How to Write a Descriptive Essay on the Enneagram Personality Types

How to Write a Descriptive Essay on the Enneagram Personality Types Descriptive writing is a unique form of creative writing whereby you describe an object, emotion, situation, person, etc†¦ You are forced to create a written account of something by way of artistic freedom. When writing a descriptive essay on the Enneagram personality types, you want to describe your topic in such clear a fashion that the reader walks away with a clearly formed impression in their mind which matches the one in yours. Writing should function as a focused expression of your studies and your thoughts. As your writing skills are honed, your perceptions and your critical analyses and creative skills will improve too. Writing in this sense is essentially the development of your ideas. Your objective here is to convince your reader that you have sufficiently supported the concept you developed. You must maintain tight organization and sufficient control over your writing. To do this, you need to have a central idea which is your thesis, with several paragraphs which grow systematically from this thesis in support of it, and all of the information you include needs to contribute the understanding the reader has of your thesis. In order words: Your essay needs to cover the topic you are writing on. Your essay needs to have a central idea which governs the development of the work, which is stated in the thesis. Your essay must be so well organized that every part of it contributes something new to the understanding the reader has of your central idea. Now, for the descriptive essay, you have a bit more flexibility as to the flow or organization of your work, but it should nonetheless serve some purpose for the reader. You want to ensure that your descriptions are each categorized in a separate paragraph with proper transitions in between them so that the reader can easily move from one area of your work to the next. When you are writing, it is important to consider the reader of your essay. You want to take into consideration who it is you are writing for beyond just your professor. Sure, you want to get a good grade from them, but you might also share this piece of writing with other classmates or friends. Your classmates, for example, may not have the same input as you did on the same piece of work. You could write on the same topic, or a similar one, but you might each take something different from the work and in that you can share with one another your thoughts (check out the topics on personality types prepared for you). You should remember that as you make references to different works or sources, you should tell the audience something they do not already know in lieu of just regurgitating a plot summary or a biography and telling them things they already know (the article about facts may help you to gather information or find the right references for your paper). So remember that even if your entire class has been asked to describe the same topic, you have a great deal of flexibility within that and can let your creativity fly.

