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In current era, language death is known as a modern disease. This phenomenon has its own components, which undergo from birth to death. Moreover, nowadays is, no doubt, the age of variations, rapid progresses and extreme activities. One especially outstanding features of this change is a wide range of languages, which will die Grimes (2012). Language death occurs when there is a dominant language. It is generally accepted that language plays a key role in connection to others; in addition, language is a tool to carry out our daily routines. It is obvious that immigrants face lots of difficulties which are caused by dominate language. It is highly likely that dominate language might poses three major issues: personal emotion, social relationship and identity which can be solved with encouraging the young to learn, speaking mother language at homes and writing it down.

Firstly, individual's emotions while have a big effect on immigrants as they find themselves in a new country. First accept of this could be sense of belonging which means that the immigrants conceive that the new country while belong to them even if they were not born there. In addition, sense of humor is another factor that influence on them. It means, where they are not able to intemperate the same humors language they use to speak, immigrants while lose this ability gradually. Grimes (2012), argues that a Russian linguist friend of ours who was forced to leave his country for political reasons in 1997, he mentioned that he could not write in Russian any more, he made attempt to write well in his mother language. He was expert in Russian language, but he was not able to expressing his feeling in English or French, which were his second.

Secondly, social relationship is the second concern that immigrants will face with it. This subject can be split in three groups. First and second group is relating to marriage and intimate friends. It would be difficult to build a relationship with someone who has different Language. On the other hand, language barrier has direct impact on self-confidence. This part can be divided into two groups: knowing law and knowing environment. Immigrants probably will lose their self-confidence due to the fact that lacking knowledge about those groups those not let them involve themselves with society because they cannot speak fluently about two above subjects.

Thirdly, the most fundamental problem is probably identity. The main consequences of this will be culture, history and hand writing. Dominant language will dominate culture in first step, due to the fact that nature of culture is tied up with language. As the language fades, culture will face to. Because it can be take in account a companying with language as a two sides roads. Another matter that dominant language causes concern and the worry is the point of history. And the main consequence of this is history. History can stay remain with telling and passing to other generations. Thus history needs language as a tool to convert it. But dominant language would be barrier of for it. In addition, hand writing has the same problem similar to culture and history. It seems that handwriting is sacrificed in next steps. Because writing in foreign country will obey the dominant language. After a while, handwriting of mother language will vanished. Grimes (2012), points out that it is not easy to insert a culture to a different language, and some characteristics of the language are globally lost when that is done.

Although phenomenon - language death - is a worrying obsession for the people who are involved, what should we do to step effectively for ceasing it? Encouraging bilingual communities weekly for people to communicate easily in countries with a widespread language. Teaching the mother language to children before old speakers die and even more writing down structures and words to protect the language in some cases that children are sent to boarding schools. Grimes (2012), argues that an Aricara with only 90 speakers who are all middle –age or older have published instructional materials in their language, hoping that others in the ethic group will learn it. Parents should attempt to speak in their language at homes to make the opportunities for children to hear and learn. These methods may not be a comprehensive approach to rescue mother language but can be practical to dwindle due of death of language.

To conclude, Ostler (2000), claims that the rate of language extinction is twice and four times relatively the rate of endangered mammals and birds. Language diversity is as key as biological diversity thus by allowing languages to wipe out human is eradicating thing it does not understand. Immigrants have to get used to dominant language which is widely spoken because it makes most of the things more accessible for them, while dominant language might poses some issues like individual emotion, social relationship and identity. Getting to count that bilingual education at homes is a right and simple direction. In this way minorities keep their culture as safe as language. We are depended on biological involvement for our physical survival; in addition, we are depended on lingual complexity for our culture to be survived.

References

1. Fishman, J. A. (1998). The new linguistic order. Foreign Policy. 113, 6-39.
2. Grimes, B. (2012). Causes, Symptoms and Cures for Endangered Languages. Global Language Viability. Retrieved from http://www.sil.org/sociolx/ndg-lg-grimes.html
3. Oster, R. (Spring 2000). Disappearing Language. Whole Earth. Retrieved from http://www.wholeearth.com/issue/2100/article/138/disappearing.language#

"There is a cliff, whose high and bending head

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Looks fearfull in the confin'd deep.

Bring me but to the very brim of it...

... From that place I shall no leading need."(IV.i.73)

It is often difficult to gain entry into a work of such complete and dazzling genius as King Lear--reading Shakespeare can sometimes feel like trying to get a good long look at the sun on a cloudless day. And yet there are moments when one comes across passages that, by the sheer force of their lyrical, poetic beauty, leap off the page and resonate so strongly within one's mind that they become a kind of distillation of the entire play. One can read this play again and again, and still be struck anew by Shakespeare's utter mastery over language; surely there is no other writer who had so full a sense of, and who used to such merciless ends, the power of words. In a genre that denies the novelist's luxury of narrative explication, language in its barest, purest form, becomes Shakespeare's precision instrument, and he wields it with a perpetually astonishing combination of force, subtlety and exactitude.

The introductory quoted lines, when brought out of their immediate textual surroundings, form for this reader the kind of distilled illumination suggested in the preceding paragraph. These are the words of the sightless and stumbling Gloucester, as he begs a passing stranger, (who, unbeknownst to him is the son he so belatedly recognizes as faithful), to help him to his own death; by the end of the play, this passage becomes a central paradigm.

Despite the afore-mentioned obstacle (an obstacle the surmounting of which yields so much pleasure and insight) to readerly intercourse with Shakespeare, one can often recognize and trace logical devices he employed in order the more effectively and precisely to communicate his message. The parallel plot of Gloucester and his two sons is one such device. It is a simplified, politicized, but explicitly correspondent rendition of Lear's more spiritually basic story; by placing the two story lines, Gloucester's and Lear's, in such close juxtaposition, Shakespeare sets the reader up for a more immediate and complete understanding of the latter, while also lending any moral to be gleaned from the play the non-specificity necessary to the universal human relevance of truly great works of literature. Having recognized this, the reader is free to enter into the heart of this transcendent tragedy.

