Why Am I Doing this Writing Assignment? :: Writing Assignment

"Everyone has his own specific vocation or mission in life; everyone must carry out a concrete assignment that demands fulfillment. Therein he cannot be replaced, nor can his life be repeated, thus, everyone's task is unique as his specific opportunity." -Viktor Frankl Done because I was told to do so, I think not. All assignments are done by people like me who care where they will be ten, twenty, even thirty years from now. Assignments are designed to further ones knowledge about a specific subject, and this one is pushing me to do better. This assignment is being done for three reasons: to pass the class so I will eventually graduate, when a job comes I will be prepared for writing and so I can write and speak better. First, and most importantly, I am taking this class so I can eventually graduate with the degree of my choice. You see, if I get a good grade on this, I will have a good grade in the class, which means I will be more likely to graduate. I am required to take 8-11 hours of college writing for a degree in engineering, which I will eventually finish at Walla Walla College. This essay is being done because when I look at the alternative, taking over the family business (carpentry), I don’t like it. Therefore I need to do this assignment, along with many others to complete my degree. Secondly, when it comes time to get a job I will have the necessary knowledge to complete my required writing assignments. As an engineer I will need to know how to write for many aspects of the job, such as typing a memo or writing a manuscript. I will have to show my skills in my resume in order to apply for the job. Also I will be able to type my presentation before I give it at the office. People in charge of hiring can tell how well educated the prospective employee is by the way they speak and write. Lastly, I will write and speak as though I was educated. I believe educated people speak differently, this assignment is actually serving a dual purpose, it’s getting me a grade in the class (whether it be good or bad) and helping me to write better. Id like to be the kind of person that can type an essay such as this in less than half an hour, but for now I will spend hours thinking about what to type.

Edgar Allen Poe Essay -- essays papers

Edgar Allen Poe Edgar Allen Poe: A Brilliant Writer Edgar Allen Poe was one of the most brilliant writers of the nineteenth century. His short stories and poems consist of horror, mortality, romantic struggle, and psychological concept. Poe’s tales labeled him as a master in his study of instability of self-control, the restrain of emotion, and access of feeling. His literary works were based on his personal background; therefore, many have similar characteristics. Poe was a manic depressant, and frequently wrote while under the influence of morphine and alcohol. Poe gives an example of his influenced writing in the story Ligeia. The story portrays Ligeia and her husband as opium addicts (Bonaparte, 236). Perhaps his abnormal behavior could explain why he used such great detail in form of writing. In most of Poe’s short stories the point of view is first person and often the narrator is nameless. Each narrator is unique, some are sane, others are unclear, and several approach a fine line that separates sanity from insanity (Rose). For example, the narration in The Black Cat is spoken through confusion and influenced by alcohol, yet The Fall House of Usher is told through the mind of a paranoid schizophrenic. Both stories are by nameless narrators. His focused on death in many of his short stories and poems. Poe’s theory of death and dying are more detailed than anything else. From the start to finish of his career he was casual to stop any action, which could be remaining over the grave, the shadowing of the moon, and the emblems of mortality and massacre (Davidson, 114). Often Poe wrote on how one’s death can effect someone’s emotions and mental stability. His ... ...ain his stability during his death sentence (Davidson, 134). Poe’s unique writing style is what makes him such a well-known literary author. His personal life is what made his writings so interesting and gruesomely detailed. He never hesitates to use psychoanalysis to describe his point of view. His passionate writing is what marks Edgar Allen Poe as a brilliant 19th century author. Bibliography: Bonaparte, Marie. Life and Works of Edgar Allen Poe. New York: Humanities Press, 1971 Davidson, Edward. Poe a Critical Study. Massachusetts : The Belknap Press, 1970 Grafx, Gibson. â€Å"Easylit Poe†. 1 Feb. 1997. . Rose, Elizabeth. â€Å"Poe’s Perceptions†. 1 Sept. 2000. . Werlock, Abby. The Facts on File: Companion to the American Short Story. New York: Facts on File, 2000

The Self in the World: the Social Context of Sylvia Plath’s Late Poems

