Analysis of White Over Black: American Attitudes Toward the Negro by Wi

Analysis of White Over Black: American Attitudes Toward the Negro by Winthrop D. Jordan Winthrop D. Jordan author of White Over Black: American Attitudes Toward the Negro 1550-1812, expresses two main arguments in explaining why Slavery became an institution. He also focuses attention on the initial discovery of Africans by English. How theories on why Africans had darker complexions and on the peculiarly savage behavior they exhibited. Through out the first two chapters Jordan supports his opinions, with both facts and assumptions. Jordan goes to great length in explaining how the English and early colonialist over centuries stripped the humanity from a people in order to enslave them and justify their actions in doing so. His focus is heavily on attitudes and how those positions worked to create the slave society established in this country. The first chapter focuses on the first impressions between the people of different color also the reasons Africans had evolved or changed into what they now appeared to be. The section on causes of complexion was both fascinating and entertaining. Many of the theories were of the wall and far fetched. One such opinion of how Africans gained their complexion that the book gave includes an ancient Greek myth of Phaeton. This character drove a chariot into the heavens and thus altered in his appearance (p11). Though this Greek myth, probably not the truth of how Africans gained their color many did believe it probably had something to do with the sun. The theory of equatorial dwellers of Africa, this being the reason for the skin pigmentation, became illogical once Africans were compared to the Indians living in the hottest parts of the New World (p14). Some believed that the African was merely dark because they had left their colder northern climate. Experiments quickly ruled this out as a possible answer (p15). The most far-fetched and humorous theory came through the biblical illustration involving Noah. Many believed it the curse given upon Noah’s son Ham for â€Å"looking upon his father’s nakedness† (p17). Each of these contrasting views on color needed to be used in this book. For no better reason in that it showed from an initial point that the English viewed the color of the Africans as a plague. Instead of excepting that Africans may in fact be different, the English consistently made attempts to explain the dif... ...b in this section of clearly displaying the facts and supporting his arguments. Laws dealing with the intermixing of races and separate treatment also created a second class or lower standing of the African. Jordan sites several laws and examples of whites involving themselves sexually with blacks being punished in different ways. One such example includes that of a man and his black mistress who were forced stand clad in front of a congregation. Also free Africans did not receive the liberties others enjoyed, they were prohibited the right to bear arms. This inequality serves as a notice of how ingrained the degradation blacks have induced and to the lengths whites have gone to ensure they remain a lower or sub class. Through out the entire book Jordan makes assumptions and places sort of a personal view on this historical tragedy. He supports the idea that there grew a distinct attitude forming and evolving repressing the African as a society. The most important thing which can be gathered from this book, the idea that the constant and gradual suppression of the African in the colonies and United States led to a mentality of superiority among Caucasians over those of color.

budget deficit Essay -- essays research papers fc

"It's time to clean up this mess." Famous last words heard from the mouths of many different politicians when talking about the national debt and the budget deficit. Our debt is currently $4.41 trillion and we have a budget deficit of around $300 billion and growing. Our government now estimates that by the year 2002 the debt will be $6.507 Trillion. While our politicians talk of balancing the budget, not one of them has proposed a feasible plan to start paying down the debt. In the early days of our government debt was considered to be a last resort. In 1790, when Alexander Hamilton, as secretary of the Treasury, made his first report on the national debt of the United States, he estimated it at close to $70 million. After alternately rising and falling, the debt stood at only $4 million, or 21 cents per capita, in 1840. That was the lowest point ever reached by the public debt of the U.S. After 1840 it rose to a peak, in the last year of the Civil War, of almost $2.68 bil lion and a per capita figure of $75.01. The only justification for debt of any significant amount was a war. By 1900 this had been reduced to under $1 Billion. By 1919, the end of World War I, the debt had climbed to $25.5 Billion. In each of the following years the debt was reduced, and by 1930 stood at $18.1 Billion. With the collapse of Wall Street in 1929, the country (debt history: 1850 to 1950) fell into the Great Depression, which lasted until 1940. At that time the debt had climbed to $51 Billion. By the end of World War II the debt was $269 Billion. Again the government worked to reduce the debt, and by 1949 it was $252.7 Billion. At that point the Korean War started, sending the debt to $274 Billion by 1955. Since then, there has been no serious effort to pay down the debt. The main point to be made was that on three separate occasions a major debt reduction effort had been made, but in the past 55 years in spite of much arm waving there have been no similar results. The U.S. debt is divided into two major kinds of loans, marketable and no marketable. The former provides about 52 percent of the total and is made up of bills, notes, and bonds that can be traded; the latter includes U.S. savings bonds, foreign-government-owned securities, and government account securities that are redeemable but not tradable. Maturity of this debt ranges from less than a year to o... ... BIBLIOGRAPHY www.census.gov/foreign-trade/top/dst/2004 and 2003 and 2002/deficit.html The Cost of Borrowing. The Economist; Dec 15, 2004 Gale, William G. and Orszag, Peter R. The US Budget Deficit: On an Unsustainable Path. New Economy, Dec 2004. Gramlich, Gov Edward M., speech to the Isenberg School of Management Seminar Series, Amherst, Massachusetts, May 14, 2004; www.federalreserve.gov/boarddocs/speeches/2004/20040225/default.htm Griswold, Daniel T., Associate Director, Center for Trade Policy Studies, The Cato Institute, July 22 1998; www.freetrade.org/pubs/speeches/ct-dg072298.html www.investorwords.com/601/Deficit.html; WebFinance, Inc., 1997-2005 www.investorwords.com/5020/trade_deficit.html; WebFinance, Inc., 1997-2005 Eisner, Robert. How Real is the Federal Deficit? New York, The Free Press, 1986. Federal Reserve System. World Book Encyclopedia. Vol. 7, 67-68, 1988. Rukeyser, Louis. What's Ahead for the Economy: The Challenge and the Change. New York, Simon and Schuster, 1983. Segalstad, Eric V. Determinants of the Interest Rate. October, 1997. Sims, C., Comparison of Interwar and Post-War Business Cycles: Monetarism Reconsidered. American Economic Review, 1980.