We are introduced to Gloucester and his parallel plot line before we are introduced to Lear. In Act One, Scene One, we find Gloucester professing the equal love he bears his two sons, the one legitimate, the other "got' tween unlawful sheets". The moral code that informs King Lear dictates that illegitimacy, the 'natural' son who is anything but, bodes nothing but detriment to the harmony of intrinsic order; within the terms of the play, Gloucester's 'equal love' is a fatal flaw of judgment. The reader, paying close attention to language, is able to perceive Gloucester's unwitting mistake from Edmund's very first appearance; in a world where the individual vocabulary of each character is a loaded expression of their position on the axis of good and evil, the reader cannot help but notice that Edmunds's "... I shall study deserving..."(I.i.30) is a foreboding of the duplicity and greed that will stain him throughout the play.

Lear's introduction into the play is similar to Gloucester's in that, through close analysis of the dialogue between the King and his daughters, the reader gains awful knowledge of the unintentional arrogance and benign ignorance that will soon become his downfall, (and ultimately his perversely bittersweet salvation). From his very first words, Lear is established in all his fateful childish pomposity. The drama of his first speech is at all points excessive--here, the reader discerns, is a man long accustomed to being listened to and indulged in every way. In a moral system transcribed from that of the ancients, this self-importance is Lear's godless hubris, his pride before the fall. (The reader would like to modify this 'pride' though; Lear's pride seems strangely not to originate within himself, rather it seems forced upon him by the behavior of those around him; he is in a sense the casualty of years of blind and empty worship).

As first Goneril and then Regan make their declarations of love, the reader cringes at Lear's oblivion to their screaming falsity. At Goneril's "Sir, I love you more than word can wield the matter..."(I.i.55), the reader wishes she were able to point out to Lear that if even this, her very first piece of dialogue, were true, then there could not follow six lines of the hollowest flattery; and there is an eerie chill in Regan's "... In my true heart I find she names my very deed of love; only she comes too short..."(I.i.70), when the reader glimpses that the depth of these sisters' evil is such that they will even turn on and try to out do each other in the effort to achieve their sordid ends.

Cordelia's textual introduction, especially in light of her older sisters', is just as portentous to the reader. To us, her comparative reticence signifies the purity and honesty she embodies; that Lear reads her humble replies as stubborn pride is his greatest transgression against truth, and by association, nature. This moment is the first and foremost tragedy of the play-- the reader realizes that the King is so conditioned by years of clattering sycophancy that he is utterly immune to the quieter, truer tones of honest filial love. His very identity is completely bound up in "... all the large effects that troop with majesty..."(I.i.131); part of the cutting irony of the title of this play derives from the fact that Lear's fatal error is identifying himself as much by 'King' as by 'Lear'. When he is stripped suddenly of the outward manifestations of his sovereignty by his monstrous daughters, the floor falls out from under him; bereft of any sense of himself, he descends into the ?madness' that will ultimately be his redemption.

"... O fool, I shall go mad!"(II.iv.281)

In analyzing Lear's madness, it is again useful to look to Gloucester for a more rational and complete understanding of its function in the play. Whereas Lear is dispossessed of everything that has come to signify his self-worth and identity, Gloucester is robbed of his sight. Having realized his grievous misjudgment of his two sons, he wanders sightless, crippled by miserable guilt and regret for his faithful son, hoping only for death. Unwittingly he encounters Edgar who, (like Cordelia, his counterpart in the main plot), remains unswerving in his adherence to filial love and duty, despite his wrongful and violent disavowal. In an act that resonates to the very core of the play, Edgar fools his father into thinking he has been brought to the edge of the "... cliff, whose high and bending head looks fearfull in the confinìd deep..."(IV.i.72)-- youth misleads old age in order to truly lead, away from self-murder and the 'confinìd deep' of suffering and despair.

Gloucester's stumbling passage across the heath is literal-- Lear's is figurative. Naked of the attributes of his majesty, he is left with the vacuum of his humanity and the resulting dirth of resources upon which to fall back in this time of extreme bewilderment; it is the reader's suggestive elaboration that although he mentions death in his opening speech ("... while we unburdened crawl towards death..." (I.i.40)), this time on the heath is the first occasion for Lear to 'look fearful in the confinìd deep' of his own mortality. He is as the newborn child, 'wawling and crying'(IV.vi.177) with boundless, aimless sorrow at a world whose pure and unchecked evil has struck him dumb. And as Gloucester is led to 'some biding' (IV.vi.220) by his incorrigibly faithful son, so Lear is led to the comfort of his daughter's genuine love by the forces of good that surround him, those angels of persevering and ingenuous love, Kent and the Fool.

Gloucester: O, let me kiss that hand.

Lear: Let me wipe it first; it smells of mortality.

Lear's return to his castle marks the end of his wrestle with the heretofore opposing forces of nature; tragically late, he has discovered his own humanity. Lear "has learned a new language" , and it is through this so evident vocal transformation that the reader detects the other, wholly internal one. The man who could not distinguish honesty from deception now knows that "... a man may see how this world goes with no eyes...", and should "... look with [his] ears..."(IV.vi.147). The reader does not quite know how to feel about this change; just as Lear dies between the joy of believing Cordelia still alive and the wretched sorrow of knowing her to be dead, the reader's emotions are flung between happiness at Lear's enlightenment and a kind of mortification at its tragic belatedness.

It is a defining weirdness of King Lear that it is set in a Pagan world and therefore seems to have no established moral code; in the absence of any kind of Christian reference, the reader must work harder to discern and decipher this code from the narrative. But herein lies one of the brilliances of the play--in obscuring morality within the narrative confines of a God-less universe, Shakespeare frees himself to address this morality with more honesty and ultimately present it as all the more powerful in its non-denomination. The reader cannot deny the presence throughout the play of an over-arching force of benevolence, primarily manifested in the determined and completely genuine goodness of a small core of characters. (If this goodness was not so quietly forceful one would be tempted to label it martyr-like.) By the end of the play, all the attempted evil has been thwarted as we see that Regan and Goneril's cruel treatment of their father has indirectly led to his final stage of realization; the survival of Kent and Edgar, (who, in a figurative sense, are now left to re-populate the devastated world), indicates the ultimate prevalence of the forces of good. It is at no small cost, but a new peace has been achieved.

