Hate Crimes in Canada Essay -- Racial Relations, Minority Victimizatio

According to Petrosino (2003: 10) hate crimes can be defined as "..the victimisation of minorities due to their racial or ethnic identity by members of the majority. " (p. 4) Hate crimes are also known as bias-motivated crimes because the crimes are motivated by a bias towards a person or persons including but not limited to those of a different gender, ethnic background, religion, or sexual orientation. Hate crimes are quite serious and have severe and long lasting-effects for the targeted victims. Due to the severe nature of the crimes many countries have strict laws in place to punish offenders. Hate crime is not widely discussed in Canadian society because it has not been a prominent issue until now. â€Å"..The extent of the problem in Canada was limited to a small number of persons, such activity could create a climate of malice and destructiveness to the values of our society (Cohen Report, 1966:24). As a result of the committee’s efforts, Parliament amended the Crimin al Code in 1970, thus rendering hate propaganda as a punishable offence (Law Reform Commission of Canada, 1986:7) There are several reasons why offenders commit hate crimes, they vary from case to case, however, one key element is fear which is caused by ignorance. The offenders fear the unknown and the competition they feel that exists, them vs. the ‘others’. When fear is accompanied by other factors it could potentially lead to a violent crime. â€Å"The Desmond 2 economic or social success some minorities have attained may result in increased feelings of resentment by members of the larger population. As Levin & McDevitt (1993:48) argue, resentment can be found to some extent in the personality of most hate crime offenders. It may be directed toward a part... ..., or might serve as an entire defence.† and aggravating circumstance is defined as â€Å"Circumstances that make a crime more serious in the eyes if others; in hate crime, for example, racism makes an assault more serious, resulting in a harsher sentence.† (McCormick. Siegel, 2007, p.114) Involvement of organized hate groups or their members, absence of motive and existing patterns of similar incidents in a particular area are signs that a bias-motivated crime may have occurred, this warrants further investigation. Often times the individuals are unaware that they are victims of a hate crime. It is not uncommon to have victims and offenders be a part of the same gender, race, sexuality or religion, it is not always about the common differences but the perpetrator's perception of ‘difference’.

