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Much like a ghost, Beloved's Sethe is caught in limbo between her past and future. She constantly struggles between the remembrances triggered by Beloved and the opportunities afforded by Paul D. Having never matured into the present, Sethe finds consolation in Beloved, who personifies both the good and the bad of her past. With the re-entrance of Paul D into her life, Sethe becomes aware of the future, but resists moving forward. Accentuating Sethe's strain between the past and future is the constant battle between Beloved and Paul D for control over Sethe. It is not until Sethe conquers her past that she can move into the future.

To Sethe, the encumbrance of her past is comforting. Beloved, as both a sprit and a human, is always with Sethe. As Sethe prays, Denver sees "a white dress knelt down next to her mother and...and its sleeve around her mother's waist" (29). Prayer is an activity in which one finds peace within one's self, but it is not from within that comes her comfort, but instead from Beloved's presence. Even in Sethe's most private, solitary moments, Beloved placates her, all the while refusing to let go, as the waisted arm reveals. Sethe, although hesitant, is perceptive of her omnipresent past. As she discusses the white dress apparition with Denver, she admits that "Some things go. Pass on. Some things just stay. I used to think it was my rememory. You know. Some things you forget. Other things you never do. But it's not...it will happen again; it will be there for you, waiting for you...it's going to always be there waiting for you" (36). When Beloved arrives at 124, reincarnated in human form, Sethe "can't place it" (67), but the "feeling" (67) in her recognizes Beloved as the same haunting past and knowing this, she still "had let her in" (66), to her house, her life.

As the physical embodiment of Sethe's past, Beloved inhibits her from conquering the ghosts of the past in which she remains. After mercy killing Beloved, Sethe's dress dries "stiff, like rigor mortis" (153); it is not the dress that undergoes partial mortality, but instead Sethe. At the death of her daughter, a part of Sethe dies, suspending her in the past. Having accustomed herself with Sethe's habits, Beloved begins "inching down Bluestone Road further and further each day to meet Sethe and walk her back to 124...as though every afternoon she doubted anew the older woman's return" (57).

Beloved is afraid that Sethe will leave her past, and she collects her in this fashion, striving to hold her in it. She continually pushes Sethe back into the past as she fishes for stories, using remnants of memories as bait. Beloved receives a "profound satisfaction...from storytelling" (58) because every time Sethe senses a hint of her past life, she returns to that piece of her life, which is so readily available having never fully escaped it.

Beloved claims possession of Sethe, telling Denver, "She is the one. She is the one I need...she is the one I have to have" (76). Each journey back holds Sethe there as she embraces both the good and the bad, fulfilling Beloved's desire to hold her in the past.With Paul D's arrival, comes a wary reassurance, leading Sethe to become inquisitive of the future. The morning after they have sex for the first time, Sethe begins to think, "Would it be all right? Would it be all right to go ahead and feel? Go ahead and count on something?" (38). He suggests the prospect of a family, something Sethe never truly experienced, telling her that they should make "space for somebody along with [Denver]" (45). Before space can be made for Paul D in their family, Sethe must overcome her past.

As Sethe begins to step forward, Beloved's efforts grow, holding her back. At the carnival with Paul D and Denver, Sethe first sees the possibility of a future as she notices that "[t]hey were not holding hands, but their shadows were...all three of them were gliding over the dust holding hands" (47). But, much like the landscaping of the carnival, where "the closer the roses got to death, the louder their scent" (47), the closer Sethe gets to putting her past behind her, the louder and stronger Beloved's actions become. As she recognizes that "Paul D was adding something to her life-something she wanted to count on but was scared to" (95), Sethe begins to lay the memory of Halle to rest in Baby Suggs' preaching clearing, but as she gains greater peace with remembrance of Halle, the "fingers touching the back of her neck [become] stronger... Harder, harder, the fingers [move] slowly around toward her windpipe making little circles on the way" (96). She associates the pain as that of forgetting the past, resurrecting her fear of letting go. Beloved not only attacks the future through Sethe, but also through Paul D, Sethe's link to the future. Paul D recognizes that it is the haint that prevents Sethe from moving on, just as Beloved recognizes that it is Paul D that will cause Sethe to leave the past. Between Paul D and Beloved, there is a constant power struggle; they struggle for power over Sethe and power between themselves. Upon their first acquaintance, Paul exhibits his supremacy over Beloved, instructing her to "Leave the place alone! Get the hell out" (18), in hopes of giving Sethe the opportunity to escape from the past that possesses her. With Beloved in the house, "[t]here was no room for anything or body until Paul D arrived and broke up the place, making room, shifting it, moving it over to someplace else" (39), but she later uses her own tactics to rid 124 of Paul D. As Beloved slowly moves Paul D around the house, she eventually corners him in the shed behind it, disregarding Paul D's pleas of Sethe's love for her, taking her own turn to instruct Paul D to "touch [her]. On the inside part" (117). Beloved uses sex, man's weakness, to conquer the future. Although Beloved succeeds in the instant, she does not rid 124 of Paul D, but instead leads him to the realization that Sethe cannot move on as long as her past haunts her.

It is not until Sethe is at ease with the prospect of a future that she can confront her past. After his sexual encounter with Beloved, Paul D says to Sethe, "I want you pregnant...Would you do that for me" (128). The baby of Paul D's desire is his wish to start anew with Sethe, for both of them to lay their past to rest and create their own future, but Sethe responds with, "Don't you think I'm too old to start that all over again" (128), demonstrating her interest in the future, because she does not reject the idea of a family, but at the same time her hesitance to move forward, because she is insecure leaving her past to regenerate her life. As they sleep together later, Sethe "placed her hand on his chest [as she wondered] if her boys come back one day, and Denver and Beloved stayed on well, would it be the way it was suppose to be, no" (132). With the placement of her hand, she begins to bridge into the future as she contemplates and acknowledges its consequences. Her recognition of "the smile and the upfront love that made her try" (161) to explain the murder of Beloved to Paul D demonstrates her growing comfort with the future. She hesitates as she draws closer to the account, knowing that "the circle she was making around the room, him, the subject, would remain one" (163), not because she was avoiding the past, but instead because of her personal consciousness that she could not move into the future without confronting her past.

