William Shakespeare s Sonnet 60 - 1250 Words

Shakespeare’s sonnet 60 expresses the inevitable end that comes with time and uses this dark truth to express his hopefulness that his poetry will carry his beloved’s beauty and worth into the future in some way so that it may never die. This love poem is, as all sonnets are, fourteen lines. Three quatrains form these fourteen lines, and each quatrain consists of two lines. Furthermore, the last two lines that follow these quatrains are known as the couplet. This sonnet has the rhyme scheme of ABAB CDCD EFEF GG, as most Shakespearean sonnets follow. In each of the three quatrains, Shakespeare discusses a different idea. In this particular sonnet, the idea is how time continues to pass on, causing everything to die. The couplet connects these ideas to one central theme, this theme being Shakespeare’s hope for the beauty of his beloved’s immortality through his poetry’s continuation into future times. Shakespeare did not originally intend for his sonn ets to be published, therefore it is more likely that the sonnets where written for personal expression. This makes it extremely likely that Shakespeare is the speaker of this sonnet. With this information, it makes sense that the recipient of this poem is Shakespeare’s beloved, an unmentioned young man. Although this sonnet does not directly mention whom the individual mentioned in the last two lines is, it is believed to be a young man because sonnets 1- 126 were written to the young man. The application of sonnet 60 toShow MoreRelatedWilliam Shakespeare s Sonnet 60978 Words   |  4 PagesIn Sonnet 60, (â€Å"Like as the waves make towards the pebbl’d shore†), William Shakespeare exemplifies the speaker s interpretation of time through the personification of nature. This piece follows the english (Shakespearean) sonnet model, incorporating a total of fourteen lines, divided into three quatrains composed of four lines each, followed by a concluding couplet of two lines. The focal point of a Shakespearean sonnet is the iambic pentameter meter. Iambic pentameter as defined by Oxford EnglishRead MoreShakespeare s Sonnet 60, By William Shakespeare968 Words   |  4 PagesIn â€Å"Sonnet 60,† William Shakespeare describes the effects of time’s passage on life, the evolution of life, and Time’s relentless advance, as well as claiming his own power to attempt to grant his love immortality. In quatrain 1, he reflects on the fleeting nature of life, caused by the inexorable progress of time, which ends so quickly only to start anew. â€Å"Like as the waves make toward the pebbled shore,† Shakespeare makes a simile with waves moving through the ocean: quickly and unopposedly. â€Å"SoRead MoreEssay on Shakespeare Authorship Controversy1504 Words   |  7 PagesShakespeare, the man who wrote 37 plays and more than a hundred sonnets, is known throughout the world. Many people consider him one of the best English play wrights of our time, others say that he was a genius. William Shakspere was born in Stratford-upon Avon in 1564 and died in 1616 at the age of 52. In the mid-19th century, questions had arisen about the Shakespeare authorship controversy, and many scholars wondered whether Shakspere, the man from Stratford, wrote the plays. Ralph W. EmersonRead MoreLiterature and Other Arts1033 Words   |  5 Pagesauthors in the 1950’s and 60’s. The traditional values of Western civilization, which the Victorian had only begun to question, came to be questioned seriously by a number of new writersm who saw society breaking down around them. Traditional literary forms were often discarded, and new ones succeeded one another with bewildering rapidly, as writers sought fresher ways of expressing what they took to be new kinds of experience, or experience seen in new ways. Sonnet XVIII represents theRead MoreCompare And Contrast Different Literature Periods1452 Words   |  6 Pagesliterature and during this era, William Shakespeare appeared and he becomes the most famous writer in the history of literature and his plays had played in the theatres around the world. The themes in this era related somehow to the surrounding events during this period so the majority of the literature works had a tragic end which was death and that related to the Black Death (the plague), which spread during this period. The poets like John Donne and George Herbert even Shakespeare followed a special techniqueRead MoreThe Use of Verse and Prose in RomeoJuliet3483 Words   |  14 Pagesand Verse in RomeoJuliet Table of Contents page 1 Introduction 3 2 Technical terms 3 2.1 Metre 3 2.2 Foot 3 2.3 Enjambment and End-stopped Line 4 2.4 Rhyme 4 2.5 Rhyme Scheme 5 3 Prose 5 4 Verse 5 4.1 Rhymed verse 6 4.1.1 Sonnet 6 4.2 Blank Verse 6 4.3 Free Verse 7 5 Verse and Prose in Romeo and Juliet 7 5.1 Functions of the Use of Prose 7 5.1.1 Function of Variation 7 5.1.2 Class-Differing Function 8 5.1.3 Empathy-Creating Function 8 5.1.4 Realness-Creating FunctionRead More Exploring Love in Shakespeare’s Sonnets Essay4114 Words   |  17 PagesIn Plato’s Symposium, the discussion on the nature of love between Socrates and his companions in the house of Agathon clearly discerns key ideas that Shakespeare uses in the sonnets. Beauty, youth, and love are all topics of discussion in the conversations, and Plato’s ideas show up again and again when the sonnets are explored. In Symposium, Aristophanes gives a detailed description of a time when humans were not in their present physical form (Plato 353). His tale posits that the original formRead MoreWilliam Shakespeare s Life And Accomplishments1819 Words   |  8 PagesAs we all know William Shakespeare was a well known and a highly sought after writer, but did he really deserve all that fame? As early as 1709, with Nicholas Rowe s publication of his edition of Shakespeare s works, the little information that we had about William Shakespeare began to show. Other than several early minor accounts, the preface of Nicholas Rowe s edition contained the first biography of William Shakespeare. Rowe presented eleven known facts about Shakespeare s life. By 1821, howeverRead MoreYolo1583 Words   |  7 Pageshimself and the people around him. Demonstrate critical thinking skills, such as problem solving as it relates to social issues. Week 11 13 - England : Sonnet 29 -William Shakespeare Discuss the denotative and connotative meaning of words found in some lines in the poem Paraphrase the poem Discuss the biography of E .B. Browning in relation with her sonnet Discuss the closure in the poem. Research theories on remembering and forgetting. Relate your research to the speaker in the poem. Library ResearchRead MoreWhat Are The Five Characteristics Of A Quest?1901 Words   |  8 Pagesand growing in strength by hurting someone else. 10.) Meaning behind â€Å"if its a square, its a sonnet† Sonnets have ten syllables and are 14 lines long, ten syllables in english is a long as 14 lines are high so a sonnet makes a square when in writing. 11.) How poets work magic on you? They use a certain choice in imaging, music in the language, content, and a play on words. 12.) Define Petrarchan sonnet First stanza has eight lines and the next has six, two separate rhyme schemes for the stanzas

