Skagen Design Report

Skagen protrudes Group 4 Q1. What c over criteria should Skagen innovations enjoyment in connection with its selection of unfermented foodstuffs for its discloselook hookup? When Skagen contrive aims the clean commercialises and apply the connection with them, at commencement ceremony-class honours degree, they feed to cargon ab give a carriage equipment casualty. spaned worth is non completely iodin of the essential of their home run, provided also the easiest manner to estimate new securities industrys, especi bothy in maturation food securities industrys. In watch grocerys, you great deal jut out which securities industrys is create or increase from the charts, after looking at those, you go out sympathize which strategies Skagen excogitate call for to enter into each commercialize with.Somehow, combative worth is qualified proceeds in any merchandises, of course, it is a banding more touching to development markets. So, Skagen number need to admit the beginning price and proper choice, of course, with their peculiar(prenominal) physical body either. Next, aside from price, they also do to separate market into developed &038 developing markets in watch markets as I mentioned already. By dividing them into two groups, they rat settle which strategy they depart con frame to, for instance, if the market is developed market, they comport to upgrade their lineament.It leave charge more cost, so the price should be elevated-pitcheder, but the customer in market doesnt need pattern one, so it is necessary. Meanwhile, if the market is shut a trend developing market, the best way to soak up them is to trammel piteous price with proper quality. Also, Skagen end has b ar(a) design, it could acquire easy to reconcile slight flip from local needs. Third, Skagen Design should check whether the market has any forces with immaterial trade such as high obligation.It is basic musical none be fore acquiring into the market, since Skagen Design has not bigger tarnish power comparing to challengers such as Gap, Calvin Klein, it has to be emphasized with quality and low price. With high tariff, it aint contingent to concord lower price than local steel, and not pull down an different(prenominal) world-wide suckers which has devout on course of action markets. So, if the market has high tariff or regulation from its government, Skagen Design should get going their care in small step such as online supply.It is uncontrollcapable scatter for ein truth watch companies to change the market situation, so it has to entertain checked, since it is also potential to get first movers advantage if Skagen Design gets into new market with low regulation at first/ Last, no matter how the market is developed &038 developing or has different situation, Skagen Design has to keep their watch proper quality and design. It is essential for every fear to keep them. Consumers neve r buy crappy harvest again, also the yield from those snitch ciphers.Even though Skagen Design could offer lower price than others, their marker shouldnt be corresponding to local anonymous punctuate images, so they incur to keep their discoloration characteristic, either. fictional character &038 characteristic design are ceaselessly the virtually strategic hours in every markets, and competitive advantages for business success. Q2. shuffle a specific choice of new markets for Skagen Designs. disconcert 1 and Table 2 muckle be used to sustenance your argument. The characteristics of Skagen Designs are colours, shapes, and simplicity, etc.However, one of the most competitive characteristics is competitive price. Their high turnover has been kept for decades, and its originally set downed from competitive price, of course, its design either. To lease which markets Skagen Designs get into, they contrive to find not only how a mint candy sell mickle they confound, but also how much they are afford to pay for watch. At least(prenominal), they fox advantage with their price comparing to competitors like Calvin Klein, Coach, Guess, Gucci, Swatch, Alfex and Jacob Jensen, etc, nigh(prenominal)how it could make their product more successful in retail market.About retail volume, we bath confirm it from Table 1 and Table 2. From Table 1, retail volume in thousands of units dejection be estimated, for sure, USA market has been still the biggest market since the research started from 2003. Also, we wad see kindle raise in India market, their retail volume has been growing rapidly the most. Now, India market has the south biggest retail volume in thousands of unit, and it is even same to USA almost. Looking at number of watches per 1,000 mickle, Mexico has showed highest ratio, and Indias ratio is still the stand up(a).From Table 1, we contribute see Mexico, Netherland, in the south Africa, Sweden have the greatest number of wat ches, and paired to it, India, China, Japan, Belgium have the lowest number of watches. asunder from Table 1, Table 2 shows harbor of different watches, which also shows the biggest and the lowest markets as well. From Table 2, USA, Japan, UK are the biggest one, in confrontation to Belgium, Hungary which are the lowest one. One thing we chamberpot discover here is counties with biggest retail market have not so big volume value of watch market.Also $ per capita shows similar aspect, from Table 2, we nates see the separation amidst developed market and growing market. Already developed markets have the biggest $ per capita when it comes to market, meanwhile growing markets have the lowest one. It is same with value of watch markets. So, from those charts, we can suggest potential markets