As Sethe approaches the future, her movement is reflected in Beloved's physique. "She had two dreams: exploding and being swallowed. When her tooth came out--an odd fragment, last in the row---she thought it was starting" (133). Her dreams expose her growing awareness of Sethe's reconciliation with the past, while the loss of her tooth reflects the physical effects of it, as Sethe is literally dismantling her past, Beloved. But, Sethe digresses, fully submitting herself to Beloved. "Beloved sat around, ate, went from bed to bed...The bigger Beloved got, the smaller Sethe became...Beloved ate up her life, took it, swelled up with it, grew taller on it" (250). When Sethe makes the decision not to kill Mr. Bodwin, whom she believed to be school teacher, "her hand is empty" (262), now absent of that of Beloved, who had held onto her for so long. During the exorcism, Sethe is forced to relive the events surrounding Beloved's death so that she can correct her actions, and finally move on.

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Beloved exists to force Sethe to confront her past. Sethe tries to repress her memories, which results in its return with greater force. She must choose between the past and the future, Beloved and Paul D, but in order to move into the future, she must bury her memories, and rid herself of the parasitic Beloved. Although Sethe finally surmounts her past, she will never be fully absent of it because, as Morrison said, "She did the right thing, but she didn't have the right to do it."

Limitations and Impacts of Ecological Indicators: There are limitations and difficulties to utilizing indicators for assessing arrangement programs. For indicators to be helpful for strategy investigation, it is important to have the capacity to utilize and think about pointer results on various scales (neighborhood, provincial, national and global). Presently, pointers confront the accompanying spatial impediments and difficulties.

• Variable accessibility of information and data on nearby, local and national scales.
• Lack of methodological guidelines on a worldwide scale.
• Different positioning of markers on a worldwide scale which can result in various legitimate treatment.
• Averaged qualities over a national level may conceal local and nearby patterns.
• When aggregated, nearby markers might be excessively differing, making it impossible to give a national outcomes. Indicators other have different problems and difficulties, for example,
• Lack of reference levels, consequently it is obscure if drifts in ecological change are solid or feeble.
• Indicator measures can cover, causing over estimation of single parameters.
• Long-term checking is important to distinguish long haul ecological changes.
• Attention to all the more effortlessly took care of quantifiable markers occupies from pointers less quantifiable, for example, feel, morals or social qualities.

Why Impact Is Important?

• Accountability: Impact pointers measure what a task has accomplished with respect to its points and therefore advance responsibility.
• Public relations and support: Impacts and Performance indicators can be utilized to make agreement, to advocate for the undertaking's objectives.
• Dissemination of best practices: a venture builds up a decent practice when its effect is tenable, quantifiable, compelling.
• Benchmarking of current circumstance: Performance indicators can produce information against which to gauge resulting ventures.
• Quality administration: Performance pointers can be utilized to quantify recipients fulfillment and evaluate how the task is overseen.
• Policy audit: Performance indicators can be joined inside a national populace strategy system with pattern data unmistakably determined and benchmarks set out on a medium to long haul premise

What Is Impact?

• Impact is the Positive and negative, essential and auxiliary longterm impacts delivered by a mediation, straightforwardly or in a roundabout way, planned or unintended.
• It portrays how and to which degree the undertaking has added to the arrangement of the issue and to the accomplishment of the general goal
• When the target progressive system is perused from the base up, it tends to be communicated in wording.
• If sufficient data sources/assets are given, then exercises can be attempted.
• If the exercises are embraced, then outcomes can be delivered.
• If results are created, then the reason will be accomplished.
• If the intention is accomplished then this ought to contribute towards the general goal.

Examples of Impact Indicators:

• Changes in behavior
• Changes in community capacity
• Changes in awareness, knowledge, skills
• Policy changes
• Increase in service usage
• Improved continuity of care

Identifying Customer Pain Points: A definitive achievement or disappointment of an item is hovering around clients.

Except if you have not pinpointed the torment purposes of your clients, the possibility of new item improvement will bomb definitely. No client dedication implies no income, which eventually prompts the dissolving of the organization.

Organizations working with no clear objectives, neglecting to comprehend what they will pay and neglecting to organize the necessities is the significant supporter of the shutdown of the organization.

What they will pay and how it can satisfy the prerequisites. Research, experimentation, and testing ought to be taken after all through the advancement procedure, as opposed to sitting tight for the item to be propelled totally.

Effective Product Management: Without a product proprietor, no outcomes can be gotten from starting conceptualizing.

The product proprietor ought to be capable in details as well as hold fast to introductory targets, for example, consumer loyalty, productivity and time to dispatch the item.

Product Architecture: Frequently watched that a couple of offering focuses are covered under nifty gritty plan determinations and useful necessities, tending to the anticipated aggressive qualities will never become to. So also, it goes for the basic necessities for time utilization and operational expenses, once the arrangement is operational. Despite the fact that, on the off chance that you endeavor to achieve the specified level of intensity in the client's eye, you will most likely be unable to produce income.

Make a point to recognize whether you have to begin from the officially created product or starting from the earliest starting point and build something of your own.

Outcomes of the Product: Organizations endeavoring to focus completely on the item itself without mulling over deals process, they would almost certainly lose the important learning. The new item improvement process focuses on the item itself, yet it can ruinously influence the starting of the item, as a large portion of the essential segments were disregarded.

The significance of directing an exploration before the New Product Development process can't be overlooked. Organizations frequently consider new item advancement as a uniform procedure, actually, it can be isolated into two phases:

Truth-Seeking Early Stage: It is centered around evaluating new items, prospects and evacuating awful wagers.

Achievement Seeking Late Stage: Focused on expanding the estimation of items that have been decided for improvement in the wake of screening.

Ensure, while taking a shot at new item improvement, every one of your suspicions and theories must be attempted and tried before pacing forward. In basic words, the esteem lies in the impartial outer approvals of accomplishment and research-based meanings of progress.

Coming to a Conclusion: The achievement of new product advancement relies upon how successfully you design. In any case, what makes a difference the most is the manner by which well you have looked into and conceptualized the thoughts that understand to the necessities of the intended interest group.

In addition, the coordination among groups and cautiousness all through the advancement stage will likewise assume a key part in progress. It won't just deliver the orderly way to deal with the new item process yet, in addition, brings together the collaborations all through the procedure.