Impacts of Microfinance on Grassroot Development a Case...

CHARTED INSTITUTE OF FINANCIAL AND INVESTMENT ANALYST (CIFIA) ASSESSING THE IMPACT OF MICROFINANCE IN GRASSROOT DEVELOPMENT. BY PRAISE DAVIDSON AMU 1 DECLARATION I hereby declare that this piece of work is the outcome of my own research except for the references which served as a source of information which I have acknowledged. This work has therefore never been presented for another certificate, Diploma or Degree. I therefore fully accept all omissions and errors that might appear in this paper. NAME: PRAISE DAVIDSON AMU SIGNATURE: DATE: †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 2 CERTIFICATION The undersigned certify that they have read and recommended to Charted Institute of Financial and Investment Analyst the acceptance of the dissertation†¦show more content†¦14 1.5 definition of Terms †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 15 CHAPTER TWO: LITERATURE REVIEW †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 16 2.0 introduction†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 16 2.1.0 Theoretical issues in Financial Sector Reforms †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â ‚¬ ¦ 16 2.1.1 Microfinance †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 18 7 2.1.2 Justification of Microfinance †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 24 2.2.3 Products and Services of MFIs †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 27 2.4 Impacts of Microfinance †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 30 2.2.0 Empirical Literature Review †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.32 2.2.1 Microfinance in Ghana †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚ ¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 33 2.3 Revolution of Microfinance †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 34 2.4 Criticism of Microfinance †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 37 CHAPTER THREE METHODOLOGY †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 38 3.0 Introduction †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â ‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 38 3.1 Choice of Study Area †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦38 3.2 Population and Sampling †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 38 3.3 Data Collection Procedure †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 39 3.4 Research Instruments †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢ € ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 40 3.5 Research Design †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦41 3.6 Data Analysis †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 41 3.7 Limitations †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 42 CHAPTER FOUR METHODOLOGY†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢ € ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦..†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 43 4.0 Introduction †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦43 4.1 MFIs Operating in the Ketu North District †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦43