Word Order in English Sentences

Word Order in English Sentences Word order  refers to the conventional arrangement of words in a phrase, clause, or sentence. Compared with many other languages, word order in English is fairly rigid. In particular, the order of subject, verb, and object is relatively inflexible. Examples and Observations I cant see the point of Mozart. Of Mozart I cant see the point. The point of Mozart I cant see. See I cant of Mozart the point. Cant I of Mozart point the see . . . I cant see the point of Mozart.  (Sebastian Faulks, Engleby. Doubleday, 2007)[A] characteristic of modern English, as of other modern languages, is the use of word-order as a means of grammatical expression. If in an English sentence, such as The wolf ate the lamb, we transpose the positions of the nouns, we entirely change the meaning of the sentence; the subject and object are not denoted by any terminations to the words, as they would be in Greek or Latin or in modern German, but by their position before or after the verb.(Logan Pearsall Smith, The English Language, 1912) Basic Word Order in Modern English Assume you wanted to say that a chicken crossed the road in Modern English. And assume you are interested only in stating the factsno questions asked, no commands, and no passive. You wouldnt have much of a choice, would you? The most natural way of stating the message would be as in (18a), with the subject (in caps) preceding the verb (in boldface) which, in turn, precedes the object (in italics). For some speakers (18b) would be acceptable, too, but clearly more marked, with particular emphasis on the road. Many other speakers would prefer to express such an emphasis by saying something like Its the road that the chicken crossed, or they would use a passive The road was crossed by the chicken. Other permutations of (18a) would be entirely unacceptable, such as (18c)-(18f). (18a) THE CHICKEN crossed the road[Basic, unmarked order](18b) the road THE CHICKEN crossed[Marked order; the road is in relief](18c) THE CHICKEN the road crossed*(18d) the road crossed THE CHICKEN*[But note constructions like: Out of the cave came A TIGER.](18e) crossed the road THE CHICKEN*(18f) crossed THE CHICKEN the road* In this respect, Modern English differs markedly from the majority of the early Indo-European languages, as well as from Old English, especially the very archaic stage of Old English found in the famous epic Beowulf. In these languages, any of the six different orders in (18) would be acceptable . . ..(Hans Henrich Hock and Brian D. Joseph, Language History, Language Change, and Language Relationship: An Introduction to Historical and Comparative Linguistics. Mouton de Gruyter, 1996) Word Order in Old English, Middle English, and Modern English Certainly, word order is critical in Modern English. Recall the famous example: The dog bit the man. This utterance means something totally different from The man bit the dog. In Old English, word endings conveyed which creature is doing the biting and which is being bitten, so there was built-in flexibility for word order. Inflection telling us dog-subject bites man-object allows words to be switched around without confusion: man-object bites dog-subject. Alerted that the man is the object of the verb, we can hold him in mind as the recipient of a bite made by a subject we know will be revealed next: dog.By the time English evolved into Middle English, loss of inflection meant that nouns no longer contained much grammatical information. On its own, the word man could be a subject or an object, or even an indirect object (as in The dog fetched the man a bone). To compensate for this loss of information that inflection has provided, word order became critically important. If the man a ppears after the verb bite, we know hes not the one doing the biting: The dog bit the man. Indeed, having lost so much inflection, Modern English relies heavily on word order to convey grammatical information. And it doesnt much like having its conventional word order upset.  (Leslie Dunton-Downer, The English Is Coming!: How One Language Is Sweeping the World. Simon Schuster, 2010) Adverbials One way to find out whether a sentence part is a subject or not is to make the sentence into a  question. The subject will appear after the first verb: He told me to add one tablespoon of honey per pound of fruit.Did he tell me . . .?We spread a thin layer of fruit on each plate.Did we spread . . .? The only constituent that may occur in many different places is an adverbial. Especially one-word adverbials like not, always, and often may occur almost anywhere in the sentence. In order to see if a sentence part is an adverbial or not, see if it is possible to move it in the sentence.(Marjolijn Verspoor and Kim Sauter, English Sentence Analysis: An Introductory Course. John Benjamins, 2000) The Lighter Side of Word Order in Monty Pythons Flying Circus Burrows: Good doctor morning! Nice year for the time of day!Dr. Thripshaw: Come in.Burrows: Can I down sit?​Dr. Thripshaw: Certainly. Well, then?Burrows: Well, now, not going to bush the doctor about the beat too long. Im going to come to point the straight immediately.Dr. Thripshaw: Good, good.Burrows: My particular prob, or buglem bear, Ive had ages. For years, Ive had it for donkeys.Dr. Thripshaw: What?Burrows: Im up to here with it, Im sick to death. I cant take you any longer so Ive come to see it.Dr. Thripshaw: Ah, now this is your problem with words.​Burrows: This is my problem with words. Oh, that seems to have cleared it. Oh I come from Alabama with my banjo on my knee. Yes, that seems to be all right. Thank you very much.​Dr. Thripshaw: I see. But recently you have been having this problem with your word order.Burrows: Well, absolutely, and what makes it worse, sometimes at the end of a sentence Ill come out with the wrong fusebox.Dr. Thripshaw: Fusebox ?Burrows: And the thing about saying the wrong word is a) I dont notice it, and b) sometimes orange water given bucket of plaster. (Michael Palin and John Cleese in episode 36 of Monty Pythons Flying Circus, 1972)

Management principles Essay Example | Topics and Well Written Essays - 1250 words

