Personal Statement for Graduate Diploma in Law Essay

Personal Statement for Graduate Diploma in Law - Essay Example Third, the institution’s proximity to law firms and courts within London will give me the experience to learn and observe qualified attorneys’ approaches and skills. I believe I will fit into this institution because I am hard working and driven and I like to be exposed to both an academic as well as professional atmosphere. My educational background is diverse, as I studied psychology and sociology at Barnard College, Columbia University. Subsequently I went to London and by now have completed two masters’ programs in Business Psychology at Kingston University, and in International Business at Regents College. Currently, I am working as an assistant to our in-house lawyer at Doyen Capital, a private firm. This experience has exposed me to business contracts and legal issues on a corporate level, and I look forward to expanding my overall knowledge in the legal career. In order to achieve my goal, I strive to complete the Graduate Diploma in Law. Then I strive to complete the Legal Practice training course, and afterwards work under a two-year contract as a trainee in the corporate law field. My final career goal is to become a solicitor and I hope to achieve my goal by first joining an institution that will provide me with a strong foundation in my legal career. ... I appreciate that the basis for wanting to study law and eventually become a solicitor may have been superficial to me, but when I participated in a legal awareness campaign organized by the London Bar Association, I quickly made up my mind to be a lawyer. Thereafter I joined the firm of Leigh Day Solicitors where I worked in the Human Rights and Constitutional Law department. Occasionally, I would accompany the managing partner to courts or tribunals to find out how the courts operated. In addition to this, I was incorporated in the University of London’s Law Faculty Annual Legal Awareness Week where we attended circuit meetings offering legal aid to the less-privileged. These awareness programs and retreats gave me some insight into university life and the moot lectures and debates increased my passion for law. Since I commenced my educational career, I have always been a studious and strong-minded individual, hence I knew that a degree in law at the University that would cu lminate into being a solicitor was the correct decision to make. Initially, I had broad interests in other fields or careers but I have recently become drawn to a career in law due to its complex and intriguing nature in solving daily issues. Law is an area that has interested me since childhood due to the extensive reading that is integral in solving legal issues and I therefore consider myself to be well suited to a career in law, as I do pay much attention to detail and take pleasure in solving social issues that affect the daily lives of human beings. The studies I have had previously have also aided me in observing the actions of others and how their opinions are dictated by external factors and the confidence I gained is important in wading

The Integration of African-American in Competitive Basketball Essay Example for Free

The Integration of African-American in Competitive Basketball Essay Basketball was invented by the Canadian-American physician, educator, and clergyman James Naismith in December 1891, who was then an instructor at the Young Men’s Christian Association Training School in Springfield, Massachusetts. The game of basketball being played by both men and women rapidly spread around America and Canada, as well as in other parts of the world. Because of its attractiveness as an informal outdoor game, servicemen of the United States all through the World War II played and introduced the sport in numerous countries. Between 1893 and 1895, many colleges in the United States adopted the game, and for the first time in 1934, college games were played in New York City’s Madison Square Garden, therefore attracting much interest in college basketball. By the 1950s, basketball had developed into a major college sport, leading the way for the escalation of interest in and, consequently, development of professional basketball in 1898 by the National Basketball League. By 1960s, professional teams from every State played before millions of crowds annually. Since the 1980s the National Basketball Association, successor of the NBL, has become one of the most well-liked sports organizations in the world, relatively on account of the marketability of several remarkable star players, most notably the African-American descents like Michael Jordan, Kobe Bryant and Lebron James. Discrimination of African-American in College Basketball Leagues During the late 19th and early 20th centuries, competitive sports were greatly recognized in the United States. Although basketball, unlike in baseball, hockey, and football, was an urban sport played by a diverse population on every level, African-American players were excluded (Parks, Quarterman, Thibault, 2007, p. 99). Because of the popularity of basketball, the American Basketball Association was organized in 1925 and as expected no African-Americans were allowed to join. The