I feel that lean start up methodology does not work best with inventions and enterprise platforms that require a guaranteed, long development cycle. I also believe people do not know what they want, you have to show them and point them towards a direction.

The real estate market will be negatively affected by GST as it will have an 8% increase in the cost of new house which will lead to a 12% decrease in the demand.

It is believed that there will hardly be any reduction in the tax layer of the current tax payer as the new coined CGST and SGST are nothing but new names of service/excise and other state central taxes. Branded goods and electronic items might become expensive after GST roll out. Aviation industry has been adversely affected by GST as it has led to an increase of 15% compared to the earlier service tax on airfare which varied from 6 to 9%. Learning and adopting the new system will have teething troubles and would disturb the entire eco system.

Limitations of Previous Tax Structure and How Gst Is an Improvement Upon It

Indirect taxes are regressive and not equitable we can say this as when the salt prices rose both rich and poor paid the same amount as the tax is wrapped in the price. The tax imposed on goods with elastic demand might not bring in much revenue as the tax will raise the price and contract the demand. Industries are discouraged if taxes are levied on raw materials as it increases the cost of the production. Its uneconomical as the cost of collection is high every source of production has to be guarded. Administrative staffs are required to administer such costs which turns out to be a costly affair.

GST has made life simpler as it has replaced 17 indirect tax levies and compliance cost will fall. Revenue will get a boost as input tax credit will encourage suppliers to pay taxes. GST has made transport a lot more smoother as it has removed the interstate check posts this has reduced transport costs, fuel use and corruption.GST has made collection of direct tax more effective as there will be seamless flow and availability of common set of data to both the center and the states. People who were earlier outside the tax net have sought GST registration. It has expanded the tax base as more people find the benefits of GST. There will be more transparent and effective taxation of imports as the full taxes will be levied when imported goods first arrive to the country with full tax credits available. Textile and clothing sector is now fully under the tax net as previously some part of value chain especially fabrics were outside the tax net leading to informalisation and evasion.

In Nervous Conditions, the main character, Tambudzai, feels restricted within her family and culture because she is female. The people of Rhodesia assert very traditional roles for men and women; the women cook and clean, while the men go to school and earn money. In this culture, females are not supposed to desire an education or a career, they are to get married and be a good homemaker. Tambu decides not to abide by this way of life, the life her mother and father expect of her. She is eager to leave the homestead and live a British life. What she doesn’t realize is that she is at the lower end of the spectrum because she is a female and an African. She is treated unequally within her own society because she is female, and she will be treated unequally in a British society because she is African. Even if her family permits her to attend school, what will she be able to achieve with her education? Tsitsi Dangarembga, in Nervous Conditions, conveys the idea that the society that introduces opportunities for a better education for African women, is the same society that limits these women’s potential. She does this through the British education system in Rhodesia, the patriarchal role of women in the Rhodesian culture, the idealization of the British lifestyle, the expendable position of Babamukuru at the mission, the profound education of Maiguru as well as her limited use of this education in Rhodesia, and Nyasha’s epiphany.

Tambu is very young, but she has very mature ambitions for herself. She feels strongly that she does not want to be solely educated in the wifely duties, especially when a formal education is a fairly realistic option for her. The education that exists is an English education, run by Catholic missionaries. The schools are expensive and considered prestigious, but the best education can be obtained by studying in England. For a common Rhodesian family such as Tambu’s, the only priority is to educate their sons. Although females are accepted into the schools, it not typical for a family to send their daughters to school, unless they have the money to do so. In Tambu’s case, the resources are not there. Her family is in poverty, making tuition for school almost impossible. However, when it comes to their son, education is a necessity. Tambu has resentment towards her brother because of this fact. Her brother also belittles her and her younger sister, knowing that girls have this predestined place in society. He made his opinion clear in saying to Tambu, “Did you ever hear of a girl being taken away to school? With me it’s different. I was meant to be educated” (Dangarembga 49). Tambu did not want to accept such a life, taking care of a man, as her fate.

Tambu’s brother is not her biggest obstacle. Her father is not on board with her request to go to school. He expresses his stance by saying, “Can you cook books and feed them to your husband? Stay at home with your mother. Learn to cook and clean. Grow vegetables” (Dangarembga 15). In the Rhodesian culture, a son is more valuable to a family because he will remain as a member of the family for all of his days. The son will be the one responsible for caring for his parents in their old age. A daughter, on the other hand, is not as valuable. She will marry into another man’s family, consequently leaving hers, and only be beneficial to her husband. In Tambu’s father’s point of view, there is no purpose to education his daughter because she will be of no use to him in the future. This is an unfair and sexist presumption. Does her father not care of the success and happiness of his daughters as well as his sons? Though he is unable, financially, to provide an education for Tambu, he does not have to be so condescending at the thought of his daughter wanting to better herself. With no other option, Tambu is determined to raise the money for her tuition without the support of her family. She is successful.

Tambu is receiving the education she wanted so badly. She is living with her uncle, Babamukuru, the man who is most admired in her family. He is well educated and successful. Tambu sees how his family is so prosperous, and connects this with the fact that they live a predominantly British lifestyle. Babamukuru, and his whole family, spend a great deal of time in England, and return very different. Her cousins do not act in their old African ways anymore, nor do they speak the language. Almost every aspect of their life is British, which to Tambu, seems almost God-like. She illustrates, “Babamukuru was God, therefore I had arrived in Heaven. I was in danger of becoming an angel, or at the very least a saint, and forgetting how ordinary humans existed” (Dangarembga 70). She desired this lifestyle and all that it can offer to her. Because of this, she strongly believes that in order to make progress, she must leave old ways behind. Little does she know that, among the whites at the mission, Babamukuru is considered replaceable. By changing his culture, he is unable to change his skin color, which will hold him back as long as he works at a job within the English society. Even with all of his education, he is unable to achieve equality with them.

Tambu is unaware of the fact that although she may be equally entitled to a British education as a female, she may not be as equally entitled to a respectful career as an African among whites. At the same time, an educated female in Africa will never reach her full potential. No matter where Tambu decides to be, she will be prohibited by at least one aspect of her identity. This truth reveals itself to her after talking with her aunt Maiguru.