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Thus the reader feels that the scope of the play's spirituality is vast enough that the forces that have wreaked such destruction extend beyond the earthly lives of its victims; consequently, Lear's enlightenment serves a higher purpose--it seems, in fact, to right the universe.

Richard II by William Shakespeare is a historical play that chronicles part of the rule and eventual downfall of King Richard II of England. Simultaneously, the play also showcases the rise of Henry Bolingbroke to the throne. Shakespeare employs several recurring images relating to breath, speech, tongues, words, and names in his work, all of which contribute to the major political themes that arise through the conflict between Richard and Bolingbroke. Through imagery relating to language and speech, the two main characters are sharply contrasted, as are the ideas of what a successful monarch is. Richard is cast as an ineffective yet poetic ruler, while Bolingbroke is portrayed as a man of swift action. The emphasis on language in the play, which is essentially given as much weight as life itself, helps to establish Shakespeare’s central question of what makes for the ideal English monarch.

Early in the play, Mowbray introduces the importance of language and speech during his interaction with King Richard II. Immediately following his banishment from the kingdom, Mowbray is appalled at his punishment and remarks that his “tongue's use is to me no more/Than an unstringed viol or a harp” (I.iii.161-2). Without the ability to speak English to those who will hold him captive, Mowbray will essentially have no use for his language anymore, just as one would have no use for an unstringed instrument. His description of his “enjailed” tongue in his mouth parallels his actual imprisonment at the hands of Richard II (I.iii.166). He compares his sentence to a “speechless death/Which robs my tongue from breathing native breath” (I.iii.172-3). This line establishes that language is power in the world of Richard II, and without the ability to communicate, one is symbolically dead. These words from Mowray in the beginning of the play set the tone for how language and speech will be treated throughout the work, and give them a significant and profound weightiness in Richard’s kingdom.

Another way in which words play a role in Richard II entails how they factor into the portrayal of both Henry Bolingbroke’s and Richard II’s characters. Their differences on the basis of word versus action create a visible conflict between the old political system and the evolving monarchy in England at the time. Richard rules on the premise of the divine right of kings, meaning that he believes he was “elected by the Lord,” and therefore is a model and ideal king (III.ii.57). Because of this belief, Richard does not feel the need to actively defend his crown and instead relies on language. It is evident from his numerous soliloquies, and from the dramatic language used by Richard, that he is a king of many words and few actions, something that eventually contributes to his downfall. He makes several bad decisions and falls out of favor among his own people, but still does not take any action to prove himself worthy of the throne. For example, in Act III Scene ii, when Richard learns that Bolingbroke is going to invade, rather than preparing for battle, he says that he and his companions should instead sit down and “tell sad stories of the death of kings” (III.ii.156). Even in a crucial moment such as this, Richard would prefer only to speak about what is going on, rather than to do something to challenge it.

Richard’s belief that his rule is legitimatized by the divine right of kings represents the old view of the monarchy, in which name and title are the determining factors for who will be king, even if that person is not fit to rule. This mentality is especially clear towards the end of the play, once Richard is forced to abdicate the throne. He says “I have no name, no title…and know not what name to call myself,” a statement which demonstrates a complete loss of identity (IV.i.255, 259). Losing the title of king has rendered him unable to recognize himself apart from the position he once held. The importance of name and title to Richard in this scene further emphasizes Richard’s reliance on language and words as his means of power and control. Without them, he is unable to control something as simple as his own personal identity.

In contrast, Henry Bolingbroke, Richard’s successor, rejects the idea that language is power and instead emphasizes that assertive actions are the qualities of a strong English monarch. It is obvious from the play’s first scene, when Bolingbroke challenges Mowbray to a duel, that he is not afraid of physical conflict. He does not speak as often or as poetically as Richard, but instead states, “what my tongue speaks my right-drawn sword may prove” (I.i.46). He also mocks Richard’s way with words in the Act I Scene iii, when he observes that “four lagging winters and four wanton springs/End in a word; such is the breath of kings” (214-15). By saying that Richard’s breath can make time pass, he insinuates that all of his power lies in his speech. Unlike Richard, Bolingbroke believes that words can only be proven by actions that back them up. Bolingbroke’s invasion of England also helps to reinforce this belief, and introduces the idea that selection of the next ruler should not necessarily be limited to the heir to the throne. By taking the crown by force from the weak Richard II, Bolingbroke presents the more democratic idea of a kingship based on the peoples’ needs and the new king’s ability to lead.

Throughout Richard II, William Shakespeare incorporates numerous images relating to speech, breath, tongues, words and names to express a growing conflict between the divine right of kings and principles of effective leadership in England during this time period. Furthermore, the images serve to provide a contrasting view of the play’s two central characters, King Richard II and Henry Bolingbroke. Although Richard’s eventual surrender of his crown can be attributed to several different plot points, the root of his downfall lies in his reliance on language as the sole source of control over the kingdom. Bolingbroke’s decisive and forthright actions throughout the play establish him as a worthy and powerful leader who can more successfully rule England than God’s poetic chosen king, Richard II.

“Even a feeble-minded man wants to be like other men,” writes Charlie Gordon, the narrator of Daniel Keyes’ novel Flowers for Algernon. (Keyes, 184) This novel is known for its apparent respect and understanding of mentally handicapped people. But, as Brent Walter Cline points out in his article “You’re Not the Same Kind of Person: The Evolution of Pity to Horror in Daniel Keyes’ Flowers for Algernon”, the novel actually treats mental handicaps as massively devaluing to a person. While some of the plotlines and character interactions help readers start to see mentally handicapped people as valuable, there is also endless negative language used to describe mental disability. Although Flowers for Algernon is praised for treating mentally handicapped as complex, the constant and strong negative language used to describe mental handicaps ultimately leaves the reader feeling otherwise.