Free College Admissions Essays: Comment on an Experience :: College Admissions Essays

Comment on an experience in your life that had an effect on your life. I was a little worried writing about my mother because I thought it would seem like I was looking for sympathy, but I figured it was a good topic to write about because it had the largest effect on me. My goal became to write an essay that didn't focus on the death or loss but on the change and growth that took place. Being active is something that has always been important to me, and I learned this from growing up with and observing an expert. My mother was more active and involved than anyone I have ever known. She had an endless energy for life, and love for my two brothers and me, and I have tried to be the kind of person that she was. The phrase on her headstone reads: "A joyous and boundless energy." My mother was a highly respected kindergarten teacher for twenty years. In addition to working with children as a professional, she was always involved in my elementary school years, as a class mother or President of the PTO. In the summers there were more children, as we would go to sleepaway camp in Maine and she would be in charge of the youngest group of campers. She was always running, playing, consoling, planning, and caring for children. At home, she was just as active. I remember doing homework with her every night and she got so involved with it that she would practically do it for me, which I thought, at the time, was a pretty good thing. We were always going places, visiting friends, just learning, and there was never a dull moment. Though I didn't know it consciously at the time, she was setting an example which I was bound to follow. Over seven years ago, my mother died after a long battle with melanoma. I was ten at the time, in fifth grade, and I suppose I didn't really understand it all that well, or as well as my older brothers did. This essay is not about that loss or death, but on the change that took place. After she was gone, things were so drastically different, because there was so much dull time with nothing to fill it but thoughts. I think I learned from my mom about how to be active and I must have decided, subconsciously, to continue in her path.

Disconcerting Behaviour in The Wasp Factory and A Streetcar Named Desire Essay

‘Compare the ways writers’ present disconcerting behaviour in both texts so far.’ The following will elucidate how disturbing behaviour is conveyed in the novel The Wasp Factory by Iain Banks and the play, A Streetcar Named Desire by Tennessee Williams. In A Streetcar Named Desire, the theme of violence is very frequent in the character Stanley Kowalski. Stanley is a married, young man, who comes across to the reader as quite an enraged person with animalistic attributes. A prime insinuation of Stanley’s difference to regular humans is when Stella DuBois (Stanley’s wife) explains to her sister that Stanley is of â€Å"a different species†, foreshadowing that Williams may be warning the reader that Stanley is capable of things that are not in the norm. Additionally, his manner of walking is often described as â€Å"stalks†, which is commonly used to describe animals, such as smilodons and cheetahs and both of which are quite vicious, uncontrollable creatures. Further animalistic gestures performed by Stanley include â€Å"jerks out an armful of dresses† and â€Å"jerks open a small drawer†, not to mention the fact that he â€Å"kicks the trunk†. In excess of these being certain exemplifications of Stanley’s brutal attitude, they also indicate Stanley’s lack of self-control, which once again is similar to an animal trait, as animals are liable to be quite ruthless and don’t think abou t their actions before they carry it out. Furthermore, the fact that Stanley is acting quite rudely towards his sister-in-law and a just-arrived guest fortifies the belief that he is uncaring and confounding towards new people, thus makes him even more animal-like, since most animals dislike people or things that are new to them. Inasmuch, the above is a distinctive example of disconcerting behaviour, particularly because Stanley is an adult and adults tend to be very responsible people, however in the above case mentioned Stanley is not as he is behaving rather irresponsibly. Playwright Tennessee Williams suffered a very brutal childhood filled with abuse and mistreat. The actions of Stanley are highly significant as they reflect on and are analogous to Williams’ father, who physically abused Tennessee Williams callously when he was child up to his teenage years. Williams himself claimed that A Streetcar Named Desire was â€Å"Everything I had to say†, which goes to show the significance of the playwright’s life on A Streetcar Named Desire. Another major indication of Stanley’s violence is when he â€Å"gives a loud whack of his hand on her (referring to Stella) thigh† and gives her a rough beating when Stella tries to calm Stanley down from being abrasive towards Blanche, which is relatively disconcerting, since Stella is pregnant; hence she is in need of comfort, love and support. In opposed to Stanley giving Stella moral support and his duty as a husband to protect his pregnant wife, Stanley seems to think it is okay to hurt her, which is fundamentally wrong and very disturbing. On the other hand, the above mentioned phase of the play reinforces the fact that there was much male dominance in the early 1900s. Stella is also portrayed as one of the weaknesses than the strengths of civilisation in her acceptance of a husband who gives her satisfaction of physical desire. Critic, Nancy Tischner suggests â€Å"apparently Williams wants the audience to believe that Stella is wrong in loving Stanley, but right in living with him.† Personally, I agree with Tischner, simply because it was explicit that the 1900s was a patriarchal society. Women were inferior to men and were represented mostly through their husbands; consequently they were submissive and dependent on their husbands, because they needed a place to live and food to eat. The message of male ascendancy is articulated in a conversation between Stanley and Stella in which Stella asks her husband for money so she could buy her sister dinner, because she knows she hasn’t any money herself: â€Å"†¦you’d better give me some money† (scene II), which emphasizes that wives were reliant on their husbands for support, even if they weren’t entirely happy in their relationship. Another indication of Stella’s dependence in Stanley is when she claimed that she â€Å"can’t stand when he (Stanley) is away for a night †¦ I cry on his lap like a baby.† Although this highlights that Stella is highly dependent on Stanley, we cannot ignore the fact that she loves him too. Similar to Stanley Kowalski, the protagonist of The Wasp Factory, Frank Cauldhame also behaves violently; however in Frank’s case violence is directed mostly towards animals as he is aware of his superiority to them, just as Stanley is aware he is superior to his wife. The reader follows account of how Frank fills his long, solitary summer victimising animals such as rabbits, as well as killing wasps on a daily basis. Frank’s annihilation of rabbits on the island is a crucial example of how violence is a conventional part of his life – as if he’s accepted that killing and deliberately hurting things will always be normal to him. Frank â€Å"throttled the rabbit, swinging it in front of him †¦ its neck held on the thin black line of rubber tubing†. It is highly disturbing how a 16-year old is comfortable in inflicting pain on innocent creatures, not to mention killing them as well as finding it rather amusing, as he claims â€Å"I felt good† after his genocidal of the rabbits. Moreover, Frank does not undergo any remorse after he has committed these harsh doings, because after he killed a cute little bunny he â€Å"kicked it into the water.