The Self in the World: The Social Context of Sylvia Plath's Late Poems, [(essay date 1980) In the following essay, Annas offers analysis of depersonalization in Plath's poetry which, according to Annas, embodies Plath's response to oppressive modern society and her â€Å"dual consciousness of self as both subject and object. â€Å"] For surely it is time that the effect of disencouragement upon the mind of the artist should be measured, as I have seen a dairy company measure the effect of ordinary milk and Grade A milk upon the body of the rat.They set two rats in cages side by side, and of the two one was furtive, timid and small, and the other was glossy, bold and big. Now what food do we feed women as artists upon? –Virginia Woolf, A Room of One's Own The dialectical tension between self and world is the location of meaning in Sylvia Plath's late poems. Characterized by a conflict between stasis and movement, isolation and engagement, these poems are largely about what st ands in the way of the possibility of rebirth for the self.In â€Å"Totem,† she writes: â€Å"There is no terminus, only suitcases / Out of which the same self unfolds like a suit / Bald and shiny, with pockets of wishes / Notions and tickets, short circuits and folding mirrors. † While in the early poems the self was often imaged in terms of its own possibilities for transformation, in the post-Colossus poems the self is more often seen as trapped within a closed cycle. One moves–but only in a circle and continuously back to the same starting point. Rather than the self and the world, the Ariel poems record the self in the world.The self can change and develop, transform and be reborn, only if the world in which it exists does; the possibilities of the self are intimately and inextricably bound up with those of the world. Sylvia Plath's sense of entrapment, her sense that her choices are profoundly limited, is directly connected to the particular time and place in which she wrote her poetry. Betty Friedan describes the late fifties and early sixties for American women as a â€Å"comfortable concentration camp†Ã¢â‚¬â€œphysically luxurious, mentally oppressive and impoverished.The recurring metaphors of fragmentation and reification–the abstraction of the individual–in Plath's late poetry are socially and historically based. They are images of Nazi concentration camps, of â€Å"fire and bombs through the roof† (â€Å"The Applicant†), of cannons, of trains, of â€Å"wars, wars, wars† (â€Å"Daddy†). And they are images of kitchens, iceboxes, adding machines, typewriters, and the depersonalization of hospitals. The sea and the moon are still important images for Plath, but in the Ariel poems they have taken on a harsher quality. The moon, also, is merciless,† she writes in â€Å"Elm. † While a painfully acute sense of the depersonalization and fragmentation of 1950's America is cha racteristic of Ariel, three poems describe particularly well the social landscape within which the â€Å"I† of Sylvia Plath's poems is trapped: â€Å"The Applicant,† â€Å"Cut,† and â€Å"The Munich Mannequins. † â€Å"The Applicant† is explicitly a portrait of marriage in contemporary Western culture. However, the â€Å"courtship† and â€Å"wedding† in the poem represent not only male/female relations but human relations in general.That job seeking is the central metaphor in â€Å"The Applicant† suggests a close connection between the capitalist economic system, the patriarchal family structure, and the general depersonalization of human relations. Somehow all interaction between people, and especially that between men and women, given the history of the use of women as items of barter, seems here to be conditioned by the ideology of a bureaucratized market place. However this system got started, both men and women are implica ted in its perpetuation.As in many of Plath's poems, one feels in reading â€Å"The Applicant† that Plath sees herself and her imaged personae as not merely caught in–victims of–this situation, but in some sense culpable as well. In â€Å"The Applicant,† the poet is speaking directly to the reader, addressed as â€Å"you† throughout. We too are implicated, for we too are potential â€Å"applicants. † People are described as crippled and as dismembered pieces of bodies in the first stanza of â€Å"The Applicant. † Thus imagery of dehumanization begins the poem.Moreover, the pieces described here are not even flesh, but â€Å"a glass eye, false teeth or a crutch, / A brace or a hook, / Rubber breasts or a rubber crotch. † We are already so involved in a sterile and machine-dominated culture that we are likely part artifact and sterile ourselves. One is reminded not only of the imagery of other Plath poems, but also of the control ling metaphor of Ken Kesey's One Flew Over the Cuckoo's Nest, written at about the same time as â€Å"TheApplicant†Ã¢â‚¬â€œin 1962–, and Chief Bromden's conviction that those people who are integrated into society are just collections of wheels and cogs, smaller replicas of a smoothly functioning larger social machine. â€Å"The ward is a factory for the Combine,† Bromden thinks. â€Å"Something that came all twisted different is now a functioning, adjusted component, a credit to the whole outfit and a marvel to behold. Watch him sliding across the land with a welded grin . . . In stanza two of â€Å"The Applicant,† Plath describes the emptiness which characterizes the applicant and which is a variant on the roboticized activity of Kesey's Adjusted Man. Are there â€Å"stitches to show something's missing? † she asks. The applicant's hand is empty, so she provides â€Å"a hand† To fill it and willing To bring teacups and roll away headaches And do whatever you tell it Will you marry it? Throughout the poem, people are talked about as parts and surfaces. The suit introduced in stanza three is at least as alive as the hollow man and mechanical doll woman of the poem.In fact, the suit, an artifact, has more substance and certainly more durability than the person to whom it is offered â€Å"in marriage. † Ultimately, it is the suit which gives shape to the applicant where before he was shapeless, a junk heap of fragmented parts. I notice you are stark naked. How about this suit– Black and stiff, but not a bad fit. Will you marry it? It is waterproof, shatterproof, proof Against fire and bombs through the roof. Believe me, they'll bury you in it.The man in the poem is finally defined by the