for Skagen Design would be Mexico, India or China. Skagen can offer them add up quality with lower price than competitors, also their design is so aboveboard and never follow established t rends that it can be fitted in growing market slow.It can be adapted to local needs slightly with market. Meanwhile, when Skagen Design enters into developed market, it doesnt need to adapt local needs or adaptation. What only they have to care is more high quality with higher price, so it cant be well-grounded market as much as first one. Q3. Which market first appearance elan should Skagen Design use on the chosen markets? origin of all, you have to know what is a market entry climate this is an institutional order of battle which is necessary for the entry of a corporations products into a new foreign market. in that respect are three different tokens of entry elbow room Export Intermediate And ranked stylus There are some factors that influence the market entry way of heart choice. These factors are externs or interns, or specifics. The market entry mode is different mingled with countries with low, medium and high standard of living. theatres products are manufactured in the domestic market or a third country and wherefore channelisered either look atly or indirectly to the troops market. Three types of exportationinging 1. Indirect mode 2. Direct mode 3. Cooperative mode unforesightfulest US $ per capita Medium US $ per capita High US $ per capita Indirect export mode Is the process of merchandise done domestically based export intermediaries, but the exporter has no control over its products and over the marketing decisivenesss. Fast market access. No infrastructures are built. Low sale promotion. No market researches are carried out. Direct export mode If the international markets are considered as a crucial part of the guilds success the direct exporting is the best market entry apparatus. utilise own gross revenue subsidiary and direct marketing (including mail order and telemarketing). Low infrastructures are built. grocery researches are carried out upon secondary data. The business can use Distributors Market country agents Intermediate mode The intermediate mode is used to transfer the knowledge and the skills to the local producer/ trafficker. There is no full monomania by the parent firm involved, but owner send and control can be dual-lane between the firm and the local partner. four-spot types of intermediate entry modes Licensing Franchising Contract manufacturing correlative ventures Hierarchical mode Solid infrastructure. Sponsoring artists, athletes and events. Market research, qualitative &038 quantitative. Aggressive marketing campaign. gross sales promotion. Market coverage Intensive separately kind of countries has one appropriate mode concerning its export, and each of these modes are listed in the tabular array above. Q4.What should be the guidelines for including other products lines in the Skage n Designs collection? Including other products mean need to have an expansion? you can add a new product to expand your business just be sure to fall upon these four steps before touching forward? Determine the specific needs of your customers in each high-priority market segment.? signalize the product/service bundles (groups of features) that would be most attractive to them. Create a rum value proposition for the proposed line extensions and learn how youll position the product in the market segments youve identified. ? Determine the sales and distribution act upon that leave behind achieve the highest penetration of your indicate market segments.In all, youll need to use market research and speak customers and marketing partners or distributors and evaluate competitive products. This will military service oneself you to validate the present level of take in for the product and the best channels for sales distribution, plus shape the product messaging. If you do yo ur homework and proceed with an analytical eye, your line extension will increase sales, help you evanesce new markets and build market share overall for your growing business Having a guideline represents choosing the right segmenting, gulling and office. division pic Targeting pic Positioning The positioning is the process by which marketers try to create an image or identity in the minds of their target market.So, the guidelines for introducing other products lines are mainly respecting the positioning. For Skagen, we can bring up the brand as simple, elegant and affordable. It is hence very elegant with technical clearcutness and a true original design. It message that a new line of products has to be part of this universe it path something chic, no food or others. Furthermore, it has to need a technical precision because they could have an advantage using their expertise with that kind of materials. It has to be simple. Indeed, for precedent, the super slim line is completely purified, simple. The watches are non-numerical, the logo is very discreet. So the new line has to be do in a very simple vogue.Last but not least, it has to be an affordable product. It agent that they have to find way to produce it almost low cost. And so it has to be a product which can be made almost low cost. Ideas for the upcoming of new products High quality &038 design pen as Rolex for deterrent example Clothes as Calvin Klein for example Q5. Which criteria should Skagen Designs use for its selection of future booster partners? archetypal of all, it is interesting to give a little definition of sponsorship to understand the interest for companies to make some confederacy. After that it must easier to settle some criteria in the selection of future sponsor partner. SponsoringSupporting an event, activity or organization by providing money or other resources that is of value to the sponsored event. This is usually in return for advertising space at the e vent or as part of the publicity for the event. 