case was also true for the Basketball Association of America, which was organized in 1946. Up until 1950, universities and colleges, mainly in the South side of the United States, were prohibited to have a team sport composed of black and white players in view of the Jim Crow Laws. Nevertheless, a number of predominant white universities in the North side of the country did utilize African-Americans on their basketball teams. Some examples were William King of Long Island University, Lawrence Bleach of Detroit University, and Ben Franklin and Bob Yancy of Boston University. Jim Crow Laws Throughout the 1870s and 1880s, in the South side of the United States, it was not unusual for whites and blacks to make use of the same public facilities. However, Supreme Court decisions started to strip away the accomplishments of the Reconstruction movement. Following the American Civil War, most States in South passed state and local anti-African legislation, which were eventually recognized as Jim Crow laws. This included laws that discriminated against African-Americans with regards to public schools attendance and the use of facilities such as public baths, cinemas, hotels, theaters and restaurants. Jim Crow was more than a series of unyielding anti-Black laws, as it was at the time considered a lifestyle. Eventually, however, in 1954 in Brown v. Board of Education case, the Supreme Court of the United States declared State-sponsored school segregation as unconstitutional, and the remaining Jim Crow laws were generally overruled by the Voting Rights Act of 1965 and the Civil Rights Act of 1964 (Miller, Wiggins, 2004, p. 236). Integration of African-Americans in Professional Basketball Prior to the integration of any of the major sport leagues, the National Basketball League already welcomed African-American players that, as a result, forever changed the games. Most followers of the sport may not even be aware of the African-American players and the National Basketball League’s ground-breaking undertakings given that the integration in the NBL and professional basketball in general came with much less elaboration and fewer setbacks than it did in other major sports. In 1942, the National Basketball League, a forerunner to the National Basketball Association, became the first major professional basketball league of the contemporary period to integrate (Parks, Quarterman, Thibault, 2007, p. 99). Integration of African-American in basketball came 16 years before Willie O’Ree skated for the National Hockey League’s Boston Bruins, five years before Jackie Robinson broke the color barrier in Major League Baseball, and four years before Kenny Washington played football for the Los Angeles Rams of the National Football League (Miller, Wiggins, 2004, p. 235). Unlike professional hockey, football, and baseball, basketball did not integrate a single black player, seeing that during the 1942-1943 season, the National Basketball League integrated 10 African-American players for the two of the league’s teams, namely the Chicago Studebakers and the Toledo Jim White Chevrolets. Bill Jones, a college star-player at the University of Toledo, and one of the last living African-American players from that period, played four games for the Chevrolets. Jones, together with his fellow African-American teammates, Casey Jones, Al Price, and Shanty Barnett, made an immediate impression on the league, introducing some much-needed athleticism and speed to the game. The effect of African-American players to the game, by virtue of their skill, was instantly felt by the fans and other players. In 1943, the National Basketball League’s Cleveland franchise acquired African-American players, and by the same year blacks were playing in such cities as Youngstown, Rochester, and Tri-Cities. Eventually, in 1948 the Dayton team as well integrated. Notwithstanding their pioneering endeavors, both the Toledo and Studebakers disbanded. Nevertheless, the National Basketball League’s contribution to the integration of basketball continued all the way through the league’s final season in 1948-49. Nevertheless, it was not until the 1946-47 season that African-American players joined the league in appreciable numbers. The Rochester Royals, behind owner Les Harrison, acquired former Long Island University star Dolly King, the Tri-Cities Blackhawks signed the Harlem Renaissance star William â€Å"Pop† Gates, and Youngstown acquired the versatile Bill Farrow. Eventually, the Dayton Rens, coached by Gates, became the first all-African-American team to ever participate in a white dominated professional league. In 1965, Texas Western University with a team exclusively composed of African-American players, won the Division I NCAA Championship. It was the first time in an NCAA title game that an all-Black team played an all-white team (Miller, Wiggins, 2004, p. 244). Integration and Popularity of African-American in the NBA Although 80 percent of the current National Basketball Association players are African-American, yet in the first half of the 20th century professional basketball was contaminated by acts of racism, keeping numerous talented African-American off the courts. Originally, every team in the NBA was made up of