The Future of Aviation Insurance

If you order your custom term paper from our custom writing service you will receive a perfectly written assignment on The Future of Aviation Insurance. What we need from you is to provide us with your detailed paper instructions for our experienced writers to follow all of your specific writing requirements. Specify your order details, state the exact number of pages required and our custom writing professionals will deliver the best quality The Future of Aviation Insurance paper right on time.

Our staff of freelance writers includes over 120 experts proficient in The Future of Aviation Insurance, therefore you can rest assured that your assignment will be handled by only top rated specialists. Order your The Future of Aviation Insurance paper at affordable prices!

The Future of Aviation Insurance

Table of Contents

1.0 Introduction

Introduction

This report will discuss the future of the aviation industry and the effects of high insurance cost. As the industry enters into the millennium, the insurance industry must look at several problems that also face the aviation industry. Survival for the small FBO's is getting harder each day; the threat of financial devastation is real when it comes to lawsuits. General aviation may be forced to change its way of doing business and become more like the military and commercial airlines. One can only hope that society will change their attitude towards the aviation industry and the litigation that surrounds the industry. We all hope for a positive future for the community.

Insurance and the Future of Aviation

The aviation industry, as it is known today, has grown into a set of definable industries. Modern aircraft range from military to commercial airlines to the most diverse group, general aviation. Aviation has come a long way the last 100 years. The industry is still developing, with growth comes problems that must be solved before the industry can go to the next level. As the industry enters into the millennium, the insurance industry must look at several problems that face the aviation industry.

Problems

Legal concerns, in many cases, they're influenced by our society. The court system plays a big part by their decisions that are passed down. It's rare when an aviation case goes to court, because insurance agencies know they'll lose when the jury hears the case. It's just too easy to prove pilot negligence; most aviation accidents result from pilot error. Also, when they do go to court, they very seldom mount a defense due to the unreasonable verdicts, and ridiculous awards. These practices have forced aircraft owners to stay away from new policies and let their insurance coverage lapse. Aircraft owners pay three to five times the amount for adequate liability coverage than their counter parts else where in the world.

Survival for the small business operators is getting harder each day due to the General Aviation Revitalization Act (GARA); the threat of financial devastation is real when it comes to lawsuits. The (GARA) defects lawsuits from manufacturers to aviation service providers. FBOs' insurance rates are skyrocketing because of this, which contributes to the cycle by causing higher repair cost. Many small business operators really don't want to take the chance and can't afford the rising cost that's associated with liability insurance.

"As of February 000 at least three aviation insurance under writers ceased writing coverage for the small business operators, saying it's a major risk" (Chappell, T. 000, p.). One of the main reasons is the cost to the underwriters. Aviation insurance companies have paid out a dollar and quarter for ever dollar they've taking in, for each of the last several years. No wonder so many are closing down, merging, or getting out of the historically riskier aviation activities (Chappell, T. 000, P.). General aviation may be forced to change its way of doing business and become more like the military and commercial airlines. Maintenance problems may be identified by computers, and then repaired by the manufacturers. The industry is coping with the mounting cost associated with liability insurance. "Remove and replace maintenance" is the attitude the industry must lean towards. The manufacturers would set up new factory service centers and repair facilities for the general aviation customers.

This system wouldn't help the rising cost of insurance, but maintenance and ground liabilities would rest on the shoulders of the manufacture. The market itself is shrinking, we've had a generation of pilots from WWII, Korea, and Vietnam that was introduced to aviation and trained at the government's expense. Because of modern technology, we'll never again have the numbers that we once had. The aging fleet and pilots can't help the situation that the industry is facing; the average aircraft age is 15 to 0 years, and the post Vietnam pilot is now 50 to 60 years of age. The underwriters are very worried about the age of both the pilots and the aircraft.

During a telephone interview with Darrel Hyde of CS&A Insurance, he stated; "Aircraft hull and liability insurance for the senior pilot has become such a concern that CS&A has developed a special task force to help deal with this problem. Darrel added that CS&A is looking into the future, as the baby boomers age, the pilot force will follow and that's a concern".

The need to extend the insurable age of the senior pilots, and to introduce new blood in to the cockpits will only help matters with the attempt to lower insurance cost for the industry. Insurance cost for the industry remains high, with the shrinking fleet of aircraft, means that the training cost will increase. The value of airplanes is soaring, the high cost of new replacement aircraft for training isn't feasible. The FBOs' are facing insurance that's inadequate and expensive, and it's forcing companies to reduce their operations or even cut them all together. Owners of flight schools are having a hard time just staying in business. The shortage of qualified instructors has slowed the flow of new pilots, which in turn is putting a hardship on the industry. The future of the industry could hold a brighter out-look. One can only hope that society will change their attitude towards litigation, this would hopefully drive down cost of liability coverage insurance. The industry hopes that with the use of simulators at all levels of training will increase the number of bettertrained pilots and hopefully lower insurance cost at the same time. Insurance can be one of the most expensive elements in the fix cost of owning an aircraft. To keep insurance cost under control in this difficult environment, aircraft and aviation business owners are going to have to make some changes in the way they purchase and think about insurance. There are ways to reduce your insurance cost, remember buying cheap insurance isn't always the best way to go, and it's not heavily regulated by our government. Companies can write policies pretty much the way they want to, you must pick the right company for you and your aircraft. When shopping you can ask your friends who they do business with and ask them their feelings on that company, and are they treated well. Looking in one of the aviation trade magazines for information dealing with aviation insurance companies is a great source, get a phone number or a web address so you can make contact. Saving money is the key when shopping for insurance. Only buy the needed coverage; if you don't fly passengers, why pay for the protection against them? You can always change your coverage when the need arises. Most people pay for coverage in the winter even if they're not flying. In the winter paying for in flight liability insurance can be a waist. Why not store the aircraft in the winter, and change to storage coverage for that period of time. In most places flying without heater would be very uncomfortable. Get extra training from the FAA and other workshops, and prove to the insurance company that you're safe and deserve a break on you insurance. Self-insure whenever possible. Choose the highest liability limits you can qualify for and afford, to guard against the catastrophic loss, and only as much hull protection that you can afford. Match your equipment to your needs. FBOs' must require their students and rental cliental to self-insure. Never skimp on maintenance to keep your cost down. Maximize your flying dollar. Combine trips whenever possible. Take along an instructor and log a few approaches, stalls or hood time on the way to a business meeting. Share the rental expense with a friend, you might log less flight time, but what you do log is affordability. All these little tricks can help you save money on your aviation insurance. Conclusion The aviation industry, as it is known today, has grown into a set of definable industries. Modern aircraft range from military to commercial airlines to the most diverse group, general aviation. The industry is still developing, with growth comes problems that must be solved before the industry can go to the next level. As the industry enters into the millennium, the insurance industry must look at several problems that also face the aviation industry. Legal concerns, in many cases, they're influenced by our society. The court system plays a big part by their decisions that are passed down, and also by their unreasonable verdicts, and ridiculous awards. This behavior has forced aircraft owners to stay away from new policies and let their insurance coverage lapse. Survival for the small FBO's is getting harder each day; the threat of financial devastation is real when it comes to lawsuits. General aviation may be forced to change its way of doing business and become more like the military and commercial airlines. The manufacturers would set up new factory service centers and repair facilities for the general aviation customers. This system wouldn't help with increasing cost of insurance, but maintenance and ground liabilities would rest on the shoulders of the manufacture. Aviation has come a long way the last 100 years, and the future could hold a brighter out-look for the industry. One can only hope that society will change their attitude towards the aviation industry and the litigation that surrounds the industry. In the future, this could drive cost down and make liability insurance affordable to the private owners, and to the FBO's.

Bibliography References AIR TRANSPORT ASSOCIATION (000). BETTER TIMES AHEAD FOR THE AIRLINE INDUSTRY [Brochure]. Washington Author. Briggs, J. (000). LEARN to FLY. Retrieved May 18, 000 from the World Wide Web http//avweb.com Chappell, T. (000). Insurance and the future of aviation. Retrieved August 4, 000 from the World Wide Web http//www.avweb.com/artical/insfuture/index.html Fiorino, F. (000, February). ATA Service Expansion. Aviation Week and Space Technology, 15, 5. Kaps, R. (15). FISCAL ASPECTS OF AVIATION MANAGEMENT. Carbondale, Ill Southern Illinois University Press. Lawler, E. (16). FROM THE GROUND UP. San Francisco, CA Jossey-Bass. Lee, R. (000, March). TRANSPORTATION MANAGEMENT. AVIATION MONTHLY, 18, -7. Maurice, C. (1). MANAGERIAL ECONOMICS (6th ed.). San Francisco, CA Irwin/McGraw-Hill. Tega, V. (15). MANAGEMENT and ECONOMICS. MANAMENT and Economics Journal, , 0-1. Wood, R. (11). AVIATION SAFETY PROGRAMS (nd ed.). Englewood, Colorado Jeppesen Sanderson.

Please note that this sample paper on The Future of Aviation Insurance is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on The Future of Aviation Insurance, we are here to assist you. Your cheap custom college paper on The Future of Aviation Insurance will be written from scratch, so you do not have to worry about its originality.

Order your authentic assignment and you will be amazed at how easy it is to complete a quality custom paper within the shortest time possible!