Maiguru earns a Master’s degree while in England, despite her family and husband’s disapproval. She has great dreams for herself, as does Tambu, but has to put them away for the sake of her family. She explains her situation to Tambu, “What it is, is to have to choose between self and security. When I was in England I glimpsed for a little while the things I could have been, the things I could have done if- if- if things were- different. But there was Babawa Chido and he children and the family. And does anyone realize, does anyone appreciate, what sacrifices were made? As for me, no one even thinks about the things I gave up!” (Dangarembga 101-102). After hearing this and perhaps relating it to her own possible future, Tambu feels mournful for Maiguru’s losses. The loss of her dreams, her goals, her ambitions, her independence, her self respect. Tambu can’t believe how Maiguru is deprived of the opportunity to make the most of herself. At this point, Maiguru has accepted her decisions and all that she sacrificed, which makes it even worse. Tambu knows what she wants and won’t let anyone get in the way of it. Maiguru knows what she wants, could have had what she wants, and knowingly walks away from it because she knows she can’t have the best of both worlds. At least Maiguru still works and earns money, which wouldn’t have been an option had she not been educated. But that money doesn’t belong to her, it belongs to her husband to provide for himself and their family. Maybe it will feel more worthwhile if her sacrifices are at least acknowledged and appreciated.

Babamukuru doesn’t realize that he has put his wife in the same position that he is put in by his family. They depend on him, as the most successful member of the family, but do they understand all of the hard work he put into his schooling to get to life of luxury of which he has achieved? Sure, he has the resources to help the struggling members of his family, but they mustn’t take it for granted, or work any less hard to provide for themselves.

Living in England will have disadvantages as well. Tambu can never reach her full potential in England because she is not considered equal to the whites. At least in Rhodesia she is considered an equal as an African. Tambu also learns of the bad that can come from the English culture as she watches her cousin, Nyasha, turn into a stick-figure. The culture that Tambu once longed to be a part of, has taken its toll on her cousin and her perception of beauty. She is beginning to realize that the influence of the English culture is not what she thought. Perhaps this new culture is worse than she once thought her own culture to be. Her eyes open to the truth when Nyasha awakes in the night and speaks of the how the colonizers have ruined her exclaiming, “They [the colonizers] did it to me… Why do they do it, Tambu, to me and to you? Do you see what they’ve done? They’ve taken us away. They’ve deprived you of you, him of him, ourselves of each other. We’re groveling. Daddy grovels to them. We grovel to him. I won’t grovel… Their history… Their bloody lies… They’ve trapped us. I won’t be trapped” (Dangarembga 200- 201). This powerful epiphany is not overlooked by Tambu. After seeing her own cousin fall, the girl she grows so close with, the girl who is so willful and headstrong, she ponders how she will ever survive. She decides that she should begin to question her surrounding and every aspect of the society that she was so quick to surrender to. She’s not going to be brainwashed any longer. Nyasha warns Tambu earlier in the novel, “It’s bad enough when a country gets colonized, but when the people do as well! That’s the end, really, that’s the end” (Dangarembga 147). This is the truth. Tambu realizes that maybe she was too eager to leave the homestead. Had she not had a complete flip in her perception, she would not have been able to retell her story with such transparency. It is a more neutral insight that she offers the reader about her struggle between African and English traditions. But as it comes to be known, sometimes it’s the unknown lifestyle that you desire, that will destroy you. The Africans are victims of Englishness, not blessed by it.

The colonizers expect to barge in, educate these people to “better” their country, yet not accept them as an imperative asset within the country that they are educated to be like. It is such an unfair position that these African females are put it, especially when they know that can achieve so much more than a degree in chores and gardening. It is amazing how Tambu refuses to let poverty or her father stand in the way of her goals, but can she succeed beyond the traditional role of a woman in her society? Even if she can, she can’t get past the fact the she is the minority in the lifestyle she desires. At the same time, home is where these girls are safe. They may not have a career, but at least they are raised with decent morals and values, and many women do enjoy their job as mother, as long as they are loved and appreciated. Isn’t there a better solution for colonized girls who want the best of both worlds?

Works Cited

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Dangarembga, Tsitsi. Nervous Conditions. Seattle: Seal Press, 1988.

Half of a Yellow Sun by Chimamanda Adichie is a literary tour de force that examines Nigerian culture through the lens of three main characters. The novel focuses on violence and the familial relationships of core characters over a significant period of time, the Biafran War. Some of the fundamental issues that Adichie focuses on is the way femininity and masculinity are performed though these specific characters and how these roles are treacherous and sometimes devastating to relationships and morality. The film representation of Half of a Yellow Sun lacks focus on the subjection of women as inhuman beings, the nature of masculinity as portrayed through sexual violence, and the dichotomization of men and women into separate spheres; by distorting the narrative to fit the lens of Olanna the film is unable to portray femininity and masculinity as a structure of culture and power like Adichie does in the text.

In the film Ugwu is fascinated with Olanna as a sexual being and intimidated by her intellectual prowess. In contrast, in the novel Ugwu is obsessed with the sex to the point where rape becomes a reflective fantasy of the cultural impact of his surroundings. His growth within Odenigbo’s house challenges some of his ideas about masculinity, as both Olanna and Odenigbo are intellects and strong willed in their own sense, but Adichie writes Ugwu’s narrative as if it’s a naturalistic text; Ugwu’s environment has a stronghold on him to the point where he barely makes it out alive. When he is captured and forced to fight his fellow soldier quips, “Target destroyer, aren’t you a man” (458)? When he is captured and forced to participate in a genocide of someone else’s making he is also forced to perform sexuality in a way that he never has before. Ugwu’s role as a man is defined by the sexual nature that intertwines with masculinity in the text. Ugwu’s sexuality is developed as a reflection of Odenigbo and Olanna’s relationship as he continuously overhears their sexual encounters and begins to develop his own understanding of sexuality through them. In Odenigbo’s house he cooks and cleans and Mama, a woman who believes heavily in superstitions and defined and not fluid gender roles, chastises him for wanting to work in the domestic sphere. Ugqu is berated on all sides, in the text, his character arc is shaped by his tendency to survive against the overwhelming forces of sexual violence and obedience to the cultural definitions of masculinity. In the film Ugwu is seen as a quiet observer, all of his actions portray him as a loyal servant of Odenigbo and a passive friend of Olanna. Ugwu’s shy nature and ambivalence is a clear marketing choice that the developers of the film implemented to polarize characters into two categories; good and evil. By doing this the writers uncomplicated the narrative and give the audience clear emotional triggers for sympathizing with Ugwu as he is innocent, loving, and shy. Ugwu’s restructured narrative gives him little influence over the audience, he becomes a stable stronghold in the story of Odenigbo and Olanna, but does little if anything to show the crusade that is coming of age in Nigeria during the Biafran War.