entirely Caucasian players, but the 1950’s opened several significant changes for African-Americans in the world of basketball. Chuck Cooper became the first African-American to play in the National Basketball Association, and from 1950 to 1960, the professional league witnessed the arrivals of Elgin Baylor, Oscar Robertson, Wilt Chamberlain, and Bill Russell (Miller, Wiggins, 2004, p. 235). The aforesaid players started the ball rolling for Magic Johnson, Karl Malone, Julius Erving, Michael Jordan and now Kobe Bryant and Lebron James. In a period of 50 years, American professional basketball started out from 100 percent down to only 16 percent European-American players, and today, African-American dominated the rosters of the National Basketball Association. In part this trend of professional basketball rosters can be attributed to the ways in which African-American players bring to the game. In 1996, the National Basketball Association named its all time fifty greatest players, composing of 31 African-American and 18 European-American. In 2001, the Basketball Hall of Fame included 34 African-Americans out of the 113 inductees. To a number of fans and many in the media today, the appeal of basketball is tied up with admiring concept of African-American life. Conclusion Basketball is a team competition that has been changed by the presence of African-American, and is now becoming a significant lightning-rod of social, political and cultural change in the United States for over a century. Although the power and grace of Black athleticism has now achieved the high regard and approval of the world, yet for years it was forced to stay on the bench, as segregation in America were severely grounded on race. Like other areas of society, African-Americans’ struggle to be admitted into the world of professional basketball revealed the discriminatory policies and segregated practices of the time. The history of American basketball reveals a compelling chronicle regarding athletic competition in a nation struggling to live up to its principles of democracy and equality. The professional league was without doubt forward thinking and ahead of its time in the utilization and integration of African-American basketball players. Even so, African-American pioneering players have squarely fortified the impact brought by the National Basketball League. People may not appropriately recognize the effects of their undertaking today given that very little recognition has been attributed to the pioneering players of the National Basketball League. Accordingly, African-Americans have changed the National Basketball Association and the manner the game is played today. Collectively African-American players helped bring new confidence, excitement, and energy to professional basketball. The integration is, without doubt, an indicator of the social, political and cultural maturity in the United States. Speech Presentation During the 1950s, basketball had developed into a major sport, leading the way for the intensification of interest in the game. The game of basketball, unlike in baseball, hockey, and football, was an urban sport played by a diverse population on every level; nevertheless, African-American players were excluded. Universities and colleges, mainly in the South side of the United States, were prohibited to have a team sport composed of black and white players in view of the Jim Crow Laws. In 1942, the National Basketball League, a forerunner to the National Basketball Association, became the first major professional basketball league to integrate. The professional league was forward thinking and ahead of its time in the employment and integration of African-American basketball players. Unlike professional hockey, football, and baseball, basketball did not integrate a single black player, seeing that during the 1942-43 season, the National Basketball League integrated 10 African-American players. The effect of African-American players to the game, by virtue of their skill, was instantly felt by the fans and other players. Chuck Cooper became the first African-American to play in the National Basketball Association, and from 1950 to 1960, the professional league witnessed the arrivals of Elgin Baylor, Oscar Robertson, Wilt Chamberlain, and Bill Russell. The aforesaid players started the ball rolling for Magic Johnson, Karl Malone, Julius Erving, Michael Jordan and now Kobe Bryant and Lebron James. Although the power and grace of Black athleticism has now achieved the high regard and approval of the world, yet for years it was forced to stay on the bench. Like other areas of society, the African-Americans’ struggle to be admitted into the world of professional basketball revealed the discriminatory policies and segregated practices of the time. Without a doubt, the history of American basketball reveals a compelling chronicle concerning athletic competition in a nation struggling to live up to its principles of democracy and equality. References Miller, P. B. , Wiggins, D. (2004). Sport and the color line: black athletes and race relations in twentieth-century America. New York: Routledge. Parks, J. B. , Quarterman, J. , Thibault, L. (2007). Contemporary sport management. Human Kinetics.