black suit he puts on, but the definition of the woman shows her to be even more alienated and dehumanized. While the man is a junk heap of miscellaneous parts given shape by a suit of clothes, the woman is a wind-up toy, a puppet of that black suit. She doesn't even exist unless the black suit needs and wills her to. Will you marry it? It is guaranteed To thumb shut your eyes at the end And dissolve of sorrow. We make new stock from the salt. The woman in the poem is referred to as â€Å"it. Like the man, she has no individuality, but where his suit gives him form, standing for the role he plays in a bureaucratic society, for the work he does, the only thing that gives the woman form is the institution of marriage. She does not exist before it and dissolves back into nothingness after it. In â€Å"The Applicant† there is at least an implication that something exists underneath the man's black suit; that however fragmented he is, he at least marries the suit and he at least has a choice. In contrast, the woman is the role she plays; she does not exist apart from it. Naked as paper to start,† Plath writes, But in twenty-five years she'll be silver, In fifty, gold. A living doll, everywhe re you look. It can sew, it can cook. It can talk, talk, talk. The man, the type of a standard issue corporation junior executive, is also alienated. He has freedom of choice only in comparison to the much more limited situation of the woman. That is to say, he has relative freedom of choice in direct proportion to his role as recognized worker in the economic structure of his society. This should not imply, however, that this man is in any kind of satisfying and meaningful relation to his work.The emphasis in â€Å"The Applicant† upon the man's surface–his black suit–together with the opening question of the poem (â€Å"First, are you our sort of person? â€Å") suggests that even his relationship to his work is not going to be in any sense direct or satisfying. It will be filtered first through the suit of clothes, then through the glass eye and rubber crotch before it can reach the real human being, assuming there is anything left of him. The woman in the p oem is seen as an appendage; she works, but she works in a realm outside socially recognized labor.She works for the man in the black suit. She is seen as making contact with the world only through the medium of the man, who is already twice removed. This buffering effect is exacerbated by the fact that the man is probably not engaged in work that would allow him to feel a relationship to the product of his labor. He is probably a bureaucrat of some kind, and therefore his relationship is to pieces of paper, successive and fragmented paradigms of the product (whatever it is, chamberpots or wooden tables) rather than to the product itself.And of course, the more buffered the man is, the more buffered the woman is, for in a sense her real relationship to the world of labor is that of consumer rather than producer. Therefore, her only relationship to socially acceptable production–as opposed to consumption–is through the man. In another sense, however, the woman is not a consumer, but a commodity. Certainly she is seen as a commodity in this poem, as a reward only slightly less important than his black suit, which the man receives for being â€Å"our sort of person. It can be argued that the man is to some extent also a commodity; yet just as he is in a sense more a laborer and less a consumer than the woman–at least in terms of the social recognition of his position–so in a second sense he is more a consumer and less a commodity than the woman. And when we move out from the particularly flat, paper-like image of the woman in the poem to the consciousness which speaks the poem in a tone of bitter irony, then the situation of the woman as unrecognized worker/recognized commodity becomes clearer.The man in â€Å"The Applicant,† because of the middle class bureaucratic nature of his work (one does not wear a new black suit to work in a steel mill or to handcraft a cabinet) and because of his position vis-a-vis the woman (her socia l existence depends upon his recognition), is more a member of an exploiting class than one which is exploited. There are some parts of his world, specifically those involving the woman, in which he can feel himself relatively in control and therefore able to understand his relationship to this world in a contemplative way.Thus, whatever we may think of the system he has bought into, he himself can see it as comparatively stable, a paradigm with certain static features which nevertheless allows him to move upward in an orderly fashion. Within the context of this poem, then, and within the context of the woman's relationship to the man in the black suit, she is finally both worker and commodity while he is consumer. Her position is close to that of the Marxist conception of the proletariat.Fredric Jameson, in Marxism and Form, defines the perception of external objects and events which arises naturally in the consciousness of an individual who is simultaneously worker and commodity. Even before [the worker] posits elements of the outside world as objects of his thought, he feels himself to be an object, and this initial alienation within himself takes precedence over everything else. Yet precisely in this terrible alienation lies the strength of the worker's position: his first movement is not toward knowledge of the work but toward knowledge of himself as an object, toward self-consciousness.Yet this self-consciousness, because it is initially knowledge of an object (himself, his own labor as a commodity, his