In the novel, Richard seeks to become a part of Nigeria, by learning the language, claiming the land as his own, and writing about the world around him. His outlook on Nigeria is in direct opposition of Susan, who believes that the people around them need to be civilized and more than that, colonized. Early in the text, Richard is taken to parties as the trophy boyfriend of Susan, Adiche explains, “[Richard]…didn’t even mind when a pasty-faced drunk woman referred to him as Susan’s pretty boy” (66). This sense of emasculation is crucial to the development of Richard’s character. He is emotionally invested in Nigeria and he wants it to be a part of his identity, but his impotence limits his ability to create a family in this new place. His only way in is through his attachment and love for Kainene, who he continuously maintains an imperfect connection with through his adultery and inability to perform sexually. Nevertheless, Richard’s desire to avoid being othered leads him to proclaim ownership of Kainene and Nigeria. Richard states, “This was a new start, a new country, their new country” (211). His power to take ownership of Kainene and, further, to write himself into history, gives him control and power that is neither shown nor expressed effectively in the filmic version of Half of a Yellow Sun. In the film Richard is reduced to a secondary character, only seen and perceived as an extension of Kainene. Like Ugwu, he becomes a caricature of a sensitive and tragic artist. Richard’s only viable moment of perceived impotence is when Olanna must take over the driving responsibilities when the pair are searching for Kainene who has gone missing. The forced focus on family in the film diminishes the overwhelming narrative of masculinity that Adiche highlights, and even more so with Richard, it generates a narrative about romance and family rather than ownership and power.

By presenting the film through Olanna’s lens, the film lacks the multitude of perspectives that Adichie emphasizes is crucial to understanding and witnessing different cultures as an outsider. Olanna becomes the protagonist but her growth as a character is strictly limited to the romantic narrative between her and Odenigbo and the small focus on her relationship with her sister. By ignoring the large amounts of sexual violence in the film, the writers were unable to delve deeper into the narratives of sexuality that Adichie focuses on in her book, specifically the liminal sexuality of women. Viewers of the film only get a very objective look into the sexuality of the characters that is only exposed as loving or primal, no one’s body becomes a political battleground for power like it does in the text. Kainene explains to Richard, “They display slabs of meat on tables….my sister and I are meat. We are here so that suitable bachelors will make the kill” (73). Kainene relates the lives of women to that of animals whose only purpose is to serve others, to be killed and consumed by someone else. Amala is the perfect example of this consumption as Mama, supposedly used bad magic to attract Odenigbo to Amala in order to further her lineage. The text clearly focuses on Olanna’s struggle with pregnancy, but the film barely, if at all, emphasizes her fertility. A crucial moment that was omitted from the film was Amala’s attempt to abort her fetus after she is raped by Odenigbo. Amala explains the process, “‘if you eat plenty of hot peppers, they will remove pregnancy.’ She was huddled in the mud like a pathetic animal” (300). Amala’s desire to rid her body of the child and thus dissipate Odenigbo’s lineage is perceived as both primal and detrimental to the drive towards the future, especially if she was carrying a son. The impact of placing romance in the foreground and, essentially, eliminating Kainene’s full narrative does not allow for room to explore Kainene and Olanna’s relationship in relation to gender roles, violence, and power.

As Zoe Norridge points out in her article Sex as Synecdoche, there is a tangible narrative of sex and violence that is, at times, a heavy force that weighs on many characters within the novel; Ugwu in particular. The film restricts this narrative of sexual violence, and in doing so, does not offer a harmonizing conclusion to the violence surrounding these characters. In the novel, Olanna is able to redirect this violence that she witnesses and turn it into a shared bond between her and Odenigbo. Norridge writes, “Through Odenigbo’s tenderness she is able to access a sense of the sadness, the horror of her cousin’s probable rape, mutilation, and death” (28). The film is a weak attempt at synchronizing the categorically western ideals of the symbiotic happy ending leads to forced dichotomies that Adiche avoids within her text. The film offers too many good guy/ bad guy scenarios which generates a false understanding from the viewer. By limiting the complexities of the narrative, and reselling the plot as a whitewashed love story in the midst of war, the film falls into the trap media marketeering towards a mainstream audience. In the film there is no moral ambiguity, there is only good and evil. In the novel Adiche presents story that navigates perspectives of race, gender, and power; and throughout the novel there is no moral high ground there is just life as she presents it; a callous and naturalistic hint at reality.

Virgil’s The Aeneid and Homer’s the Odyssey share several structures such as the Epic Exordium and Homeric Epithets, yet the movement and organization of time tie them together by grounding the stories in the real world as much as possible. This use of time allows Virgil and Homer to appeal to their ordinary audiences whilst they read various fantastical elements such as Gods and supernatural powers they do not witness in everyday life. Even in flashbacks, both stories move in linear time, allowing for ordinary audiences to follow the story even though they cannot relate to the magical aspects. Both writers make use of nature to mark time which points to this being an everyday practice for the audiences, thus allowing them to relate to the audience by giving them an aspect they can understand without effort. Using nature to reference time passing is an observance that listeners or readers could identify, thus allowing for accessibility that non-linear narratives could not since they would not make such use of linear movement with nature involved. In addition, this way of passing time parallels to generational passing, which by nature is linear, but in both works has unique organization by pointing out a succession of fame, importance, and relativity—such as when Orestes became famous and well known only after his father Agamemnon was famous and had died, although death is not a requirement. Homer and Virgil make use of this organizational structure to allow for understandable use of flashbacks or digressions that make sense and to help readers or listeners easily follow the succession of time and progression of personalities or internal struggles. Both the Odyssey and the Aeneid can strike readers as surreal at times because of the foreign and fantastic settings, superhuman attributes to characters, and Gods—but the organization of time and references used to mark it help ground the stories in real life and relate to the audiences while allowing for smooth storytelling the audience can follow.