1 For Skagen Designs it can be actually interesting to set up a sponsoring policy. Sponsoring is one of the best ways of dialogue for two reasons. Firstly, it is a good tool to highlight and precise the positioning of Skagen Designs convey to an event or a renown rightfully noteworthy and know by everyone. Secondly, this kind of partnership makes advertisements more visible. For example in the past, Skagen Designs had a partnership with the famous TV serial Ally McBeal.This sponsoring corresponded to the Skagen Designs targeting (active population, 25-45 years old with a fashion sensitivity) and to the positioning also (classy, elegant and affordable). Moreover, people who love ally McBeal and who recognize themselves in the series must be more new to the brand Skagen Designs. It was a authentically good promotion. Indeed, when the sponsorship is well selected, it allows identifying with a particular target market or lifestyl e and so attracting customers, easier. The first reason is increasing of consciousness of brand name and then, reinforcing perceptions of key brand image associations. For example, every m people watched Ally McBeal, they thought Skagen Designs.The sponsoring makes the brand unrecorded and present everyday in the life of customers. As any decisions, nevertheless, sponsor partnership can be risky. Thats wherefore we speak about selection. One of the difficulties of sponsorship it is fractious to measure and predict success and outcome. other risk depends on the sponsored person image which can change because of an event or a situation. This can affect the brand credibility and associate the brand with this spoilt event or behavior and change perception of brand values. That is why it is important to establish a list of criteria in order to make a good selection amount the different sponsor partnerships available.Firstly the partnership has to be in sufficiency with Skagen Des igns values and strategy The sponsorship has to be in line with the business and communication objectives. It has to be a strategic fit between the events target markets and Skagen Design? s. The sponsorship must match the targeted market and be able to reach it. Finally the sponsor partnership has to be in line with the positioning and targeting in order to touch the customer and attract him The sponsorship must generate sufficient awareness, have got the desire image and create the desired effects. The consumers have to see attributions for the sponsors engagementTo conclude, Skagen Desings has to focus on its values and keep in mind its strategic agency for the brand. Then it must be easier to choose a partner by quest the criteria. Finally by following up and evaluating the sponsorship Skagen Designs will be able to decide if its give way to continue or stop the sponsorship. Q6. Skagen Designs is considering online sales of his watches. What fusss and possibilities do you see for the company in this area? On this basis what are your conclusions? Nowadays, every brand is most of the time at least a brand click and howitzer, if it is not a pureplayer. Nevertheless, the online trade cannot be adapted to every type of brand. Indeed, the brand universe has to be able to be devote on the net income.Furthermore, when competitors start to sell on the meshing, if you do not urgency to lose market share, you have no choice you have to fight their advantages and so start considering selling online. First, we have to recollect what an online sale is. An online sale is a form of electronic commerce which allows consumers to directly buy goods or services from a seller over the Internet without intermediary services. So, we can estimate that a luxury brand such as Skagen, which leastways looks luxury, will lose its ability to advice consumers, one of his strengths. Furthermore, those watches are passably technical products and so lead some expertise . However, thither must be some advantages. It is important to say that Skagen has already a website and is already selling on this website, so every watch can be purchased on the internet.Indeed, for example, you can choose a watch, click on it to have a bigger view of it, and then you can add it to the bag. You can then see your bag on which you see the price of your watch and of the shipping. The last step is to do the check out by giving your personal address, and of course, paying. As a consequence, we can cerebrate that Skagen took its decision they decided to sell by the internet also. Now, what gist hassles and possibilities. A problem is an obstacle. A possibility is more an luck. It means in this case how the website can be done, what possibilities they have. moreover also, it means what opportunities it will bring.So, we can think that the expression problems and possibilities refers to the Threats and Opportunities in the SWOT analysis. First, it is an opportunity be cause customers are not the same nowadays. The new customer is always in a hurry, always wants to change his style, optimizes a lot his time in the transport by using his cellphone. So, of course, if the competitors start to sell on the internet, Skagen customers, which are young and active people, will lose their faithfulness toward Skagen finding better answers to their needs. Second, as it was said, the regular Skagen customer is the typical person who spends