life force which he is under obligation to sell), permits him more genuine knowledge of the commodity nature of the outside world than is granted to middle-class â€Å"objectivity. † For [and here Jameson quotes Georg Lukacs in The History of Class Consciousness] â€Å"his consciousness is the self-consciousness of merchandise itself . . . † This dual consciousness of self as both subject and object is characteristic of the literature of min ority and/or oppressed classes.It is characteristic of the proletarian writer in his (admittedly often dogmatic) perception of his relation to a decadent past, a dispossessed present, and a utopian future. It is characteristic of black American writers; W. E. B. Du Bois makes a statement very similar in substance to Jameson's in The Souls of Black Folk, and certainly the basic existential condition of Ellison's invisible man is his dual consciousness which only toward the end of that novel becomes a means to freedom of action rather than paralysis.It is true of contemporary women writers, of novelists like Doris Lessing, Margaret Atwood, and Rita Mae Brown, and of poets like Denise Levertov, Adrienne Rich, and Marge Piercy. In a sense, it is more characteristic of American literature than of any other major world literature, for each immigrant group, however great its desire for assimilation into the American power structure, initially possessed this dual consciousness.Finally, a di alectical perception of self as both subject and object, both worker and commodity, in relation to past and future as well as present, is characteristic of revolutionary literature, whether the revolution is political or cultural. Sylvia Plath has this dialectical awareness of self as both subject and object in particular relation to the society in which she lived. The problem for her, and perhaps the main problem of Cold War America, is in the second aspect of a dialectical consciousness–an awareness of oneself in significant relation to past and future.The first person narrator of what is probably Plath's best short story, â€Å"Johnny Panic and the Bible of Dreams,† is a clerk/typist in a psychiatric clinic, a self-described â€Å"dream connoisseur† who keeps her own personal record of all the dreams which pass through her office, and who longs to look at the oldest record book the Psychoanalytic Institute possesses. â€Å"This dream book was spanking new th e day I was born,† she says, and elsewhere makes the connection even clearer: â€Å"The clinic started thirty-three years ago–the year of my birth, oddly enough. This connection suggests the way in which Plath uses history and views herself in relation to it. The landscape of her late work is a contemporary social landscape. It goes back in time to encompass such significant historical events as the Rosenberg trial and execution–the opening chapter of The Bell Jar alludes dramatically to these events–and of course it encompasses, is perhaps obsessed with, the major historical event of Plath's time, the second world war.But social history seems to stop for Plath where her own life starts, and it is replaced at that point by a mythic timeless past populated by creatures from folk tale and classical mythology. This is not surprising, since as a woman this poet had little part in shaping history. Why should she feel any relation to it? But more crucially, the re is no imagination of the future in Sylvia Plath's work, no utopian or even antiutopian consciousness.In her poetry there is a dialectical consciousness of the self as simultaneously object and subject, but in her particular social context she was unable to develop a consciousness of herself in relation to a past and future beyond her own lifetime. This foreshortening of a historical consciousness affects in turn the dual consciousness of self in relation to itself (as subject) and in relation to the world (as object). It raises the question of how one accounts objectively for oneself. For instance, if I am involved in everything I see, can I still be objective and empirical in my perception, free from myth and language?Finally, this foreshortening of historical consciousness affects the question of whether the subject is a function of the object or vice versa. Since the two seem to have equal possibilities, this last question is never resolved. As a result, the individual feels t rapped; and in Sylvia Plath's poetry one senses a continual struggle to be reborn into some new present which causes the perceiving consciousness, when it opens its eyes, to discover that it has instead (as in â€Å"Lady Lazarus†) made a â€Å"theatrical / Comeback in broad day / To the same place, the same face, the same brute / Amused shout: ‘A miracle! † This difficulty in locating the self and the concomitant suspicion that as a result the self may be unreal are clear in poems like â€Å"Cut,† which describe the self-image of the poet as paper. The ostensible occasion of â€Å"Cut† is slicing one's finger instead of an onion; the first two stanzas of the poem describe the cut finger in minute and almost naturalistic detail. There is a suppressed hysteria here which is only discernible in the poem's curious mixture of surrealism and objectivity.The images of the poem are predominantly images of terrorism and war, immediately suggested to the poet by the sight of her bleeding finger: â€Å"out of a gap / A million soldiers run,† â€Å"Saboteur / Kamikaze man–,† and finally, â€Å"trepanne d veteran. † The metaphors of war are extensive, and, though suggested by the actual experience, they are removed from it. In the one place in the poem where the speaker mentions her own