Business plans

If you order your cheap essays from our custom writing service you will receive a perfectly written assignment on business plans. What we need from you is to provide us with your detailed paper instructions for our experienced writers to follow all of your specific writing requirements. Specify your order details, state the exact number of pages required and our custom writing professionals will deliver the best quality business plans paper right on time.

Our staff of freelance writers includes over 120 experts proficient in business plans, therefore you can rest assured that your assignment will be handled by only top rated specialists. Order your business plans paper at affordable prices with cheap essay writing service!

Marketing Plan

1. Business mission

(What is the mission of the organisation? What business is it in? How well is its mission understood throughout the organisation? What business does the organisation wish to be in, five years from now?)

(Does the organisation define its business in terms of benefits its customers want, rather than in terms of goods and services?)

Do my essay on business plans CHEAP !

Refer to

Part of marketing plan worksheet

Chapter 15 "Essentials of Marketing."

. Objectives

(Can the organisation's mission statement be translated into operational terms regarding organisation's objectives?)

(What are the stated objectives of the organisation? Are they formally written down? Do they lead logically to clearly stated marketing objectives? Are objectives based on sales, profits or customers?)

(Are the organisation's marketing objectives in hierarchal order? Are they specific so that progress towards achievement can be measured?)

(Are the objectives in reasonable light of the organisation's resources? Are the objectives ambiguous? Do the objectives specify a time frame?)

(Is the organisation's main goal to maximize customer satisfaction or to get as many customers as possible?

Refer to

Part of marketing plan worksheets

Chapter 15 of textbook

. Situational (SWOT) Analysis

(Is there a strategic window that must be taken into account?)

(Have one or more differential advantages been identified in the SWOT analysis?)

(Are there advantages sustainable against the competition?)

a. Internal strengths and weaknesses

(What is the history of the organisation, including sales, profits and organizational philosophies?)

(What is the nature of the organisation and its current situation?)

(What resources does the organisation have (financial, human, time, experience, assets, skills)

(What policies inhibit the achievement of the organisation's objectives with respect to organisation, resource allocation, operations, hiring, training and so on?)

b. External opportunities and threats

(Social what main social and lifestyle trends will have an impact on the organisation?)

(Demographic what impact will forecasted trends in the size, age, profile and distribution of population have on the organisation? How will the changing nature of the family, the increase in the population of women in the workforce, and changes in the ethnic composition of the population affect the organisation? What action has the organisation taken in response to these developments and trends? Has the organisation re-evaluations its traditional products and expanded the range of specialized offerings to respond to these changes?)

(Economic what main trends in taxation and income sources will have an impact on the organisation? What action has the organisation taken in response to these trends?)

(Political, legal and financial What laws are now being proposed as international, federal, state and local levels that could affect marketing strategy and tactics? What recent changes in regulations and court decisions affect the organisation? What political changes at each government level are taking place? What action has the organisation taken in response to these legal and political changes?)

(Competition which organisations are competing with the organisation directly by offering a similar product? Which organisations are competing with the organisation indirectly by securing its prime prospects' time, money, energy or commitment? What new competition trends seem likely to emerge? How effective is the competition? What benefits do competitors offer that the organisation does not? Is it appropriate for the organisation to compete?)

(Technological What main technological changes are occurring that affect the organisation?)

(Ecological What is the outlook for the cost and availability of natural resources and energy needed by the organisation? Are the organisation's products, services and operations environmentally friendly?)

4. Marketing strategy

a. Target market strategy

(Are the members of each market homogenous or heterogeneous with respect to geographic, sociodemographic and behavioural characteristics?)

(What are the size, growth rate, and national and regional trends in each of the organisation's market segments?)

(Is the size of each market segment sufficiently large or important to warrant a unique marketing mix?)

(Are market segments measurable and accessible to distribution and communication efforts?)

(Which are the high- or low- opportunity segments?)

(What are the evolving needs and satisfactions being sought by target markets?)

(What benefits does the organisation offer to each segment? How do these benefits compare with benefits offered by competitors?)

(Is the organisation positioning itself with a unique product? Is the product needed?)

(How much of the organisation's business us repeat versus new business? What percentage of the public can be classified as non-users, light users and heavy users?)

(How do the current target markets rate the organisation and its competitors with respect to reputation, quality and price? What is the organisation's image with the specific market segments it seeks to serve?)

(Does the organisation try to direct its products only to specific groups or people or to everybody?)

(Who buys the organisation's products? How does a potential customer find out about the organisation? When and does how a person become a customer?)

(What are the main reasons given by potential customers for not buying the organisation's products?)

(How do the customers find out about and decide to purchase the product? When and where?)

(Should the organisation seek to expand, contract or change the emphasis of its selected target markets? If so, in which target markets, and how vigorously?)

(Could the organisation more usefully withdraw from some areas where there are alternative suppliers and use its resources to serve new, unserved customer groups?)

(What publics other than target markets (financial, media, government, citizen, local, general and internal) represent opportunities or problems for the organisation?)

b. Marketing mix

(Does the organisation seek to achieve its objectives chiefly through coordinated use of marketing activities (product, distribution, promotion, price) or only through intensive promotion?

(Are the objectives and roles of each element of the marketing mix clearly specified?)

i. Product

(What are the main product/service offerings of the organisation? Do they complement each other, or is there unnecessary duplication?)

(What are the features and benefits of each product offering?)

(Where is the organisation and each major product in its life cycle?)

(What are the pressures among various target markets to increase or decrease the range and quality of products?)

(What are the main weaknesses in each product area? What are the main complaints? What goes wrong most often?)

(Is the product name easy to pronounce? Spell? Recall?)

(Is it descriptive, and does it communicate the benefits the product offers? Does the name distinguish the opportunities or product from all others?)

(What warranties are offered with the product? Are there other ways to guarantee customer satisfaction?)

(Does the product offer good customer value?)

(How is customer service handled?)

(How is service quality assessed?)

ii. Place/distribution

(Should the organisation try to deliver its offerings directly to customers, or can it better deliver selected offerings by involving other organisations? What channels should be used in distributing product offerings?)

(What physical distribution facilities should be used? Where should they be located? What should be their main characteristics?)

(Are the members of the target market willing and able to travel some distance to buy the product?)

(How good is access to facilities? Can access be improved? What facilities need priority attention in these areas?)

(How are facility locations chosen? Is the site accessible to the target markets? Is it visible to the target markets?)

(What is the location and atmosphere of retail establishments? Do these retailers satisfy customers?)

(When are products made available to users (season of year, day of week, time of day? Are these times appropriate?)

iii. Promotion

(How does a typical customer find out an organisation's products?)

(Does the message the organisation delivers gain the attention of the intended target market audience? Does it address the wants and needs of the target market, and does it suggest benefits of a means for satisfying these wants? Is the the message appropriately positioned?)

(Does the promotion effort effectively inform, persuade, educate and remind customers about the organisation's products?)

(Does the organisation establish budgets and measure effectiveness of promotional efforts?)

A) Advertising

(Which media are currently being used? Has the organisation chosen the type of media that will best reach its target audience? Are the types of media used the most co-effective, and do they contribute positively to the organisation's image?)

(Are the dates and times the ads will appear the most appropriate? Has the organisation prepared several versions of its advertisements?)

(Does the organisation use an outside advertising agency? What functions does the ad agency perform for the organisation?)

(What system is used to handle customer inquiries resulting from advertising and promotions? What follow-up is done?

B- Public relations

(Is there a well-conceived public relations and publicity program? Does the program stand each of the publicity outlets' needs and to provide each with story types that will appeal to its audience in readily usable forms?)

(What does the annual report say about the organisation and its products? Who is being effectively reached by this vehicle? Does the benefit of publication justify the cost?)

C- Personal selling

(How much of a typical salesperson's time is spent soliciting new customers as compared to serving existing customers?)

(How is it determined which prospect will be called on and by whom? How is the frequency of contacts determined?)

(How is the sales team compensated? Are there incentives for encouraging more business?)

(How is the sales team organized and managed?)

(Has the sales team prepared an approach tailored to each prospect?)

(Has the organisation matched sales personnel with target market characteristics?)

(Is there appropriate follow-up to the initial personal selling effort? Are customers made to feel appreciated?)

(Can database or direct marketing be used to replace or supplement the sales team?)

D- Sales Promotion

(What is the specific purpose of each sales promotion activity? Why is it offered? What does it try to achieve?)

(What categories of sales promotion are being used? Is sales promotion directed to the trade, the final consumer, or both?)

(Is the effort directed at all the organisation's key publics or restricted to only potential customers?)

iv. Price

(What levels of pricing and specific prices should be used?)

(What mechanisms does the organisation have to ensure that the prices charged are acceptable to customers?)

(How price sensitive are customers?)

(If a price change is put into effect, how will the number of customers change? Will total revenue increase or decrease?)

(Which method is used for establishing a price going-rate, demand-orientated or cost-based)

What discounts are offered, and with what rationale?)

(Has the organisation considered the psychological dimensions of price?)

(Have price increases kept pace with cost increases, inflation or competitive levels?)

(How are price promotions used?)

(Do interest prospects have opportunities to sample products at an introductory price?)

(What methods of payment are accepted? Is it in the organisation's best interest to use these various payments methods?)

5. Implementation, evaluation and control

(Is the marketing organisation structured appropriately to implement the marketing plans?)

(What specific activities must take place? Who is responsible for these activities?)

(What is the implementation timetable?)

(What other marketing research is necessary?)