Claude Monet: Grainstack (Sunset) Essays -- essays papers

Claude Monet: Grainstack (Sunset) Claude Monet's Grainstack (Sunset) is the painting I chose from the Boston Museum of Fine Arts. Monet was an impressionist painter in France, and did most of his work at his home at Giverny. Impressionism got its name from a painting that Monet painted, Impression Sunrise. Impressionist paintings are put into a category based on characteristics such as light that draws attention to objects, rough textures, and visual pleasure that the viewer receives upon looking at the paintings. Impressionist paintings are art for arts sake and focus on leisure and nature. These paintings are generally the most well known and popular paintings because of their attractive appearance. The Grainstack (Sunset) was painted between 1890 and 1891, and is a part of Monet?s first true series paintings. During the time of this series was painted, there was a lot of unrest going on in Europe. Many of the major cities were experiencing industrial growth, and it was causing the people to suffer from a magnitude of social problems. There were high rates of suicide, and anarchist groups. Over the years to follow, 1889 to 1894, there were at least 600 strikes involving 120,000 workers. There were bombings, raids, and wide spread fear across the country. It was during this time period that Monet was going to establish himself as one of the major painters of the country. As the viewer looks at this painting, they are taken into a rural scene. You notice first the grainstack as the major object in the painting. As you move around the painting, there are many striking areas of light. The sunset causes a brilliant display of colors around the scene. The sky is fading in the background as the sun sunsets. There is a small amount of blue still hanging in the sky, and under that a large portion of a yellow hue from the sun setting. As the suns sets further it cause a pink color above the land. The sunset has cause the grainstacks color to darken. You can see that the light left in the scene is on the other side of the stack. There is a shadow cast of the back side, making the stacks top dark brown, and the bottom a dark red. The rural scene in the Grainstack (Sunset), as well as the other grainstacks in his series paintings, all basically share many of the same characteristics. The haystacks are never overwhelmed by light. As in the Grainstac... ...ainting and finding out what is behind it makes the work a lot more interesting. Monet?s grainstacks have not only taught me about him as a painter and why he painted as he did, but also about France and what was going on during this period. His works are a beautiful representation of what life was like, and what Monet was experiencing right in his own backyard. Bibliography Hayes Tucker, Paul. Monet in the 90?s: Series Paintings. Boston Museum of Fine Arts; New Haven: Yale University Press, 1989. Hayes Tucker, Paul. Monet in the Twentieth Century. Boston Museum of Fine Arts; New Haven: Yale University Press, 1998. Frascina, Francis. Modernity and Modernism: French Painting in the Nineteenth Century. New Haven: Yale University Press, 1993. Gerdts, William H. Monet?s Giverny: An Impressionists Colony. New York: Abbeville Press, 1993. Copplestone, Trewin. The History and Techniques of the Great Masters: Monet. New Jersey: Chartwell Books, 1987. Tomkins, Calvin. ?Monet?s Illusion.? Vanity Fair. July 1995, Vol. 58 Issue 7: pg. 96-102. Hurwitz, Laurie S. ?The Well Planned Spontaneity of Claude Monet.? American Artist. March 1996, Vol. 60 Issue 644: pg. 56-64. Claude Monet: Grainstack (Sunset) Essays -- essays papers Claude Monet: Grainstack (Sunset) Claude Monet's Grainstack (Sunset) is the painting I chose from the Boston Museum of Fine Arts. Monet was an impressionist painter in France, and did most of his work at his home at Giverny. Impressionism got its name from a painting that Monet painted, Impression Sunrise. Impressionist paintings are put into a category based on characteristics such as light that draws attention to objects, rough textures, and visual pleasure that the viewer receives upon looking at the paintings. Impressionist paintings are art for arts sake and focus on leisure and nature. These paintings are generally the most well known and popular paintings because of their attractive appearance. The Grainstack (Sunset) was painted between 1890 and 1891, and is a part of Monet?s first true series paintings. During the time of this series was painted, there was a lot of unrest going on in Europe. Many of the major cities were experiencing industrial growth, and it was causing the people to suffer from a magnitude of social problems. There were high rates of suicide, and anarchist groups. Over the years to follow, 1889 to 1894, there were at least 600 strikes involving 120,000 workers. There were bombings, raids, and wide spread fear across the country. It was during this time period that Monet was going to establish himself as one of the major painters of the country. As the viewer looks at this painting, they are taken into a rural scene. You notice first the grainstack as the major object in the painting. As you move around the painting, there are many striking areas of light. The sunset causes a brilliant display of colors around the scene. The sky is fading in the background as the sun sunsets. There is a small amount of blue still hanging in the sky, and under that a large portion of a yellow hue from the sun setting. As the suns sets further it cause a pink color above the land. The sunset has cause the grainstacks color to darken. You can see that the light left in the scene is on the other side of the stack. There is a shadow cast of the back side, making the stacks top dark brown, and the bottom a dark red. The rural scene in the Grainstack (Sunset), as well as the other grainstacks in his series paintings, all basically share many of the same characteristics. The haystacks are never overwhelmed by light. As in the Grainstac... ...ainting and finding out what is behind it makes the work a lot more interesting. Monet?s grainstacks have not only taught me about him as a painter and why he painted as he did, but also about France and what was going on during this period. His works are a beautiful representation of what life was like, and what Monet was experiencing right in his own backyard. Bibliography Hayes Tucker, Paul. Monet in the 90?s: Series Paintings. Boston Museum of Fine Arts; New Haven: Yale University Press, 1989. Hayes Tucker, Paul. Monet in the Twentieth Century. Boston Museum of Fine Arts; New Haven: Yale University Press, 1998. Frascina, Francis. Modernity and Modernism: French Painting in the Nineteenth Century. New Haven: Yale University Press, 1993. Gerdts, William H. Monet?s Giverny: An Impressionists Colony. New York: Abbeville Press, 1993. Copplestone, Trewin. The History and Techniques of the Great Masters: Monet. New Jersey: Chartwell Books, 1987. Tomkins, Calvin. ?Monet?s Illusion.? Vanity Fair. July 1995, Vol. 58 Issue 7: pg. 96-102. Hurwitz, Laurie S. ?The Well Planned Spontaneity of Claude Monet.? American Artist. March 1996, Vol. 60 Issue 644: pg. 56-64.