feelings as a complete entity (apart from but including her cut finger) the image is of paper. She says, O my Homunculus, I am ill. I have taken a pill to killThe thin Papery feeling. Paper often stands for the self-image of the poet in the post-Colossus poems. It is used in the title poem of Crossing the Water, where the â€Å"two black cut-paper people† appear less substantial and less real than the solidity and immensity of the natural world surrounding them. In the play Three Women, the Secretary says of the men in her office: â€Å"there was something about them like cardboard, and now I had caught it. † She se es her own infertility as directly related to her complicity in a bureaucratic, impersonal, male-dominated society.Paper is symbolic of our particular socioeconomic condition and its characteristic bureaucratic labor. It stands for insubstantiality; the paper model of something is clearly less real than the thing itself, even though in â€Å"developed† economies the machines, accoutrements, and objects appear to have vitality, purpose, and emotion, while the people are literally colorless, objectified, and atrophied. The paper self is therefore part of Plath's portrait of a depersonalized society, a bureaucracy, a paper world.In â€Å"A Life† (Crossing the Water), she writes: â€Å"A woman is dragging her shadow in a circle / About a bald hospital saucer. / It resembles the moon, or a sheet of blank paper / And appears to have suffered a private blitzkrieg. † In â€Å"Tulips† the speaker of the poem, also a hospital patient, describes herself as â€Å"fl at, ridiculous, a cut-paper shadow / Between the eye of the sun and the eyes of the tulips. † In â€Å"The Applicant,† the woman is again described as paper: â€Å"Naked as paper to start / But in twenty-five years she'll be silver, / In fifty, gold. Here in â€Å"Cut,† the â€Å"thin, / Papery feeling† juxtaposes her emotional dissociation from the wound to the horrific detail of the cut and the bloody images of conflict it suggests. It stands for her sense of depersonalization, for the separation of self from self, and is juxtaposed to that devaluation of human life which is a necessary precondition to war, the separation of society from itself. In this context, it is significant that one would take a pill to kill a feeling of substancelessness and depersonalization. Writing about American women in the 1950's, Betty Friedan asks, â€Å"Just what was the problem that had no name?What were the words women used when they tried to express it? Sometimes a w oman would say, ‘I feel empty somehow . . . incomplete. ‘ Or she would say, ‘I feel as if I don't exist. ‘ Sometimes she blotted out the feeling with a tranquilizer. † A papery world is a sterile world; this equation recurs throughout the Ariel poems. For Sylvia Plath, stasis and perfection are always associated with sterility, while fertility is associated with movement and process. The opening lines of â€Å"The Munich Mannequins† introduce this equation. Perfection is terrible,† Plath writes, â€Å"it cannot have children. / Cold as snow breath, it tamps the womb / Where the yew trees blow like hydras. † The setting of â€Å"The Munich Mannequins† is a city in winter. Often, Plath's poems have imaged winter as a time of rest preceding rebirth (â€Å"Wintering,† â€Å"Frog Autumn†), but only when the reference point is nature. The natural world is characterized in Sylvia Plath's poems by process, by the ebb and flow of months and seasons, by a continual dying and rebirth. The moon is a symbol for the monthly ebb and flow of the tides and of a woman's body.The social world, however, the world of the city, is both male defined and separated from this process. In the city, winter has more sinister connotations; it suggests death rather than hibernation. Here the cold is equated with the perfection and sterility to which the poem's opening lines refer. Perfection stands in â€Å"The Munich Mannequins† for something artificially created and part of the social world. The poem follows the male quest for perfection to its logical end–mannequins in a store window–lifeless and mindless â€Å"in their sulphur loveliness, in their smiles. The mannequins contrast with the real woman in the same way that the city contrasts with the moon. The real woman is not static but complicated: The tree of life and the tree of life Unloosing their moons, month after month, to no purpose. The blood flood is the flood of love, The absolute sacrifice However, in Munich, â€Å"morgue between Paris and Rome,† the artificial has somehow triumphed. Women have become mannequins or have been replaced by mannequins, or at least mannequins seem to have a greater reality because they are more ordered and comprehensible than real women.It is appropriate that Plath should focus on the middle class of a German city, in a country where fascism was a middle class movement and women allowed themselves to be idealized, to be perfected, to be made, essentially, into mannequins. In â€Å"The Munich Mannequins,† as in â€Å"The Applicant,† Plath points out the deadening of human beings, their disappearance and fragmentation and accretion into the objects that surround them. In â€Å"The Applicant† the woman is a paper doll; here she has been replaced by a store window dummy.In â€Å"The Applicant† all that is left of her at the end is a kind of saline solut ion; in â€Å"The Munich Mannequins† the only remaining sign of her presence is â€Å"the domesticity of these windows / The baby lace, the green-leaved confectionery. † And where the man in â€Å"The Applicant† is described in terms of his black suit, here the men are described in terms of