Management principles - Essay Example Our company will strive hard to develop itself as a foremost local fast food brand in the market. We plan to offer the most enchanting services to our customers when they visit our outlet or surf through our website. What we endeavor to deliver, is satisfaction and quality, so that we can establish mutual trust with our customers. Paramount Fast Food Services will sell quality products such as fries, hamburgers, pizzas, hot dogs, sandwiches, ice creams and soft drinks. At our restaurant, customers will enjoy the proactive support of our people. The restaurant will be designed in a manner to deliver the most relaxed atmosphere to customers. Paramount Fast Food Services restaurant will range from 80 – 100 meter square and will seat from  35-40 guests. The restaurant will remain open all through the week from 8 in the morning to midnight. We will set up the most comfortable furniture in the restaurant along with the installation of air conditioners and heaters. We will also ensure that our brochures and posters are well distributed in all the parts of the city in order to reach out to our customers. Our restaurant will be adorned with the posters and photographs that highlight our products. In addition to that, we will also be installing a television at the restaurant so that customers can enjoy the foo d while watching their favourite soccer or cricket match. We will be making special arrangements for the children by allocating a separate play area for them where they can enjoy a variety of games. Thus, the atmosphere will be such that gratifies all our customers. Moreover, take away system is also an essential part of our restaurant and it will be one of our priorities to ensure smooth progress of it. Our restaurant will be located in the heart of London near the Oval Cricket Stadium. This location is quite popular in London as people of all ages often come to watch matches during the cricket season. This area is also populated with

Curriculum Foundations and Theory, Design, Development, and Essay

Curriculum Foundations and Theory, Design, Development, and Implementation - Essay Example tween instruction and curriculum is important in the design of any curriculum (Mooney & Mausbach, 2008).This paper will analyze the process of curriculum development and various educational philosophies that associate with it. The paper will also highlight the educational philosophy in the school that makes it stand out from the rest. Curriculum development and design borrows the analogy behind building strong buildings. A house will stand the tests of time only if the foundation thereof is strong. Similarly, improved school performance will occur when there is a proper ground on education and curriculum. There are two main approaches to curriculum development. The first method involves coming up with a sound and clear standards that merge with appropriate school assessments. Lack of well-defined curriculum impedes schools performance and results to a curriculum chaos. Next is the training of professional school personnel. Teachers need to undergo training that will enable them to meet periodically and review the curriculum and assessments (Mooney & Mausbach, 2008). Teachers have a high responsibility in continuous revision of curriculum that majors on instructions. Due attention must be placed on the â€Å"what† and â€Å"how† of the curriculum. Learn then Do is one important fundamental concept to curriculum development. Highly qualified professionals should oversee the development process of the curriculum. Proper strategies need to be in place to allow smooth curriculum development between the various stakeholders in curriculum development (Mooney & Mausbach, 2008). The love of wisdom is philosophy. Philosophy is instrumental in that it helps teachers to focus and reflect on the major educational concepts. The study of philosophy triggers questions such as what is to be educated, what knowledge is and the nature of learning to take place. Philosophical education deals with beliefs about what, why and how you teach and the mode of training. It acts as a

Maria Calais as a Diva Essay Example for Free

Maria Calais as a Diva Essay To enable us to comment on Maria Callas as an operatic diva, it is first necessary to ascertain whether she possess all the stated attributes usually associated with the term. The conductor Sir Charles Mackerras believes there must be an ‘aura’, but ‘there also has to be something unusual as well as competent about a diva, something compelling about her personality’ (reference). This was certainly true of Maria Meneghini Callas. The opening paragraph of the newspaper review describes her gifts as ‘peculiar ones, not exactly comparable to those of any other singer’ (reference). Winthrop Sargent even goes so far as to comment on it’s ‘reediness and it’s tendency to wobble slightly’ (reference). But far from detracting from her overall performance, he says she uses it to demonstrate a ‘fiery conveyance for female passion’ (reference). This is because it is the overall performance that made Ms Callas such a memorable performer. It is the ‘total dramatic projection’ that exemplified her on stage performances. She does indeed manage ‘to make the character and her situation seem real’ (reference p.177). This is especially prevelant when she is singing in the recorded piece. Of course it is very difficult to comment on this full range of theatrical abilities when only reviewing a newspaper arcticle and an audio recording; particularly when the review is not of the actual recorded piece. Missing is the visual aspect of Ms Callas performance, which was enthused over as being ‘as extraordinarily perceptive and gripping even by the standards of the legitimate stage’. (reference) There are, however, very few visual recordings of the opera from this time, so we have to reply on often heavily edited vocal recordings and articles such as these, written for popular consumption, towards the end of her career. But despite these, by modern standards, media restrictions, the newspaper article does help to put Ms Callas singing qualities into context and perspective. She is obviously a more than competent singer, her unique voice is not ‘dime a dozen’ (reference) for the review describes it as ‘impeccable’ (reference). The article can also be seen as conferring on her the ‘something compelling’ element of Sir Charles’ description. Her interpretation is reported as being a ‘highly personal interpretation’ which was an ‘electrifying fusion of music, theatre and personality that opera goers are only occasionally privileged to witness’. (reference). So the combinations of the singing talents, her acting ability and her sheer personality on stage all combine to make Maria Callas a genuine operatic diva.