Marble Sarcophagus with the Triumph of Dionysos and the Seasons Essay Example For Students

Marble Sarcophagus with the Triumph of Dionysos and the Seasons Essay The Roman figure called Marble Sarcophagus with the Triumph of Dionysos and the Seasons, was made in late imperial, Gallienic, around 260 to 270 C. E as part of the Roman culture. The figure is a marble sculpture and is about 34 X 85 X 361/4 inches tall. As a result of the size, we can tell this piece might be supplementary relevant and important in Roman culture. Although the artist of this figure is unknown, it is known that it was created for a wealthy family. The sarcophagus is a typical example of Roman funerary art, which were usually created to commemorate the powerful person. At the Metropolitan Museum, Marble sarcophagus with the Triumph of Dionysos and the Seasons   of art really stood out to me because it shows some kind of realism. Marble sarcophagus with the Triumph of Dionysos and the Seasons   is a luxury created for a wealthy family. However, the massive size, expensive marble material, the use of 3D design and display of important imperial figures indicate otherwise. This essay will argue that there is always a social classification in our life, from ancient to modern; With social classification, the society is classified into different groups, the upper, middle and lower class. This piece was made for an important and wealthy family, which confirms the truth of only upper class group in ancient time could be able to own this sarcophagus as a symbol of taking gods of life into the afterlife. The figure symbolizes sarcophagus, which is known as a container or coffin for burying dead human bodies. In Roman culture, the production of sarcophagus was most commonly made in marble stone. During the late imperial period of Rome, marble was extremely expensive and rarely exclusive. When sarcophagus was built, marble had to be transported all the way from the Eastern Mediterranean to Rome. The materials used to complete such task were a hammer and a chisel, in order to carve the marble slowly and carefully into the sarcophagus. During the procedure, workers needed to be very careful and watchful to chip the marble, in order to form the human body shapes. After the chipping was done, it would first give a rough surface, however they would like to make the surface smooth. In order to make the marble smooth, the workers then used another stone called abrasion to transform the rough surface into a smooth piece of art. The abrasion, it also helped the marble to look more shining and figured. During Roman funerary traditions, they used burial as a form or action of placing the corpse of a dead person body in a tomb. Roman culture has turned the sarcophagus in funerals to a luxury symbol in the period. There is lot of detail carved into the piece, to form the humans clothing, to the body movement and the legendary elements. Sadly, at the back the figure has become rough and dark, however, the sides and front of the sarcophagus are distinctively decorated with forty human and animal figures. The color of the sarcophagus is just as the natural color of marble. When look at closely, the sarcophagus sort of highlights the four naked young men, which represent the four seasons in Roman culture. (Fig. 3) In Roman cultures, tombs and graves involved in the expectation of human soul of bringing the lifetime social status into the afterlife. As a result, the bigger the size of the sarcophagus indicates a higher status of the dead person. The realism of the figure reveals wonderfully in physical beauty of both the animal and human bodies in the figure, which clearly illustrates the scene of Roman culture. In the central figure (Fig. ), the God Dionysos is wearing a tunic, sitting on a panther with holding a weapon on one of his hands. .u2e16ae90a70d107d1f2acac68d272a82 , .u2e16ae90a70d107d1f2acac68d272a82 .postImageUrl , .u2e16ae90a70d107d1f2acac68d272a82 .centered-text-area { min-height: 80px; position: relative; } .u2e16ae90a70d107d1f2acac68d272a82 , .u2e16ae90a70d107d1f2acac68d272a82:hover , .u2e16ae90a70d107d1f2acac68d272a82:visited , .u2e16ae90a70d107d1f2acac68d272a82:active { border:0!important; } .u2e16ae90a70d107d1f2acac68d272a82 .clearfix:after { content: ""; display: table; clear: both; } .u2e16ae90a70d107d1f2acac68d272a82 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u2e16ae90a70d107d1f2acac68d272a82:active , .u2e16ae90a70d107d1f2acac68d272a82:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u2e16ae90a70d107d1f2acac68d272a82 .centered-text-area { width: 100%; position: relative ; } .u2e16ae90a70d107d1f2acac68d272a82 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u2e16ae90a70d107d1f2acac68d272a82 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u2e16ae90a70d107d1f2acac68d272a82 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u2e16ae90a70d107d1f2acac68d272a82:hover .ctaButton { background-color: #34495E!important; } .u2e16ae90a70d107d1f2acac68d272a82 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u2e16ae90a70d107d1f2acac68d272a82 .u2e16ae90a70d107d1f2acac68d272a82-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u2e16ae90a70d107d1f2acac68d272a82:after { content: ""; display: block; clear: both; } READ: History of Sculpture EssayIt might be little hard to recognize the god because he is overshadowed by figures. However, the king Dionysos still can be seen as superior, through his position and pose. Dionysos was the son of Zeus and Semele. He is the Greek god who is recognized as naughty and odd. He was keen on wine, and preferred to party and celebrate. Looking closely into the figure, there are four larger male figures who are standing on a parallel line, with the god Dionysos. The two at the sides, are facing the front, and the other two in the middle are facing the opposite direction with each other, holding a cup. These four figures represent the four Seasons, winter, spring, summer, and fall, in order from left to right (Fig. 5). Besides these five larger figures in the front, there are also other two large figures at the sides of the sarcophagus that also considered significant. One figure on the left side is a female, lying at the ground. The female is receiving fruits from the youth figure, while the other two male figures at her back are carrying fruits in their hands as well. The female figure is an identification of a Mother Earth  as a female god from thousands of years. The revival of the worship of Mother Earth   first began in Christian period in 18th century, which made about the female earth as Mother Goddess. The worship of Mother Earth gives an indication about the cycle of human revolution. During the human revolution, the female earth god owns supreme power, which people worship Mother Earth  as a spiritual and cultural practice of dominant importance. On the right side is a male figure, with long hair and a beard lying at the ground. The man is also surrounded by two youth figures and two male figures, in the same position as the female figure. The male figure is an identification of a River-god . By the time, the River-god   was used as the name to refer to the river Nile. It is possible that the figures are considered as the two other additional seasons. The royal people in ancient times liked to crave gods or deities on their tomb as a representation of the lifetime status enable to show a dominant power. The seasons around illustrate the imperial power of the king, and the royalty. As a result, the object sarcophagus was considered as a luxury, for which only a very wealthy and powerful person would have been able to own it. Perhaps, this particular sarcophagus might belong to one of the aristocratic families in Rome. So that, it can confirm the truth of only upper class group in ancient time could have ability to own this sarcophagus as a purpose of taking the gods of life into the afterlife. Also, it also gives purpose to let the next century people to accommodate and worship the great god. Bibliography: 1. The Metropolitan Museum of Art: Marble sarcophagus with the Triumph of Dionysos and the Seasons http://www.metmuseum.org/collections/search-the-collections/254819?img=0 2. Joshua J. Mark, Burial, Ancient History Encyclopedia, published on 02 September 2009, http://www.ancient.eu.com/burial/. 3. Weitzmann, Kurt, Age of spirituality: late antique and early Christian art, third to seventh century, Metropolitan Museum of Art, New York, no. 386, 1979.