their shoes, present in the anonymity of hotel corridors, where Hands will be opening doors and setting Down shoes for a polish of carbon Into which broad toes will go tomorrow. People accrete to their things, are absorbed into their artifacts.Finally, they lose all sense of a whole self and become atomized. Parts of them connect to their shoes, parts to their suits, parts to their lace curtains, parts to their iceboxes, and so on. There is nothing left; people have become reified and dispersed into a cluttered artificial landscape of their own production. Because the world she describes is a place created by men rather than women (since men are in control of the forces of pr oduction), Plath sees men as having ultimate culpability for this state of affairs which affects both men and women.But men have gone further than this in their desire to change and control the world around them. In â€Å"The Munich Mannequins† man has finally transformed woman into a puppet, a mannequin, something that reflects both his disgust with and his fear of women. A mannequin cannot have children, but neither does it have that messy, terrifying, and incomprehensible blood flow each month. Mannequins entirely do away with the problems of female creativity and self-determination.Trapped inside this vision, therefore, the speaker of the Ariel poems sees herself caught between nature and society, biology and intellect, Dionysus and Apollo, her self definition and the expectations of others, as between two mirrors. Discussion of the Ariel poems has often centered around Sylvia Plath's most shocking images. Yet her images of wars and concentration camps, of mass and indivi dual violence, are only the end result of an underlying depersonalization, an abdication of people to their artifacts, and an economic and social structure that equates people and objects.Like the paper doll woman in â€Å"The Applicant,† Sylvia Plath was doubly alienated from such a world, doubly objectified by it, and as a woman artist, doubly isolated within it. Isolated both from a past tradition and a present community, she found it difficult to structure new alternatives for the future. No wonder her individual quest for rebirth failed as it led her continuously in a circle back to the same self in the

Corporate Tax Act Essay

The resolution stipulated that any overpayment of salary disallowed as a deduction by the IRS would be repaid to the Osprey Corporation. In late 2010 during an audit by the IRS, $200,000 of Patrick’s compensation, and $150,000 of Dan’s compensation were recharacterized as constructive dividends. This was done because the salaries were found to be excessive. Reg  §1. 162-8 states excessive compensation will be disallowed to the corporation and treated as a constructive dividend to the shareholder. Because the agreement to the resolution was in place prior to their salary payments, the repayments were legally enforceable under state law. As stated by Hoffman, Raabe, Smith and Maloney â€Å"the constructive dividend serves as a substitute for actual distributions and is usually intended to accomplish some tax objective not available through the use of direct dividends. Alternatively the shareholders may be seeking benefits for themselves while avoiding the recognition of income†(2012, 5-16). Because the resolution did contain a repayment provision it should reduce the effect of the constructive dividends on Dan and Patrick. b. Issues A corporation cannot take a deduction from the constructive dividend, and the shareholder must report the amount of the constructive dividend on their tax return. The IRS will recharacterize an item that has been deducted on the corporate tax return to a non-deductible dividend. Constructive dividends are double taxed, first on the corporate level and again at the shareholder level. This characterization results in the IRS denial of the deduction on he corporate level. To determine how the repayment by Dan and Patrick should be treated for tax purposes we must determine whether the repayment can, or should be treated as a deduction or as a credit. c. Discussion In  §162, it states compensation is deductible only to the extent that it is reasonable and is in fact payment purely for services. In a case similar to Dan and Patrick’s sit uation involving excessive compensation, Vincent E. Oswald v. Commissioner, 49 T. C. 645 (1968), the court found the repayments to be a deductible expense. In this case the question was whether, â€Å"under section 162 of the Code, the officers are entitled to a business expense deduction for the calendar year 1968 for the salaries repaid by them to the corporation† (Vincent E. Oswald. 49 T. C. 645 (1968)). The Section 1. 162-1 of the Income Tax Regulations â€Å"provides, in part, that ordinary and necessary expenditures directly connected with or pertaining to the taxpayer’s trade or business are deductible from gross income as business expenses† (Rev. Rul. 69-115, 1969-1 CB 50 — IRC Sec(s). 162). According to the case, the court found that a deduction for ordinary and necessary business expenses would be allowed. If Dan and Patrick sought a credit for the repayment of the taxes, the relief provision contained in IRC section 1341 suggest that a taxpayer may reduce its current years tax by the amount of the extra taxes paid by having to include the income in a previous year. The requirement that a taxpayer be entitled to this deduction has two subsets. One, there must be a deduction as the result of the restoration of income, and two, the deduction must occur under a code section other than section 1341. In a federal case Van Cleave v.