Cesare Lombroso :: criminology

Cesare Lombroso was an Italian university professor and criminologist, born in Nov. 6, 1835, in Verona, who became worldwide renowned for his studies and theories in the field of characterology, or the relation between mental and physical characteristics. Lombroso tried to relate certain physical characteristics, such as jaw size, to criminal psychopathology, or the innate tendency of individuals toward sociopathy and criminal behavior. As such, Lombroso's approach is a direct descendant of phrenology, created by the German physician Franz Joseph Gall in the beginning of the nineteenth century, and closely related to other fields of characterology, such as craniology and physiognomy. His theory has been scientically discredited, but Lombroso had the merit of bringing up the importance of the scientific studies of the criminal mind, a field which became known as criminal anthropology. Lombroso studied at the universities of Padua, Vienna, and Paris, and was later (1862-1876) a professor of psychiatry at the University of Pavia and of forensic medicine and hygiene (1876), psychiatry (1896) and criminal anthropology (1906) at the University of Turin. He was also the director of a mental asylum in Pesaro, Italy. Lombroso's main idea was partly inspired by the evolutionary and genetical studies at the end of the nineteenth century, and proposed that certain criminals had physical evidence of an "atavistic" (reappearance of characteristics which were present only in distant ascendants) or hereditary sort, reminiscent of earlier, more primitive stages of human evolution. These anomalies, named as stigmata by Lombroso, could be expressed in terms of abnormal forms or dimensions of the skull and jaw, assymmetries in the face, etc, but also of other parts of the body. These associations were later shown to be highly inconsistent or plainly inexistent, and theories based on the environmental causation of criminality became dominant.