Cultural Protectionism in the European Union Essay -- national film ind

Since the 1980s the European Union (EU) is pursuing a more liberal trade policy in its multilateral trade negotiations. This liberal approach is the result of the change in company preferences in favour of free trade. The change in business preferences also made politicians to support trade liberalisation. (Young, 2007) While the EU is a lead supporter when it comes to traditional trade policy, it is rather reluctant regarding the liberalisation in other trade areas. The European audiovisual industry is a good example to demonstrate the EU’s protectionist approach. Though there are countries, above all the United States, who are in contrary to the EU, great supporters of the full liberalisation of audiovisual industry. The US government seeks for liberalization of audiovisual services within the framework of General Agreement on Trade in Services (GATS), while other countries, such as the member states of the European Union see the US and the World Trade Organization (WTO) as a threat to their film industry and national culture. In this paper within the European audiovisual sector I will focus on the European film industry. The main question of the paper: why does the EU pursue protectionist policy in case of its audiovisual sector, when in general it is expected to follow liberal trade policy? In order to explain the EU’s behaviour, Alasdair R. Young’s (2007) division of trade policy will be used as theoretical framework. Young differentiates three aspects of trade policy: traditional trade policy, commercial policy, social trade policy. Traditional trade policy includes tariffs and other quantitative measures, occurring at the border in order to discriminate foreign goods. With the rise of export orientation of European manuf... ... WTO members’ commitment in audiovisual services very low. (WTO, 2009) None of the EU member states, nor any other European countries made commitments to liberalize its audiovisual sector, but they all asked for exemption from the MFN principle. On the other side only two countries with considerable economy opted for the liberalisation: US and New Zealand. (Puppis, 2008) What would happen with the film industry in case of the liberalization of audiovisual sector? Why the EU and the member states are so resistant in this matter? Without the MFN exemption, or with more extended liberalization would lead to increase commercialization, even bigger US/ Hollywood share in the European cinemas and televisions. Under the MFN principle the European Union and its member states would not be allowed to set up programs like MEDIA, or quotas for European content. (Puppis, 2008)

Compare the ways in which Poe creates suspense Essay

Poe creates effective suspense in his stories, and two examples of which Poe creates suspense are â€Å"The Tell-Tale Heart† and â€Å"The Cask of Amontillado†. Poe creates suspense in his stories in various different ways, some are similar in each story, but some are different. Poe’s stories are filled with drama terror and fear, due to the suspense he creates. A lot of his stories are gothic and contain some sort of death or suffering. In the Tell-Tale Heart in the narrator persistently insists that he is not mad although throughout the story we learn more and more that he is in fact mad. He tries to prove his sanity by telling us how carefully he had planned the murder and all the precautions he had taken, but this just further proves his insanity. Also the narrator from the Tell-Tale Heart often talks the reader. Three examples of where the narrator directly speaks to the reader are, â€Å"but why will you say that I am mad?†, â€Å"You fancy me mad†, and, â€Å"if still you think me mad†. Another way that Poe creates suspense is by making the narrator obsessed with something, in the Tell-Tale Heart the narrator is obsessed with the old man’s eye, in the Cask of Amontillado the narrator is obsessed with revenge and in the Pit and the Pendulum the narrator is obsessed with survival, this means we cannot entirely trust the reader says, or what actions he may or may not have done, also the narrator in the Pit and the Pendulum is drugged and tired, although this is not his fault we can trust him the least. â€Å"It must have been drugged, for scarcely had I drunk before I became irresistibly drowsy. A deep sleep fell upon me — a sleep like that of death† Time is shown moving slowly when the sentences are longer and they include more commas, It took me an hour to place my whole head within the opening†, â€Å"A watch’s minute hand moves more quickly than did