† Despite Stanley being violent towards his inferior (Stella), Frank’s violence is slightly different in comparison to Stanley, as Stanley definitely displays contriteness and guilt after he attacks Stella, whereas Frank demonstrates no pity whatsoever, which accentuates Frank is hysterically riotous, accordingly a person who constantly carries out disconcerting behaviour. A point that must be noted in A Streetcar Named Desire is my belief that Blanche DuBoi’s insecurity could be seen as a form of disconcerting behaviour. Blanche is constantly fishing for compliments from Stella, which may not seem disturbing at first at all, as most people like to be complimented on their beauty, however, when Stella asks Stanley to â€Å"admire her dress and tell her she’s looking wonderful. That’s important with Blanche. Her little weakness†, we begin to question whether Blanche is totally obsessed with herself and her image. The fact that Stella claims â€Å"looks† are Blanche’s â€Å"weakness† strengthens the belief that Blanche is insecure – especially because this judgement is made from her sister who is very close to Blanche. Her insecurity highlights the belief that Blanche is a very disturbed person and we can make an assumption that an incident in the past has caused this anxiety in her. In addition, when Blanche declares she still has vanity about her beauty, she looks over at her sister Stella â€Å"for reassurance†. We can deduce from Blanche’s final look at Stella to assure she still looks pretty that Blanche definitely self-doubts her appearance and is thinks it’s critical about what people think of her; which further reinforces she is a very unsettled person – perhaps the opposite of Stella, as Stella already has her own husband, home and happiness of a new addition to the family to look forward to. Furthermore, when Blanche exclaims: â€Å"Turn that over-light off! Turn that off! I won’t be looked at in this merciless glare† I find it slightly disconcerting, as she makes such a big deal out of her looks as though it’s gold dust for her and if a speck of it is ruined, then so be herself. The fact that she requests that she would like the light to be off can deduce that Blanche does not want to display her true reality and perhaps she is hiding something. Also the fact that she is older than Stella and has more experience in life, despite this, Stella seems to have a more mature outlook on life than Blanche. A review by a man named Benjamin Nelson theorises that â€Å"Blanche’s inability to tragically mature is a result of her incompletion and fragmentation†. What Nelson is saying is that people are responsible for their own doings provided their current situation has been truly stimulated. Then, and only then, can a classic tragic character evolve, similarly, Blanche finds herself in a situation which is completely different to how she was perhaps living before and has to keep an eye on how she is displaying her self-image to others. The reader is aware that Blanche is not an entirely honest person, as she lies to herself and others about her drinking habits as she begins with telling her sister that (drink-wise) one is her limit. The fact that the first practical task Blanche carries out in Stella’s home is â€Å"she springs up and crosses to it, and removes a whiskey bottle.†, underlines that drinking may be a usual thing is her life, so why does she attempt to hide it all the time? The answer to this of course is so she comes across as socially desirable to new people and especially in Mitch’s case, sexually admirable. When Mitch is around, Blanche stands near the light when the curtain is drawn, as to show her body to Mitch, supposedly for her sense of self-esteem, which means that she has often succumbed to passion. Nevertheless, throughout the play, Blanche avoids appearing in direct, bright light, particularly in front of Mitch. This implies that Blanche perchance looks to Mitch as a future partner. She also refuses to reveal her age, and it is clear that she avoids light in order to prevent him from seeing the reality of her fading beauty. This fits in with the analogy that Blanche can be seen as moth, as moths avoid because they can’t stand it. In addition to this theory, moths are usually very irritating creatures and tend to cause havoc wherever they go, such as nibbling on clothes and entering rooms without permission. Blanche too has a moth-like persona as she seems to be interference in Stanley and Stella’s love life, as from the moment she has arrived, the couple had an argument immediately. Stanley’s perception of Blanche is that she is a nuisance and doesn’t like the fact that she is staying in his home: â€Å"What do you think you are? A pair of queens?†, which implies that Blanche is behaving too badly for Stanley’s liking. Initially, Tennessee Williams was going to name this play ‘The Moth’, simply because Blanche is such an essential persona in A Streetcar Named Desire. Just as Ms Blanche DuBois is apprehensive about her appearance and quite uncomfortable in her skin, so is Mr Frank Cauldhame in The Wasp Factory. Due to the ‘accident’ Frank apparently faced as a child in which his male genitalia was bitten off by a dog, it is obvious that he isn’t satisfied with his image. Frank wants to be looked at as frightening to people and even stated: â€Å"Looking at me, you’d never guess I’d killed three people†, as though it’s something people should know and as though he is proud of what he did. He says he â€Å"wants to look dark and menacing †¦ the way I might have looked if I hadn’t had my little accident.† This sustains the belief that Frank feels highly uncomfortable with his looks mainly due to the accident. Killing is a very violent act, stereotypically associated with the male gender in which Frank is so desperately trying to conform into. However, he finds it rather hard and feels insecure about his masculinity due to his ‘accident’, therefore resorts to great lengths such as killing people and animals as a method of defining and assuring himself he is a boy. This is slightly similar to Blanche, as Blanche resorts to lying to paint a portrait of how she desires to be looked out, nonetheless, different because Blanche is not so extreme to the point that she harms people like Frank. Undoubtedly, I find Frank’s killings to emphasize on his masculinity rather pathetic and extremely disconcerting, since he is a teenager and almost seventeen years of age, as a result he should be more than aware of what is right and what is wrong and killing is indeed wrong. On the other hand, I do feel a little sympathy for Frank as he is very isolated and his father refused to allow Frank to officially exist in society, thence he may not have entirely been taught what is morally right and what is morally wrong by his father – especially since his mother is dead and he has no other mother figure in life to guide him. Other than Frank committing overly masculine acts to demonstrate that he is definitely a boy, Frank envisions himself as someone that is strong and powerful and is upset with his appearance as he laments the fact that he is â€Å"chubby†. This is very similar to Blanche, as she too comments on how slender her figure has remained over the years and for reassurance glances at her sister. To conclude, I would like to say that disconcerting behaviour is common in both texts and there are various similarities, as well as differences in phases of both the play and the novel.