Malachi Stacks in the Matchmaker Essay

In the world of business there are always those men and women who are not recognized for the contributions they make to certain products, projects, or works even though without them the result would never exist. Nonetheless, these people go on with their daily lives working hard, knowing that all their dedication is going to benefit others and not them. Yet, they can’t blame the big companies for not being recognized, because these men and women do this willingly. They are fully aware that their actions serve a purpose to the greater rather than a personal one, and for them that is enough. Such people do not need the recognition of others because they themselves know the importance of their actions. One example of such a human being is portrayed in Thornton Wilder’s The Matchmaker. His name is Malachi Stacks, and though he only shows up on stage two or three times, he is the one who gives the entire production meaning. Malachi is the person who sets into motion a series of events that completely change not only the characters, but also their lives. With this character, Thornton Wilder takes what used to be just a regular farce comedy and gives it meaning which makes all the difference, Malachi Stacks makes all the difference. Thornton carefully crafted the role of Stacks in such a way that made him distinct from the rest of the characters. Even with being in his fifties, sadness and depression are entirely absent from his life. Every line spoken by him has a joyful feeling to, and almost puts a smile on the reader’s face. Even at times when he is being put down by Mr. Vandergelder, joy is felt in his words. Wilder makes Malachi seem like a little adolescent, who has not yet been exposed to reality, and still thinks the world is perfect. However, all this is just an image that Malachi establishes for his own purposes. He makes people believe he can be trusted by pretending to be respectful and following orders. Malachi creates a relationship between himself and the others, especially Mr. Vandergelder, which makes him seem gullible and easy to control when in fact it is he who controls them. This sort of maneuver is portrayed very well in his first scene with Mr. Vandergelder, in which he says â€Å"You’ll never regret it, Mr. Vandergelder. You’ll never regret it.† It is such a simple line, and yet there is so much there. Malachi makes it seem like he is just another man who is happy about getting a job, when in reality he is masking his true intentions behind these innocent words. The real reason Malachi is happy to have gotten the job, is because he now has the ability to fix the inequality which exists between Vandergelder and the others. Truth be told, Malachi is actually the only individual who see this flaw amongst the characters, and he knows it should not be there. Therefore, by formulating this sort of innocent personality, Malachi Stacks gives himself the perfect opportunity to finally bring equality into the lives of the characters. It all happens in Act III when Mr. Vandelgelder is having his coat taken off as his purse filled with money falls to the ground. Malachi, knowing that the primary reason for such inequality amongst the characters is their financial situations, takes his chance to balance the scale. However, he does not make a big deal out of it. Malachi simply takes the purse, asks Vandelgelder if it’s his, and since the response is no he gives it to Cornelius. It’s very quick, subtle, and seems like the right thing to do. Yet, even though what he did was so simple, it was enough to bring equality into their lives and he knew that. By asking Vandergelder whether or not the purse was his, Malachi tested him to check if he deserves the money. For in his short little monologue that he has right after picking up the purse, Mr. Stacks says â€Å"The law is there to protect property, but- sure the law doesn’t care whether a property owner deserves his property or not, and the law has to be corrected†. Therefore when he asked Vandelgelder â€Å"Did you drop something† the real question was â€Å"Are you worthy of all this money that you have†. Vandelgelder responding quickly said no, and that was enough for Malachi to know that the money deserved to be in the hands of someone else, Cornelius. It is also at this point that inequality begins to slowly disappear between the characters. First, Cornelius and Barnaby are able to pay for their expensive dinner and truly impress Mrs. Malloy along with Minnie. Then Mrs. Levi finally tells Mr. Vandergelder what she thinks of him when he cannot pay the bill, and that is when he finally realizes what kind of man he is. Slowly through scenes like these, the balance between the characters begins to even out and by the end, everyone is happy, joyful, and most of all the inequality amongst them completely vanishes all thanks to Malachi Stacks. Though Thornton chose Malachi to be the tool for equilibrium amongst the characters by having him â€Å"redistribute the superfluities†, the part also is important when it comes to the moral of the story. Of course, after reading The Matchmaker it safe to say that there are multiple lessons to be learned from this play, but one of the main ones shows up in Malachi’s monologue. Right after discussing the entire matter of redistributing property, Thornton has the character talk about how one man should not have more than one vice. In fact, he ends his line with the words â€Å"One vice at a time†. Now this entire concept might seem abstract, because after all even in today’s world vices are looked down upon. However, Thornton shows what two vices can do to a man by having Malachi use Vandergelder’s wrongs against him. His first true frailty is that in his own world Mr. Vandergelder sees himself a king, where no one can stop him because he has so much money. The second is his passion for money. In fact, his first vice comes from this one, because to him a person who has more money has more authority. So instead of merely having Vandergelder destroy himself through his vices, Thornton uses Malachi to show how having more than one vice is recipe for destruction. First, he uses Vandergelder’s attitude towards himself to gain his trust, by pretending to be loyal to him. Next, once Vandergelder thinks he has him under his control, Malachi uses the second frailty against him taking that which is most precious, his money, and giving it away. By using both of these flaws in his master’s character, Mr. Stacks brings Vandergelder into a state of despair where he has lost everything that made him, a King in his own mind. One man. Three Scenes. Yet without him, The Matchmaker would never be the same. Thornton Wilder made a smart decision in imgaging such a character, because he is developed in such a way that his importance to the whole play is not realized until the conclusion. For with just a simple action of handing off a purse to Cornelius, Malachi made a ripple effect which changed the course of the entire production and made all the difference. Malachi Stacks made all the difference.