The Act of Manipulation Is to Control or Influence Someone

The act of manipulation is to control or influence someone or a situation. Throughout all of history there are many examples of manipulation enacted by a person in higher position. George Orwell captures the act of government manipulation in his literary work Nineteen Eighty-Four. The predominant type of manipulation in Nineteen Eighty-Four is psychological. The government uses brainwashing, fear of thought, and fear of the party to control the psychological state of society. George Orwell demonstrated the technique of brainwashing demonstrated throughout the whole novel.George Orwell introduces the reader to the idea of brainwashing when ‘Two Minutes of Hate,† a daily two-minute period is aired on large telescreens throughout the city and in every home. â€Å"Two Minutes of Hate† a strategy for brainwashing used by the party, presents the party’s greatest enemy. A terrible sound accompanies Goldstein’s image in order to trigger people’s feelin gs of frustration, and therefore sight of Goldstein becomes implanted in the brain associating the two senses with a negative concept, therefore allowing the government to control societies psychological feelings.Another example of brainwashing is evident when the party forces Winston, the main character, to face his fear of rats. Rats are used to intensify Winston’s fear forcing him to a point of breaking his spirit of independence. Winston surrenders and lets go of all his personal emotion. George Orwell explains how the use of brainwashing by the government has allowed them to convince society that 2+2=5. Government can psychologically control society by brainwashing the people.

Interview with an Older Adult

Virginia Western Community College Practical Nursing Program Spring 2013 NUR 135-PN Drug Dosage Calculation Review of Problem Areas Reconstitution of Non-injectable Solutions Prepare the following nutritional solutions for the designated time period. 1. Order: 1/2 strength Isomil 6 oz. p. o. q4h for 24 hours. How much formula and water will you use to prepare a 24-hour supply of feeding? 2. Order: 1/2 strength Ensure 8 oz via nasogastric tube to be given over 8 hrs. How much formula and water will you use to prepare this feeding? 3. Order:1/4 strength Jevity 300 mL via G-tube q6h.How much formula and water is needed to prepare enough feeding for your 8-hour shift? 4. Order: 400 mL of 1/4 strength Ensure over 6 hours via nasogastric tube. Supply: Ensure 240 mL cans. How much formula and water is needed to prepare this feeding? 5. Order: Irrigate wound with 50 mL of 1/2 strength hydrogen peroxide and normal saline q4h while awake. How much hydrogen peroxide and NS will you use to prepa re this solution for each treatment? 6. Order: 1/2 strength Ensure 16 ounces by gastrostomy tube over 4 hrs. Add ________mL of Ensure and ______mL of water to make the desired solution. 7. Order: 3/4 strength Sustacal 400 mL p. . q. i. d. Add _________mL of Sustacal and ______mL of water to make the desired solution. IV Calculations 1. Order: 500 mL NS IV to infuse @ 250 mL/hr. The IV tubing has a drop factor of 10 gtt/mL. You do not have an IV pump available. Calculate the drops per min you would set this IV to run. 2. Order: 1 L of O. 9% NaCl IV to infuse over 6 hours. You will use a microdrop set to administer the IV fluid. What is the flow rate in gtts/min? 3. Order: 1000 mL 0. 45% NaCl to infuse over 12 hours. At what flow rate will you set the infusion pump? 4. Order: Kefzol 1. 5 g IV PB diluted in 100 mL D5W to infuse in 20 min.You are using a 10 drop/mL set. What is the flow rate in gtt/min? 5. Order: Ancef 2 g in 100 mL D5W IVPB in 30 min to be administered by infusion pump . At what rate do you set the infusion pump? Pediatric Dosage 1. Order: Phenobarbital 45 mg p. o. b. i. d. Child’s weight 35 lb. Recommended dosage is 6 mg/kg/day q12h Supply dosage: Phenobarbital 50 mg/mL How many milliliters should be given per q12h dose? _________ 2. Gentamicin 45 mg IV q8h is ordered for a child weighing 45 lb. Recommended dosage is 6 to 7. 5 mg/kg/day in three divided dosages. The available supply of gentamicin is 100 mg/mL.How many mL of gentamicin should be given per dose? __________ 3. Order: Penicillin VK 56 mg/kg/day p. o. in 4 divided doses Child’s weight is 55 lbs. Available: Penicillin VK 125 mg/5 mL How many milliliters should be given per dose? _________ 4. Order: Rocephin 200 mg q8h p. o. Supply: Rocephin 500 mg/mL Recommended dosage is 75-150 mg/kg per day Child weighs 15. 4 lb Is this a safe order? If safe, how many milliliters should be given per dose? _________ 5. Order: SoluMedrol 1. 5 mg/kg is ordered for a child weighing 74. 