a lot of time buying on the internet and who is very comfortable with new technologies.It means that it will not be a problem for him to buy at the online store, and even, it will bring new customers this main target, the one of Skagen, is sometimes so much active that it does not have time to buy and sometimes, he is totally willing to buy in another country but cannot because there is no online store. As a consequence, it means that more than an advantage, creating an online store was necessary for Skagens customers. Plus , every brand does not have exactly the same target. We can guesswork that because, for example, Alfex is still not selling on the internet, you can just click on where to buy on its website. Third, but it is a detail, it kinda easy to establish some advantages for faithful customers on the internet. For example, reductions, special sales. And it is considerably accessible. These advantages can also be combine with partners.Indeed, Skagen, choosing to start selling on the internet can start having good partners for antonymous items such as clothes for example. However, we can observe that most of this brand does not make any promotion for other brands. We can think that it is because the world of watches is an elegant world it means that websites are really modern and purified. Fourth, we can think that it could be cheaper to sell on the internet because you do not have to pay a so bulky rent and you do not have to pay the sells staff. However, of course, there are some disadv antages. First, it is a quite precise and technical product some exigent customer can finger lost, even if it is well described they expertness need still more details.Details that are so numerous that it cannot be put on a website for example if you have some risks to break a bit your diamonds on the watch if you go on the shower with it. Second, Skagen will always have to watch the markets evolution and to be able to answer very quickly to demands. It means a lot of stocks and money. This is an aspect of start selling online selling online is a agate line in itself, you have a lot of technics to acquire such as how to ship your products for example. And, because it is a lot of money, you have to picture if it is really worth it to sell on the internet and if it is, how you will do it without huge amounts of moneys. Beside, details which is important for Skagen which is a brand whose positioning is selling very pretty products at affordable prices.Third, Skagen, as clothes, is a fashion brand, it means that people requires style from it. And, as they do with clothes, they might want to try it to see how it feels and how it fits their clothes. And, indeed, it is the main problem with online stores. But, anyway, it is less grave for watches than for clothes. However, we can regain that on their website we only see their watches alone, which means that it hard to imagine how it looks on a wrist. Some competitors such as Jacob Jensen or Guess still have this trouble, they should all of them do as Alfex, show it on the wrist of a model also. As a result, it was almost mandatory for them to go on the internet.Indeed, they have the perfect target, it can be cheaper and they are an affordable brand because they can produce low cost, their competitors start to sell on the internet and this type of products which are objects and not clothes or food, can be quite easily sold on the internet. The disadvantages are really negligible comparing to the advantages. We c an anyway to go more far think that they could do it in another way such as proposing pictures of people eroding it and even proposing some clothes style to fit with it. &8212&8212&8212&8212&8212&8212&8212 1 http//www. tutor2u. net/business/marketing/promotion_sponsorship. asp &8212&8212&8212&8212&8212&8212&8212 Report 2013/02/19 multinational MARKETING SODERTORNS HOGSKOLA

Agriculture in Indonesia Essay

farming in Indonesia supports the sustainlihood of the existence. Every lead out of five plurality live in rural areas and farming is considered a main occupation for many families. just about 45% of Indonesian workers are farmers. sieve is Indonesians primary staple crop. Indonesia today is the terce largest sift producer totaling 64,398,900 tons of strain in all. Most of the rice produced in Indonesia is located in the island of Java. Before the finalise of the New Order, they were most known for their persona to Indonesians agriculture industry. The New Order introduced the squirt Revolution rice technology to Indonesia.The common land Revolution was the foundation for economic development in Indonesia. This Revolution controlled the water lend and improved fertilizers and pesticides. The Green Revolution go Indonesia from being a major rice importer in the 1970s to being self-sufficing by the mid 1980s. Based on the population quickly increasing, Indonesia is find ing shipway to make food production more than efficient and cheaper to support the population. Indonesia had the most speedy decrease in poverty collectible to the fast agricultural growth created by the Green Revolution.The production of crops became quicker and cheaper, allowing the gross sales price to decrease. Poverty stricken people now do not bring on to devote their whole paycheck towards nonrecreational for food, since the sales price has lowered. The availability of crops change magnitude which also contributed to the decrease in price. Indonesia relies greatly on agriculture to feed the population and help decrease the poverty rate. office 10 Works Cited . Indonesia- Agriculture. Encyclopedia of the Nations. N. p. , n. d. Web. 7 Mar 2012.

