through time and space as they undergo internal changes. In other words, you have to show character development via external conflict, instead of just letting characters sit around thinking about self-improvement 24/7.Jay Gatsby’s extravagant parties and upper-class affectations show his desire to rewrite his history and transcend the American class system. If Gatsby’s fatal flaw is his refusal to accept that the past is past, the external conflict that re flects plays out in his pursuit of and affair with Daisy, and the fatal repercussions it has.Fitzgerald more extensively shows this conflict by putting Gatsby at odds with Tom Buchanan. A cruel, unlikable figure, Tom is nonetheless everything Gatsby aspires to: an old-money WASP married to Daisy, Gatsby’s childhood crush. But because Gatsby cannot turn this desire into a change he can actually make - i.e., he can't go back in time and change the circumstances of his birth - he becomes increasingly desperate, careless, and ultimately meets his karmic maker. Jay Gatsby, Daisy Buchanan, and Tom Buchanan from The Great Gatsby (Image: Warner Bros)Can they change for the worse?Growth is subjective, as is morality. Characters sometimes fall to the "dark side" over the course of a story, like Walter White in TV’s Breaking Bad. Walter White is a family man and high school chemistry teacher with terminal cancer. To make money before his death, he starts manufacturing drugs and becomes involved with the criminal underworld.Over the course of the series, Walter White's morality is put to the test in ever more extreme ways. Each external conflict Walter faces has an internal result, and throughout the series we watch him toe the line between good and evil. His original intentions - to protect his family even after his death - are noble, but his means to this end are nefarious. As a result, Walter must â€Å"break bad† in what has become a modern exemplar of character evolution.But what if the protagonist doesn’t really change ?If the mark of an interesting lead character is their personal growth, then their story will chart a journey from the person they were in chapter one to the person they are on the final page. But surely there are plenty of compelling characters who encounter conflict, yet do not change all that much over the course of a narrative?As we've discussed previously, it's definitely possible for a character to be well-rounded without changing very much. But what about a main character? Let's look at a few examples here.From the outside, Katniss Everdeen in The Hunger Games wouldn’t be your first example of a dynamic character. She starts out courageous, resourceful, and principled, and stays that way throughout the story. Even after the Games put her ideals to the ultimate test, it's only through her selflessness and resourcefulness can she beat the system and leave with them intact.In Andy Weir’s The Martian, supremely chill botanist Mark Watney is trapped on Mars. He quick ly realizes that only his ingenuity and knowledge of science can save him. He encounters a chain of disasters that threaten to break his resolve. Instead of finding some internal flaw that needs resolving, it’s only by maintaining his trademark cool and returning time and again to science, that Watney is able to escape the Red Planet. Matt Damon as Mark Watney in The Martian (20th Century Fox)Don't worry: they're still dynamicBoth Katniss and Mark Watney find the strength to survive by sticking to their guns and having faith in their beliefs. But this doesn't mean they haven't changed at all - it's just that the primary change they've undergone is a strengthening of their core beliefs, rather than a fundamental alteration. They also experience smaller, more subtle changes, such as becoming more hardened to their surroundings and wary of danger.In other words, Katniss and Watney aren't what you'd call "exemplary" dynamic characters, but they're not static characters either. And clearly their journeys were compelling enough to engage readers, since both The Hunger Games  and  The Martian  became mega-hit bestsellers and blockbuster movies!Speaking of which, let's take a look at this awesome infographic (featuring some of your favorite characters) to really nail down the arc of a dynamic character.Infographic: "The Book Deal" Infographic: What does a dynamic character's arc look like? To see how a protagonist's wants, strengths, and flaws will  influence  how a story plays out, we took three familiar characters and placed them in an unfamiliar setting. Let's see how they develop over the course of a  narrative: Failure to change results in tragedyWhen your protagonist grapples with inner and outer conflict,  but fails to adapt, they are almost always punished - by themselves, another person, or the universe. This is what we call  tragedy.In Cyrano de Bergerac,  the titular character is in love with Roxane. However, his self-doubt prevents him from revealing that he has written the words that have won her heart. Cyrano does not overcome this doubt in time, and becomes mortally injured before Roxane realizes that she loves him.And in an example we've already covered, Jay Gatsby learns too late that â€Å"there are no second acts in American lives.