Critical Analysis of Tuesdays with Morrie by Mitch Albom Essay

Critical Analysis of Tuesdays with Morrie by Mitch Albom Tuesdays with Morrie, written by Mitch Albom, is a story of the love between a man and his college professor, Morrie Schwartz. This true story captures the compassion and wisdom of a man who only knew good in his heart and lived his life to the fullest up until the very last breath of his happily fulfilled life. When Mitch learned of Morrie’s illness, the began the last class of Morrie’s life together and together tried to uncover â€Å"The Meaning of Life.† These meetings included discussions on everything from the world when you enter it to the world when you say goodbye. Morrie Schwartz was a man of great wisdom who loved and enjoyed to see and experience simplicity in life, something beyond life’s most challenging and unanswered mysteries. Morrie was a one of a kind teacher who taught Mitch about the most important thing anyone can ever learn: life. He taught Mitch about his culture, about trust, and perhaps most importantly, about how to live. One lesson Morrie teaches Mitch is about the view his culture has and how we, not only Mitch but also the rest of the world, should not believe what they say. Morrie tells Mitch: â€Å"Take my condition. The things I am supposed to be embarrassed about now — not being able to walk, not being able to wipe my ass, waking up some mornings wanting to cry — there is nothing innately embarrassing about them. It's the same for women not being thin enough, or men not being rich enough. It's just what our culture would have you believe. Don't believe it.† Morrie speaks these words of advice to Mitch during their eleventh Tuesday together, when they talk specifically about culture. Gradually, Morrie has come to accept his physical handicaps, just as he has come to accept his impending death. He complains that the culture is wrong to deem natural physical need as socially embarrassing, and thus he refuses to believe that his handicaps are shameful. In rejecting the values of the popular culture, Morrie creates his own set of customs, which accommodate the physical shortcomings popular culture finds disgraceful and embarrassing. As Morrie sees it, popular culture is a dictator under which the human community must suffer. He has already suffered enough from his disease, and does not see why he ... ...s that one must accept the possibility of one's own death before he can truly appreciate what he has on earth, as the sobering awareness that one day, it will all be out of reach, prompts the urge to appreciate and value what one can have only for a limited period of time, and to use every moment of that time doing something that one will not regret when the bird sings its last note. Morrie’s messages about life in this book were not solely directed fro Mitch; they are meant for anyone who is willing to take the time to listen. For me, there is not only one thing I learned from Morrie. I learned that I should not take life for granted because you never know when it will be over. Even though I have heard it many times I never really believed that what the media says is not necessarily true, until I read this book. Finally, I learned that love and compassion, not only for others, but also for oneself are essential in living a happy life. It does not matter if someone is rich, or if they are poor for that matter. The truth is that as long as you lived your life as best you could, you learned from your mistakes, and you are happy with yourself, then you lead a fulfilling life. Critical Analysis of Tuesdays with Morrie by Mitch Albom Essay Critical Analysis of Tuesdays with Morrie by Mitch Albom Tuesdays with Morrie, written by Mitch Albom, is a story of the love between a man and his college professor, Morrie Schwartz. This true story captures the compassion and wisdom of a man who only knew good in his heart and lived his life to the fullest up until the very last breath of his happily fulfilled life. When Mitch learned of Morrie’s illness, the began the last class of Morrie’s life together and together tried to uncover â€Å"The Meaning of Life.† These meetings included discussions on everything from the world when you enter it to the world when you say goodbye. Morrie Schwartz was a man of great wisdom who loved and enjoyed to see and experience simplicity in life, something beyond life’s most challenging and unanswered mysteries. Morrie was a one of a kind teacher who taught Mitch about the most important thing anyone can ever learn: life. He taught Mitch about his culture, about trust, and perhaps most importantly, about how to live. One lesson Morrie teaches Mitch is about the view his culture has and how we, not only Mitch but also the rest of the world, should not believe what they say. Morrie tells Mitch: â€Å"Take my condition. The things I am supposed to be embarrassed about now — not being able to walk, not being able to wipe my ass, waking up some mornings wanting to cry — there is nothing innately embarrassing about them. It's the same for women not being thin enough, or men not being rich enough. It's just what our culture would have you believe. Don't believe it.† Morrie speaks these words of advice to Mitch during their eleventh Tuesday together, when they talk specifically about culture. Gradually, Morrie has come to accept his physical handicaps, just as he has come to accept his impending death. He complains that the culture is wrong to deem natural physical need as socially embarrassing, and thus he refuses to believe that his handicaps are shameful. In rejecting the values of the popular culture, Morrie creates his own set of customs, which accommodate the physical shortcomings popular culture finds disgraceful and embarrassing. As Morrie sees it, popular culture is a dictator under which the human community must suffer. He has already suffered enough from his disease, and does not see why he ... ...s that one must accept the possibility of one's own death before he can truly appreciate what he has on earth, as the sobering awareness that one day, it will all be out of reach, prompts the urge to appreciate and value what one can have only for a limited period of time, and to use every moment of that time doing something that one will not regret when the bird sings its last note. Morrie’s messages about life in this book were not solely directed fro Mitch; they are meant for anyone who is willing to take the time to listen. For me, there is not only one thing I learned from Morrie. I learned that I should not take life for granted because you never know when it will be over. Even though I have heard it many times I never really believed that what the media says is not necessarily true, until I read this book. Finally, I learned that love and compassion, not only for others, but also for oneself are essential in living a happy life. It does not matter if someone is rich, or if they are poor for that matter. The truth is that as long as you lived your life as best you could, you learned from your mistakes, and you are happy with yourself, then you lead a fulfilling life.