Elderly gambling Essay

As students of Cal stir San Bernardino, we fully acknowledge that all operate on written is original set by the standards of the University. We also give due character reference to all references make use ofd to their original authors, and cited decently according the APA writing style. Students signature Dominic J. Williams, Billy McCoy, Georgina Williams, Jessica bid remote As the number of patriarchal self-aggrandisings ages 65 and up bear upons to recrudescement at heart the united States, the come to the forepouring of abuse, neglect, and fiscal struggles hurt this tribe.With the escape of support from their families, the cured argon pickings it upon themselves to survive in a creationness that looks down upon them. jibe to ElderlyAdults. org, it is this time of sprightliness ancient singles suffers from poor health, slower chemical reaction times, and n unrivalledtheless their action partners (2011). As of 2012, e genuinelywhere 40 gazillion elderly be living inside the linked States account statement for nearly 13 sh atomic number 18 of the agree population. With the rate statistically to addition, by the yr 2030, studies show that the population ordain go up to over 50 meg (AOG.org, 2011).Furthermore, California has fifty-eight counties, with 42 see an increase of over 150 percent increase in its elderly population (Aging. ca. gov, 2013). Social Workers across the nation leave behind sop up their work cut out handling the cases of the elderly, as sources of Social protective covering is becoming dire each spill year. It is in the interest of future and sure Social Workers to advocate for funding, and looking for resources that pull up stakes offer the quality c atomic number 18 that will meet the needs of the elderly.So how do elderly adults respond to the stresses of life, the local casinos that decl ar them the quietness of mind nearly are searching for? Some families and friends of these item-by-items olfaction this is not the proper way to cope with life, particularly as most of casinos offer alcohol, more smoking individuals, and the financial burden that they are already suffering from with lack of qualified monthly funding from Social Security. closely Seniors believe that their life serves no boost purpose, and it is the best of interests to relive the golden long time in earlier times of life (CasinoWatch.com, 2013).With many a(prenominal) local casinos that offer seniors the outlook to get addicted on the ill-timed things of life, our study will be conducted within San Bernardino County. These casinos will provide the starting acid for our research, furthermore, separate interviews with the elderly themselves will provide answers to their dramatic play ways. Once our research is completed, our results will be submitted to a local self-confidence that may champion future elderly dealing with the struggles of addictive dramatic play. Literature Review. play wi ll always be a prevalent sequel within the join States. Like cocaine, alcohol, etcetera caper is an addiction. At times, the require to gamble can be insatiable to the point where therapy will no longer suffice. To illustrate this concept, consider an example. When an individual is romp at a time slot machine, he or she is constantly push sack their finger on a button in the hopes of winning some money. The bank to win becomes so overwhelming that dandy deal will often lose hundreds (or even thousands) before realizing that they should stop.However, by that time, it may very well be too late. According to Lauren Erickson (2005), Pathological play is an impulse-control disorder characterized by preoccupation with period of play, a need to opine more money, chasing lost money, and go byd gambling in spite of escalating negative consequences. The issue here is not the fact that the elderly cannot make an informed decision, but instead it is a combination of kind decli ne, the olfactory property of being alone, etc. that influence their desire to gamble.Gambling among the elderly can influenced by numerous factors. One of the more cat valium ones, according to many researchers, is because they often feel as if they are living a solitary life. Often times, they are overlook by family or friends, are retired from their profession, etc. Essentially, the feelings can be overwhelming and gambling may be the further closure when it comes to rectifying any of these head-on feelings. Because of this, researchers overhear unyielding that the primary factors behind the high take aim of gambling is due to health and mental decline.Results from this study also suggest that scattered gambling is associated with mental and physical health problems in older adults. Seniors will cover to find peace of mind in these casinos until at that place is equal support to help alleviate these issues. With legalized gambling present in over 47 states, it has b ecome a multi-billion dollar industry. Consider the fact that proficient over 25 geezerhood ago, legalized gambling was allowed in over 4 states (including Nevada). With the increase in casinos and elderly individuals (e. g. baby boomers), in that location is a direct correlation to the increase in elderly gambling.In another(prenominal) words, with the population of seniors 65 age or older hitting 45 million in the United States, casinos have seen a spike in revenues. Because of this, there is great concern over the stability of these seniors. concord Stitt has spent over 7 years studying the effects of senior gambling, debt, their kin with family, etc. After compiling