The scientists who use Charlie in their experiment are the most obvious example of using shameful language to describe retarded Charlie. To these scientists, Charlie Gordon is a test subject first, and a human being second. Especially after the operation, the team of scientists hold very little respect for handicapped Charlie. This disrespect pinnacles at a scientific conference where Charlie and Algernon are displayed as nothing more than the team’s creation. Doctor Strauss, a neurosurgeon and psychiatrist, describes preoperative Charlie as “dull” and having “vacuous facial expression(s)”. (Keyes 147) Soon after, Doctor Nemur, the head of the experiment, reads private and embarrassing excerpts from Charlie’s progress reports. The crowd laughs, ignoring Charlie’s presence entirely. Immediately following is perhaps the most upsetting quote in the novel- “‘We (...) have the satisfaction of knowing we have taken one of nature’s mistakes and (...) created a superior human being. (...) It might be said that Charlie Gordon did not really exist before this experiment…’” (Keyes 148) Charlie’s retardation is described as a mistake, which must be altered by science in order to become worthwhile. These actions, these words used in treatment of preoperative Charlie are immensely disrespectful, and they are common throughout the novel. These examples of mistreatment are intended to draw empathy for Charlie. Readers are meant to see his mistreatment as disgusting, heartbreaking even. But they are too frequent and without enough opposition to appear truly wrong. These examples wear on the reader’s psych until such mistreatment is expected.

The most emotionally intense case of handicap shaming is found in Charlie’s family, specifically his mother Rose. She is a flat, simple-minded woman who cares far too much about what the neighbors think. As such, the presence of a developmentally disabled son in her life is unbearable. As Charlie’s parents prepare to bring him to yet another doctor who claims to be able to make Charlie intelligent, Charlie’s father Matt questions the doctor’s credibility. In response, Rose loses control- “‘Don’t say that,’ she screeches. ‘Don’t tell me there’s nothing they can do.’ She grabs Charlie and presses his head against her bosom. ‘He’s going to be normal, whatever we have to do, whatever it costs.’” (Keyes 125) The keywords here and “normal” and “whatever it costs”. In Rose’s mind, he will never be normal until he’s smart, despite the fact that he is very normal within the population of retarded people. Here Rose shows that to her, even an irrational amount of money, time, energy, and emotional upset would be worth having a “normal” son. In this quote and other instances throughout the novel, Charlie’s family holds shame, discomfort, and even embarrassment, towards Charlie, which surfaces in their language. Charlie’s interactions with his family are designed to make readers understand his struggle, but the overt language without proper opposition makes readers believe his family’s shameful perspective.

In the end, the most important language that casts shame on mental handicap comes from Charlie himself. After the operation but before he knows that he will decline mentally, Charlie is vigorous in arguing that he was a complete person before the operation. He is enraged by the scientists who treat him as their sole creation, craving for them to see him as important with or without intelligence. But, after he learns that he will return to his original state, he loses this understanding tone. As he accepts his return to retardation, he too loses respect for himself. There is no pragmatism, no acceptance that he will continue to be a good and important person after his IQ declines. Rather, he says “For the first time, I’m afraid of the future,” and describes other handicapped people as “never having been fully alive”. (Keyes 237, 213) The language he uses to describe his return to retardation is unhopeful, almost disrespectful of his future self. This is where Keyes fails to make Charlie a hero for the mentally handicapped. If readers were supposed to digest Charlie as being a complex before and after the operation, Charlie would have to value his retarded self. But Charlie is immensely afraid of his movement towards retardation, as he too believes it will make him less valuable. Giving in to what others have told him all his life, he too believes it will make him less human

Many claim that Flowers for Algernon is intended to give complexity and value to handicapped people. And at first glance, one could perceive this as true. It would have been possible for Flowers for Algernon to have been a novel that truly, deeply respected mental disability. But, as Cline puts it, “(...) his [Charlie’s] regression to his original state becomes the rhetorical villain in the novel.” Treatment of Charlie as lesser, and his heartbreaking belief that he too is lesser while handicapped, leave readers believing this incorrect clause. If Keyes wrote Charlie to be more accepting of his regression, perhaps readers would become more understanding and respectful of mentally handicapped people in their lives. Unfortunately the unending derogatory language used by nearly every character is too strong a literary feature to outweigh our meager, uncommon belief that Charlie Gordon was, or ever will be, normal.

Works Cited

1. Keyes, Daniel. Flowers for Algernon. Orlando, Harcourt Inc., 1994, Print.
2. Cline, Brent Walter. “You’re Not the Same Kind of Human Being: The Evolution From Pity to Horror in Daniel Keyes’ Flowers for Algernon”.
3. Disability Studies Quarterly. Vol. 34, No. 4, The Ohio State University Libraries and The Society for Disability Studies, 2012.

''To account for life is one thing; to explain life another'' – Coleridge (Norton p.596)

One of the most easily definable of Coleridge's Mariner's losses is his loss of a concrete existence. Coleridge's mariner exists in a liminal space in 'The Rime of the Ancient Mariner'. He is neither dead nor alive, his soul has been won by 'Life-in-Death' and he has lost normal human mortality. He wanders, looking for an outlet to purge him of his guilt and offer a final outcome to his predicament, but finds no lasting solution. The duality of his existence is further illustrated by the poet through his choice of language and form, while the loss that the mariner is subjected to, and offered no resolution from, mirrors the lack of a concrete and definable 'meaning' in the poem.

'It is an ancient mariner' begins the poem and immediately Coleridge is treating his protagonist as 'otherworldly'; by not offering him a personal pronoun, but instead referring to him as 'it', he is separated from the narrator and from the wedding guest, to whom he is speaking. The Mariner's movement away from humanity continues in lines 21-24 as the poet describes the mariners descent away from what is normal; 'Merrily we did drop / below the kirk, below the hill / below the lighthouse top.' Which could be said to represent a move away from what is good and 'godly', the 'kirk' and what is human, 'the lighthouse'. The anaphora at use in this stanza quickens the narrative and the descent.

Anaphora is used in frequently in the poem. At times to speed the narrative, or slow it down. It is also used to emphasise a point, as seen in the stanza that details 'Life-in-Death's', (who won the Mariner's soul) appearance.