Linear time is an important tool for Homer because it is used in the Odyssey to converge the three main stories towards the end when Odysseus returns to Ithaka. Although the story begins in media res, and much of the action has already occurred, there is a clear inciting event which is when Zeus decides to intervene and order Odysseus be released from Calypso’s island, setting off the first and main string of events. The second beginning of a main string is when Athena, disguised as mentor, comes to Telemakhos telling him to leave in search of information of his father’s whereabouts or death place. The last string is Penelope’s struggle with the suitors at home who wish to marry her, yet in this story there is no clear beginning because it is a continuing event without an outlined inciting event. Homer has cleverly structured his work in such a way that these main strings happen in parallel time so that they may converge at the end easily. Another important factor for working with linear movement is to be able to move from one story to another without losing real time or jumping ahead then telling the reader he is moving back in time. After Telemakhos and Menelaus finish their discourse and Telemakhos has accepted a gift alternative to horses, Homer notably says, “At that same hour, / before the distant manor of Odysseus, / the suitors were competing at the discus throw / and javelin, on a measured field they used” (Od. 4. 654-657). Real time is an important framework for structure and for the audience to follow the story given the tremendous task of remembering various characters and stories about them. Odysseus’s last adventure in the land of the Phaeacians is where the readers learn of the past adventures, then his arrival back to Ithaka marks the crucial convergence of the three main stories and, more importantly, the three main characters.

An aspect of epic that Virgil incorporates into the Aeneid is the linear movement of time and organization of it which Virgil has made use of to mark the progress of Aeneas’s grasp on his fate and the different moving parts surrounding his destiny and who he meets. Linear movement is important in the Aeneid because Virgil could not make use of Aeneas’s various attitudes towards his fate if he were to jump around from one story to another while losing real time or jumping ahead. Virgil is working with one main story, Aeneas’s, therefore, various stories are not as available for him as they are for Homer so far, and Virgil uses forward movement of time to easily include flashbacks of Aeneas’s memories which Aeneas recounts in book two. In the flashbacks, time is also linear and they are used, in part, to set a precedence of obstacles for Aeneas throughout his journey toward his fate. The night the Trojans brought in the Trojan Horse, while people slept, Virgil uses nighttime to inform readers of a prominent inciting event: “In sleep, before my eyes, I seemed to see/ Hector, most sorrowful, black with bloody dust…/‘Alas, O goddess-born! Take flight/ Escape these flames! The enemy has the walls” (An. 2.296-313). After this, readers follow Aeneas until he escapes Troy with his fractured family. Forward action plays a prominent role for Virgil to illustrate not only Aeneas’s voyage but his internal progression toward his fate while making use of time marked by nature to ground the story in real time.

Linear movement with time marked by references to nature works both for the authors and the various audiences because it is important that the audience can follow the stories as they listen to it, retell it, or read it. Due to the various fantastical elements that the audience is exposed to, grounding the stories in real life is crucial for relating to the audience while keeping the story moving in a way that allows for digressions, flashbacks or interludes. Although elements such as voyaging across the sea while a god tries to delay you are most likely foreign to ordinary audiences, references to nature such as Eos, the goddess of the dawn, the sun, or the seasons passing are not. They mark time and seem to be practices that the audience can understand and identify because Virgil kept it as a characteristic, and Homer used it constantly. Illustrating clear movement of time is easy to follow and allows Homer and Virgil to include magical elements that are not grounded in real life nor exist in a way that the ordinary audience can relate with. Epic conventions set rules for epics just as linear movement sets rules or precedents for events, departures from a main story, and various meanings or purposes of characters. According to Steve Nallon and his analysis of the Odyssey in the article “Everything you ever wanted to know about the Odyssey,” the forward movement of the story can also be explained as lessons from the Gods where each one has a subtle message and Odysseus must learn basic rules such as leaving his war-like nature behind after leaving Troy when he mindlessly attacks the land of the Cicones or learning that Penelope is his one true love after many interactions with women. Audiences witnessing the various flashbacks in linear movement can identify a possible pattern of lessons or messages from each adventure. Nallon also points out that the audience may be discussing at length the different meanings or purposes derived from each sequential lesson.

Linear movement with flashbacks allows for focused storytelling of adventures since they have already occurred, overlapping strings of events that can converge or that are parallel, and time marked by references to nature that allow the audiences to relate to the story however they can. These references are seen in both the Odyssey and the Aeneid and they are important because they allow the audience to follow the progression of time while still witnessing all the exciting storytelling. The audience can also identify the author’s appreciation and use of nature to be able to relate with the work and generally associate the work with their surroundings or everyday practices such as using sunrise and sunset to tell time. Linear time is not always marked by nature but this would take away from the significance of nature’s presence in the story. A characteristic about nature that Homer works hard to illustrate is that nature can be dangerous because of monsters that inhabit it and various consequences for visitors and on the other hand, it can be a source of magic, divinity, and inspiration. Both authors depict nature as another ruling power in the world, like the Gods or storms, that controls events and characters. In the Aeneid, this is seen when Dido and Aeneas consummate after a storm forces them into a cave, thus beginning their love story that goes on to add to the progression of Aeneas’s attitude towards his destiny. This aspect of nature as a ruling power helps Homer and Virgil demonstrate an unpredictable aspect of magical events in nature. Real-life depictions of nature in both works illustrate environments that the audience can identify and relate to but that they may also have no experience with. Homer and Virgil’s inclusion of different settings that are quite detailed such as Calypso’s island that the audience has no experience with allows for them to imaginatively interpret events and find meaning in the use of different settings throughout the story, an aspect that both authors use to further obscure the journeys of each story. In sum, Homer and Virgil have used forward moving time marked by nature to make sure their audiences can easily follow the story, understand the progression of time, and identify why nature is helpful when illustrating events that move in a linear direction.

Works Cited

Nallon, Steve. “Everything You Ever Wanted to Know About the Odyssey.” Steve Nallon. Ed. Neil Binley. New Time Media, n.d. Web. 10 Mar. 2017. http://www.nallon.com/?p=246.

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Wilkie, Brian, and James Hurt. “The Odyssey.” Literature of the Western World. Trans. Robert Fitzgerald. 5th ed. Vol. 1. Upper Saddle River, NJ: Prentice Hall, 2001. Print.