mine†, and, â€Å"For a whole hour, I did not move a muscle† however, when the pace of the story increases and time appears to move faster, the sentences are much shorter, normally including two or three words. â€Å"I threw open the lantern and leaped into the room†, and, â€Å"They heard. They suspected. They knew†. Watches are referenced a few times during the Tell-Tale Heart, to give us a sense of how much time has passed, although it can also mean, as each tick of the watch symbolises a closer movement to the death of all humans, although in this case, the old man’s death. A quote to support this would be, â€Å"A watch’s minute hand moves more quickly than did mine. The narrator compares himself to a watch, suggesting it is he himself who is counting down until the old man’s death, as he is the one in control. Poe uses repetition many times in the story, and the technique is used as each use of repetition helps contribute to adding more atmosphere to the story, adding to the suspense and fear that we already feel. When they are used, the story slows down slightly, which makes our anticipation for finding out what happens next grow, and this pulls us further into the story, making us read on. In the Tell-Tale Heart, as the story is a 1st person account of the event, thinking solely about its use in the plot, it helps underline how detailed the narrator is in his details and how much he obsessed over the murder. â€Å"With what caution — With what foresight — With what dissimulation†, â€Å"How stealthily, stealthily†, and, â€Å"Louder! Louder! Louder! Louder!† In the Cask of Amontillado and the Tell-Tale Heart the protagonist likes to toy with the victim, which they are about to kill. For example in the Cask of Amontillado the protagonist, Montressor, gets out a trowel, which later on that would be the murder weapon, It is this,† I answered, producing a trowel from beneath the folds of my roquelaire. he also gives the victim multiple opportunities the escape and leave the cellar, he also told the victim that he would not die of a cough implying that he would die at the hands of Montressor. â€Å"Enough,† he said; â€Å"the cough is a mere nothing; it will not kill me. I shall not die of a cough.† And â€Å"True — true,† I replied; â€Å"and, indeed, I had no intention of alarming you unnecessarily — but you should use all proper caution. A draught of this Medoc will defend us from the damps.† Also in the Tell-Tale heart, the narrator is extra kind to the old man, and on the eighth night just before he killed the old man, he knew that the old man knew, that he was in the room, but he didn’t give up and carried on with the murder One of the many ways which Poe creates suspense is that the story is in the first person. This is present in all the stories I have studied, In the Tell-Tale Heart and the Cask of Amontillado the antagonist is the narrator, but in the Pit and the Pendulum the victim was the narrator. This is effective because we can only see what the narrator is seeing and what is going on his head. Sometimes knowing what goes on in the narrator’s head can make us feel sympathy for the victim. For example, we feel sympathy for the old man in the Tell-Tell Heart, as we learn that the old man, had done nothing wrong, and was kind to the narrator. Also this is effective because this makes us more involved with the story. The differences between the stories are that the narrator in â€Å"The Tell-Tale Heart† gets caught by the police, because of his guilty conscience that manifests itself through the beating heart. Montresor, on the other hand, does not get caught, and lives with no one knowing. Montresor is not burdened by accusations of madness like the other narrator is; in â€Å"The Tell-Tale Heart,† it seems like the entire purpose for telling the tale is to prove that he isn’t insane. Montresor, on the other hand, just seems to want to tell the tale for the tale’s sake, not to prove that he is sane. In Montresor’s case there is hallucination of the beating heart to force him into confession; very little evidence of a guilty conscience is seen in Montresor. Poe created suspense in various effective ways, some are obvious to spot, and some are not. The Cask of Amontillado and the Tell-Tale Heart are two of his best stories in my opinion, they both create suspense in mostly different, although are very similar or the same. Poe’s stories are still popular today one reason for this could be because of the suspense that is present in his stories. I think one of the main reasons that Poe creates suspense is so that it drags the reader he so the reader would carry on reading.