enough data over those years, he cerebrate that these issues need to be addressed (currently they are not). These two phenomena, an expansion of casino gambling and an aging population, raise interesting questions and potentially are cause for concern.Certainly one issue is whether there will be a rapid rise in pathological and problem gambling amongst the elderly, a group that frequently has increased void time and greater disposable, albeit perhaps fixed, income. despite these growing concerns, many researchers have highly-developed several representatives in order to look for and analyze the various reasons why these issues are occurring. Acknowledging that there is an issue is perhaps the most important step. The reason being is because it encourages researchers to square off why there is an issue and to develop strategies to help rectify the situation.Without a doubt, the United States is experiencing an epidemic when it comes to elderly gambling. Not surprisingly, many organizations have even established online gambling sites to cater to those who may be unvoluntary to drive or feel ill at ease(predicate) leaving their locale. After several years of research, many individuals have concluded that the well-disposed cognitive system holds merit when it comes to elderly gam bling. According to Vanchai Ariyabuddhiphongs (2009), social cognitive theory model hypothesizes reciprocal relationships among person characteristics, environs variables and gambling behavior.The review will use the social cognitive theory model framework to examine older adult gambling behavior, and related personal and environment variables. The social cognitive theory patently dictates that elderly gambling is directly bind into social and environmental factors. For example, if an elderly individual is neglected by family and friends, that would constitute being a social issue on account that they do not have any form of support from those that signify a lot to him.Conversely, if the environment is hostile or not ideal per se (e. g.gang ridden neighborhood or lack of financial stability) that can also contribute to their willingness to gamble. It is domineering to acknowledge the fact that many of these individuals continue to struggle within their environment. Because of these social and environmental factors, many seniors continue to struggle with gambling. Gambling is an addiction that can be gruelling resolve. Like drug addiction and alcoholism, there are numerous programs out within the community that aim to combat these issues. many an(prenominal) seniors share certain characteristics that make it herculean for certain organizations to help them.Not only are many of them on a fixed income, but many of them have time to pursue other endeavors and gambling has proven that it can give them the peace of mind needed. As time progresses, the politics and other researchers need to establish bare-ass programs aimed at minimizing this growing epidemic. As of today, millions of seniors continue to lose much of their savings because there is little done about their financial well-being. Once they reach the level of retirement, many of them feel that the only way to die hard solace is to gamble and play the lottery. hinderance programs are the only solution to these issues.

'How to Get Motivated Essay\r'

' need is liter tout ensembley the desire to do things. It’s the balance between open-eyed up before dawn to thrum the pavement and lazing around the house wholly day. It’s the crucial element in setting and attaining goalsâ€and look shows you can submit your own levels of motivation and self-control. So write in code out what you want, power through the agony period, and start being who you want to be.\r\n5 Keys to Unlock Your Creative Motivation\r\nMotivation is a more than more than thickening process than just â€Å"wanting” to do something. When you’re working on a creative project and the departure gets tough, if you’re non motivated lavish, you’ll quit. And it always gets tough, whether you’re a novelist, artist, musician, or even a creative entrepreneur. In my own research with highly experienced writers, I put in that motivators are often combined for outperform effect. here, then, are 5 ways to heighten your motivation level:\r\n1. Increase the repugn of your project.\r\nTry something you’ve neer done before. When I interviewed outstripselling novelist Diana Gabaldon, she told me that she once gave herself the challenge of writing a â€Å"triple-nested flash fundament.” For many of us, concocting an ordinary flashback is challenge enough, however those are a snap for her.\r\n2. assortment your creative method for the stimulation of a fresh approach. I\r\nf you typically write with an outline, try non to. Or begin writing without an ending in mind. If you never write with a plan, crack what come to passs if you plan ahead. Even if it doesn’t work, you’ll teach something. Here’s Wells Tower, actor of a volume of short stories, Everything harry Everything Burned: I can never coldly write a narration; it doesn’t work. I’ve tried it where I have an outline, and I’ll think this is going to be so easy, but when I sit down of course it’s not. You have to get into a tell of autohypnosis and let the story be what it wants to be.\r\n3. bring in from a different present of view.\r\nDo you always write in first-person? Do you never write in first-person point of view? Try the opposite. Or name something artistic from the point of view of the bicycle, or the car, or the dog or cat, or the new immigrant or the alien from out space.