National cinema

The concept of national cinema in the age of globalization has several aspects to be debated upon. The matter demands attention specifically to be justified from the cultural point of view as well as commercial point of view. Firstly, the relationship between National identity and Cinema needs to be clarified. Each Nation or Country has some of its specific or salient traits in terms of its food, attire, language, sports, flora and fauna, country flag etc., which may be classified as the specific traits of a nationality, each of the said traits are restricted within the boundary of a nation and signifies the essence of   nativity. Cinema has commonly been analyzed as a medium of expression, specific to a geographically situated culture and within Cinema’s taxonomy, privilege has been granted to national cultures. The term National cinema is commonly used in film theory and film criticism to describe the films associated with a specific country, which   is hard to define, and its meaning is debated by film scholars and critics.A film may be considered to be part of the â€Å"national cinema† of a country based on a number of factors, such as the country that provided the financing for the film, the language spoken in the film, the nationalities or dress of the characters, and the setting, music, or cultural elements present in the film. To define a national cinema, some scholars emphasize the structure of the film industry and the roles played by â€Å"†¦market forces, government support, and cultural transfers. But, as cinema holds its root in the trade industry and it may be expressed in terms of exhibition and consumption, it calls for the importance of its trans-national exposure in this era of globalization. As a sequel, Cinema being an Industry, may be defined explicitly on economic terms, concerning basic infrastructures of production, distribution, exhibition on the capitalization and integration scale, as has also been depicted by Andrew Higson, 1997. It also involves patterns of ownership and control, size and constitution of workforce of the production unit, the size of domestic market, the degree of penetration of foreign markets , extent of foreign intervention ( from economic or cultural perspective) and the relative economic health of the industry. Thus, the history of ‘national’ cinema turns out to be portrayal of the history of a business seeking a secure position in the financial market with a view to maximize profits and generation of employment and hence, it is improper to assume that Cinema and film culture is bound by the national or state limits (Higson, 1997).   Ideally, any commodity when labeled national is bound to be primarily confined and positively contribute towards its place/state of origin. But in today’s era of liberalization /globalization, classification of Cinema cannot be restricted to any nation’s boundary. It would not be imprudent to mention here that ‘cinema’ originating from a specific country can only be termed as ‘national’ in true sense, when it projects the theme of nationhood, highlighting some national specific characters, ideologies, culture, traditions etc., without any sort of deviation from the same. But, in today’s world how many such films are released in the whole world is a million dollar question. The ultimate motive of Cinema which essentially goes transnational is to attain the status of popular Cinema, which is grossly different from so called, national theme cinema, hardly worthy of critical appreciation. Thus, it becomes imperative that it is not at all feasible to use the term national cinema in today’s global era where everything is transnational. Actually, there is only one Cinema of vertical integration, or the cinema which facilitates the production, distribution and consumption of films. Demarcation of   Cinema as ‘French’, ‘American’ or ’British’ concedes far too much to the misguided ideal of national culture. Although, all moves need not be portrayed of a nation, it is proved that when cinema goes global, at least up to some extent, it reflects the culture of its country of origin, the traditions, the economic and political scenario, across the transnational boundaries there by enriching the knowledge of the target audience across the global boundaries facilitating wider acceptance of the same. For instance, as per Scott MacKenzie, University of Glasgow, Canadian cultural and film critics have long debated how Canadian national cinema can be defined, or whether there is a Canadian national cinema. Most of the films shown on Canadian movie screens are US imports. If â€Å"Canadian national cinema† is defined as the films made in Canada, then the canon of Canadian cinema would have to include lightweight teen-oriented fare such as Meatballs(1979), Porky's (1983) or Death Ship (1980). Other critics have defined Canadian national cinema as a â€Å"†¦reflection of Canadian life and culture.