8 lb s. Supply: SoluMedrol 125 mg/2 mL How many milliliters should the nurse administer? ________ Reconstitution of Injectable Solutions 1. Order: Kefurox 0. 75 g IV q12h Available: [pic] a. How many milliliters of diluent will you add to reconstitute the solution? _____ b. How many milliliters will you administer? _____ 2. Order: Ancef 0. 275 g IM q6h (See label below. ) a. Reconstitute with _______mL diluent b. What is the dosage strength of the prepared solution? _________ c. Give: ________ [pic] 3. Order: cefazolin 450 mg IM q. 8h (See label below. ) a. Reconstitute with ________mL diluent. b. What is the dosage strength of the prepared solution? __________ c. Give: _____________ pic] 4. Order: Penicillin G potassium 450,000 units IM at 7am Available: [pic] a. What is the total dosage strength of the vial? _____ b. Which concentration would be appropriate to mix for the ordered dose? _____ c. How much diluents must be added to make the appropriate concentration? _____ d. How many mil liliters will you administer? ________ Conversions 1. gr v = ________mg 2. 15 mg = gr ________ 3. 40 mg = gr ________ 4. gr 1/5 = _______ mg 5. gr 1/150 = _______ mg 6. 50 mg = gr ________ 7. 5 lbs 12 ounces = ______kg 8. 18 lb = ________kg 9. 24. 2 kg = ________ lb 10. 6 lb 4 oz = ________kg

Human Variation in Skin Colour Essay Example | Topics and Well Written Essays - 1250 words

Human Variation in Skin Colour - Essay Example One of the reasons why the globe has been facing slow economic growth is as a result of racial discrimination or social exclusion on human capital formation and economic contribution. Skin color has been one of the major obstacles on human capital contribution. The discriminated population having no access to education, economic and political opportunities has largely contributed to their limitation to acquire capacity to develop human capital hence lowering the economic values. Persons across the world should stem racial discrimination based on skin color and inject their time to develop human knowledge and skills that will contribute to economic growth and development. Across the globe schools and institutions face racial discrimination; having standardized testing for instance, has largely contributed to discrimination based on skin color, it being the assessments in a learning institution, it highly favors students from a specific social cultural background, while those students from racial minorities groups score poorly. In addition, the minority groups of students are educated in a low-income society where they cannot afford to purchases books as those schools that are set in middle or high-income areas. As a result of discrimination, the schools are forced to use old text books which further aggravate the extant of socio-economic differential established with skin color racial institutional discrimination. Structural racism also accentuate most institutional provisions that are identified as exceptional to certain group of people who form the majority of the people in the regions, such as the absence of labour unions or weak voices of the labour unions and disorganized... This paper aims to focus on skin color variation and racial discrimination based on economic, institutional and power. Species differ in the degree of their variability; it is believed that the degree of variation is higher in human beings than other species. Skin pigmentation is determined by the presence of melanin in human being skinned, and the color of the skin ranges from black to white. It is not completely certain that evolutions contributes to skin variation, however, the variation of the natural skin color can be determined by genetic processes. According to scientists, the Sub-Saharan Africans have the highest skin color diversity, whereby, their values of skin reflectance range from19 to 46, while the values of Europeans are range within 62 to 69 and the East Asians range from 58 to 59. Schools and institutions face racial discrimination, having standardized testing for instance, has largely contributed to discrimination based on skin color, because it highly favors stude nts from a specific social cultural background, while students from minorities groups score poorly. In conclusion, the question of human pigmentation is one of supreme relevance and one that holds the key to answering fundamental questions about our existence and may hold the key to generating a cure for various human ailments. And with the advent of new technology, scientists are delving deeper into the mystery. With this is the erosion of various racial stereotypes and ingrained social assumptions as what can be categorized as beautiful.