'Her lips were red her, her looks were free

Her locks were yellow as gold:

Her skin was white as leprosy,

The Night-mare Life-in-Death was she,

Who thicks man's blood with cold'

The strong caesura between lines two and three in this stanza also illuminates the strikingly contradictory nature of her appearance and serves to divide the stanza into human and non-human. This duality presented in Coleridge's stanzas is, for Seronsy, a major driving force in the narrative. (Seronsy, Dual Patterning in RAM) Focusing on the syntactical division in stanzas he links this to the thematic duality at work in the poem; joy and sorrow, innocence and guilt. He doesn't, however, place importance on the link between the 'dual patterning' (Seronsy) and the duality of the mariners existence between natural and unnatural, life and death.

Much critical attention has been paid to the contradictory nature of the poem and the state of the mariners existence. Critics themselves seem to be divided into two rough groups. Those who champion an allegorical Christian reading or another moral outcome, or those who, like Stillinger, accept the lack of a clear cut resolution to the moral issues raised, as an intrinsic part of the text. (Stillinger: How Many Mariners did Coleridge write?) Wordsworth described the mariner as a man continuously 'acted upon' (Wordsworth: The prelude) and for L.M Grow, 'the Rime' presents us with 'not an answer to the question ''what is real''. But a vivid illustration of the problem itself'. This vivid illustration of the contradictory state of the mariners existence is similar to Coleridge's treatment of the sun and moon as oppositional forces.

As Warren points out, the sun is (mostly) presented as a negative in the poem. The sun makes frequent appearances throughout the story, as does the moon. While the sun is 'bloody' and 'his' appearance often coincides with supernatural events; the moon, female, (usually) offers the Mariner respite and calm. In the 1834 marginal gloss, the 'imaginary editior' (H.Brown) explains lines 263-266; 'In his loneliness and fixedness he yearneth toward the journeying moon'. That the moon is female and the sun masculine presents another element of duality to the poem, and another in-between space for the Mariner to be 'acted upon'.

Some critics have noted the 'flatness' (Ferguson) of tonal variances at points in the poem. Perhaps the tonal flatness and the mostly consistent ABCB rhyme scheme provide Coleridge with a canvas to attempt to 'explain life' (Coleridge). The musicality of the ballad format (which Coleridge puts to good use, as seen in lines such as, 'Alone, alone, all all, alone') could be said to allow the poet more time and length to develop his theme. Not that Coleridge offers any final definitive explanation of life, or clear cut moral outcome. Though he sums up the Mariners experiences with theses lines in the third to last stanza;

'He prayeth best, who loveth best

All things both great and small;

For the dear God who loveth us,

He made and loveth all.'

After these lines, which some critics have called 'banal' (CITE), he goes on to describe the wedding guest 'turned from the bridegroom's door', as, 'stunned', 'forlorn' and 'sadder'. This doesn't exactly balance with the stanza above, particularly as the wedding guest is involved in a celebration of love at, presumably, a church. As Coleridge said, 'poetry is best when only partly, not perfectly understood'. Perhaps this goes some way toward explaining the contemporary reception the poem received. Abrams defines a sub genre, 'the greater Romantic lyric' (Abrams) and cites Coleridge as inaugurating the form. One of the features he identifies in his classification of this lyric, is the mind confronting nature. Perhaps,' the wedding guest's mind, after being confronted with the Mariners wild tale of nature as unstable is struggling to situate himself.

Surely, the Mariner's mind confronting nature is a frequent feature of the poem. As nature gives way to the supernatural, taking the Mariner with it. At times, nature is beautiful; 'And ice, mast high, came floating by / As green as Emerald'. In these lines, the frequent commas slow the cadence and add to the musicality of the iambic beat. This assists with the presentation of the ice at this point as beautiful, not yet frightening. However, at other times, nature turns;

'The ice was here, the ice was there

the ice was all around:

It cracked and growled, and roared and howled

like noises in a swound!'

The repetition adds to the notion of being surrounded by ice, while the onomatopoeic words describe the sound of the ice as that akin to what one might hear in a faint (swound). This creates an unnatural element to the ice, preparing the scene for the supernatural events to follow. It is in this unstable world that the mariner exists, having lost his human existence and existing as another supernatural element in the poem.

His lack of explicit motive and lack of subsequent resolution is mirrored by the thematic treatment of nature as fluid and subject to change. This duality is further illustrated by the poet's frequent use of anaphora and the two part structuring of many of his stanzas (Cecil) . While internal rhymes such as, 'the guests were met, the feast was set' and punctuation provide Coleridge with a way to speed or slow the narrative. This treatment of form, to further thematic elements of duality, gives Coleridge a fluidity to match the unstable situating of his Mariner, in a world where nothing can be said to be entirely 'real.'

Perhaps this was Coleridge's aim with the poem. In offering a protagonist who has, essentially, lost it all, and situating him in a volatile space between natural and supernatural, the poet had a canvas for questioning the nature of existence.

The laparoscopic or still called "mini-invasive surgery", "bloodless surgery" is a specialized technique for performing operations in the abdominal cavity. In the past, this technique was commonly used for the surgical treatment of gynecological diseases and the removal of the gallbladder. Over the last 10 years, the use of this technique has been expanded, and now, in the absence of contraindications, any abdominal surgery can be performed by laparoscopy. In traditional "open" surgery, the surgeon uses a different incision to enter the abdomen. For laparoscopic surgery, one or several incisions of 0.5 - 1 cm are used. Through each incision called a port, hollow tubes are called troaches, through which a camera and micro-tools reach the appropriate organ or a pathological process. At the beginning of the procedure, the abdomen is filled with gas (carbon dioxide) to provide a working field and visibility for the surgeon. The laparoscope transmits images from the abdominal cavity through a camera of monitors in the operating room. During surgery, the surgeon looks at detailed images of the abdominal organs in real time. This system allows the surgeon to perform the same operations as traditional but with small incisions without scarring and in the absence of abdominal wall pain.