† Similarly, France's national cinema includes both popular cinema and â€Å"avant-garde† films. French national cinema is associated with the auteur filmmakers and with a variety of specific movements. Avant-garde filmmakers include Germaine Dulac, Marie and Jean Epstein. Poetic Realism filmmakers include Jean Renoir and Marcel Carne. The French New Wave filmmakers include Jean-Luc Godard and Francois Truffaut. The 1990s and 2000s â€Å"postmodern cinema† of France includes filmmakers such as Jean-Jacques Beinex. German national cinema was influenced by silent and sound â€Å"Bergfilm† (this translates to â€Å"mountain film†). During 1920s and early 1930s, German national cinema was known for the progressive and artistic approaches to filmmaking with â€Å"shifted conventional cinematic vocabulary† and which gave actresses a much larger range of character-types. During the Nazi era, the major film studio UFA was controlled by Propaganda Minister Goebbels. UFA produced â€Å"Hetzfilm† (anti-Semitic hate films) and films which emphasized the â€Å"theme of heroic death.† Other film genres produced by UFA during the Nazi era included historical and biographical dramas that emphasized the achievements in German history, comedy films, and propaganda films as quoted by Sabine Hake (2002). According to film scholar Marek Haltof, the Polish School of directors made films which can be described as the â€Å"Cinema of Distrust.† In the late 1970s and early 1980s, Wajda, Krzysztof Zanussi and Barbara Sass made influentual films which garnered interest outside of Poland. At times, it proves highly tarnishing for the image of the country of origin of the Cinema, when the original piece of work is either, dubbed, subtitled or remade in the local languages, which attributes to wrong portrayal or misinterpretation on the part of the target global viewers and its impact may not be the same in all the nations, as foreseen. Thus, the national cinema need not be the best way to portray the nation trans-nationally. At the same time, if a cinema does well, internationally, its popularity and acceptance hold the nation high and sometimes it becomes a marketable brand. On the contrary, we may view the traveling of cinema effortlessly across the national borders as a powerful means of celebrating cultural diversity, transnational experiences and multinational identities. Even the impact of global cinemas falls on the production of local films, which definitely calls for a better standard, as far as the technical aspects are concerned. For example, reportedly, Boot-legged video cassettes of Jurassic Park (Steven Spielberg, 1993) were available in subway stations in Moscow the day before the film was released in United States. Many Americans, as well as audiences in other nations, have developed a taste for Japanese anim’e and martial art films from Hong Kong. Hong Kong Cinema has influenced the style of Hollywood movies, ranging from the works of   Quentin Tarantino to the Wachowski brothers, if certain elements of American crime films have been appropriated by Hong Kong directors, ninja choreography is at home in Los Angeles, not only in movies but also in dance moves on MTV. Increasingly, we are seeing the emergence of hybrid. Indian films are screened in Africa, England and even United States often catering to diaspora audiences. But at the same time, there lies a risk of the local indigenous cinemas promoting national identities to be displaced. It may be inferred that though it is not feasible to categorize cinema as ‘national’ cinema in this era of globalization, it would certainly culminate to the fact that as cinemas goes trans-national the cohesiveness among the nations based on the portrayed common platform of thoughts or ideologies being conveyed through films/cinema. Also, the cinema personalities, figures happen to become popular and acceptable worldwide. If the concept of ‘modern nation’ is referred, we consider the entire area of reach of a film under the jurisdiction of one single nation, which reaps the benefit of the cinema. Hence, we may consider the national cinema as a global brand in the age of globalization, which enriches, entertains and caters to the intellectual needs of the target audience globally. Bibliography Author : Andrew Higson (1997) – ‘Waving the Flag’ : Construction a National Cinema in Britain, Publisher :Clarendon Press, Oxford Publication. Cinema and Nation , Contributors : Mette Hjort (2000), Editor, Scott Mackenzie, Publisher : Routledge, London Publication. Theorizing National Cinema, Edited by Valentina & Paul (June, 2006) Scott MacKenzie, University of Glasgow. National Identity, Canadian Cinema, and Multiculturalism. Available at: http://209.85.165.104/search?q=cache:tDs13p3Z-rkJ:www.uqtr.ca/AE/vol_4/scott.htm+national+cinema&hl=en&ct=clnk&cd=20 German National Cinema, by Sabine Hake. London and New York: Routledge, 2002. Trade paper, ISBN 0-41508-902-6. Reviewed by Robert von Dassanowsky. Available at: http://www.brightlightsfilm.com/38/booksgerman.htm ^ Shelia Skaff. The cinema that is Marek Haltof's Polish National Cinema. Review of Marek Haltof's book Polish National Cinema. Available at: http://www.kinoeye.org/02/14/skaff14.php World Cinema Critical Approaches, Edited by Johnhill and Pamela Church Gibson, Oxford University Press Publication         

