Dialect and Dramatic Monologue of Curtain of Green :: Curtain of Green Essays

Dialect and Dramatic Monologue of Curtain of Green Eudora Welty is not merely a brilliant writer, she is a brilliant and gifted storyteller. A product of the South's rich oral tradition, Welty considers the richness of local speech to be one of the greatest gifts that her heritage has to offer (Vande Kieft 9). Southern speech is characterized by talking, listening, and remembering. Welty, a great listener, based many of her stories on bits of dialogue overheard in her everyday life. However, Welty makes the most of the southern propensity for talking. Her stories are rich in dialect and often take the form of dramatic monologues, as in "Why I live at the P.O." and "The Petrified Man." Southern speech is primarily narrative and frequently takes the form of tall tales, folk tales, and local legends. This holds true in Welty's writing, in which one will not find mere conversation, but the telling of a story. Often with Welty, the story is not told through the narrator, but rather by the characters (53). It is through this structure that the dramatic monologue appears. In Welty's "Why I Live at the P.O.," the postmistress of China Grove, referred to only as "Sister," is systematically alienated from her family following a fight with her sister, Stella-Rondo, whom she accuses of stealing and running off with her boyfriend, Mr. Whitaker. As the two sisters compete for the support of the family, one by one the family members take up sides with Stella-Rondo, and Sister states her case to the reader. "Stella-Rondo hadn't done a thing but turn her against me from upstairs while I stood there helpless over the hot stove," rants Sister. "So that made Mama, Papa-Daddy, and the baby all on Stella-Rondo's side (Welty 102). Welty, a true master of language, never received any form of formal education in the field of writing. She was educated through her surroundings, through listening and remembering. Welty's use of the Southern vernacular is an important element in every story she writes. One also might notice that it is nearly impossible to read one of Eudora Welty's stories without hearing it as well. Welty's written Southern speech is highly characteristic of how the language is actually spoken. It is the qualities of the spoken word that show through in Welty's writing and give it its poetic richness. Although Welty makes frequent use of dialectical spelling and pronunciation, it is through rhythm, idioms, and specified vocabulary that she is able to bring southern speech alive (Brooks 416).

Dialect and Dramatic Monologue of Curtain of Green :: Curtain of Green Essays

Dialect and Dramatic Monologue of Curtain of Green Eudora Welty is not merely a brilliant writer, she is a brilliant and gifted storyteller. A product of the South's rich oral tradition, Welty considers the richness of local speech to be one of the greatest gifts that her heritage has to offer (Vande Kieft 9). Southern speech is characterized by talking, listening, and remembering. Welty, a great listener, based many of her stories on bits of dialogue overheard in her everyday life. However, Welty makes the most of the southern propensity for talking. Her stories are rich in dialect and often take the form of dramatic monologues, as in "Why I live at the P.O." and "The Petrified Man." Southern speech is primarily narrative and frequently takes the form of tall tales, folk tales, and local legends. This holds true in Welty's writing, in which one will not find mere conversation, but the telling of a story. Often with Welty, the story is not told through the narrator, but rather by the characters (53). It is through this structure that the dramatic monologue appears. In Welty's "Why I Live at the P.O.," the postmistress of China Grove, referred to only as "Sister," is systematically alienated from her family following a fight with her sister, Stella-Rondo, whom she accuses of stealing and running off with her boyfriend, Mr. Whitaker. As the two sisters compete for the support of the family, one by one the family members take up sides with Stella-Rondo, and Sister states her case to the reader. "Stella-Rondo hadn't done a thing but turn her against me from upstairs while I stood there helpless over the hot stove," rants Sister. "So that made Mama, Papa-Daddy, and the baby all on Stella-Rondo's side (Welty 102). Welty, a true master of language, never received any form of formal education in the field of writing. She was educated through her surroundings, through listening and remembering. Welty's use of the Southern vernacular is an important element in every story she writes. One also might notice that it is nearly impossible to read one of Eudora Welty's stories without hearing it as well. Welty's written Southern speech is highly characteristic of how the language is actually spoken. It is the qualities of the spoken word that show through in Welty's writing and give it its poetic richness. Although Welty makes frequent use of dialectical spelling and pronunciation, it is through rhythm, idioms, and specified vocabulary that she is able to bring southern speech alive (Brooks 416).