Flexibility of Adapting Essay

Task 5 Given:â€Å"Curriculum guides allow you the flexibility of adapting your instruction to the individual learning needs of your students. . . . You will also want to remain flexible in choosing the level of behavioral complexity of your unit and lesson outcomes. For these decisions, the information you will need to match the complexity of your objectives to the needs of your learners will come from their in-class oral responses, practice exercises, performance assessments, homework, and tests. You will want to use these often to adjust the level of your instruction to your learners† (Borich, 2004, p. 130). View the video clip appropriate to your area of emphasis (see web links below).Elementary: â€Å"Content Area Reading† Secondary: â€Å"Memory† Note: Do not respond to any prompts or questions included in the video clips. If the video stops when a question appears, press the play symbol to resume the video. Task: A. After viewing the video, write responses to the prompts (1–2 paragraphs per prompt) using the Guided Reflection Protocol Form. To access the form, follow these instructions: †¢ Click on the Add/Edit Work button. †¢ Click on the Form tab. †¢ Answer the questions in the form. If you need additional space, include a Word attachment with your response. B. Review your state standards and select a lesson or lesson plan that includes a skill or concept appropriate to your area of emphasis. Write an essay (suggested length of 2–3 pages) in which you: 1. Describe how to adjust guided and independent practice for the skill or concept you selected in part B that is appropriate for: a. students experiencing difficulty understanding the skill or concept b. students progressing at a faster rate than average 2. Include five techniques appropriate for monitoring student performance in order to adjust interactive instruction. Note: These techniques should be based on an analysis of student performance during different phases of direct instruction (e.g., daily review and prerequisite checks, presentation of new concepts, guided practice, independent practice, periodic reviews). a. Identify which phase/stage of direct instruction matches each of your chosen monitoring techniques from part B2. i. Justify each of the pairings from part B2a. 3. Describe how you might adjust instruction using information gained from two of the monitoring techniques from part B2 to reteach, remediate, and/or accelerate student performance as feedback data directs. Note: Be sure your instructional adjustments address the needs of students experiencing difficulty as well as students progressing at a faster rate than average. Task 6 Introduction:Psychologists have long known that our interpretation, assimilation, and mastery of new learning is influenced by our existing mental sets, which are formed by our past and current experiences, learning, and interests. The current brain research on memory and learning is helping us to understand exactly how the brain works and how educators can best tap into the brain’s natural learning potential. Slavin (2006) writes: The human mind is a meaning maker. From the first microsecond you see, hear, taste, or feel something, you start a process of deciding what it is, how it relates to what you alre ady know, and whether it is important to keep in your mind or should be discarded. (p. 166) We not only assimilate new learning with our former understandings, but our very perception of what we consider reality is influenced by our learning, preconceived notions, and mental integrations of the past. While the notion of prerequisite skills in learning is a recognition that prior learning and experience can affect the current learning of new skills or concepts, the effect of the past often extends beyond classroom skills and concepts into a student’s total life.Review chapter 6 of Educational Psychology: Theory Into Practice to get a better understanding of what current brain research tells us about the importance of linking instruction to prior experiences or interests. Another resource that you will find useful as you work on this task is â€Å"Connecting Brain Research with Dimensions of Learning† (see web link below). Requirements:Write a brief essay (suggested length of 2 pages) in which you do the following: A. Explain how students’ past experiences, interests, and thought processes can influence the learning of current content area concepts. 1. Illustrate the link between past experiences, student interest, and present learning. 2. Discuss each of the following key principles of brain-based learning: †¢ importance of meaningful learning †¢ knowledge background †¢ levels of processing †¢ development of neural connections †¢ relevance†¢ activating prior knowledge (schema theory) B. Explain why consideration of past experiences, learning, and student interests should be an important part of lesson planning for the teacher. 1. Include specific examples from brain-based research to support your explanation. Task 7 Introduction: In this task, you will assess the adequacy of the lessons in terms of the attributes of curricular design. View the following videos. Teachscape Directions: 1. Select the title or topic of the video to be viewed from the list of web links provided at the bottom of this task. 2. Scroll down the left side bar to find the Topic of the video specified below. Click to open the folders and locate the tab labeled video. You may need to open various folders to identify the correct video folder located on the left side bar. 3. Click the triangle to begin the video.Note: Do not respond to any prompts or questions included in the video clips. Elementary and secondary program students should access the following video clips: Topic: Pre-Algebra: Pan Balance Equations Requirements: A. Write an essay in which you evaluate the lesson in terms of the following attributes of curricular design (1–2 paragraphs per attribute): 1. The lesson has a clear purpose that is transmitted during the lesson presentation. 2. The lesson refers to background knowledge and information from previous lessons. 3. The lesson has a clear delivery method(s) (e.g., direct instruction, indirect instruction, cooperative learning, inquiry, self-directed learning). 4. The lesson addresses a variety of learning styles and intelligences. 5. The lesson provides for assessment of student understanding. Task 8 Introduction:According to Alan Hofmeister and Margaret Lubke, â€Å"Pacing has two dimensions.† They say, One dimension, curriculum pacing, is concerned with the rate at which progress is made through the curriculum. The second dimension, lesson pacing, is concerned with the pace at which a teacher conducts individual lessons. One team of researchers summed up the importance of pacing as follows:Researchers have shown that most students, including low-achieving students, learn more when their lessons are conducted at a brisk pace, because more content gets covered by students. This assumes, of course, that the lesson is at a level of difficulty that permits a high rate of student success; material that is too difficult or presented poorly cannot be learned at any instructional pace [Wyne, Stuck, White, & Coop, 1986, p. 20]. (Hofmeister & Lubke, 1999, p. 19) Requirements: If you are enrolled in the Early Childhood Education program, focus your discussion on grades 1–3. If you are pursuing a K–8 teaching certification, focus your discussion on grades 5–8. If you plan to teach science, math, or social science at the secondary level, focus your discussion on grades 9–12. Write a brief essay (suggested length of 2–3 pages) in which you do the following: A. Explain the need for lesson pacing in a classroom. B. Explain how pacing differs for a class that includes English language learner (ELL) students from a class that does not include ELL students. C. Explain how the complexity of lesson content can influence lesson pacing with a class that includes ELL students. D. When you use sources, include all in-text citations and references in APA format. Task 9 Inrtroduction:The analysis and evaluation of student work is an important component of your skills as a teacher. The development and use of tools to aid in your analysis and evaluation are tasks that should be applied in all areas of the curriculum.Find one of your state objectives that could be appropriately assessed by having students give oral and written presentations. For example, the objective â€Å"Compare cultures from different parts of the Eastern Hemisphere in terms of each of the following components: politics, society, the arts, nutrition, economics, and ethnicity† could be measured by having students give oral presentations and write reports on what they have learned about Eastern Hemisphere cultures.Requirements: A. Identify a state objective from one of the core content academic areas that can be measured through oral presentations and written reports. Note: Clearly identify the state from which the objective was taken, the grade level, and the subject. The obj ective must be focused on the core content area (i.e., science, math, social studies, history, geography, or another core content area) and not on an oral presentation or written report skill. B. Develop a rubric that could be used to assess the students’ oral presentations. Your rubric should include the following: 1. a scoring component that indicates at least three levels of performance (e.g., the student met expectations, exceeded expectations, or was below expectations) 2. a scoring component that addresses at least three aspects of the students’ presentation (e.g., length of presentation, ability to answer questions, content level) C. Develop a rubric that could be used to assess the students’ written reports. Your rubric should include the following: 1. a scoring component  that indicates at least three levels of performance (e.g., the student met expectations, exceeded expectations, or was below expectations) 2. a scoring component that addresses at least three aspects of the student’s report (e.g., grammar and mechanics, inclusion of all required components, accuracy of content, length of report) Task 10 Introduction: The sample worksheet (see attachment below) was given to students in a math class to complete independently. The rubric used to assess the responses and a sampling of student answers and scores are also included. Requirements: A. Identify which students will need to be retaught the math content. B. Describe (suggested length of 2–3 paragraphs) two mathematical strengths for each student whose response indicates the need to reteach the math content. C. Briefly describe (suggested length of 2–3 paragraphs) two mathematical weaknesses for each student whose response indicates the need to reteach the math content.