What are the advantages of laparoscopic surgery? Compared to traditional open surgery, patients often experience less pain, the recovery period is shorter, and last but not least - no scarring. What types of surgery can be performed using laparoscopic surgery? Gallbladder surgery, appendix, anterior abdominal wall hernias, diaphragmatic hernias, gastric and duodenal operations, small intestine, colon, and colon surgery, as well as liver, biliary tract and pancreas operations, are performed by laparoscopy. Is Laparoscopic Surgery Safe? Laparoscopic surgery is as safe as traditional open surgery. In the beginning, after the introduction of the camera, the surgeon inspected the abdomen to assess whether the laparoscopic surgery could be performed by the Laparoscopic or still called "mini-invasive surgery", "bloodless surgery" is a specialized technique for performing operations in the abdominal cavity. In the past, this technique was commonly used for the surgical treatment of gynecological diseases and the removal of the gallbladder. Over the last 10 years, the use of this technique has been expanded, and now, in the absence of contraindications, any abdominal surgery can be performed by laparoscopy. In traditional "open" surgery, the surgeon uses a different incision to enter the abdomen. For laparoscopic surgery, one or several incisions of 0.5 - 1 cm are used. Through each incision called a port, hollow tubes are called troaches, through which a camera and micro-tools reach the appropriate organ or a pathological process. At the beginning of the procedure, the abdomen is filled with gas (carbon dioxide) to provide a working field and visibility for the surgeon. The laparoscope transmits images from the abdominal cavity through a camera of monitors in the operating room. During surgery, the surgeon looks at detailed images of the abdominal organs in real time. This system allows the surgeon to perform the same operations as traditional but with small incisions without scarring and in the absence of abdominal wall pain.

Large-Scale Building Integrated Wind Turbines in the Bahrain World Trade Center

Manama, Bahrain accommodates The Bahrain World Trade Center (BWTC), which is a 240m (787ft) high twin commercial office tower complex. The towers are the epicenter of a masterplan to renew a 5* hotel and a shopping mall, which exist on a very famous area of Manama, with view the Arabian Gulf in the downtown central business site.

The long established Arabian“’Wind Towers’” influenced the form of the Bahrain World Trade Center buildings in the sense that the buildings take advantage of the undistracted serene breeze from the Gulf, giving a renewable source of energy for the new masterplan.

The towers are famous for their tremendous architecture that imitates an ancient Arabian“’wind tower’” design. However, the most important part that makes the BWTC so special and distinguishes from the others is its status as the first commercial building, which combines three large-scale wind turbines in its design. Additionally, the turbines are able to produce an important part of the building’s total electricity required each year.

How the Project Came About

Atkins” Chief Architect, Shaun Killa, pushed the idea for this modern design solution and the Client easily embraced the concept to show to the world that Bahrain is open to options, which can decrease the demand on fossil fuel energy and will push in a more sustainable direction, urban and building design in desert climates.

The integration of large scale wind turbines in a building structure is complex and needs to be taken seriously as the Client wishes to benefit from this project with the knowledge and experience collected from the people working their and then create teams, which will operating in a global manner.

As many architects around the world, so does the Atkins, crated team in the Middle East, which examines innovative design solutions promoting sustainability and have explored the use of integrated wind turbines on a number of previous projects. The Arabian Gulf with its most important characteristic, sea breeze, the wind climate contributes to the exploitation of wind energy and let designers to move away from the old traditional solutions and think about the unidirectional wind turbine as a choice, which are suitable for the integration of large-scale buildings.

Atkins made a research, which provides that the large-scale integration of wind turbines in projects mainly fails due to the extreme costs connected with the adjustment of the building’s design, and the development costs for special turbines which are also excessive. This project seems to have its basis of design, in the use of conventional technologies and the development of a built form, which would be pleasant to receive wind turbines. The premium on this project, with the wind turbines included, was less than 3.5% of the whole project’s value.

Atkins and a team full of world best technologists, with the advantage of a favorable wind climate and a design theory that keeps low turbine R&D / building costs, made a step further with the design and provide the main issues of:

• Producing technically viable solutions;
• Balancing energy yield / benefit with investment

The modern bathrooms of today, have become a place of refuge and relaxation, to release the tensions of the day. The design periods of simple bathrooms are already far away, nowadays there are new trends and accessories, such as towel heaters, soap dispensers, showers with heads on the walls and ceiling, tubs, jacuzzis, place for television, among many other amenities. The renovation of the bathroom is a great investment in time and money, so it is important to plan everything before you start. You must establish a budget and find the right designer before the upgrade. If you need inspiration, here we will show you the latest trends 2018 to help you clearly establish what you want and need.

Models of Modern Bathrooms 2018

At first glance it may seem that the bathroom is the most inconsequential space in the house, but if you think about it better, you will see that it is one of the places where you spend a lot of time. So why not let your imagination fly free and you can turn this space into a place full of style and beauty ?. And this is where we can help you. What are the trends for next year in bathroom designs, colors and materials?

The year 2018 will be marked by the return to organic and natural. The colors will be super clean, the lines seamless and the layout of the spaces will be practical and simple, but with a touch of organic and elegant comfort.

When a combination of modern and organic is used, a clean and elegant atmosphere is created. For example, the juxtaposition of wood and stone is one of the most beautiful options. In the image we see a bathtub of reduced dimensions, which is placed between the heat of the wood and the brightness of the ceramic tiles. A combination of easy-to-maintain supplementary materials. A modern but homely composition. This balanced atmosphere can be achieved by combining classic and modern, minimalism and warmth, innovation and nature.

One of the new trends in bathroom design rediscovers the old organic connection between clay and water. In the cultural history of mankind, clay is one of the oldest materials used to create containers for water containment and even today remains one of the main materials for the creation of bathroom accessories. The designer Werner Aisslinger found that the most plastic, natural and free material is clay and he used it without liPlants Do not forget to include green, the plants in the bathrooms are not only fashionable, but also give a wonderful touch to the designs.

Another natural material that brings back the domain of nature in our homes is, without a doubt, wood. It is being used mainly as a shower floor covering. This project by Piero Lissoni for Boffi and his Garden series gives us an excellent example of elegant combinations between natural materials that may be suitable for a modern bathroom design. A wooden base with stainless steel accessories, an innovative and classy combination. The presence of clean and fresh wood texture in the design provides a touch of luxury to the composition.