Sourav Ganguly

Sourav Chandidas Ganguly (About this sound pronunciation (help ·info); born 8 July 1972) is a former Indian cricketer, and captain of the Indian national team. Presently he is cricket commentator and President of Editorial Board with Wisden India[1]. Born into an affluent Brahmin family, Ganguly was introduced into the world of cricket by his elder brother Snehasish. He is regarded as one of India's most successful captains in modern times. [2] He started his career by playing in state and school teams.Currently, he is the 5th highest run scorer in One Day Internationals (ODIs) and was the 3rd person in history to cross the 10,000 run landmark, after Sachin Tendulkar and Inzamam Ul Haq. Wisden ranked him the sixth greatest one day international batsman of all time, next to Viv Richards, Sachin Tendulkar, Brian Lara, Dean Jones and Michael Bevan. [3] After a series of playing in different Indian domestic tournaments such as the Ranji and Duleep trophies, Ganguly got his big-break wh ile playing for India on their tour of England. He scored 131 runs and cemented his place in the Indian team.Ganguly's place in the team was assured after successful performances in series against Sri Lanka, Pakistan and Australia, winning the Man of the Match awards. In the 1999 Cricket World Cup, he was involved in a partnership of 318 runs with Rahul Dravid, which remains the highest overall partnership score in the World Cup tournament history. Due to the match-fixing scandals in 2000 by other players of the team, and for his poor health, Indian captain Sachin Tendulkar resigned his position, and Ganguly was made the captain of the Indian cricket team.He was soon the subject of media criticism after an unsuccessful stint for county side Durham and for taking off his shirt in the final of the 2002 Natwest Trophy. He led India into the 2003 World Cup final, where they were defeated by Australia. Due to a decrease in individual performance, he was dropped from the team in the follo wing year. Ganguly was awarded the Padma Shri in 2004, one of India's highest civilian awards. He returned to the National team in 2006, and made successful batting displays.Around this time, he became involved in a dispute with Indian team coach Greg Chappell over several misunderstandings. Ganguly was again dropped from the team, however he was selected to play in the 2007 Cricket World Cup. Ganguly joined the Kolkata Knight Riders team as captain for the Indian Premier League Twenty20 cricket tournament in 2008. The same year, after a home Test series against Australia, he announced his retirement from international cricket. He continued to play for the Bengal team and was appointed the chairman of the Cricket Association of Bengal's Cricket Development Committee.The left-handed Ganguly was a prolific One Day International (ODI) batsman, with over 11,000 ODI runs to his credit. He is one of the most successful Indian Test captains to date, winning 21 out of 49 test matches. Soura v Ganguly is the most successful Indian test captain in overseas with 11 wins. [4] An aggressive captain, Ganguly is credited with having nurtured the careers of many young players who played under him, and transforming the Indian team into an aggressive fighting unit.