Design Lab Essay

Investigate the amount of energy given off from liquid fuel cells Calorimeter is a device used to measure the heat of chemical reactions, physical changes and used to determine the amount of heat released or absorb during a chemical reaction. Fuel which is used every day as a source of energy cans combust giving of different amounts of energy. In this experiment the combustion of liquid candle will be used to find the change in temperature of 20 ml beaker of water at different times. Using this experiment, we can used the energy given of by the candle fuel to determine how other fuels used in everyday life gives off energy and how to improve these conditions. Problem: how would change in time affect the temperature of water while heated by a liquid fuel? Hypothesis: if the beaker of water burns for a long time, then the temperature would be greater from the original temperature than the beaker that burns for less amount of time. Procedures: Materials: * Goggles * Apron * Beakers * Water * Flame (candle) * Stopwatch * Pencil * Paper * Ring stands * Lighter * Thermometer * Graduated Cylinder * Wire Gauze Procedure 1. Collected all necessary materials 2. Put on your apron and goggles 3. Set up the beaker in the ring stand on top of the wire gauze 4. Measure about 20 ml of water with the graduated cylinder and place on top of the wire gauze in the ring stand. 5. Using the thermometer measure the temperature of the water and record it under control group. 6. Place the liquid fuel under the beaker and carefully light the candle 7. Using the stopwatch, start the time for one minute and blow out the candle after the minute has passed. 8. After you have blown out the candle, record the new temperature of the water. 9. Wash the beaker completely in the same type of water that was used to fill the beaker for the first one. 10. Then repeat the steps 4-9 two more times for the control group. 11. After doing 3 trials for the control, then Measure about 20 ml of water with the graduated cylinder 12. measure the temperature of the water and record it under 2 minute trial 13. Place the liquid fuel under the beaker and carefully light the candle 14. Using the stopwatch, start the time for 2 minutes and blow out the candle after 2 minutes has passed 15. After you have blown out the candle, record the new temperature of the water. 16. Wash the beaker completely in the same type of water that was used to fill the beaker for the first one. 17. Then repeat the steps 12-16 two more times for the 2 minute trial. 18. After doing 2 minute trial, then Measure about 20 ml of water with the graduated cylinder for 3 minute trial. 19. measure the temperature of the water and record it under 3 minute trial 20. Place the liquid fuel under the beaker and carefully light the candle 21. Using the stopwatch, start the time for 3 minutes and blow out the candle after 3 minutes has passed 22. After you have blown out the candle, record the new temperature of the water under the 3 minutes trial. 23. Wash the beaker completely in the same type of water that was used to fill the beaker for the first one. 24. Then repeat the steps 18-23 two more times for the 3 minute trial. 25. After doing 3 minute trial, then Measure about 20 ml of water with the graduated cylinder for 4 minute trial. 