Emotion and New York Essay

In Proof, there is a contrast presented between the abstract and tangible aspects of life. Claire’s life revolves around everything that is practical while Catherine relies more on things that are theoretical. These choices cause problems in each sister’s life in that they are both disconnected from the real world and neither can relate to other people, including each other. Catherine focuses on the theoretical, letting her life revolve around things that are not tangible, things that other people cannot necessarily see. Early on in the play, Catherine figures out that the number of days she has wasted because of her depression is a mathematically significant number. Math is a very abstract science and this scene shows how mathematically minded Catherine is. It also shows how easily she is able to think abstractly. Her father helps her mathematically manipulate this number right before he admits that he is, in fact, dead at the time of this conversation. Again, Catherine is relying on something intangible, the mental representation of Robert. While Robert was ill, Catherine stayed with him to take care of him emotionally. She did not typically wash dishes, clean the house, or pay bills, Catherine was taking care of her father’s emotional state. In her mind, she was making sure he stayed well by having someone to rely on for the intangible aspects of life. Because Catherine lives in the abstract, she is unable to relate to people who live in the real world. Because of this and other reasons, she has no friends. She tells her father, â€Å"in order for your friends to take you out you generally have to have friends.† Most 25 year olds would go out with friends on their birthday; the fact that she has no friends is odd and causes the audience to worry. In the end of Act 1 Scene 1, Catherine calls the cops to keep Hal from stealing one of her father’s notebooks even though, as she admits in the beginning of Scene 2, she didn’t really want them to come. The cops come back the next morning and are not happy. This shows that she does not relate well with the practical world and its consequences. Unlike her sister, Claire is overly practical, completely engrossed in material aspects of life. While Catherine is at home with their father,  Robert, Claire moves to New York to continue her education, get her own place, and have a job. She pays all the bills from New York, but does not involve herself with other aspects of taking care of their father besides encouraging Catherine to put him in a full time care situation. Bills are very material and concrete, showing how much Claire relies on tangible aspects of life and how well she can deal with these things. When Claire is visiting Catherine for their father’s funeral, she tries to get Catherine to try a conditioner she likes. When Catherine asks Claire for some scientific facts about the Jojoba in the conditioner, Claire replies, â€Å"it makes my hair feel, look, and smell good. That’s the extent of my information about it.† Claire doesn’t know any scientific information about the Jojoba, only how it physically affects her hair. Claire values material objects over immaterial things like emotions, which makes it difficult for her to connect with people and deal with them appropriately. At the party after the funeral, Claire tries to out drink the theoretical physicists and fails miserably waking up with a horrible hangover. Claire does this because she believes, incorrectly, that she is better than the theoretical physicists based on their lack of grounding in the practical world. At the end of Act 1, Claire tells Catherine, â€Å"it’s not your fault. It’s my fault for letting you do it.† This implies that Claire thinks she can control Catherine. Claire believes she can control people like she can control things. Claire also decides she wants Catherine to move to New York so she can keep a better eye on her. She tells Catherine â€Å"it would be much easier for me to get you set up in an apartment in New York† again showing how she wants to control Catherine’s life and does not show regard for Catherine’s emotions such as Catherine’s desire to stay in her home town and her sense of belonging there. Due to Catherine and ClaireÂ’s different priorities, they do not relate to each other and have a disconnected relationship. This is established early on in the play when Catherine says to her father, â€Å"she is not my friend, she is my sister†¦And I don’t like her.