(What will the financial impact of this plan on a one-year project income statement? How does projected income compare with expected revenue if the plan in not implemented?)

(What are the performance standards?)

(What monitoring procedures (audits) will take place and when?)

(Does it seem as though the organisation is trying to do too much or not enough?)

(Are the core marketing strategies for achieving objectives sound? Are the objectives being met, and are the objectives appropriate?)

(Are enough resources (or too many resources) allocated to accomplish the marketing objectives?)

Please note that this sample paper on business plans is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on business plans, we are here to assist you. Your cheap custom research papers on business plans will be written from scratch, so you do not have to worry about its originality.

Order your authentic assignment from cheap essay writing service and you will be amazed at how easy it is to complete a quality custom paper within the shortest time possible!

John Milton

If you order your research paper from our custom writing service you will receive a perfectly written assignment on John Milton. What we need from you is to provide us with your detailed paper instructions for our experienced writers to follow all of your specific writing requirements. Specify your order details, state the exact number of pages required and our custom writing professionals will deliver the best quality John Milton paper right on time.

Our staff of freelance writers includes over 120 experts proficient in John Milton, therefore you can rest assured that your assignment will be handled by only top rated specialists. Order your John Milton paper at affordable prices!

How is John Milton' life reflected in his works?

John Milton was born on December th 1608 (Tillyard 7) into a world that was increasingly ceding to the economic, political and religious pressures of Puritan England (Hill ). Before his birth, the Anglican Church had split into three opposing sects the high Anglicans, moderate Anglicans, and Puritan or Presbyterians who all fought for religious supremacy in England (Gardner). Because of the Reformation Milton's family found itself divided. After converting to Protestantism Milton's father, John senior, was disinherited and consequently forced to try his luck in London (Hill, ). Yet despite his disinheritance, John prospered as a moneylender (Tillyard, ). John senior's financial position allowed him to give his three children one of the best educations at St Paul's Cathedral School (Nicolson 5). Although many of us forget our primary education, Milton's time at St Paul's remained ever-present throughout his life. His memories, love and detailed knowledge of the Cathedral come to life in 'Jesus in the Temple of Echoes' in Paradise Regained and entire poems like Il Penseroso (Nicolson 8)

But let my due feet never fail

To walk the studious cloister's pail,

Custom Essays on John Milton

And love the high embowed roof,

With antique pillars massy proof,

And storied windows richly dight,

Casting a dim religious light.

As Milton grew, the education he was receiving at St Paul's no longer satisfied his developing mind and so Thomas Young was heired as a tutor. Through him, Milton he learnt the modern languages of French, Italian and Hebrew as well as the required Ancient Greek and Latin (Tillyard 7). Unlike his father's relationship with his father, Milton remained very close to his family. The importance of John senior to Milton as he is today cannot be underestimated. It was Milton senior who despite his desire to have his eldest son become a lawyer or clergyman (Tillyard ), allowed his son to pursue his fondness of poetry, a profession as unprofitable then as it is now (Hill 4). The kindness of his father and tutelage of Thomas Young, were greatly appreciated by the young Milton who later went on to dedicate the Latin poem Ad Patrem in their honour (Tillyard 8) "Thou never bad'st me treat ","But wishing to enrich me more, to fill / My mind with treasure, led'st me far away (Nicolson 0).

Milton's gifts from childhood stood him out as someone of exception (B, 105). At a very early age, Milton's literary prowess emerged in such works as his paraphrases of the Biblical Psalms. Written at the age of fourteen, they were the first expression of what we now called 'Milton's grand style'. "He with his thunder-clasping hand / Smote the first born of Egypt Land" (Tillyard ).

Milton began college at the age of sixteen in February 165 (Tillyard 1). Christ's College Cambridge was nothing like the sheltered environment of St Paul's. His higher education at Cambridge was an extremely experimental period for him. Rarely did two of his pieces bear the same style or prose (Tillyard 1-4).

The first of Milton's notable pieces produced during his university years was At a Vacation Exercise one of the few works in English at a time when most of his writing was in Latin. The piece contains the first known use of 'Miltonic verse' in which a continuous rhyme is kept with 'Miltonic sublimity'. The piece also proves to us that Milton was well aware of the developments in contemporary English verse (0), but perhaps more important to us is that it is the first of Milton's long English poems (Tillyard 1-1);

Such where the deep transported mind may soare

Above the wheeling poles, and at Heavns dore

Look in, and see each blissful Deitie

How he before the thunderous throne doth lie,

Listening to what unshorn Apollo sings

To th touch of golden wires, while Hebe brings

Immortal Nectar to her Kingly Sire

After graduating as a Bachelor of Arts in 16, Milton would write a poem that would dwarf all of his previous works. A revelation on the dawn of Christmas Day had led him to the composition of a nativity ode (Carey 6). On the Morning of Christ's Nativity contains some of the first examples of the 'Miltonic Style' including the first great 'silent' ending (Bush 64)

But see, the Virgin blest

Hath laid her babe to rest.

Time is our tedious song should here have ending;

Heaven's youngest-teemed star

Hath fixed her polished car

Her sleeping Lord with handmaid lamp attending;

And all about the courtly stable

Bright-harnessed angels sit in order serviceable.

Despite the poem having a flawless consistency in verse, the qualities of the poem were widely criticised and attracted little praise during Milton's life (Tillyard 5). Yet we may see the poem as an announcement of Milton coming to age not only physically, as it was written shortly after his 1st birthday, but also in his mastery of conception, image and rhyme (B 105).

After taking his Master of Arts degree in 16, Milton gave himself the open education which Cambridge had not afforded him (B 105). Despite the quantity of work produced in his seven years at Cambridge, Milton saw the curriculum as being barren (B 104). However, whether he enjoyed them or not, Milton's years at Cambridge were crucially important in shaping the man he later became.

Milton spent six years at his father's home studying history, geography and astronomy; subjects he felt would allow him to better understand man and the universe (Tillyard 15). During this period, Milton produced what are now seen as two of his greatest works Comus and Lycidas (66-86). Comus is Milton's first dramatizing of the conflict between good and evil, and may be considered as being a forerunner of his great piece Paradise Lost.

To cast the fashion of uncertain evils;

For grant they be so, while they rest unknown,

What need a man forestall his date of grief,

And run to meet what he would most avoid?

Or if they be but false alarms of Fear,

How bitter is such self-delusion?

In 168 Milton left England for Italy (Tillyard 86) where he hoped the Italian philosophic and intellectual freedoms would considerably enrich his intellectual development (Hill 55). During the fifteen months he spent visiting such towns as Rome and Florence (Tillyard 86-101), Milton, by now a middle-aged Englishman with little published work to his name, was unexpectedly greeted by many of Italy's leading academics and intellectuals (Hill 5) such as Galileo, the only one of Milton's contemporaries to be mentioned in Paradise Lost (54). Although Milton would liked to have continued his journey to Sicily and then onto Greece, the approaching civil war in England called him back (5)

On his return from Italy, Milton began an "era of pamphleting" (Nicolson 10). During the nineteen years form 1641-1660, he circulated a number of public issues (Gardner) that ranged from marriage to the conduct of kings (Nicolson 10-1). These writings were a turning point in Milton's life when poetry ceased to be his prime devotion and politics became his obsession (Muir 81).

In Italy, Milton had become obsessed with the idea of writing a complete history of Britain. When he began The History, soon after his return, he praised the English people as being the chosen race (Hill 160). As the writing progressed, he increasingly felt that the English people's love of money was greater than their love of the public good (161). By the time he had finished The History, the book reflected Milton's pessimism towards not only the English people but also the Church and the government (165).

Milton's pamphlets transformed him from an unknown poet to a leading advocate of the Reformation. During this period he acted first as an apologist for the execution of Charles I, then as Secretary for Foreign Tongues, then as official propagandist of the Puritan Revolution and finally as an opponent to the Restoration (Muir 81). At first Milton believed in the revolution and Cromwell, but would later have second thoughts (Hooker). This came in some measure from the fact that some considered him as an heretic, but mostly because they seemed to be more concerned by their pockets than by the opinions of the minorities (Muir 81). In his History of Britain Milton remarks

"Then was justice delayed, and soon after denied; spight and favour determined all hence faction, thence treachery, both at home and in the field everywhere wrong and oppression foul and dishonest things committed daily, or maintained, in secret, or in open".

Milton's views on religion were the most radical and openly criticised of his pamphleting days (Gardner). Milton took the Presbyterian anti-bishops stance to its extreme calling for the abolition of all religious representatives' including priests. The corruption he saw in the Catholic Church was the fuel of his resentment (Gardner) and in his Reasons of Church and Government he stated that "if England missed her chance of winning freedom it would be by no fault of his" (Hill 55). In Lycidas, Milton compares the Catholics to hungry wolves leaping into a sheeps pen, an image similar to his depiction of Satan leaping over the wall of Paradise in Paradise Lost.

The hungry Sheep look up, and are not fed,

But swoln with wind, and the rank mist they draw,

Rot inwardly, and foul contagion spread

Besides what the grim Woolf with privy paw

Daily devours apace, and nothing sed,

But that two-handed engine at the door,

Stands ready to smite once, and smite no more

We know that Milton had already at the age of sixteen, aspired to write the great English epic that would rival such works as Homer's Odyssey and Virgil's Aeneid (Gardner). However it was not until his return from Italy that he began to consider topics (Bush 01). Although his earlier ideas were mainly of British history such as an Arthurian Epic of The Knights of the Round Table or even an epic of Oliver Cromwell and the English Revolution, the list comprised of nearly a hundred different possibilities (Gardner) "what king or knight, before the conquest, might be chosen" (Muir 1). However after finishing The History of Britain, Milton no longer felt his people were worthy of such an epic, and so the plan was abandoned for sixteen years (16).