Throughout F. Scott Fitzgerald's masterwork The Great Gatsby, the remarkably capricious character of Daisy Fay Buchanan succinctly epitomizes the ideas of aristocracy and superficiality so readily present in the hedonistic society of the roaring twenties. Regardless of whom she associates herself with, Daisy, through her inherently mercurial nature and incessantly cynical attitude, acts as a plague, with her complaints and melodrama siphoning the life, albeit unintentionally, out of her acquaintances. By way of Fitzgerald's illustration of Daisy through his language and that of other characters, as well as the use of her own distinctly ambivalent and promiscuous language in conjunction with her infamously alluring voice, Daisy effectively and significantly impacts both the characters and the overall plot of The Great Gatsby in a decisively negative manner, fostering animosity and sowing discord along her destructive path.

Daisy's obsession with worldly possessions and her subsequent superficial nature are among the most apparent of her characteristics, with her depiction by others and personal actions further advancing her materialistic identity. When Daisy's second cousin and narrator of the novel, Nick, observes that, "It was full of money-that was the inexhaustible charm that rose and fell in it, the jingle of it, the cymbals' song of it... High in a white palace the king's daughter, the golden girl," (Fitzgerald 120) he explores the wonders of Daisy's 'indiscreet' voice, noting how it seemed to simply exude wealth, effortlessly scream of her status in society. By comparing Daisy and her voice to a princess and a 'golden girl,' Nick places Daisy on the pedestal that so many before him have, giving her the admiration and status she achieved through her mysterious vocal allure, though does not necessarily deserve. This materialism and superficiality shown through Daisy's voice is made manifest in Kermit Moyer's criticism of the matter, stating, "Daisy represents the materialism of her class as well as the materialism at the core of Gatsby's transcendental ideal" (Moyer 221.) By saying this, Moyer not only directly exposes Daisy's materialistic priorities, but also reveals the fact that Daisy's obsessed lover Jay Gatsby is only attracted to her because of her status, wealth, and captivatingly deceptive voice. Though Daisy is indeed wealthy and of high class, the illusion her voice creates and the raw emotion it evokes proves to be the most powerful aspect of her irresistible charm, with the linguistic description of it by characters such as Nick and attraction to it by Gatsby only adding to the already superficial and materialistic label she carries, effectively increasing her negative effect on the characters and novel as a whole.

Daisy's life, though often appearing stagnant and tedious, is in reality filled with stark contrasts and contradictions that serve to poison rather than perfect the lives of those around her. When describing the seemingly innocent and naive world of Daisy Fay Buchanan, Fitzgerald is in actuality depicting the more complex effect it has on the novel, as well as the hidden multitude of conflicts and realities Daisy must face. For example, when Fitzgerald states that "Daisy was young and her artificial world was redolent of orchids and pleasant, cheerful snobbery and orchestras which set the rhythm of the year, summing up the sadness and suggestiveness of life...while fresh faces drifted here and there like rose petals blown by the sad horns around the floor" (Fitzgerald 151,) he creates stark contrasts between the illusions of Daisy's insulated world and the the harsh realities of aristocratic life. By juxtaposing 'young' and 'artificial' as well as 'cheerful' and 'sadness', Fitzgerald shows once again the superficiality of both Daisy and the time period by showing the feigned spirit of young Americans and the ambivalent emotions of the current era. Critic Norman Pearson states that "...this was not the Gay Twenties, when youth was free, but a time of illness and disease" (Pearson 24,) exemplifying the idea that the life of Daisy only served to harm, acting as a disease that, through its vector of snobbishness and aristocracy, crippled the society of the time. Though the contradictions and paradoxical occurrences in Daisy's seemingly whimsical life act as a challenge to her, they more so negatively impact the very culture of the era as an aristocratic and materialistic disease of which she serves as a crucial constituent.

The complex relationship between Daisy and Gatsby was initially mutual, but later evolved into a one sided obsession on the part of Gatsby. As Daisy struggles to find the feelings or commitment towards Gatsby necessary to warrant leaving her husband Tom Buchanan, her truly ambivalent and indecisive nature is uncovered. For example, on the subject of Tom and her true desires, Daisy states "Why- how could I love him- possibly," and even reluctantly says "I never loved him," (Fitzgerald 132.) Remarkably, however, when further promoted, Daisy cries to Gatsby, "Oh you want too much! I love you now- isn't that enough? I can't help what's past. I did love him once- but I loved you too." Through this outburst, Daisy reveals her dishonesty, as she retracts what she said about never loving Tom, and through her rhetorical question she shows her ambivalence concerning emotions toward Tom and Gatsby. Because of Daisy's dangerously mercurial nature, her true identity as an unfaithful and noncommittal woman is revealed. When critic Daniel Burt states that, "...the material allure to capture Daisy is hollow and tawdry, but Daisy herself is a cheat, unworthy of his (Gatsby's) consummate desire. Like her husband Tom (and virtually all who inhabit Gatsby's world), Daisy is a rapacious consumer of things and people, a base betrayer, lacking Gatsby's idealism that gives his world value and the moral sense that Nick ultimately finds wanting in their self-indulgence and self-protections..." (Burt,) he observes the apparent fact that Daisy, though on the surface seems innocent and unremarkable, she is in reality an avaricious and materialistic woman who only serves to destroy and harm others through her betrayal of them. Therefore, the very idea of Daisy is given an inflated importance throughout the novel, as she indeed lacks the essential ideologies in her life that serve to give it meaning, wallowing instead in her own luxury and insulation, and while protecting herself, it leads to the destruction of those closest to her.

Daisy's dishonesty and entrancing allure combine in the novel in some of its paramount moments, particularly in the instance of Myrtle Wilson. At no other time in the work does Daisy have a more profoundly negative impact on a character, in this case Gatsby, leading to their almost immediate destruction and fall. When Gatsby is probed on whether Daisy was driving when their car struck Myrtle, he reluctantly states, "Yes, but of course I'll say I was... I tried to make her stop, but I couldn't..." (Fitzgerald 134.) This act of selflessness and sacrifice for Daisy's irresponsibility shows the extent of Gatsby's love for Daisy, a love so deeply rooted that he would sacrifice his honor and eventually his life for it. As said by the critic Malcolm Bradbury, "...despite the fact that she is now married... And simply does not want Gatsby. He fails and is destroyed; Daisy possesses the seductive carelessness of the rich, and this is what finally brings about disaster." Though Gatsby would go to great lengths for Daisy, she simply is not interested, with her removal of interest from Gatsby and dishonesty in admitting her fault in the accident leading to his downfall. Daisy's 'seductive carelessness,' her combination of enchantment and disinterest in the occurrences of the the world around her, does indeed lead to the grisly end of Gatsby and the emotional tension between Tom, furthering her identity as a harbinger of misfortune and disease.