26. measure the temperature of the water and record it under 4 minute trial 27. Place the liquid fuel under the beaker and carefully light the candle 28. Using the stopwatch, start the time for 4 minutes and blow out the candle after 4 minutes has passed 29. After you have blown out the candle, record the new temperature of the water under the 4 minutes trial. 30. Wash the beaker completely in the same type of water that was used to fill the beaker for the first one. 31. Then repeat the steps 25-30 two more times for the 4 minute trial. 32. Once all data has been collected, then analyze your date and write the conclusion. Data Uncertainty Equipment Uncertainty Beaker à ¯Ã‚ ¿Ã‚ ½ 0.01 ml Thermometer à ¯Ã‚ ¿Ã‚ ½ 0.01 à ¯Ã‚ ¿Ã‚ ½C Stopwatch à ¯Ã‚ ¿Ã‚ ½ 0.01 seconds Graduated Cylinder à ¯Ã‚ ¿Ã‚ ½ 0.01 ml Control-1 minute Trial 1 Amount of water Initial Temp Final Temp Change in Temp Trial 2 Amount of water Initial Temp Final Temp Change in Temp Trial 3 Amount of water Initial Temp Final Temp Change in Temp 2 min Trial Trial 1 Amount of water Initial Temp Final Temp Change in Temp Trial 2 Amount of water Initial Temp Final Temp Change in Temp Trial 3 Amount of water Initial Temp Final Temp Change in Temp 3 min Trial Trial 1 Amount of water Initial Temp Final Temp Change in Temp Trial 2 Amount of water Initial Temp Final Temp Change in Temp Trial 3 Amount of water Initial Temp Final Temp Change in Temp 4 min Trial Trial 1 Amount of water Initial Temp Final Temp Change in Temp Trial 2 Amount of water Initial Temp Final Temp Change in Temp Trial 3 Amount of water Initial Temp Final Temp Change in Temp Q = mc?T Q Mass Change in Temp C 4.18 J/G à ¯Ã‚ ¿Ã‚ ½C Processed Data Uncertainty Equipment Uncertainty Beaker à ¯Ã‚ ¿Ã‚ ½ 0.01 ml Thermometer à ¯Ã‚ ¿Ã‚ ½ 0.01 à ¯Ã‚ ¿Ã‚ ½C Stopwatch à ¯Ã‚ ¿Ã‚ ½ 0.01 seconds Graduated Cylinder à ¯Ã‚ ¿Ã‚ ½ 0.01 ml Control-1 minute Trial 1 Amount of water Initial Temp Final Temp Change in Temp Trial 2 Amount of water Initial Temp Final Temp Change in Temp 20 à ¯Ã‚ ¿Ã‚ ½ 0.01 ml 22.45 à ¯Ã‚ ¿Ã‚ ½ 0.01 à ¯Ã‚ ¿Ã‚ ½C 31.30 à ¯Ã‚ ¿Ã‚ ½ 0.01 à ¯Ã‚ ¿Ã‚ ½C 9 à ¯Ã‚ ¿Ã‚ ½ 0.02 à ¯Ã‚ ¿Ã‚ ½C Trial 3 Amount of water Initial Temp Final Temp Change in Temp 20 à ¯Ã‚ ¿Ã‚ ½ 0.01 ml 22.40 à ¯Ã‚ ¿Ã‚ ½ 0.01 à ¯Ã‚ ¿Ã‚ ½C 30.65 à ¯Ã‚ ¿Ã‚ ½ 0.01 à ¯Ã‚ ¿Ã‚ ½C 8 à ¯Ã‚ ¿Ã‚ ½ 0.02 à ¯Ã‚ ¿Ã‚ ½C 2 min Trial Trial 1 Amount of water Initial Temp Final Temp Change in Temp 20 à ¯Ã‚ ¿Ã‚ ½ 0.01 ml 22.95 à ¯Ã‚ ¿Ã‚ ½ 0.01 à ¯Ã‚ ¿Ã‚ ½C 40.40 à ¯Ã‚ ¿Ã‚ ½ 0.01 à ¯Ã‚ ¿Ã‚ ½C 18 à ¯Ã‚ ¿Ã‚ ½ 0.02 à ¯Ã‚ ¿Ã‚ ½C Trial 2 Amount of water Initial Temp Final Temp Change in Temp Trial 3 Amount of water Initial Temp Final Temp Change in Temp 3 min Trial Trial 1 Amount of water Initial Temp Final Temp Change in Temp 20 à ¯Ã‚ ¿Ã‚ ½ 0.01 ml 22.60 à ¯Ã‚ ¿Ã‚ ½ 0.01 à ¯Ã‚ ¿Ã‚ ½C 50.75 à ¯Ã‚ ¿Ã‚ ½ 0.01 à ¯Ã‚ ¿Ã‚ ½C 28 à ¯Ã‚ ¿Ã‚ ½ 0.02 à ¯Ã‚ ¿Ã‚ ½C Trial 2 Amount of water Initial Temp Final Temp Change in Temp Trial 3 Amount of water Initial Temp Final Temp Change in Temp 20 à ¯Ã‚ ¿Ã‚ ½ 0.01 ml 22.80 à ¯Ã‚ ¿Ã‚ ½ 0.01 à ¯Ã‚ ¿Ã‚ ½C 50.20 à ¯Ã‚ ¿Ã‚ ½ 0.01 à ¯Ã‚ ¿Ã‚ ½C 28 à ¯Ã‚ ¿Ã‚ ½ 0.02 à ¯Ã‚ ¿Ã‚ ½C 4 min Trial Trial 1 Amount of water Initial Temp Final Temp Change in Temp 20 à ¯Ã‚ ¿Ã‚ ½ 0.01 ml 22 .60à ¯Ã‚ ¿Ã‚ ½ 0.01 à ¯Ã‚ ¿Ã‚ ½C 56.15 à ¯Ã‚ ¿Ã‚ ½ 0.01 à ¯Ã‚ ¿Ã‚ ½C 34 à ¯Ã‚ ¿Ã‚ ½ 0.02 à ¯Ã‚ ¿Ã‚ ½C Trial 2 Amount of water Initial Temp Final Temp Change in Temp Trial 3 Amount of water Initial Temp Final Temp Change in Temp Q = mc?T Q Mass Change in Temp C 4.18 J/G à ¯Ã‚ ¿Ã‚ ½C Uncertainties of data ml of water 0.01ml /20.00 ml à ¯Ã‚ ¿Ã‚ ½ 100 % 0.05% Beaker 0.01ml /20.00 ml à ¯Ã‚ ¿Ã‚ ½ 100 % 0.05% Time 