Milton returned to the Epic in the mid-1650s inspired by 'Man's first disobedience' the story of Adam and Eve (Gardner). The poem was probably begun around 1658 and finished in 166. It was first published in 1667 for the price of £5. What makes Paradise Lost even more notable is that it was written after Milton became blind. Night was Milton's favourite time for composition (Bush 01) and each morning he would dictate to one of his two daughters (Gardner).

Milton wrote Paradise Lost using the 'English heroic' measure but followed the Homer and Virgil model of un-rhyming verse as, by this stage in Milton's poetic development, he saw rhyme as being 'the invention of a barbarous age'. (Bush 11)

Of Mans First Disobedience, and the Fruit

Of that Forbidden Tree, whose mortal tast

Brought Death into the World, and all our woe,

With loss of Eden, till one greater Man

Restore us, and regain the blissful Seat,

Sing Heavnly Muse, that on the secret top

Of Oreb, or of Sinai, didst inspire

That Shepherd, who first taught the chosen Seed,

In the Beginning how the Heavns and Earth

Rose out of Chaos Or if Sion Hill

Delight thee more, and Siloas Brook that flowd

Fast by the Oracle of God; I thence

Invoke thy aid to my adventrous Song,

That with no middle flight intends to soar

Above th Aonian Mount, while it pursues

Things unattempted yet in Prose or Rhime.

In reading through The History of Britain and Paradise Lost one can almost feel a relationship between the two books. His passion for theology and politics made the theme of the fall of man ideal. His History had outlined man's greediness, next he sought to explain why man had come so short of his expectations.

There are many passages in Paradise Lost that outline Milton's personal political and religious views (Muir 17). Richard Hooker even claims that Satan in Paradise Lost is a clear depiction of Oliver Cromwell! At the opening of Book VII Milton depicts the condition of the Restoration; claiming it to have 'fallen on evil days and encompassed with dangers' (Muir 17-18)

Standing on Earth, not rapt above the Pole,

More safe I Sing, with mortal voice unchang'd,

To hoarce or mute, though fallen on evil dayes,

On evil dayes though fall'n, and evil tongues;

In darkness, and with dangers compast round,

Despite his blindness Milton produced two more great works Paradise Regained and Samson Agonistes (Tillyard 0, 8). As the name suggests; Paradise Regained was published as a sequel to his great epic. Milton considered Paradise Regained to be his better work, both artistry and in content, however modern readers and Milton scholars claim Paradise Lost to be the greater epic (Gardner)

John Milton died on November 8, 1674 shortly before his 66th birthday (B 107). He stands among the best of the English language's great authors and poets. The way his writings reflect his own origins and life, and connect to the turbulence of his England makes it impossible to separate Milton's life from his work. In understanding how the events of Milton's life have helped to create his 'grand style'

Works Cited

Bush, Douglas. Milton Poetical Works. London Oxford University Press, 166.

" ". "John Milton." Encyclopaedia Britannica. 174 ed.

Carey, John. Literature in Perspective Milton. London Evans Brothers, 16.

Gardner, Patrick. "Paradise Lost." SparkNotes (00). 1 March 00.

http//www.sparknotes.com/poetry/paradiselost/context.html

Hill, Christopher. Milton and the English Revolution. London Faber and

Faber, 177.

Hooker, Richard. "John Milton." The European Enlightenment (16). 1 March

00. http//www.wsu.edu8000/~dee/ENLIGHT/MILTON.HTM

Muir, Kenneth John Milton. London Longmans, 155.

Nicolson, Marjorie. A Reader's Guide to John Milton. London Thames and

Hudson, 164.

Tillyard, E.M.W. Milton. London Chatto and Windus, 10

Please note that this sample paper on John Milton is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on John Milton, we are here to assist you. Your persuasive essay on John Milton will be written from scratch, so you do not have to worry about its originality.

Order your authentic assignment from and you will be amazed at how easy it is to complete a quality custom paper within the shortest time possible!

Changing perspectives

If you order your custom term paper from our custom writing service you will receive a perfectly written assignment on Changing perspectives. What we need from you is to provide us with your detailed paper instructions for our experienced writers to follow all of your specific writing requirements. Specify your order details, state the exact number of pages required and our custom writing professionals will deliver the best quality Changing perspectives paper right on time.

Our staff of freelance writers includes over 120 experts proficient in Changing perspectives, therefore you can rest assured that your assignment will be handled by only top rated specialists. Order your Changing perspectives paper at affordable prices!

Different types of people have separate views on change. Some like change, others dislike it and there are those that accept it but wish for most experiences or even life to remain unchanged. There are also people who may learn from the change that was so unwanted. Good examples of these types of people are found in the following texts. Sky-high by Hannah Robert, Post Card by Peter Skrzynecki and the Walt Disney film, Lilo and Stitch by Chris sanders and Dean Deblois.

Written in informal language, Sky-high is a personal text in which the author recollects memories of her childhood adventures on a washing line. Visiting such memories enables the reader to know how she has a desire to have a child's life again. Wishing that she could go back to an imaginative and "free" mind.

The way in which the world around the child is described let's the audience gain insight into this "free", imaginative world of a child. The garden is brought to life with imagination. In this innocent perspective, simple objects are magically infused with importance and significance, such as, the washing line, which empowers the author to feel "sky-high".

The experiences of a child are limitless. During the story, we take a journey around the garden and into the garden next door before she realises her original plan, "…wooden fence and a triangle of the garden next door… my thoughts return to my original plan, the ultimate conquest of the washing line". She, as a child, was not restricted by and boundaries and the above example is a perfect one to describe how the place around her as a child grabbed her attention and easily entertained her. The use of imagery pushes the idea of her boundless perspectives as a child. The washing line is personified with "silver skeletal arms" and metaphorically must be the "best climbing tree" as she sits in her "exalted position" on the washing line.

During the author's flash back, there is nothing but similes and personifications which accomplish in describing the child's imagination. The clothes are hung "like coloured flags in a secret code", suggesting the big adventure she is about to embark on. When she is on the washing line, she feels the "air flow" around her outstretched arms and "playfully tousle her" hair. Oh how free a child can be! Oh how she wishes that the experience she once felt could never be changed.

But as the reader is pulled out of the childhood memory, unfortunately things have changed. She has grown up and now looks at life through and adult's eye. The washing line no longer stands "proud" but instead "older and more age-warped…" Childish similes are replaced by adult-like metaphors. She describes her ageing as the "line-etched story of life in scars and wrinkles" and her nostalgia as the "small pilot light burning somewhere inside…" This awareness confirms her change to the adult perspective which fails to see the world in its animated splendour, where clothes that once hung "like coloured flags in a secret code" now hang "mismatched". She concludes, "There are too many things tying me to the ground." Taking into account all burdens of adult responsibility that literally and figuratively keep her from being free and keeps her from having that experience remain the way it once was when she was a child.

The perspective of an immigrant is that of an outsider. Naturally, such a perspective influences an immigrant's perception. Often the response is negative as what is being experienced is alien. Skrzynecki came into Australia when he was a very young, little boy. Therefore memories of a town he once lived in are extremely limited. Until, one day, when he receives a post card from a friend which ultimately changes his views on a place he never knew.

The poem, with a very appropriate tittle, Post Card, changes perspective radically. Now Skrzynecki views the old world of Poland and finds it as strange and unfamiliar as his parents would have found Australia when they first emigrated. His view is represented on an ordinary and very common object (the post card) that evokes matters of great importance and great significance, which is typical of the poet's understated manner. The form of the post card intensifies the experience, as it is highly coloured, "the sky's the brightest shade". His perception is heightened by this vivid presentation. He seems to be mesmerized by the post card, soaking up every tiny detail. He can not ignore a presentation which is as striking as this.

As he keeps on analysing the post card with his eyes, the city becomes alive and personified. It seems to take a mind of its own. The reader gets to listen to a two-way conversation between him and the city. That even though he does not know it in the way his parents do, nonetheless, it calls him home. But this experience is strange and unfamiliar and he doesn't know why this card is calling him or making a big impact in him. The speaker tries to resist this change of perspective that the city would impose in him. He does not belong to the city and he does not know this town, "Warsaw, Old Town/ I never knew you". But yet the card keeps him transfixed and through repetition of "I never knew you" puts emphasis on his resistance to Warsaw. He believes that this world belongs to his parents and not to him. Nevertheless, the card keeps trying to pull him in. The scene of the card entrances him and has a hold over him that will be difficult to ignore. He has been chosen by the card. He is one of her own and she will not let him escape from the spell she casts over all her people, past and present. He calls out, "let me be. "Stressing the undeniable pull of his cultural heritage. He is beginning to feel confused and needs something familiar to be with. He does not want this new experience which would undoubtingly change his views. But yet in his confusion he rhetorically asks, "What's my choice to be?" Questioning his choice of home and whether his perspective should change to become part this world too.