Dark colors and matt surfaces

Dark colors make a great comeback in the interior design fashion scene this season. Considering the trend of the use of natural materials, cement tiles are going to be very popular this year. The most trendy color of this season will undoubtedly be gray. This color does not have to look boring, it works wonderfully in a rich variety of shades and tones. No more tiles or shiny surfaces. Matte, either in earthy or neutral colors, is increasing. You can use these colors to combine with the darker grays, and introduce some contrast to the total color scheme. You can also use shades of pastel blue or green to add a touch of color.

The marble cladding for metal walls and accessories in shades of brass and gold is another trend. An elegant return to the aesthetics of the 70s in the combination of colors and tones. Here is an example of how the nobility of stone in combination with minimalism and other natural materials can make up a truly elegant and contemporary environment

Geometry becomes important in architectural and structural details, but also in tile or tile coverings. This hexagonal shape of the tiles is a trend that will surely extend several years and a very popular design combination with multiple variations. You can even achieve 3D depths. Minimalist bathrooms The shape and size of toilets and bathtubs are greatly reduced, not only to fit better in smaller urban apartments, but also to introduce a sense of restricted elegance and intimacy.

The heating designs for bathrooms, bring very original proposals, as you can see in these photos. Materials in modern bathrooms The most commonly used elements today are wood, glass, large tiles, both in the floor or to coat the wall, and much cement or materials of similar texture and color. Wood The woods will continue to flourish in modern bathrooms. The launch of new wood products of special design, allows us to bring their natural heat into a space where the use of this material was taboo. It can be used on walls or countertops.

Wood is not the only natural material that will be a trend in the next year. Earthy materials such as natural stone and river stone, not simply on the floor and walls, but also on countertops, washbasins and bathrooms. It is played with the majesty of natural materials and minerals that contrast each other, which offer us visual and tactile texture in a room that has become a sanctuary.

Metal has been an important interior trend in recent years, and it seems that it will not be falling into disuse. Metals offer glamor and contrast with natural materials. They reflect light and inject style, whether with an industrial touch or a touch of glamor. Metals with matt or satin finishes will be especially popular this year.

The cold tones that create a calm atmosphere will be trend in 2018. Some of the best options for cool shades are blue and emerald green. They combine with white and touches of wood for a fresh sensation, with metallic details and rustic materials for a more sophisticated design.

White is the predominant color when it comes to bathroom accessories. White helps create a fresh and contemporary environment. Use white accessories to complete a clean appearance, contrasting with the walls or cabinets.

As the saying goes, “laugh and the world will laugh with you.” Laughing really is undeniably contagious and this has been proven in multiple situations, including public service announcements and social experiments. According to an advertisement conducted through a social experiment released by a global brand, the positive vibe and energy laughter gives in a place brimming with strangers is astonishing and uncontainable. It shows a man, standing inside a subway station, who starts to laugh at the video he is watching at his mobile phone. Other passengers at the subway start to notice but try to ignore him, at first. But the man continues to laugh and then a passenger, followed by two, and more and more passengers come to laugh with him. The experiment only strengthens the idea that laughter can be spread among people of all walks of life.

Life can truly be difficult. We have our own ups and downs. But it is innate to us human beings to always incorporate laughter in our day-to-day activities. We smile for a wide variety of reasons, and we all know for a fact that laughter brings us a plethora of health benefits, including on our physical, emotional, and mental health. However, psychologists discovered in studies that laughter has more specific benefits to our frontal lobe than we used to believe. People always say that laughter is the best medicine. It may sound ridiculous at first but when you observe it, you will realize it is actually true. Laughter draws people together in ways that spark healthy changes in the body, both physical and emotional. Aside from this, an article on the mental health website Help Guide stated that laughter is scientifically recognized to strengthen your immune system, reduce your physical and emotional pain, boost your mood, and safeguard your brain from the damaging effects of stress.

As adults, we tend to laugh fewer times than we do when we were children. Yet ironically, we also encounter heavier problems and issues in life compared to when we were just kids. This is one huge factor that contributes to our daily stress from different sources such as our workplace, family, or even social life. Psychologists say that seeking out opportunities for humor and laughter will help you strengthen your emotional health and relationships. Nothing is more effective at bringing your physical, mental, and emotional well-being back into balance than a good laugh. Laughter, anyway, is fun and free. Throughout the day, we experience a bunch of ups and downs and the easiest way to put ourselves back together is by having a good laugh.

A Ph.D psychology candidate in Tufts University, Alex Borgella, says that humor contributes to one’s self-esteem. In her research centered on how, why, and when people use humor, she stressed that people with a higher sense of humor can deal with life-threatening situations better due to enhanced coping skills and a better image of oneself. 

Scientists say that laughter can also boost your immune system by helping you fight against stress. It decreases your stress hormones and multiplies your immune cells to improve your resistance to disease. Moreover, laughter is also scientifically proven to release endorphins, feel-good chemicals that are released by the brain and nervous system to trigger positive feelings and reduce your perception of pain. Laughter is also scientifically verified to improve heart function by increasing blood flow to blood vessels, which can protect people from the threat of heart attacks and other cardiovascular problems. A study also found that laughter can reduce body calories. The study shows that laughing for 10 to 15 minutes a day can burn about 40 calories. It may be no replacement to the gym, but it can be a fun and free exercise.

Social aspects play such a significant role in the health benefits of laughter. It feels good laughing on your own while watching sitcoms or comedy movies, but there’s nothing more fun than laughing with other people. Laughing brings people together and helps strengthen bonds and relationships between families, friends, or the people you love. Psychologists say that if you laugh with other people, it can give both of you a positive feeling and help you feel more relaxed, despite having yet unresolved issues and stressful situations. Humor plays a huge role in keeping the communication positive even amidst disagreements and arguments. When we laugh with other people, it creates a bond that represents a buffer against stress and disagreements. One of the best feelings in the world is having a deep-rooted belly laugh, a laugh that is genuine enough and bound to push down all negativity and self-doubt. Laughter can bring people closer together, and can establish strong and unlikely relationships between people of enormous differences. From a tiny giggle to a side-splitting guffaw, laughter never fails to change a depressing atmosphere to a cheerful and warm one.