Dialect and Dramatic Monologue of Curtain of Green :: Curtain of Green Essays

Dialect and Dramatic Monologue of Curtain of Green Eudora Welty is not merely a brilliant writer, she is a brilliant and gifted storyteller. A product of the South's rich oral tradition, Welty considers the richness of local speech to be one of the greatest gifts that her heritage has to offer (Vande Kieft 9). Southern speech is characterized by talking, listening, and remembering. Welty, a great listener, based many of her stories on bits of dialogue overheard in her everyday life. However, Welty makes the most of the southern propensity for talking. Her stories are rich in dialect and often take the form of dramatic monologues, as in "Why I live at the P.O." and "The Petrified Man." Southern speech is primarily narrative and frequently takes the form of tall tales, folk tales, and local legends. This holds true in Welty's writing, in which one will not find mere conversation, but the telling of a story. Often with Welty, the story is not told through the narrator, but rather by the characters (53). It is through this structure that the dramatic monologue appears. In Welty's "Why I Live at the P.O.," the postmistress of China Grove, referred to only as "Sister," is systematically alienated from her family following a fight with her sister, Stella-Rondo, whom she accuses of stealing and running off with her boyfriend, Mr. Whitaker. As the two sisters compete for the support of the family, one by one the family members take up sides with Stella-Rondo, and Sister states her case to the reader. "Stella-Rondo hadn't done a thing but turn her against me from upstairs while I stood there helpless over the hot stove," rants Sister. "So that made Mama, Papa-Daddy, and the baby all on Stella-Rondo's side (Welty 102). Welty, a true master of language, never received any form of formal education in the field of writing. She was educated through her surroundings, through listening and remembering. Welty's use of the Southern vernacular is an important element in every story she writes. One also might notice that it is nearly impossible to read one of Eudora Welty's stories without hearing it as well. Welty's written Southern speech is highly characteristic of how the language is actually spoken. It is the qualities of the spoken word that show through in Welty's writing and give it its poetic richness. Although Welty makes frequent use of dialectical spelling and pronunciation, it is through rhythm, idioms, and specified vocabulary that she is able to bring southern speech alive (Brooks 416).

Critique of Gallery Shows of Asian Art Essay

Asian art can refer to the vast genre of art and artists throughout the Asian continent. The history of Asian art is as varied as the cultures that make up this region of the world. From ancient bronze sculptures in India to the Manga cartoons of Japan, each country has a distinctive perspective on the world around them. In this paper I will look at three proposals for gallery shows of Asian art, each completely unique in their view of Asian culture. The first group looks at â€Å"Pop culture in Asia† focusing on the works of artists Wang Guangyi, Satoshi Kon, Takashi Murakami, and Basak Aditya, as well the art of Japanese tattoos. Organizing such conflicting works together seems disjointed and lacking coherence. Indeed the idea of Pop culture in Asia could be defined in multiple ways, but this grouping lacks consistency and logic. Works by Wang Guangyi, Satoshi Kon and Takashi Murakami, each with their pop art style and references, would be a good match for a show focusing on pop culture. Wang Guangyi reinvents propaganda posters from the 1960’s and 70’s into capitalist propaganda posters, using the same triangular composition and palette. Takashi Murakami is known for his sculptures of highly stylized cartoon or invented characters, referring to the popular culture of Japan or contemporary films. Satoshi Kon is a director of animated films that are loaded with Japanese cultural references and symbolism. I believe the work of these three artists would have been enough for a succinct show of Pop culture in Asia. The addition of the works of Basak Aditya and Japanese tattoos makes this grouping lose its focus. Although the work of Basak Aditya, with his poetic landscapes and dream-like portraits, is interesting, it is not a good fit because they are too personalized and make no references to the pop culture of India. And finally the addition of Japanese tattoos just seems like an arbitrary decision. Although some tattoos may have pop cultural references, the inclusion of photographs of skin art is incompatible with the cohesion of the first three artists in the grouping. The next group â€Å"Art and Power† successfully showed a variety of artwork that represented power throughout the ages. Beginning with paintings from the Chinese era of emperors and using concise language to demonstrate their interpretation of power. This group then looks at the brass and copper sculptures of Buddha, Shiva, and Jambhala, clearly demonstrating the power of religion in the regions of Tibet and India. Next are a grouping of decorative and ceremonial items from Korea, signifying the power of the ruling and upper-classes of ancient Asia. This grouping ends with a group of painting and sculpture of samurais and two thangka paintings. The overall consistency of the objects and paintings used for this grouping makes for a successful exhibition. All the works chosen were clearly indicative of power in this well organized grouping. Finally the last group chose â€Å"Asian Animation† as a theme. Again this is a clear and well put together group of mostly Japanese cartoons and figures. This group first looks at the work of Satoshi Trajiri, and the media franchise of Pokemon. This group clearly spent time on creating colorful cartoon-like backgrounds to add to their clear, well planned presentation. They then look at the illustration work of Akira Toriyama and his colorful, well defined sharp edge illustrations. The group then looks at toys and costumes that are created from these cartoons and comics, again using a similar background to unify the presentation. Although some of the content is repeated at the end of the grouping, the overall vision of presenting these comics and cartoons as art forms is cohesive and easy to understand. The group points out how important comics as an industry is to Japan and their cultural affects throughout the world.