Only a detached "recognition" seems possible as the poet conveys a sense of frustration as he is positioned between two cultures. In the fifth stanza, a metaphorical battle takes place. The city of his birth demands acknowledgement that he is reluctant to give or can not give because of his lack of knowledge of the town. He continues to resist the call, "I stare/at the photograph/and refuse to answer the voices of red gables/and a cloudless sky." But the card will not leave him be or let him off that easily. It does not want him to walk away from the cultural heritage. This is reinforced by the use of the direct speech, "We will meet/before you die."

His perspective will be challenged more immediately and perhaps, changed by a first-hand experience, as opposed to the "third-person" relationship that they formerly established. Even thought he may resist and refuse this change of perspective, instead of regarding Warsaw as another place beyond his immediate experience, he will go there and become a part of it.

Sometimes, while these types of people may wish to have life the way it was before it was changed. They may also learn things from the change that was unwanted. This next text is a Walt Disney classic that is drawn in cartoon to make a loud statement that the film is totally fictional. Lilo and Stitch is a hilarious comedy that talks about the power of loyalty, friendship and family.

'Ohana' is a Hawaiian tradition of family-"family means nobody gets left behind or forgotten. Throughout this movie, 'ohana' saves the two most loveable characters, Lilo and Stitch, from uncertain death.

The adoption of a dangerous genetic experiment changed the lives of the small and broken family. The only reason why Stitch decides to live with this family is so that he can use Lilo as a human shield against the alien bounty hunters. What he doesn't realise is that this family is the one who saves him from death. Lilo unlocks his heart and gives him the one thing that he was never designed to have-the ability to care for someone else.

The death of the parents, leave Lilo's older sister, Nani in charge of the family, with a day-to-day visit by a social worker, named Cobra Bubbles. Not happy with the way the house and family operate he tells Nani that things have to improve. But as soon as this new 'dog' enters the house and comes into her life, things turn ugly and everything goes wrong. Nani loses her job and the social worker gets attacked by Stitch. He tells her that if things don't improve she is going to lose custody. He tells her that she needs to do two things, "new job, model citizen". So Nani looks for a job but Stitch ruins everything while he was trying to be a model citizen. She didn't get a job and stitch never became a model citizen, so Nani loses custody. She has so much anger for this creature and wishes that he had never entered her life.

Lilo runs away but is caught by Gantu, an alien commanding officer and Nani is told that she will never see her again. Yet the creature she hated so much, the change that she wished had never happened, came to her rescue. Repeating the words of Lilo, "ohana means family, family means…or forgotten." It was here that Nani learns the importance of this Hawaiian tradition. The powerful words of 'ohana' helped break into Stitches destructive mind and unlocked something that was not even created.

He rescued Lilo and the family was reunited, Nani found a job and Stitch had become a model citizen. Nani had learnt from a change in her life that she wished she could get rid of. Stitch had taught her about the power of 'ohana' and that having this change around meant that life was going to turn out to be better than ever.

Through these texts, people may gain insight into the way people may respond to change. Some people, while they accept it, may wish for an experience to remain the same or changed. Childhood memories are always good to remember and being able to revisit them always leave people wishing that they could stay as a child and never grow-up. Like the life of 'Peter Pan'. This was most noticed in Sky-high, where she wished to have the imagination of a child but there were too many things tying her to the ground.

People may have confusion over whether to welcome the change or not. Peter Skrzynecki's life was revolving around change and when a post card that is sent by a friend comes to him. His views on the city of his birth are challenged and he is confused about whether he wants this perspective changed.

People learn that sometime, while the change, at first, seems to negatively impact their lives, life always has a way to correct itself. Nani learns the power of 'ohana' and she learns about life, when the going gets tough, the tough gets going. Things may even turn out to be better than it was before.

In studying these texts, it is noticed that people react differently to changing situations. That people are not all the same and those sometimes while change may be bad, there will always be a time in life where it is possible to just accept the change, relax, sit back and let the good times roll.

Please note that this sample paper on Changing perspectives is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Changing perspectives, we are here to assist you. Your cheap custom college paper on Changing perspectives will be written from scratch, so you do not have to worry about its originality.

Order your authentic assignment and you will be amazed at how easy it is to complete a quality custom paper within the shortest time possible!

Industrial revolution and its effects on victorian interior design

If you order your research paper from our custom writing service you will receive a perfectly written assignment on industrial revolution and its effects on victorian interior design. What we need from you is to provide us with your detailed paper instructions for our experienced writers to follow all of your specific writing requirements. Specify your order details, state the exact number of pages required and our custom writing professionals will deliver the best quality industrial revolution and its effects on victorian interior design paper right on time.

Our staff of freelance writers includes over 120 experts proficient in industrial revolution and its effects on victorian interior design, therefore you can rest assured that your assignment will be handled by only top rated specialists. Order your industrial revolution and its effects on victorian interior design paper at affordable prices!

TEXTILES IN ENGLAND 180-1850

BREIF HISTORICAL BACKGROUND

ECONOMIC

Before the 1700's cotton, wool, silk, and tapestry were still being done by hand and even the few inventions to improve the process of producing these fabrics was still time consuming and limited the amount of fabric that could be produced. However, being a weaver or fabric maker was a pretty good source of income and was usually a family business. But the fabrics produced were sometimes if not always full of errors in patterns or lines at some point in the bulk of the material. So inventors started making bigger machines such as the cotton spinner and the jacquard loom to help make a more flawless product and at the same time allow for greater production of this material. These mechanical inventions and new processes which made it possible to speed up and constantly increase production as well as the movement of textile production from the home business to the factory is what is known as the Industrial Revolution. This new technology was not widely accepted at first because it halted killed common entrepreneur ship now being a weaver was not a lucrative business but owing the factory was. It was also met with protest because machines were threatening the wool industry, which was big at the time in Britain. Not only that, there was strong competition from other countries as far as how complex the designs were on their textiles. So they could curb competition and keep textile moneys in the country smuggling or import of Indian, Arabic, Egyptian, French and Italian fabric was prohibited for some time. But the public interest in these materials did not die so textile factories produced imitations of these materials. In Britain, by 180, the Industrial Revolution had fully mechanized textile factories allowing for greater and more elaborate textiles to be produced.

Custom writing service can write essays on industrial revolution and its effects on victorian interior design

The classes of this country also changed due to the revolution. Not only were there aristocrats now, but there was a middle class made up of factory owners, entrepreneurs, manufacturers and political activists, there was a working class made up of the coal minors and cotton factory workers and of course the extremely poor. Britain's demographics also changed with its thriving industry as people who owned and worked for the factories were moving from the country to the city to be closer to work. And the aristocrats were vacationing in the city from April to July of each year for more recreation than they already enjoyed in the country.

CULTURAL

Queen Victoria's British monarchy began in 187 and ended in 101, the sixty four years of her reign was an age distinguished by a strong pride in inventions and self-confidence as a people. Victorians were delighted with their advance in scientific knowledge and technical skill. In many cased this pride in inventions supported aesthetic appreciation. For example, one could be proud of the imitation of on material by another-wood painted in imitation of mahogany, ebony or marble; semi precious stones, etc for decorative purposes. They were fascinated with these new materials, which were before only available or associated with the wealthy; the Victorians took pleasure in their display of commercial property. Although they were not the only culture to love these ornaments or have a strong reverence for the beauty of nature and imitating it, what distinguished them was their lack of taste in exploiting these subjects.

DESIGN

With Britain's thriving industry and many colonies it was enormously prosperous. In the first half of the 1th c the swelling size of households, the rapidly burgeoning middle classes and their demand for new houses to proclaim their social position and means put enormous pressure on the already over crowded cities, driving people of adequate means further out of the fringes. As a result of the demands of a rapidly expanding, socially aspiring, population, architects and designers often plundered the past for inspiration.

The main styles to regain popularity were Rococo, Gothic, Renaissance, and Moorish. The styles ebbed and flowed in popularity, often co-existing with one another.

POPULAR STYLES

In the homes of the rich in London Empire Classicism fought with Rococo Revival, Baroque, French, Italian Renaissance, Moorish, Egyptian, Oriental, and for course the all around popular Gothic style. These styles were either recreated as authentically as possible by determined historicists or carefully compiled by the cultivated rich from actual element of old European rooms. More often, though, styles were merely approximated, using loose interpretations of largely European models. It was not unusual for the wealthy and powerful to combine styles in the same house. Rococo was considered suitable for the bedrooms, boudoirs and drawing rooms, where as Gothic was appropriate for libraries, dining rooms, and other male preserves.

Rococo revival and French 18th c styles were the most widely accepted for interior decoration from the 180's to the end of the century. The styles Neo-Rococo and Louis revival were of great general appeal to the socially mobile in England dud to their association with aristocracy tastes refinement. The style was light and cheerful and was considered feminine and frivolous. For the previously reason this style was reserved for boudoirs and rooms suitable for entertaining such as drawing rooms.

Anything neo-renaissance or italiante suggested scholarliness. This class sought to convey an impression of monumentality and weightiness. One of the characteristics of this style was its stress on drapery. Banded fabrics and emphasis on the horizontal were thought particularly appropriate.

Most popular in England, largely due to the architect Augustus Wilby Pugin (181-185) who had designed the interior and exterior of the Sir Charles Barry's new Houses of Parliament and the Big Ben Clock tower, was the Gothic Style.

The middle class did not really have a preferred style; they generally reinterpreted any style that took their fancy.

UPHOLSTERY

Upholstery was highly patterned by this time due the inventions like the jacquard loom.