0.01 min /1 min à ¯Ã‚ ¿Ã‚ ½ 100 % 1.0% Independent Variables Independent Variable 1 (1 minute) 0.01 min /1 min à ¯Ã‚ ¿Ã‚ ½ 100 % 1.0% Independent Variable 2 (2 minutes) 0.01 min /2 min à ¯Ã‚ ¿Ã‚ ½ 100 % 0.5% Independent Variable 3 (3 minutes) 0.01 min /3 min à ¯Ã‚ ¿Ã‚ ½ 100 % 0.33% Independent Variable 4 (4 minutes) 0.01 min /4 min à ¯Ã‚ ¿Ã‚ ½ 100 % 0.25% Initial Temperatures Control-1 minute T1. Temperature (22.50) 0.01 à ¯Ã‚ ¿Ã‚ ½C /22.50 à ¯Ã‚ ¿Ã‚ ½C à ¯Ã‚ ¿Ã‚ ½ 100 % 0.04% T2. Temperature (22.45) 0.01 à ¯Ã‚ ¿Ã‚ ½C /22.45 à ¯Ã‚ ¿Ã‚ ½C à ¯Ã‚ ¿Ã‚ ½ 100 % 0.04% T3. Temperature (22.40) 0.01 à ¯Ã‚ ¿Ã‚ ½C /22.40 à ¯Ã‚ ¿Ã‚ ½C à ¯Ã‚ ¿Ã‚ ½ 100 % 0.04% 2 Minute Trial T1. Temperature (22.95) 0.01 à ¯Ã‚ ¿Ã‚ ½C /22.95 à ¯Ã‚ ¿Ã‚ ½C à ¯Ã‚ ¿Ã‚ ½ 100 % 0.04% T2. Temperature (22.40) 0.01 à ¯Ã‚ ¿Ã‚ ½C /22.40 à ¯Ã‚ ¿Ã‚ ½C à ¯Ã‚ ¿Ã‚ ½ 100 % 0.04% T3. Temperature (22.40) 0.01 à ¯Ã‚ ¿Ã‚ ½C /22.40 à ¯Ã‚ ¿Ã‚ ½C à ¯Ã‚ ¿Ã‚ ½ 100 % 0.04% 3 Minute Trial T1. Temperature (22.60) 0.01 à ¯Ã‚ ¿Ã‚ ½C /22.60 à ¯Ã‚ ¿Ã‚ ½C à ¯Ã‚ ¿Ã‚ ½ 100 % 0.04% T2. Temperature (22.75) 0.01 à ¯Ã‚ ¿Ã‚ ½C /22.75 à ¯Ã‚ ¿Ã‚ ½C à ¯Ã‚ ¿Ã‚ ½ 100 % 0.04% T3. Temperature (22.80) 0.01 à ¯Ã‚ ¿Ã‚ ½C /22.80 à ¯Ã‚ ¿Ã‚ ½C à ¯Ã‚ ¿Ã‚ ½ 100 % 0.04% 4 Minute Trial T1. Temperature (22.60) 0.01 à ¯Ã‚ ¿Ã‚ ½C /22.60 à ¯Ã‚ ¿Ã‚ ½C à ¯Ã‚ ¿Ã‚ ½ 100 % 0.04% T2. Temperature (22.75) 0.01 à ¯Ã‚ ¿Ã‚ ½C /22.75 à ¯Ã‚ ¿Ã‚ ½C à ¯Ã‚ ¿Ã‚ ½ 100 % 0.04% T3. Temperature (22.25) 0.01 à ¯Ã‚ ¿Ã‚ ½C /22.15 à ¯Ã‚ ¿Ã‚ ½C à ¯Ã‚ ¿Ã‚ ½ 100 % 0.04% Final Temperature Control T1. Temperature (30.00) 0.01 à ¯Ã‚ ¿Ã‚ ½C /30.00 à ¯Ã‚ ¿Ã‚ ½C à ¯Ã‚ ¿Ã‚ ½ 100 % 0.03% T2. Temperature (31.30) 0.01 à ¯Ã‚ ¿Ã‚ ½C /31.30 à ¯Ã‚ ¿Ã‚ ½C à ¯Ã‚ ¿Ã‚ ½ 100 % 0.03% T3. Temperature (30.65) 0.01 à ¯Ã‚ ¿Ã‚ ½C /30.65 à ¯Ã‚ ¿Ã‚ ½C à ¯Ã‚ ¿Ã‚ ½ 100 % 0.03% 2 Minute Trial T1. Temperature (40.40) 0.01 à ¯Ã‚ ¿Ã‚ ½C /40.40 à ¯Ã‚ ¿Ã‚ ½C à ¯Ã‚ ¿Ã‚ ½ 100 % 0.02% T2. Temperature (41.70) 0.01 à ¯Ã‚ ¿Ã‚ ½C /41.70 à ¯Ã‚ ¿Ã‚ ½C à ¯Ã‚ ¿Ã‚ ½ 100 % 0.02% T3. Temperature (40.55) 0.01 à ¯Ã‚ ¿Ã‚ ½C /40.55 à ¯Ã‚ ¿Ã‚ ½C à ¯Ã‚ ¿Ã‚ ½ 100 % 0.02% 3 Minute Trial T1. Temperature (50.75) 0.01 à ¯Ã‚ ¿Ã‚ ½C /50.75 à ¯Ã‚ ¿Ã‚ ½C à ¯Ã‚ ¿Ã‚ ½ 100 % 0.02% T2. Temperature (50.35) 0.01 à ¯Ã‚ ¿Ã‚ ½C /50.35 à ¯Ã‚ ¿Ã‚ ½C à ¯Ã‚ ¿Ã‚ ½ 100 % 0.02% T3. Temperature (50.20) 0.01 à ¯Ã‚ ¿Ã‚ ½C /50.20 à ¯Ã‚ ¿Ã‚ ½C à ¯Ã‚ ¿Ã‚ ½ 100 % 0.02% 4 Minute Trial T1. Temperature (56.15) 0.01 à ¯Ã‚ ¿Ã‚ ½C /56.15 à ¯Ã‚ ¿Ã‚ ½C à ¯Ã‚ ¿Ã‚ ½ 100 % 0.04% T2. Temperature (55.90) 0.01 à ¯Ã‚ ¿Ã‚ ½C /56.15 à ¯Ã‚ ¿Ã‚ ½C à ¯Ã‚ ¿Ã‚ ½ 100 % 0.04% T3. Temperature (56.20) 0.01 à ¯Ã‚ ¿Ã‚ ½C /56.15 à ¯Ã‚ ¿Ã‚ ½C à ¯Ã‚ ¿Ã‚ ½ 100 % 0.04% Q = mc?T of control Q = 4.18 J/G à ¯Ã‚ ¿Ã‚ ½C à ¯Ã‚ ¿Ã‚ ½ (0.048g) à ¯Ã‚ ¿Ã‚ ½ change in Temperature Q= 20.00 ml (1L/1000ml)(1mol/22.4)(18.08/1 mol) = 0.0161 g Conclusion In this experiment it was proven that when certain about of water are left for a certain time over a flame it would change in temperature. The longer the water is over the flame, the temperature increased which proved the hypothesis to be correct. This experiment proved that the more time water is heated, the higher the temperature would be. If this experiment was to be conducted the next time, there would be a lot of changes. First the control would be in the temperature of water without any heated added to it. Then the time it was to be heated would be longer than one minute different in each different trial. More trials of the same time would be conducted to make sure that the experiment would be performed correctly.