Toneisha Colson Essays - , Term Papers, Research Papers

Toneisha Colson Erin Young Mentor PLA Losing A Child: Saying Goodbye to My Daughter Pain, so much pain I thought my appendix had ruptured, I was screaming and crying, so my father rushed me to John T. Mather Hospital, Port Jefferson, NY. I was rushed in the emergency room, the Emergency Room doctor examined me and then there was a flurried of activity in the room, nurses everywhere, doctors, noise and here I am 19 years old screaming in pain. The doctor looked at me with gloves on and said " Toneisha your about to deliver." I then said "Deliver what?" He then replied " A baby". And my life changed forever. It was 13 months of happiness, pain and despair all at the same time. You see my daughter Beverlyrose Lonette Colson was born unexpectedly and on Monday October 3 rd , 1991 she took her last breath in my arms and my heart broke and that was when I was angry with God and devastated. I did not know I was pregnant until I gave birth then. I was a new mom my parents were new grandparents and I was winging it for a little over a year. There are no instructions on how you grieve when you lose your child. This was what my uncle told me was an "Out of order " death, parents are not supposed to bury their children. When she passed away I needed help. I had to speak to therapists and doctors and even my grandmother who had lost a child when he was ten months . I took no classes I just asked my mother, aunts and grandmother on how to deal with a baby girl. My grandmother had ten children and seventeen grandchildren so she was my go too person when it came to questions. Toneisha Colson Erin Young PLA