Fabric production was increased and more complicated patterns were accomplished as a result of the industrial revolution. But the process of upholstering furniture was also improved due to the industrial revolution. By the 180's the use of the coil spring (invented in 18 by Gerog Junigl of Vienna) in furniture was widespread throughout Europe. In this new upholstery the same narrow strips of fabric or leather webbing were interlaced across a seat frame, and a piece of linen was tacked above it but as before, but it now supported a group of coil springs instead of horse hair. Each spring was sewn to the webbing and all of them were tied down to a certain height and to each other so as to resist lateral pressure. A piece of canvas covered them, and a thin layer of horsehair on top cushioned the sitter from the springs themselves. And as before, the exterior material be it cloth, leather or some other fabric was attached to the furniture frame. Coil spring upholstery necessitated a great change in the appearance of a chair or sofa, for the seat now had to be much deeper. In about 180 the loose tassels of silk used in tufting disappeared in favor of buttons, finished in the same fabric as the seat of back. By about mid century this feature was combined with coil springing in the technique known as deep buttoning springs were placed between the buttons, which were drawn downward, creating a series of indentations. Excess fabric was gathered into pleats at the buttons. Deep buttoning helped to hold the coils in place and maintain the shape of the seat.

These developments suited the increasing desire for comfort and luxury in furniture on the part of the expanding bourgeois market that was generated by the industrial revolution.

The Victorian period witnessed the most pronounced manifestation of this trend in overstuffed furniture. Rounded corners, replacing square-stuffing, were combined with coil springing and deep buttoning in forms that were both massive and opulent in appearance. Often, the entire wooden framework of a piece was covered in upholstery. Novel forms that displayed this type of upholstery were the Borne, Divan, Lounge Chair, and various sorts of Ottoman.

OTHER FABRIC USES

Heavy drapery festooned every possible surface in Victorian Homes-pelmets, mantelpieces, door lintels and tables. In summer, much of the drapery tended to be cotton, muslin or chintz; the colder months velvet or damask would be used instead.

During the early Victorian period the popular colors were crimson and bottle green. But after the introduction for aniline and other chemical dyes colors would be fairly lurid. When chemical dyes were developed in the 1850's brighter colors were introduced, principally purple, Prussian blue, yellow and green. However this new brilliance could do little to lighten up the over all gloom prevalent during both day and night the window treatments cut out a lot of the sunlight, and artificial illumination was generally poor as paraffin lamps were not yet introduced.

The furniture tended to be rounded, heavily stuffed and elaborately trimmed. It was light colored and striped and floral chintz was used as loose covers for drawing rooms or bedrooms. Naturalistic pieces could be covered in plush, horsehair or dark silk, trimmed w/floor-length fringing, gimp and tassels. The upholstery on furniture pieces such as footstools and chair seats incorporated needlework; embroidered cloths, mats, antimacassars, beadwork and above all a type for tapestry embroidery called Berlin Wool work.

Towards the middle of the century, because Victorians like draping everything in sight, fireplaces were often dressed in fabric, a flounced pelmet, perhaps of velvet, attached to the mantle shelf and curtains that can be drawn across the opening when the fireplace is not in use was common.

Dressing tables were lavishly draped in lace-covered calico.

After 180 window treatments became symmetrical again. Divided curtains looped back low down and trailing into the floor would emulate a typical effect; contrasting linings or corded edges would give added authenticity. Behind heavy main curtains would be a pair of sub curtains in lace or muslin.

At the time the entire window was usually framed by a deep flat pelmet or lambrequin, which extended down 1/ of the curtain at the center and almost to the floor on either side. The lambrequin might be elaborately shaped and trimmed to reflect a particular style such as Gothic or Moorish. During this period there were also "glass curtains" (like net curtains) which hung against the lower panes to preserve privacy. Heavy silk or worsted damask figured satin and merino were fabrics favored for drawing rooms, with muslin for the summer. Green or red damask was for dining rooms. Chintz was reserved mainly for loose covers and for bedroom drapery. Trellis, floral sprigs, designs evocative of the Gothic style were the patterns or designs common on fabric.

At the window either heavy fringed drapery was pulled back to one side or divided with twisted rope and bed curtains were treated the same usually.

CONCLUSION

The Industrial Revolution in Britain eventually improved the processes of textile production and furniture upholstery and drastically changed the population of the city to large numbers and living in the country declined. The builders of industry lived in the urban areas while the aristocrats continued living in the country but vacationed in the city. This increase in population in urban areas spurned a building trend to meet the housing needs of these people and therefore a new era of architectural design and interior decorating in which Rococo, Gothic, and the Italianate styles was revived.

Features from almost every historical period were combined in the first half of the 1c. Fabrics were printed with gothic heraldic and Moorish designs, among others. Curtains and door treatments tended to be symmetrical, using brocades, velvets, tartans, and damasks, heavily trimmed with fringes and often lined with a contrasting color. Lighter touches were achieved with chintz move often kept for bedrooms or used for loose covers.

BIBLIOGRAPHY PAGE

Mantoux, Paul. The Industrial Revolution in the Eighteenth Century, An outline of the beginnings of the modern factory system in England. 18 Published by the University of Chicago Press Ltd., London. Pp. 107, 10, 17-8, 1. 4, 51, , 45, 4, 18, 104, 108., 17-04, 01-, 47-8, 11, 0, 41, 5-6, 0, 0-4, 5, 7, 8, 67, 441, 67, 6, 181, , 66, 00, 44, 66n, 7, 18, 6, 4, 45, 47, 5, 6, 6, 18, 0, 44-5, 404, 10.

Evans, Hilary & Mary. The Victorians at Home and at Work. 17 Published by Arco Publishing Company, Inc. New York, Great Britain. Pp. 11 .

Jones, Owens. The Grammar of Ornament, A Unique Collection of More than ,50 Classic Patterns. 180 1874 & 001 Published by Dorling Kindersley Limited United States and Britain. Pp. 7, 418, 41, 484.

Fleming, John and Honour, Hugh. Dictionary of the Decorative Arts. 177 Published by Harper & Row, Publishers New York, Hagerstown, San Francisco, London. Pp. 451, 55, 80.

Boger, Louise Ade. The Complete Guide to Furniture Styles Enlarged Edition. 16 Published by Charles Scribner's Sons New York and Canada. Pp. 1 , 471, 47, 51.

Gilliatt, Mary and Wilhide, Elizabeth. Period Style. 10 Published by Little, Brown and Company Boston, Toronto, London. 14, 11, 11, 110, 111, 108, 10, 15, 16- 17.

Boyce, Joseph. Dictionary of Furniture Second Edition. 001 Published by Checkmark Books New York, NY. Pp. 6, 88, 15, 0, 15, 06, 1.

Please note that this sample paper on industrial revolution and its effects on victorian interior design is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on industrial revolution and its effects on victorian interior design, we are here to assist you. Your persuasive essay on industrial revolution and its effects on victorian interior design will be written from scratch, so you do not have to worry about its originality.

Order your authentic assignment from and you will be amazed at how easy it is to complete a quality custom paper within the shortest time possible!

1919, Art and Design from around the world

If you order your custom term paper from our custom writing service you will receive a perfectly written assignment on 1919, Art and Design from around the world. What we need from you is to provide us with your detailed paper instructions for our experienced writers to follow all of your specific writing requirements. Specify your order details, state the exact number of pages required and our custom writing professionals will deliver the best quality 1919, Art and Design from around the world paper right on time.

Our staff of freelance writers includes over 120 experts proficient in 1919, Art and Design from around the world, therefore you can rest assured that your assignment will be handled by only top rated specialists. Order your 1919, Art and Design from around the world paper at affordable prices!

The beginning of the 0th century was a period that saw unprecedented change. With dynamic change occurring all over the world through rapid industrialisation, and rivalry between states there came a growing tension in western countries, culminating with WW1.

Artists began looking for an art for the century, one that reflected these changes. In addition, the psychoanalytic investigations of Sigmund Freud expanded our understanding of the mysteries of the human mind and prompted artists, writers and poets to gaze more inwardly. This decade was about breaking down all accepted conventions that were characteristic of the centuries past.

Art Nouveau from the previous century was a major influence on the way designers created. It inspired the invention of new forms rather than replicating the forms of the past. However, with the birth of the Vienna Secession in 187, lead by Gustav Klimt, a new appreciation for clean and geometric design became popular.

Deutsche Werkbund

The Werkbund was a union of artists, architects, and designers in 107 Germany who took into consideration the current processes of industrial production. The group's leaders included Hermann Muthesis, Peter Behrens, and Henry Van de Velde. They were influenced by the Arts and Crafts Movement of the preceding century. The Werkbund was concerned with marrying technology and design. They believed that they could make everything in the new world more beautiful through design. Two groups emerged from this movement. One felt that form should follow function; the other believed that objects could be functional and aesthetically pleasing. Behrens attempted to bridge this gap by the complete designing of the company Allgemeine Elektrizitats Gesellschaft (A.E.G.). He was the first designer to apply similar designs to all of a company's products. He designed everything for A.E.G. from household products such as teapots to electric motors.

Cubism

With Sigmund Freud's publishing of the "Interpretation of Dreams," contemporary attitudes and values were changed. Freud emphasised the importance of understanding the instinctual side of human nature. These ideas were reinforced when Pablo Picasso applied elements of ancient Iberian and Africa tribal art to the human figure in the mid to early 100's. It became a method of painting and sculpture in which the subject matter is portrayed by geometric forms without realistic detail. The Cubist style rejected traditional techniques of the Renaissance.