† It is clear from this statement that Catherine does not feel connected to Claire. At one point Claire goes so far as to accuse Catherine of being insane, claiming that Catherine has made up  Harold Dobbs. She later meets Hal and does not even apologize to her sister. Sadly, this is not the only thing Claire does to show complete disregard for her sister’s feelings. When Hal shows up in Act 1 Scene 2, Catherine makes a big scene and Claire completely ignores her. “CATHERINE: Okay? I really donÂ’t need this, Claire. IÂ’m fine, you know, IÂ’m totally fine, and then you swoop in here with these questions, and “Are you okay?” and your soothing tone of voice and “Oh, the poor policemen” Ââ€" I think the police can handle themselves! Ââ€" and bagels and bananas and jojoba and “Come to New York” and vegetarian chili. I mean it really pisses me off, so just save it. (Beat.)CLAIRE: (smoothly to HAL) IÂ’m Claire. CatherineÂ’s sister.”Clearly Claire is ignoring CatherineÂ’s emotions and chooses to not try to deal with her sister’s fit. This is also an example of how Catherine inappropriately deals with her own emotions and her sister’s attempts to help. Claire cannot be there for Catherine if she wonÂ’t deal with any emotions and Catherine chooses not to react calmly to ClaireÂ’s assertions. Neither sister has found the best way to live their life, they need to find a happy medium between the practical and theoretical aspects of life so that they can function properly in the real world and relate to the people living in it. Works Cited: Proof by David Auburn

Art Of Fly Fishing Essays - Fly Fishing, Recreational Fishing

Art Of Fly Fishing Essays - Fly Fishing, Recreational Fishing Art Of Fly Fishing There are six main elements of fly fishing; a fly rod (usually around 9 feet long), a fly reel (a round shaped real with a 1:1 relative ratio), a fly line (around 90 feet long), fly lining backing (fills up the reel and is spare line in case the fish takes a long run), a tippet to tie to the front end of the fly line so it does not scare the fish (around 9 feet of clear line), and a few flies (lures made from winding furs, feathers, glitter and various other things around a hook). Picking the right fly in itself can be made into an art. In fact interested enthusiasts often choose to tie their own flies in order to obtain the perfect fly. Aside from that, like almost any aspect of fishing, fly tying is a hobby. As I stated before fly-fishing differs greatly from lure fishing. One of the biggest differences, and adjustments to fishing style, is that it is not the sinker of the lure that provides the fisherman with the weight to cast, but rather that the fly line itself provides the angler with the weight necessary to cast. The easiest cast on a fly line to learn to cast on is a weight forward line. This means that most of the weight in the line is in the first ten or twenty five feet. This cast allows the fisherman to make short and accurate casts. This method has been proven very effective in clear water streams where you sight a desired fish to catch. Once you have obtained all the necessary equipment you need to locate a good fishing hole. (Even if you are with an experienced angler who has a favorite fishing hole it is a good idea to know how to read the river, because with time the rivers change, and if you are relying on a favorite fishing spot to always be there you may be in for a big surprise with the change of the seasons.) You have to remember that you are attempting to imitate food for a feeding fish. In order to do this you have to do two things, choose a fly, and choose a fishing spot. When choosing a fly look around in your environment to see which bugs the fish are feeding on. If you have trouble-locating insects shake a bush or a branch and note what flies out. Next you should observe your environment in order to see where the fish are feeding. If you are fishing in slow or still water it may be easy to see surfacing fish, however in faster water the ripples often make it difficult to see where the fish are seeking refuge. A good rule of thumb is to find a spot where the fish will be forced to excerpt as little energy as possible. This often means finding a rock and floating a fly right by it, or finding an eddy where the current is detoured and slowed. Now you are ready to fish! The first thing that you have to do when casting a fly rod is to get a nice firm grip on the handle. Hold the rod with fingers wrapped around the handle and thumb facing forward, like you would grip a golf club. Run about ten to fifteen feet of line out of the reel and let it fall to your feet. Make sure there is nothing for the line to get caught on or around. Now flick the line out through the rod with small flicks of your wrist so the ten or fifteen feet of line are lying out in front of you. Now raise the rod and swing it back to about one oclock, using your forearm and not your wrist. In about two seconds you should feel the line tighten behind you and the tip of your rod should bend back slightly. When you feel such resistance, push the rod forward and give a small flick of the wrist so that the rod ends up at about ten oclock. The line should speed out in front of you and lay flat on the ground. (Be careful not to hook yourself or others nearby.) You will soon find yourself performing trick casts around trees and mangroves. Remember