† He wants to force his way into the upper classes, but he’s unable to see that this world will not allow him in. He refuses to divert his course so, in the end, we find him bleeding out, alone, in his swimming pool.Both of these characters encounter conflict and grapple with their flaws in a fascinating way. But in the end, thei r failure to change themselves results in their tragic deaths.How much change is too much?Assuming you want your book to remain within the realm of believability, your character’s change should be relatively small. Human beings are capable of great change, but only a bit a time.Again, Ebenezer Scrooge is perhaps the most classic example of a dynamic protagonist. But if we’re being honest, the man at the end who buys 300-pound turkeys for the poor does not remotely resemble the penny-pinching miser in the first scene. However, nobody questions the psychological truth of Scrooge’s overnight transformation because A Christmas Carol is a moralist fable. It's not meant to be realistic, only to instruct.That said, if you’re writing a modern series, you should also be conscious of changing your characters too quickly or drastically. Let’s say that your breakout character is an irreverent, womanizing highwayman. You can have him confronted by a victim of h is crime or philandering - something that forces him to reassess his lifestyle choices.Yet you don’t want him to learn too much. Otherwise you run the risk of turning your series into the ongoing narrative of a former highwayman, who now very much respects property rights and does not flirt with women quite so aggressively. The key is balance: don't stray too far from your character's original personality, but allow them to change in an organic way, at a reasonable pace.Remember: there's no formula for great charactersShould your story not follow one of these common patterns, you may find it’s harder to nail down exactly how internal flaws and external conflicts play out over the course of your book. But even in unconventional narratives, always remember to think of the basics: What does your character want? What’s stopping them from getting it? And will they find the strength to change? These questions will help you - and your characters - find the right way .If you have any questions, thoughts or observations, please share them in the comments below.

Arab-Israeli Conflict and its impacts on International relations Research Paper

Arab-Israeli Conflict and its impacts on International relations - Research Paper Example That action immediately led to the first military conflict between Israel and few Arab countries, followed by a series of major Wars as well as minor conflicts between them throughout the second part of the 20th century. Among these conflicts, the Suez Crisis and the Six Day War were considered to be the important wars, because those wars not only impacted the geographical ‘make-up’ of the area but also impacted the international relations of various countries. That is, the international relations of the involved Arab states, Israel as well as then superpowers, United States and Soviet Union underwent changes, with alignments and realignments happening. USA and Soviet Union played ‘major’ roles in impacting or even ‘dictating’ many countries’ international relations in that period. Because of that role, equations between them, as well as their relations with the Arab states and Israel evolved maximally due to the Arab-Israeli conflicts impacting the International relations from 1945. Although, during the First Arab-Israeli conflict, USA and Soviet Union sided with Israel, realignment started happening before the Suez crisis and during the Six Day War, wit h Soviet Union siding with the Arab states, while USA supported Israel and also tried its best to maintain its neutral stance. This paper will discuss how Arab-Israeli conflicts reached the crescendo during the Suez Crisis and the Six Day War impacting the international relations of not only the involved countries but also other major countries. Genesis of the Conflict Before the World War I (1914-1918), the present day territories of Israel and Palestine were under the control of the Turkish Ottoman Empire.1 However, with the Arabs feeling discriminated under Turkish control, they fought and drove out the Ottomans with the aid of the British, who were against the Ottomans for their support of Germany. British elicited the support of the Arabs to fight against the Ottomans by promising to give them, the conquered land. In 1916, the British Commissioner in Egypt, Sir Henry McMahon gave a promise to the Arab leadership that in the aftermath of the war, former Ottoman provinces can be given to them. â€Å"I am empowered in the name of the Government of Great Britain to give the following assurances†¦Great Britain is prepared to recognise and support the independence of the Arabs in all the regions within the limits demanded by the Sherif of Mecca.†2 However, in 1917, the British Foreign Minister Arthur Balfour gave another commitment to the leading Zionist leader, Lord Rothschild that Britain is committed to â€Å"the establishment in Palestine of a national home for the Jewish people†, which came to be referred as the as the Balfour Declaration. 3 When the British got the territories through the League of Nations in the aftermath of the First World War, they minimally allocated the territories to the Arabs, and kept Palestine under their control.4 This mixed stance of the British continued for years to come. During these years, there was heightened inflow of the Jews into these territories. The Jewish Immigration to the Holy Land, which was go ing on since the 1880s