French painter Paul Cezanne was widely known as a

cubist and a master of this technique. Cubist painters were not bound to copying form, texture, colour, and space; instead, they presented a new reality in paintings that depicted radically fragmented objects, whose several sides were seen simultaneously. Picasso and another contemporary artist Georges Braque evolved cubism into a form called Analytical Cubism. This variation involved an emphasis on colours, textures and shapes. Again cubism evolved into synthetic cubism where forms were abstracted even further.

Futurism

Like most movements of this decade, literature sparked the minds of artists. Italian poet Filippo Marinetti published his "Manifesto of Futurism" in 10, in which he describes an "enthusiasm for war, the machine age, speed and modern life." (Meggs 5) Once again, it was a rebellion against the "spineless worshipping of old canvases, old statues and old bric-a-brac, against everything which is filthy and worm-ridden and corroded by time." (Scarborough)

On a page of poetry, the typography would take on a musical character. Contrasting typefaces, unique and unheard of layouts were all used to spark the emotions of the reader. The artists involved in this movement were Umberto Bocconi, Carlo Carra, Luigi Russolo, Giacomo Balla and Gino Severini. Futurism forced designers to "rethink the very nature of the typographic word and its meaning." (Meggs 8)

Dada

Dada came about as an objection to the current war, and as a result, inspired innovation and rebellion. The key word in this movement was shock and nonsense, and in some cases, mocking. In general, dada strove to recontextualize the everyday into different meanings. For example, Marcel Duchamp, a French painter, would take a somewhat offensive or ridiculous object and simply sign his name on it. (think urinal masterpiece, Fountain). Artists such as Raoul Hausmann, John Heartfield, and Kurt Schwitters used collage to explore new levels of wackiness. One of Dada's most prominent literary leaders was poet Tristan Tzara. He once remarked, Like everything in life, dada is useless". But of course, dada design was not entirely functionless; while dada burned out by the early 10s, its design innovations have been relevant ever since.

Surrealism

Surrealism grew principally out of the earlier Dada movement with less importance on shock value. Surrealist artists such as Salvador Dali were searching for the "more real than real world behind the real," suggesting Freud's beliefs that the unconscious was the key to human behavior. Andre Breton, poet and critic and the major spokesman of the movement, published The Surrealist Manifesto. In it he describes surrealism as a means of "reuniting conscious and unconscious realms of experience" (Pioch) so completely that the world of dream and fantasy would be joined to the everyday rational world in an absolute reality, a surreality.(Honour and Fleming 804) Drawing heavily on theories adapted from Freud, Breton saw the unconscious as the wellspring of the imagination. He defined genius in terms of accessibility to this normally untapped realm, which, he believed, could be attained by poets and painters alike.

Expressionism

Emerging from Germany before World War 1, expressionism can be described as a form of art that aimed to reflect the artistss state of mind rather than the reality of the external world. Colour, line, brushwork and shape were often manipulated to intensify emotions and symbolism. Expressionists in Germany felt uneasy about the war and rebelled againt the harsh authority of the military. German expressionists formed two groups Die Brucke and Der Blaue Reiter. Die Brucke emphasized emotional force, their paintings included distorted forms, and they were typically bright.

They contain loose brushstrokes that stylize facial features, body shapes, and gestures. In 111, Kandinsky, Paul Klee, Franz Marc, and August Macke established Der Blaue Reiter striving toward "absolute abstraction." They shared the belief that colour and form could communicate the soul of the artist to the viewer. Shapes, colours, lines, and patterns all have psychological effects, and artists can compose these elements as a composer might use tone and melody. Like most movements of the decade, expressionism strived to comment on the human condition with emphasis on social and political themes.

Suprematism & Constructivism

Suprematism began in Russia c.11 and was based around artist Kasimir Malevich. Malevich built up pictures from geometric shapes without reference to observed reality, producing an art that expressed only pure aesthetic feeling rather than with a connection to anything social, political or otherwise.

El Lissitsky was a leading figure in the constructivist group. He believed that he could bridge the gap between art and technology; he felt that technology was the determining factor in artistic perception and creation. What was initiated was a totally new way to approach visual art by creating geometric, non-objective art in a two dimensional form. The groundwork laid by suprematism and constructivism continues to be an approach favoured by many artists today.

De Stijl

In 117 Holland, Theo van Doesburg formed a new design group that he called De Stijl, or, "the style." This was a group of artists, designers, architects who took influences from painters. The De Stijl designers worked in a geometric, abstract style and sought to achieve harmony and equilibrium achieved by the balance of verticals and horizontals. One of the group's most prominent designers was Piet Mondrian. Mondrian along with other De Stijl group members eliminated any representational elements from his designs and chose to use primary blocks of colour to express the mathematical structure of the universe. As in the example of Gerrit Rievveld's "Interior of the Schroder House" (Woodham 7), the aesthetic principles of this movement could be applied to architecture as well.

If we look at the chaotic state of society in Holland at the time, during the First World War, we can understand that the people wanted peace, rest and harmony again. The members of De Stijl tried to reflect in their work what in the society wanted to achieve, an ideal harmony.

The Bauhaus

After the war in Germany, artists and designers alike thought that they could help to bring about new social conditions through the creation of a new visual environment. In 11 Walter Gropius opened a school of design he named Das Staatliches Bauhaus. His theory was that artistically trained designers could "breathe soul into the dead product of the machine." (Honour and Fleming 85) Gropius wanted to rid the design world of historicism and unify art, handwork and industry. Because the structure of Bauhaus student education was unlike any school before, it has influenced the way design students are taught to this day. The Bauhaus was one of the most influential architecture and design schools of the 0th century.

The beginning of the twentieth century was characterized by a revolt against artistic traditions going back to the early fourteenth century. Never before had artists dared to be so adventurous and daring. The designers and artists had to deal with the new innovations in science and technology, and somehow apply it to the construction of their creations. Things were changing; the world was in a transition. They needed a new style for the new century and to define themselves as modern people. Because of the innovations of these extraordinary people, we as designers today have a strong groundwork on which we can base our own designs. Thank you.

Bibliography

Online Sources

1. Scarborough, Kim. "The Manifesto of the Futurist Painters."

http//www.unknown.nu/futurism, June 14, 00.

. Pioch, Nicolas. "Surrealism."

http//www.ibiblio.org/wm/paint/glo/surrealism, Oct.14, 00

. A Sarphy Production. "The Style."

http//www.the-artfile.com/uk/styles/stijl, March 6, 00

Other Sources

4. Honour, Hugh and John Fleming. The Visual Arts A History.

New Jersey Prentice Hall Inc, 000.

5. Meggs, Phillip B. A History of Graphic Design.

Canada John Wiley & Sons, Inc., 18.

6. Tesch, Jurgen and Eckhard Hollmann. Icons of Art. The 0th Century.

New York Prestel-Verlag, 17.

7. Hauffe, Thomas. Design. An illustrated historical overview.

New York Barron's Educational Series, Inc., 16.

8. Harrison, C. Primitivism, Cubism, Abstraction The Early Twentieth Century.

London New Haven, 1.

. Woodham, Jonathan M. Twentieth-Century Design.

New York Oxford University Press, 17.

Please note that this sample paper on 1919, Art and Design from around the world is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on 1919, Art and Design from around the world, we are here to assist you. Your cheap custom college paper on 1919, Art and Design from around the world will be written from scratch, so you do not have to worry about its originality.

Order your authentic assignment and you will be amazed at how easy it is to complete a quality custom paper within the shortest time possible!

The Media Pertaining to Woman

If you order your research paper from our custom writing service you will receive a perfectly written assignment on The Media Pertaining to Woman. What we need from you is to provide us with your detailed paper instructions for our experienced writers to follow all of your specific writing requirements. Specify your order details, state the exact number of pages required and our custom writing professionals will deliver the best quality The Media Pertaining to Woman paper right on time.

Our staff of freelance writers includes over 120 experts proficient in The Media Pertaining to Woman, therefore you can rest assured that your assignment will be handled by only top rated specialists. Order your The Media Pertaining to Woman paper at affordable prices!

INTRODUCTION

In studying communications, I have taken interest in the effects the media may have on the human psyche. Being a woman, I concentrated on the discrimination and under representation of women that is evident in the media. Focus has been specifically made on the effects that stereotypes and under-representations of women on television have on the typical viewer. It is the intent of this paper to prove that the media, through television programs, exhibits and enforces specific gender stereotypes to the general public and affects the public's views on gender norms and behaviour.

The issue of gender stereotypes and discrimination against women on television is important on a global and personal level. Men and women around the world are expected to dress, think and behave in ways dictated to them by the programs that they view on television. These views are enforced by an elite few who demand that they public obey their beliefs by controlling our source of entertainment. This issue is also important on a personal level because gender stereotyping inhibits the way I must act and behave as a woman. The media presents the public with only two possible genders, male and female, forcing them to associate with only one (out of a possible four) . Anyone who chooses a gender other than male or female is looked upon as a deviation from the norm. My objective is to focus on the way in which the media presents women and how it has such an immense effect on how they identify themselves as such.