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Within and throughout Fitzgerald's The Great Gatsby, the remarkably capricious, superficial, and materialistic character of Daisy Fay Buchanan truly epitomizes the aristocracy and ambivalence of the Roaring Twenties. While at first appearing to be an innocent and pure, in actuality Daisy is a disease that poisons the very fabric of society, with her alluring voice and mercurial nature entrapping even the most cautious of individuals. Through Fitzgerald's use of language to describe Daisy, as well as her own incriminating language in conjunction with her vocal charm, Daisy is revealed to have a truly negative impact on the characters and events of The Great Gatsby, fostering animosity and sowing discord along her path to the destruction of those around her.

Liposomes serve to administer nutrients straight inside the cells. Vitamins and minerals are condensed inside tiny lipid bubbles, named liposomes. Liposomes are bilayer/double-layer bubbles filled with liquid, and constituted using phospholipids. Over 5 decades ago, researchers first learnt that these bubbles could be packed with nutrients, and shield and more effectively transmit nutrients into the bloodstream, then into specific cells. The bi-layer composition of liposomes is nearly indistinguishable from the cell membranes that enclose all human cells. This can be attributed to the distinctive configuration of phospholipids. The phosphate head of phospholipids is hydrophilic (having a strong affinity for water), whereas the fatty-acid tails are hydrophobic (having a strong fear and/or hatred of water).

When phospholipids are introduced into a water-based solution, the hydrophobic, fatty-acid tails rapidly move to free themselves from the liquid, in the same manner that oil separates from vinegar. All the hydrophobic, fatty-acid tails turn inward, and all the hydrophilic, phosphate heads turn toward the liquid, which result in the formation of a double-layered membrane.The encapsulation process helps get around absorption barriers and cellular uptake restrictions, since there’s a lack of reliance on the presence of particular protein transporters. The minuscule size and unique composition of liposomes permit safe, swift absorption with minimal risk of degeneration. Consequently, this enhances the bioavailability of the nutrients, which means that there will be more nutrients for the cells to utilize.

Additionally, liposomes supply phosphatidylcholine to the body. Phosphatidylcholine is a vital phospholipid required for many vital functions in the body.Nanoparticles or liposomes typically less than 100 nanometers in diameter may be able to pass over the blood-brain barrier, and cause some harm if the nanoparticles are comprised of potentially toxic substances, or if the liposomes should contain toxic substances. It’s imperative to find products with liposomes at least 200 nanometers in diameter, which are just small enough to pass into the bloodstream and cells quickly. More importantly than that, one should seek out liposomal products comprised of phospholipids, since they’re nearly indistinguishable from those that compose every cell in the human body, and are non-toxic in nature. Since they’re entirely non-toxic, there would be no risk of damage to the body if a liposome crossed the blood-brain barrier.

In fact, the possibility of this occurrence coming to pass can be beneficial, because the essential fatty acids that compose the phospholipids and vitamins can provide essential nutrition to the brain.It is still unknown how the nutrients are released. One theory posits that the livers processes phospholipids as if they are fats, with the subsequent release of the contained nutrients. Another theory theorizes that bodily cells, which hunger for phospholipids to help with repairing cellular structures, "steal" them from liposomes, resulting in the leakage of their contents.There’s a high chance that both processes occur. Regardless, the numerous advantages of liposomal delivery have been methodically proven countless times. Presently, liposomes have the greatest bioavailability in this respect.

Listening is a creative process and is more than merely hearing words.Listening requires not just hearing but thinking, as well as a good deal of interest and information which both speaker and listener must have in common.Speaking and listening entail three components: the speaker, the listener, and the meaning to be shared; speaker, listener, and meaning form a unique triangle (King, 1984, p. 177).Listening is an active process by which students receive, construct meaning from,and respond to spoken and or nonverbal messages (Emmert, 1994).

Listening is used to refer to the ability to understand how a particular sentence relates to what else has been said and its function in the communication.It is at this stage the listener selects what is relevant to his purpose and rejects what is irrelevant.The term “Hearing” is used to refer to the listener’s ability to recognize languag elements in the stream of sound and through the knowledge of the phonological and grammatical systems of the language to relate these elements to each other in clauses and sentences and to understand the meaning of these sentences (Venkateswaran,2003).

Listening involves the formation of proper auditory images of phonemic components such as the use of vowel and consonant sounds,stress,accent,pitch,pause,juncture,intonation and rhythm of language in isolation. Hearing is a physiological process while listening is a mental function.Listening can be for perception or for comprehension.The listening process has three stages.They are hearing,processing and evaluating.In hearing a person can repeat what the speaker has said.On hearing if the hearer thinks about how the information can be interpreted against his background then it is understood that the processing has taken place.In the evaluating stage the listener will assess the validity of the information.

Wolvin and Coakley (1992) identified four different kinds of listening.They are :

1. Comprehensive (Informational) Listening:- Students listen for the content of the message.
2. Critical (Evaluative) Listening:- Students judge the message.
3. Appreciative (Aesthetic) Listening:- Students listen for enjoyment.
4. Therapeutic (Empathetic) Listening:-Students listen to support others but not judge them.

A language teacher should provide opportunities for students to practise listening skills and motivation should be given to become actively engaged in the listening process.

The three phases of the listening process are: pre-listening, during listening, and after listening.

Pre-listening activities are required to establish what is already known about the topic to build necessary background and to set purpose for listening. Nichols (1948) found that people listen and think at four times the normal conversation rate. Students have to be encouraged to use the "rate gap" to actively process the message.They can run a mental commentary on it, they can doubt it, talk back to it, or extend it.They can rehearse it in order to remember it, that is, they repeat interesting points back to themselves.They can formulate questions to ask the speaker jot down key words or key phrases (Temple and Gillet, 1989, p. 55).