Ratios To Evaluate A Company Nike Inc Finance Essay - Free Essay Example

Sample details Pages: 4 Words: 1291 Downloads: 4 Date added: 2017/06/26 Category Finance Essay Type Analytical essay Did you like this example? NIKE, Inc, incorporated in 1968, is engaged in the design, development and worldwide marketing and selling of footwear, apparel, equipment, accessories and services. NIKE is a seller of athletic footwear and athletic apparel worldwide. In the seventies, in the meantime, the company was undergoing a redesign of the production system, expanding internationally and especially in Australia, under licensing agreements, Korea and Taiwan. 1978 was the year of the official birth of Nike Inc., but also the first sponsorship contract signed with a major sports personality, tennis player John McEnroe. In 1979, Nike covered a great slice of the U.S. market, 50% in the field of running shoes, and had a turnover of approximately $150 million. The company, which employs just over 2,700 people, was listed in the following year, with two million ordinary shares as an offering to the public. The current economic climate is undoubtedly happy, as evidenced by the $250 million i n revenues. In June 2011, at an investor meeting at its world headquartersNIKE, Inc. announced an increase to its fiscal 2015 revenue target to a new range of $28-30 billion, up from its previous target of $27 billion announced in May 2010. The company also increased its fiscal 2015 revenue target for the NIKE Brand to $24-25 billion, up from its previous target of $23 billion. (https://nikeinc.com/pages/history-heritage) Financial Performance from 2008 to 2011 A high volatility and disruption in global and credit markets, due to financial crisis started in 2008, have led to a tightening of business credit and liquidity, a contraction of consumer credit, business failures, higher unemployment, and declines in consumer confidence and spending in the United States and internationally. It is obvious that the following factors had negative effects on Nikes financial performance also in 2009. This in fact reflected in a decrease in product demand and reduced orders, which led to lower revenues, an increase in revenues and lower profit margins. Nike generated $19.2 billion, but its earnings per share declined 19% for the year. The negative effects of the recession continued to show up in the slight decrease in Nikes revenues in 2010, which corresponded to $19 billion. However, earnings per share and futures orders went up, while inventories shrank. In 2011 it can be seen how Nikes financial performances started to recover from the crisis. Its revenue for the year was $20.9 billion and also earnings per share grew 14%, coming in at $4.39. This revenue increase was mainly due to higher contribution from the Nike brand and the companys other businesses. The operating profit of the company was $2.8 million and the net profit was $2.1 million in 2011, an increase respectively of 13.8% and of 11.9% from the previous year. Evaluating Ratios Leveraging 2008 2009 2010 2011 Debt RatioÃÆ' ¢Ãƒ ¢Ã¢â‚¬Å¡Ã‚ ¬Ãƒâ€šÃ‚ ¨ 0,37 0,34 0, 32 0,34 Debt/Equity RatioÃÆ' ¢Ãƒ ¢Ã¢â‚¬Å¡Ã‚ ¬Ãƒâ€šÃ‚ ¨ 0,59 0,52 0,48 0,52 Debt ratio indicates the leveraging of a company related with the risk that the company faces if it relies too much on the debt. In the case of Nike, from 2008 to 2011 it can be seen how this ratios remained almost unchanged also during the recovery period, meaning that the company also when facing a slight decrease in 2010, did not decide to use more debt to finance its operations. In addition, debt to equity ratios indicates how much of equity and debt the company used to finance its growth. Nike has a quite low and constant debt to equity ratio throughout all four years, indicating that the company has a lower risk, meaning that debt holders cannot claim on the companys assets and the company hasnt been aggressive in financing growth with debt. Efficiency 2008 2009 2010 2011 Stock (Inventory) turnoverÃÆ' ¢Ãƒ ¢Ã¢â‚¬Å¡Ã‚ ¬Ãƒâ€šÃ‚ ¨ 4,49 4,41 4,64 4, 77 Debtors turnover (accounts receivables)ÃÆ' ¢Ãƒ ¢Ã¢â‚¬Å¡Ã‚ ¬Ãƒâ€šÃ‚ ¨ 7,04 6,75 6,87 7,21 Creditors turnover (Account payables) 41,49 40,04 40,85 43,78 Sales/Assets 1,50 1,45 1,32 1,39 A consistent value in Nikes net profit margin can be observed throughout the past four years, with a slight decrease in year 2009 where it was strictly correlated to the effects of the financial crisis. This ratio indicates the companys ability to generate constantly high levels of profit. However, Nike faces some problems when it gets to collecting money from its debtors. In fact both stock and