In order to provide evidence supporting my hypothesis, this paper will include articles from Volumes 0 and 6 of The Journal of Broadcasting and Electronic Media. Research is presented regarding women on television in the following articles 'Perceptions of the Traits of Women on Television' by Rita Atwood, and 'Prime Time Pilots A Content Analysis of Changes in Gender Representation' by David Vest. Nelson and Robinson's text, Gender in Canada has also been selected in furthering my study of the portrayal of women in television.

Order Custom Essay on The Media Pertaining to Woman

JOURNAL/TEXT REPORT

In her study, Rita Atwood conducted open-ended interviews among adult television viewers in order to report the diverse opinions and interpretations that were made. This study aimed to gain greater insight on the standards that audience members employ when regarding images of women on television and the factors that are associated with the differences in standards. The audience members were to categorize whether the women's roles viewed were either 'positive' or 'negative'. The audience was allowed to provide their own definitions of which traits were positive and which were negative. "Telephone interviews were completed with residents of 6 households, 154 women and 10 men ranging in age from 17 to 7." (Atwood, 6) Analyses of the open-ended responses involved a development of specific 'positive' and 'negative' categories and coding by authors.

Positive assessments of women were linked to the following trait categories in the following percentages 6.7% of respondents found that women were determined, strong and independent; 5.7% of respondents found that women were professional, intelligent and skilled; .8% of respondents found that women were traditional, care-taking and feminine. Negative assessments of women, however, were linked to the following trait categories in the following percentages 4.% of respondents saw women portrayed as the silly housewife, dumb blonde or sex object; 6.% of respondents found that women were immoral, selfish, aggressive or evil; 0.5% of respondents found that women were exploited, degraded and dependant. (Atwood, 8-) A significant finding with regards to Atwood's research was that the majority of responses reflected a 'contemporary' basis for evaluating characteristics of women on television. For example, most respondents classified women on television as positive because of their strength, intelligence and ability to be professional, while women on television were described as negative because they are shown as weak, exploited victims, demented housewives, or sex objects. The minority of answers given by respondents was based around a 'traditional' basis for evaluation. For example, in this grouping women were seen as positive because they were attractive, moral and caretakers, while they were seen as negative because they were selfish, immoral or aggressive. The placing of the aforementioned traits in their 'positive' and 'negative' groupings presents the 'Madonna-whore' complex that was so largely regarded in the past. The study also found that women and men did not differ greatly on their opinions of positive and negative traits for women in television. "In sum, these results offer support for the assertion that people actively construct meaning from their message environments, and that they are uniquely qualified for and capable of providing useful insight into such experiences." (Atwood, 100)

In this study, David Vest explores the degree to which the production and re-write process is responsible for the limited portrayal of women in television. It was assumed that early versions of scripts had a high presence of women, which deteriorated as the scripts were reorganized towards conventionalization. (Vest, 7) A set of forty programs were identified as being the population of television programs which premiered during the 186-87 television season, however, only twenty one sets of scripts were made available to coders (one undergraduate communication major and two graduate communications majors). The study had to be arranged in groups according to included and non-included shows and 'proven' and 'unproven' producers. "Unproven producers were involved with eight non-included and ten included programs, while proven producers were responsible for eleven included and eleven non-included programs. The changes looked for in the episodes were sex, age, occupation, marital status and scenes. Six, three part hypotheses were made in order to conduct the study.

The hypotheses and their results are as follows

Hypothesis #1- Men will outnumber women in the shooting version of the scripts. The ratio of men to women will be lower in the early version of the scripts. The shift toward under-representation will be larger in programs produced by relatively untested producers. The results of this hypothesis were that proportion of men to women in the shooting script was approximately to 1 in both early and shooting scripts. Furthermore, regardless of producer status, the under-representation of women remained constant.

Hypothesis #- Compared to men, women will have smaller roles in the shooting scripts. This difference will be less pronounced in the earlier versions. The shift toward smaller roles will be less pronounced in the programs of established producers. The results of this hypothesis were that the difference between men and women in terms of role size was not different between early and shooting versions. Also, scripts by unproven producers were more likely to have larger roles for women than proven producers.

Hypothesis #- In the shooting version of the scripts, women will be shown less frequently than men in single-sex scenes. This difference in single-sex scenes will be less in the early version of the scripts. The shift toward a higher proportion of male single-sex scenes to female single-sex scenes will be less pronounced in the programs of established producers. The results of this hypothesis were that the ratio of all male scenes to all female scenes was to 1, but this did not significantly change between early and shooting versions. Moreover, there was no support that the status of the producer had any relationship to the changes made in the scripts.

Hypothesis #4- The age distribution for women will be narrower and younger than the age distribution for men in the shooting version of the scripts. These differences will be smaller in the early versions. The shift to a narrower and younger age distribution for women will be less pronounced in the programs of established producers. The results of this hypothesis explain that the "difference between ages according to status was consistent with the notion that the programs of proven producers offer less conventional fare (in this case, a less dramatic gap in the mean ages of men compared to women)." (Vest, 6) However, in both proven and unproven scripts, the mean age of women decreased from early to shooting versions.

Hypothesis #5 - The range of occupations for women will be narrower than the range of occupations for men, and these occupations will tend to cluster within traditional female spheres of activity in the shooting version of the scripts. This constraint will be less pronounced in the early version of the scripts. The shift toward constraint will be most evident in the programs produced by individuals without and established track record. When researching for this hypothesis, it was found that women were found in as many occupations as men, yet were involved in student or traditional female occupational categories, while men outnumbered women 5 to 1 in professional, powerful and traditionally male categories. In addition, there was no evidence supporting the claim that changes occurred between versions or because of producer track record.

Hypothesis #6- Marital status will be a more evident and central feature for women than for men in the shooting version of the scripts. The differences in marital status between men and women will be less pronounced in the early version of the scripts. The change in focus will be most clearly noted in the work of unproven producers. As hypothesized, the marital status of women was more evident than the marital status of men in the shooting version of scripts. However, there was little change in the early or shooting versions and no evidence supporting that proven producers would change towards a more balanced representation of men and women.

Thus, although it was proved that women are, indeed, under-portrayed in television, there was no evidence to support the claims that early and shooting versions of scripts were altered and that proven producers were responsible for eliciting a change among these versions.

In Gender in Canada, Nelson and Robinson claim that the media often misrepresents or fails to represent women because of gender role stereotypes and socialization. Gender role stereotypes are structured sets of beliefs about the personal attributes of men and women and contain notions of qualities possessed by individuals who belong to a particular manifestation of society.

Television has perpetuated and reinforced traditional stereotypes of men and women. Children's television shows feature more males than females, although females are the primary caregivers in most households. In prime time, male characters outnumber female characters two to one, with male characters more likely to hold high status positions. "Content analysis research reveals that men represent 65.4 percent of all prime time television characters and are more likely to be cast in dramatic roles. Women, in contrast, are not only less visible, but are also found primarily in comedies, implicitly suggesting that they are not to be taken very seriously." (Nelson and Robinson, 1) Males are typically cast as adventurous, aggressive and heroic figures who rescue others from danger and females are cast as submissive and passive characters. Even young children are gender typed boys are more assertive, rational and sarcastic, while girls are always on the phone, reading magazines or helping with household chores.

Nelson and Robinson (pg. 1) point out eleven main types of female characters i) the Imp rebellious and rowdy; ii) the Goodwife a beneficent character; iii) the Harpy an aggressive, single women; iv) the Bitch a strong-willed, self absorbed, and destructive woman; v) the Victim a woman suffering from pain, injury, imprisonment, or disease; vi) the Decoy described as 'bait in chic clothing'; vii) the Siren sexy and sinister; viii) the Courtesan a female entrepreneur/clotheshorse; ix) the Witch a woman portrayed as having some form of special power; x) the Matriarch a competent, brave and socially prominent older woman; and xi) the Androgyne a strong, autonomous female who combines both masculine and feminine traits and behaviours. In the 10'sthe role of the androgyne has become more popular with roles such as Murphy Brown, Xena, and Dana Scully.

Although advances are being made "Meehan claims that 'As we approach the turn of the century, despite massive real-world changes in gender roles, the world of television persists in…stereotyped and sexist images.'" (Nelson and Robinson, p. 14) Women, however, are not under represented in the world of soap operas, and they are not restricted to a life of domesticity, but one of intrigue, adventure and romance. Women may become important and powerful in business, but their careers tend to be in areas that are gender-appropriate (business worlds of fashion, cosmetics or hospitality). Women are often depicted as acquiring this power through their ties to powerful men, or in exercising their devious qualities. Images of men rescuing the interests of weaker females reinforce the stereotypes of women's unsuitability for the high-pressure world of business. Also, women who demonstrate stereotypical femininity are often presented as being morally superior to those who are more masculine. Strong women who are successful, assertive, and highly determined to survive without men are portrayed as villains.

One surely can argue that television is merely for entertainment and should not be taken seriously but that argument lacks strong supporting evidence. Media, specifically television, has an immense effect on how the women (and men) identify with their gender. Roles are neatly categorized into masculine and feminine and characters are played out as such by through fictitious sitcoms. This, in turn, has a direct influence on how people identify with their own gender, through examples of popular sitcoms and television in general a distorted image of women is on a slow route to a positive change. Please note that this sample paper on The Media Pertaining to Woman is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on The Media Pertaining to Woman, we are here to assist you. Your persuasive essay on The Media Pertaining to Woman will be written from scratch, so you do not have to worry about its originality.

Order your authentic assignment from and you will be amazed at how easy it is to complete a quality custom paper within the shortest time possible!