Works Cited

1. Help Guide. (n.d.). Laughter is the best medicine. https://www.helpguide.org/articles/mental-health/laughter-is-the-best-medicine.htm
2. Borgella, A. (2019). Humor as a self-protective factor: A review of the literature. Humor: International Journal of Humor Research, 32(4), 589–602. https://doi.org/10.1515/humor-2018-0164
3. Berk, R. A. (2001). The active ingredients in humor: Psychophysiological benefits and risks for older adults. Educational Gerontology, 27(3–4), 233–251.
4. Dean, J. A., & Berger, S. (2019). The power of laughter: A summary of the benefits of humor in the workplace. Journal of Psychological Issues in Organizational Culture, 9(4), 14–24.
5. Kim, J. W., Kim, K. W., Lee, Y. S., & Choi, J. W. (2016). The effects of laughter therapy on depression, anxiety, and stress in patients with breast cancer undergoing radiotherapy. Asian Pacific Journal of Cancer Prevention, 17(12), 5593–5598.
6. Martin, R. A. (2010). The psychology of humor: An integrative approach. Elsevier Academic Press.
7. National Cancer Institute. (2019). Laughter therapy. https://www.cancer.gov/publications/dictionaries/cancer-terms/def/laughter-therapy
8. Provine, R. R. (2004). Laughter: A scientific investigation. Penguin Books.
9. Yim, J. E., Lee, J. H., Lee, D., & Kim, J. H. (2016). The effects of laughter therapy on mood, cortisol levels, and immune system in breast cancer patients. Journal of Korean Clinical Nursing Research, 22(1), 69–78.
10. Ziv, A., & Gadish, O. (2018). Laughing together: The sense of humor–relational satisfaction link revisited. Journal of Social and Personal Relationships, 35(2), 196–215.

How Does Kipnis Reevaluate the Meaning of Adultery and Mid-Life Crises? What Sort of Evidence Are These Phenomena, in Her Opinion?

As we all know, love is known to be one of the most powerful and important forces in our very own existence. The achievement of love has become such an important aspect of our lives that we think of ourselves as failures if we don’t achieve it. Society as a whole holds so many romantic expectations for love that it has almost become so overwhelming for us in a relationship to reach or sometimes even exceed those expectations. However, this romanticized version of today’s love was only learned after the 18th Century according to some historians. In fact, most of what we see love as came to us thanks to the romantic era of the 18th century along with our fascinations with reading novels. This romanticized version created a notion of expectations that are impossible to reach yet still expected to be reached. Therefore, Kipnis sees adultery and mid-life crises as a rebellious breakaway from the domestic confinement that these expectations has caused love to become. They have become evidence of the reality of the sustainability of monogamy and on the impact of society’s ideology has had on it.

Kipnis likes to express today’s ideology of love as something unsustainability and impossible to ever accomplish to the extent it is expected. She argues the search for love has become such a necessity in today’s society that that if we listed anxieties that we had “high on our own list would be diagnoses like “inability to settle down” or “immaturity” (Kipnis). She explains this was not the case with the Greeks and suggest that it was a learned behavior after the 18th century. Kipnis begins to note that after the 18th century society has had “the expectation that romance and sexual attraction can last a lifetime of coupled togetherness despite much hard evidence to the contrary” (Kipnis). The expectation for love to last a lifetime causes immense pressure on the individual to keep and be faithful with their partner for their entire life which is extremely unrealistic. She then explains that because of this we “feel like failures when love dies” and when love dies we “[experience] it as crisis and inadequacy even though such failures are more the norm than the expectation” (Kipnis). This causes a lot of anxiety surrounding the obtainment of love and its duration according to Kipnis which then causes higher rates of separation since the demands and expectations arise. This has led love to become both a “beacon of hope” and later “your worst nightmare” as you struggle to fit every single expectation that society’s love has led you to believe were true (Kipnis). This immense pressure according to Kipnis is what leads a lot of people to commit adultery or go into a mid-life crises because they begin to realize that they cannot meet the expectation of love that they were taught.

Furthermore, Kipnis sees adultery as escape routes for the modern idea of love and its confinements. The people that commit adultery are seen as failures and people who should be ashamed for themselves. However, Kipnis explains that they are people that are simply “wanting change”, “wanting to start over” or “wanting more satisfaction that what [they] have” (Kipnis). Because of this they are punished and sometimes shunned by society because the expectations of love that is has were not met by these individuals. She argues that they are not shameful people but instead individuals that are examples of how the expectations of love have caused so much disruption and pressure in a persons life. Kipnis believes that it’s surprising that society is “convinced that both love and sex are obtainable from one person over the course of decades” because it is certainly not (Kipnis). She states that society makes this huge assumptions which causes confusion and problems in marriage. In addition, it is the expectation of communication and compliance that also turns partners to adultery. Kipnis explains that “domesticity requires substantial quantities of compromise and adaptation simply to avoid mayhem” which means that each partner much listen to each other and come to constant agreements just to remain happy with each other (Kipnis). She explains that each partner according to today’s standards are required to exchange compliance for each other’s love in order to have the relations working properly. Constant communication is required to communicate what should be changed and what each partner wants from one another. This, Kipnis argues, causes a loss of individuality which is a paradoxical issue within us because we don’t want to sacrifice it, however, in a relationship “it is being surgically excised” (Kipnis). Our individually is even further taken from us as we dive into the huge amount of rules that begin to appear in long term relationships. These rules are many times always things we cannot do and are not limited to the bathroom, bedroom and kitchen. However, the compliance is considered to be an even trade for the love that we receive for it. Yet the adulterer would tell you that it is not worth it according to Kipnis. The adulterer is an example of the reaction to this immense loss of individuality that comes with love. Kipnis suggests they are the result of the pressure on which this ideology of perfect love instill on people because of its unreachable expectations.

However, because it is hard to imagine a world without love most people are accepted to this kind of suffering. Kipnis depicts that most people will see the world empty with no love “as if love were vital plasma and eve thing else just tap water” which causes that same pressure to find a partner and keep them no matter the costs. The people who turn to adultery and mid-life crises are a response to this immense pressure of a perfect relationship and turn to alternatives, often in secrecy, to relieve them of such pressure. Although, most people see these people as shameful humans Kipnis argues they are just a product of our very own ignorance on love and it’s true nature.