Dramatic effects to in Act 1, Scene 1 and Act 3, Scene 1 of “Romeo and Juliet” Essay

How does Shakespeare use language and dramatic effects to in Act 1, Scene 1 and Act 3, Scene 1 of Montague family. Later in Act One Scene Five he authenticates that all that is ever on his mind is war as when he sees Romeo at the Capulet party (Romeo being a Montague and therefore not wanted), instead of letting it pass as a party in Elizabethan times and today is no place for fighting, he asks Capulet for permission to fight him there and then – â€Å"Uncle, this is a Montague, our foe; a villain, that is hither come in spite to scorn at our solemnity this night.† This quote demonstrates Tybalt’s willingness to vehemently insult others and the â€Å"s† sounds he uses suggests he is almost hissing his hatred. Throughout the play Tybalt is extremely one-dimensional when it comes to language; when he speaks it as always at a dramatic or leading up to a dramatic point in the play. Maybe due to the similar circumstances that he speaks in or the fact that he is a warrior and no poet he repeatedly speaks in blank verse (or prose) Romeo is an archetypal lover, who despite his good intentions is still forced into fighting. He is the one male character in the entire to play that is willing to forsake his family name for love; this portrays him as an outsider to typical Veronian behaviour. This is strongly proclaimed by Shakespeare in Act One Scene One after a brawl between the two families in the streets – â€Å"What fray was here? Yet tell me not for I have heard it all!†-Demonstrating Romeo’s mood as someone who is detached from the fighting as he dares to be. Although Shakespeare substantially promotes non-belligerence throughout the play using the character Benvolio, he does not agree with the way Romeo attempts to break up the fight between Tybalt and Mercutio (â€Å"I thought all for the best†) – perhaps he is conveying to us that interference is bad. This is well shown in the Franco Zeffirelli (1968) film of â€Å"Romeo and Juliet† as the fight is made out to be g entlemanly and playful, it is shown to be Romeo’s fault Mercutio dies. Romeo’s extensive language adds to the atmosphere of the play and gave the highly trained ear of an Elizabethan play watcher an insight into what was going to happen. Whilst Romeo is not in a scene that is displaying any particular passion for love or war he speaks in blank verse, whilst when he is with Juliet he switches to sonnet (or rhyming verse) form – this was  considered very romantic in this period of history, finally when Romeo challenges Tybalt he seeps into more colloquial, cruel pros to demonstrate his anger. What is most noticeable about the language Romeo uses is actually that it seems always to be tainted, this is due to the constraint oxymorons he uses – â€Å"Feather of lead, bright smoke, cold fire, sick health.† This bolsters the contrast Shakespeare creates, the way that the play is constantly switching between violent or death or love scenes. The character of Romeo is all about contrast – one second he is the loving husband of Juliet, the other he is the bloodthirsty killer of Tybalt. From the beginning to the end of the play, Shakespeare exploits this contrast. In the prologue, the audience is told that the â€Å"lovers take their life†. Love is tainted with death. At the end, by using Romeo and Juliet as a sacrifice, ending the ancient grudge, we continue to experience mixed emotions because of this contrast. Although death claims two innocent lives, love is ultimately triumphant. Tybalt’s opposite is Benvolio. Unlike Tybalt, war is the last thing he thinks about, instead he feels that there is much more to life than fighting and in reconciliation of this he will always try to break up fights, this is shown in the Act One Scene One when he attempts to break up the fight that Sampson and Gregory have created by shouting â€Å"Part, fools! Put up your swords; you know not what you do.† Benvolio’s underlying judiciousness is shown by the use of the word â€Å"fools†; proving that he considers Samson and Gregory to be imbeciles for fighting. Not only does Benvolio try to break up fights, he also is willing to give council to his friends – the particular case shown in the play is when he confides with Romeo about Rosalin – â€Å"What sadness lengthens Romeo’s hours?† Shakespeare uses him as a dramatic device, for example he always truthfully reports fights, does not get killed and has an active participation s o could possibly be viewed as a role model. Also, interestingly enough in Act Three Scene One he does not get involved in the fighting even when Mercutio is killed; this is another of Shakespeare’s more pacifistic of opinions saying that you should not even fight if it is to bring someone to justice. Amid the highs and lows of the play Benvolio only employs two different styles of language, he uses prose or blank verse when he is speaking in a time of peace e.g. when counselling Romeo, and merges  into a rhymed verse when his adrenalin is at is peak – like when he is breaking up a fight. The rhymed verse shows his high principles and how he understands the responsibilities of being a noble. Although Tybalt, Romeo and Benvolio are undoubtedly the dominant male characters, males such as Mercutio, Sampson and Gregory succeed in making important points concerning the main theme of the play, masculinity. Sampson and Gregory spearhead the first scene with a crude, slanderous conversation that ultimately leads to a brawl in the tight streets of Verona. Shakespeare moulds them into a tool for expressing loutish – therefore not truly manly behaviour. They also play an important part in starting the fight, which captures the audiences’ attention in the beginning of the play. These louts are more interested in showing off to each other than helping to maintain a stable society, they do this by making bold comments concerning sex and fighting – it makes their already oversized ego swell with feelings of machismo. The language they use reinforces this behaviour – â€Å"I will push Montague’s men from the wall and thrust his maids to the wall.† The verbs â€Å"push† and â€Å"thrust† are very violent adding to Gregory’s and Sampson’s characters. Overall Sampson and Gregory set the initial tone of the play, they show the audience the relevance to masculinity in it, that the play will have a varied temperament and to expect wordplay – especially with characters such as Mercutio to come. Concerning wordplay, Mercutio uses it extensively; even when he is on the brink of death he jokes – â€Å"Ask for me tomorrow, and you shall find me a grave man.† Mercutio does this to conserve his manliness; in modern day terms it is comparable to a rugby player being injured seriously and asking to continue playing. However, after his witty fusillade of comic comments it is revealed to his friend that he is in fact in terrible pain as in his last breaths he shouts out â€Å"A plague a ‘both your houses,† He repeats this three times for added effect. This curse was one of incredible seriousness at the time, as in the 16th century England had been devastated by plagues several times. With this, Mercutio the joker ends his life on a malicious tone; this reinforces the idea that the feud is to blame for his death. Shakespeare creates the play’s atmosphere using several dramatic effects, a very important one is the terminology used for swords especially during the first seen. Sampson and Gregory refer to their weapons with sexual connotations, for example the terms â€Å"fiddling stick† and â€Å"naked weapon† are both used, these props swell the testosterone filled nature of the young duelling males. This effect is essential as in the 16th century a swordsman of Tybalt’s calibre was admired; this is demonstrated when the placid Benvolio describes Tybalt as â€Å"stout†. Shakespeare makes a key point concerning masculinity in Act Three Scene One when the prince denounces Romeo’s masculine, but not law-abiding action when he kills Tybalt to avenge Mercutio in order to protect the citizens of Verona. Shakespeare makes the prince do this to express that people should do what is in the community’s interests rather than allowing deaths to slip past their gaze. The prince puts down this manly action by exiling Romeo thus pleasing both houses and keeping peace – â€Å"Romeo slew him; he slew Tybalt, and for that offence we do exile him hence.† This corresponds directly towards Elizabethan England as due to numerous noble duels, many high up people were getting killed so duals began to be clamped down on more thoroughly. Yet another way in which Shakespeare adds to the feel of tension in the play -as well as giving the audience an additional awareness of the social context is by the setting. Shakespeare sets the play in the swelteringly hot and extraordinarily cramped city of Verona; this style of city was typical of the Elizabethan period adding to the play a more realistic feel. A good example of this being shown is when Romeo asks the way to the house of Capulet and the servant replies â€Å"up.† – this is an obvious referral to the architectural style of the Elizabethan period. In addition the combination of heat and little space may have irritated the characters – adding to their aggression. Later on in act  three Benvolio sums this up by saying â€Å"The day is hot, the capels are aboard, And if we meet we shall not escape a brawl, For now, these hot days, is the mad blood stirring.† Shakespeare creates a testosterone driven world that reflects the aggressive and competitive attitudes of males in Renaissance Europe. The contrasting characters suggest different male attributes; some being kind and trustworthy, whilst others are nasty and cruel. This explosive structure creates tension; at any moment passion and anger could erupt – throwing society into disarray. Perhaps Shakespeare s suggesting men need to control their desire to fight and should be open, friendly and compassionate.