Nathaniel Hawthorn

Nathaniel Hawthorn Free Online Research Papers Nathaniel Hawthorn, novelist and short story writer, was one of the greatest American authors of the 19th century. One of Hawthorne’s best-known works is The Scarlet Letter, which marked the beginning of his reputation as a major writer. Nathaniel’s characters were individuals who suffered from inner problems and were often consumed by their own passion. His stories rarely show a happy ending and they always leave us with the confusion that the author’s message cannot be completely understood. For example The Minister’s Black Veil and The Birthmark are two different stories but in both stories the main character suffers of inner conflicts caused by cold intellectuality, pride and isolation. In Hawthorn’s story The Ministers Black Veil the main character reverend Hooper suddenly and inexplicably chose to wear a black veil for the rest of his live. The story takes place in the puritan period during which the general feeling was that everybody was born with original sin. Sin is a major theme here as it is in Hawthorne’s other works although it is more uncertain. Whether Mr. Hooper was self-punishing by wearing the veil because he was guilty of an awful sin or not is unclear. What is clear is that reverend Hooper suffered of inner problems, even though he continues behaving normally it seems that he was either mourning or hiding something. Isolation can be the cause of Hooper’s problem, since he decided to wear the veil the people of the village became disturbed and his fiancà © worries about a rumor concerning Hooper’s mental stability. Elizabeth, Hooper’s fiancà ©e, tries to find out what is behind the sudden appearance of the veil but his answer does not satisfy her. Although he begs her not leave him in his loneliness, he tells her that he cannot take the veil off for the rest of his life. He states â€Å" There is and hour to come†¦ when all of us shall cast aside our veils. Take it not amiss, beloved friend, if I wear this piece of crape till then† (Hawthorn p.339). This quote is a perfect example of Hooper inner problems caused by pride, cold intellectually and isolation. In Hawthorn’s story The Birthmark, the main character, Aylmer, is obsessed with nature and perfection that in a vain effort to create something he only destroys. Georgina, Aylmer wife is an obedient, patient, and humble woman, which with the exception of the birthmark on her cheek is a perfect beautiful woman. Aylmer is an 18th century scientist who is totally and completely committed to his work, and his entire life has been about figuring out the way nature works. He doesn’t like Georgina’s birthmark and right after their marriage he let her know that she would be perfect if it were removed. From here to the end of the story Aylmer is determined to find a way to remove his wife’s birthmark. After trying different things Aylmer finds a potion that he believes will remove the imperfection of her face, Georgina drinks it and the birthmark fades away but as a consequence she eventually dies. Aylmer suffers of pride, cold intellectuality and isolation. As a consequence of his inner problem he end’s up killing his wife. At some point in the story he got so obsessed with subverts nature that he isolates himself to accept his wife as she is and he became a victim of his own pride by not giving up in his fight against nature. As Aylmer states â€Å"There is no taint of imperfection on thy spirit. Thy sensible frame, too, shall soon be all perfect†(Hawthorn, p.352) is a good example of his obsession with perfection showing his cold intellectuality state of mind. Through The Birthmark and The Minister’s Black Veil, Hawthorn describes how his main characters, reverend Hopper and Aylmer, suffer from pride, cold intellectuality and isolation. Both characters are being punished by their own pride. A pride that creates an isolation from the people they love and they don’t realized because their cold intellectual. Research Papers on Nathaniel HawthornThe Masque of the Red Death Room meaningsMind TravelHonest Iagos Truth through DeceptionWhere Wild and West Meet19 Century Society: A Deeply Divided EraHip-Hop is ArtThe Fifth HorsemanHarry Potter and the Deathly Hallows EssayCapital PunishmentStandardized Testing