debtors turnover are quite low, but still in the average of the industry, meaning that the business needs to improve its credit policies and collection procedures. On the contrary, creditors turnover is consistently high throughout all four years. However, because this number is constant it is possible that it is not due to the company paying back its cre ditors after many days, but it can be a financial choice of the company. In fact, the company does not present any liquidity problems or delays in paying back its debt. Profitability/ Investment 2008 2009 2010 2011 Net Profit MarginÃÆ' ¢Ãƒ ¢Ã¢â‚¬Å¡Ã‚ ¬Ãƒâ€šÃ‚ ¨ 10,11 7,75 10,03 10,22 Return on Asset (ROA)ÃÆ' ¢Ãƒ ¢Ã¢â‚¬Å¡Ã‚ ¬Ãƒâ€šÃ‚ ¨ 16,28 11,57 13,78 14,5 Return on Equity (ROE)ÃÆ' ¢Ãƒ ¢Ã¢â‚¬Å¡Ã‚ ¬Ãƒâ€šÃ‚ ¨ 25,36 18 20,67 21,77 Return on Invested Capital (ROIC) 22,81 16,56 19,27 20,46 Payout RatioÃÆ' ¢Ãƒ ¢Ã¢â‚¬Å¡Ã‚ ¬Ãƒâ€šÃ‚ ¨ 33,5 32,3 29,7 27,3 Return on assets shows the rate of return being earned on all of the firms assets regardless of debt and equity. It is a measure of how efficiently the company is using all stakeholders assets to earn returns. Because this ratio can differ significantly across firms, it is often used to compare a company over time or against companies tha t have similar financing structures. Nike shows a quite good return on assets ratio, even though it has experienced a decrease from 2008 to 2009, but however it started to increase again and it is expected to grow in the future years, due to the very high revenues of the company in recent years. Another fundamental ratio for measuring the profitability of a company is return on equity. This provides a measure of the return that the firm has earned on its past investments. It demonstrates a companys ability to generate profits from shareholders equity. A high return on equity may indicate the firm is able to find investment opportunities that are very profitable. This is the case of Nike that demonstrates a consistently high return on equity making it a very attractive and profitable investment option for its stockholders. Liquidity 2008 2009 2010 2011 Current RatioÃÆ' ¢Ãƒ ¢Ã¢â‚¬Å¡Ã‚ ¬Ãƒâ€šÃ‚ ¨ 2,66 2,97 3,26 2,85 Quick RatioÃÆ' ¢Ãƒ ¢Ã¢â‚¬Å¡Ã ‚ ¬Ãƒâ€šÃ‚ ¨ 3,32 3,85 4,05 3,65 The current ratio compares the liquid assets of a company with the current liabilities. Nikes current and quick ratios are very high, meaning that the company is very liquid and it is able to meet short-term financial obligations. Nike growth is mainly attributed to investment activities such as Nike Golf, Converse, and Hurley. However, cash flow has decrease from 2010 to 2011 even though the companys earnings are continuing to grow. Market Valuation 2008 2009 2010 2011 Earnings per Share 1,87 1,52 1,93 2,2 Dividends 0,44 0,49 0,53 0,6 Shares 1,008 981 988 971 Book Value per Share 7,94 8,97 10,74 11,63 Share Prices 31,71 26,93 34,76 41,15 P/E Ratio 16,69 17,72 18,01 18,70 Price to earnings ratio is a very good guide to market confidence concerning the future of a company, and it can be very helpful when comparing it to other busi nesses. High price to earning ratio is not only proof of its profitability, but also shows the extensive confidence the shareholders put into this company, expecting higher returns.   This, in turn, will raise the demand for investors to gain more equity within the business, pushing the share price further up.   Nikes earnings per share had continually increased; demonstrating Nikes capability to generate higher levels of earnings, utilizing less equity than would have been used otherwise.   Due to higher liquidity, net profit margins and increasing retained earnings, Nike is capable of paying out dividends at a significantly higher rate than their competitors. Conclusion To sum up, during the first two quarters of 2012, Nike bet expectations both with earnings per share and with revenues. The companys earnings per share were equivalent to $1.23, 0.10 more than expected, and revenues of $6.67 billion, versus the $6.51 billion expected. Revenues, co mpared to the same quarter in 2011, increased 9.7%. The companys liquidity remains very good and Nike has been rated A-1. Moreover, the companys short-term debt obligations are at minimum, meaning that the company plans to pay back its debt shortly with excess cash on the balance sheet. Nike is not only performing well financially, but has the biggest competitive advantage towards its competitors, which is the unequaled brand power that makes the company the leading in its segment. Don’t waste time! Our writers will create an original "Ratios To Evaluate A Company Nike Inc Finance Essay" essay for you Create order