Time and Life

Everyone wants to be successful in their own, different way. It is a mutual dream shared by all, to be rich and famous. In my perspective being successful is much different, because money is not everything. To make goals and follow your dreams will lead you down the road to success. Their will be bumps along the way, and you might have to take the harder road, but if you are willing to work hard and never give up, you will be successful. Like everyone, I have many dreams and goals that I would like to see myself accomplish during my life. I want to go to a great college and discover myself, what it truly means to be me.Then I will decide what I would like to spend the rest of my life doing because I honestly believe that, at my age, I do not contain within me the experiences necessary to determine what I want to be or what I want to do with my life. Given the opportunity, I would go into the ? eld of science to study biology or engineering to ? gure out how and why things work, livin g or not. But who knows? I might end up in a totally different ? eld, because wherever my heart goes, I am sure to follow. I want to go to a top school to start with a strong support in the world and to use this foundation to build my life upon.If the building blocks of my future are too small, I will be con? ned to certain things and not others that I would be able to reach with a bigger, sturdier base in knowledge. This will create limitless opportunities that may result in a great job. I want a job that pays well enough so that I could support a family, if I so choose. I want enough money to pay for little things in life, those that create great memories, but not so much that it will go to my head and make me a person that has worked so hard just to see himself become corrupt and sel? h. Above all I want to thank my parents for starting me off in the right direction, they gave up so much for me, because they instilled these values in me and made me who I am today. They have helpe d me this far, and they will help me in the years to come. Without them I would be nothing, and I believe that this deserves much more than simple thanks. My decisions will affect my future, whether it be the near future or in the long run. Seeing as I cannot predict the future, I will just have to work hard and make the right decisions.The right thing is not always the easiest thing to do, but is necessary if you want to reach your goals. The only obstacle that I see in the way of my future is myself. I can do anything I want if only I put my mind to it. But if I make the wrong choice and slack off, it is only that much harder to reach your goals. Another thing between my future and myself is time. Everything changes over time so it is only natural to believe that my short-term goals will too. But the things time cannot change are life long goals.The things you see yourself doing when you sit down and think of all the wondrous things in this world that makes you think what a miracl e life really is. Life is a gift bestowed upon us, and it is our choice to determine where it goes. My goals are what make up my life, what keep me determined to ? ght for the next day and the drive behind everything I do. My family plays a huge part in who I am, and my values. I want more than everything in my life to be successful, and for those I care about to be successful in their lives too.

Problems Encountered Essay

It should be noted that flaws in every activity held within the organizations capacity is inevitable. As an organization covered and recognized under the jurisdiction of LNU, the Association of Political Science Students is expected to conduct and deliver activities consistent with that of the University or in consonance with its own personal interest. Provided however, that it will not disrupt the principles from which this University was founded. As the organization directs its activities, several problems erupted which hindered the same to deliver what is known as â€Å"best†. Problems in Performance, Preparation, Consistency and Criticisms existed. Problems encountered: 1) Performance Lack of cooperation and incompetence were encountered. For instance, annually, the Leyte Normal University as a whole celebrates its Founding Anniversary. The APSS, as an organization of, and in line with the celebration of the latter, conducted an exhibit labeled â€Å"Political Jungle†. During the conduct of the same, the APSS failed to deliver (although not entirely) what was being portrayed in the exhibit which resulted to criticisms not only by students but the Deans and teachers as well. With realization of failure, the APSS, specifically the committees involved felt drastic loss, low-morale and degraded at some point. 2) Preparation Lack of participation and readiness were encountered. To be more specific, the problems were encountered during when the APSS conducted a Lecture-Forum regarding the controversy on the West Philippine Sea (South China Sea). During the preparation of said event, the organizers due to lack of authority, if not, laziness failed to foster participation and cooperation amongst the Political Science Students needed in order to better realize the success of the event. With that occurrence, the organizers (committees) involved had trouble with all aspect in the preparation of the event, that is to say, the over-all appearance of the venue, logistics, etc. 3) Consistency and Criticisms Problem in the conformity of thoughts was encountered. It is common in every organization to argue on what concept to use whenever the latter conducts its activities provided that conformity is achieved. However, during the last activity held by the organization, that is, an exhibit entitled â€Å"Political Jungle†, the concept used was concluded by the majority of First year students independent of the higher years. Which eventually resulted to perplexity on the part of the former considering the fact that, the concept used to aid the event was poorly conceptualized – â€Å"The Naked Jungle of the Political Animals†. It left the activity and the APSS itself vulnerable to criticisms and confusion on the part of the individuals visiting the exhibit- – and it did.