\r\n4. Look deeper to find your intrinsic motivation.\r\nHere’s how poet Ralph Angel put it: As much as I abhor to admit it, I’ve learned in recent years that writing, even more than some of the most important relationships in my lifespan, is where I am most in touch with myself, and, worst case scenario, heap I fill in die and my life goes on. But if anything took me away(p) from the work, I would be separated somehow from myself.\r\n5. Forget intimately the goal and find the fun.\r\nThis is the most crucial key to entering flow. Put all thought of audience aside for the duration being and find something pleasurable closely what you’re act to create. If it’s not fun, figure out why not and make it more engaging for yourself. in that respect’s nothing trivial about fun, as I’ve found in my talks with great creative individuals. It’s one of the many motivators that bring them back to the work they do, day in and day out. The 3 Biggest Myths About Motivation That win’t Go Away\r\n notwithstanding Write Down Your Goals, and Success is Guaranteed! in that location is a story that motivational speakers/authors love to tell about the Yale Class of 1953.Researchers, so the story goes, asked graduating Yale seniors if they had specific goals they wanted to make in the approaching that they had written down. twenty years later, the researchers found that the mere 3% of students who had specific, written goals were wealthier than the opposite 97% combined. Isn’t that amazing? It would be if it were true, which it isn’t. I handle it were that simple. To be fair, in that respect is evidence that acquiring specific about what you want to succeed is really important. (Not a guaranteed road to mythical wealth, but still important.) In other words, specificity is necessary, but it’s not well-nigh sufficient. Writing goals down is actually uncomplete †it can’t hurt, but at that place’s also no austere evidence that writing per se does anything to help. bonnie Try to Do Your Best!\r\n presentment someone, or yourself, to just â€Å"do your best” is trustd to be a great motivator. It isn’t. Theoretically, it encourages without position on too much pressure. In reality, and rather ironically, it is more-or-less permission to be mediocre. Edwin Locke and Gary Latham, 2 renown organizational psychologists, have pass several decades studying the difference between â€Å"do your best” goals and their an tithesis: specific and rugged goals. Evidence from more than 1,000 studies conducted by researchers crossways the globe shows that goals that not only speckle out exactly what needs to be accomplished, but that also set the obturate for achievement high, result in farthest superior performance than simply trying to â€Å"do your best.” That’s because more herculean goals cause you to, often unconsciously, increase your effort, counselling and commitment to the goal, persist longer, and make founder use of the most effective strategies. vindicatory Visualize Success!\r\nAdvocates of â€Å"positive thought process” are particularly fond of this tack together of advice. But visualizing success, particularly effortless success, is not just unhelpful †it’s a great way to set yourself up for failure. Few motivational gurus understand that there’s an awfully big difference between accept you provide succeed, and believing you will succee d easily. Realistic optimists opine they will succeed, but also believe they have to make success pass off †through things like effort, careful planning, persistence, and choosing the decent strategies. They don’t shy away from thinking â€Å"negative” thoughts, like what obstacles will I face? and how will I deal with them? Unrealistic optimists, on the other hand, believe that success will happen to them, if they do lots and lots of visualizing. late research shows that this actually (and once again, ironically) serves to peter out the very energy we need to bear upon our goals. People who spend too much time fantasizing about the wonderful future that awaits them don’t have enough gas left in the storage tank to actually get there.\r\n'

'In Man and Superman Shaw Was Not Writing a Regular Play Essay\r'

'In homo and dose Shaw was non writing a regular blow bring expose; he just now united up dialogue, discussion, arguments for the place of devi gabble them appear as tinkers. Still the incidents of situations in the play do in tiptopstar way or the a nonher(prenominal) perpetuate the pursuit of art object by charwo universeâ€of sixpence by Ann. The some enkindle is the sinning facet where the traditional take over Giovanni motif is close comically anatropous in the deportmentspan history of parody to take in Shaw’s thesis that it is the char basically who is boa-constrictor from whom the sensitive get dressed Juan flies extraneous to save his person.\r\nThe blazing Scene has been grafted on the plot of ground from distant and it does not turn over from the soil of the story. Its primal business is to highlight the central ejaculate of the playâ€the dock of bit by cleaning lady as part of the mathematical adjoin of Creative phy logeny as comfortably as the sophism of hell as a close dynamic, therefore wanted condition of being which ensures happiness of benevolentity. The metamorphosis of the characters like chromatic and Ann suiting the atmospheric state is amazing; barg alone soon the striking interest wanes as the arguments start rattling(a) the pros and cons of the Scene.\r\nFrom the shoot d make of arrest of the thrust of the arguments the snake pit Scene has signifi faecal matterce, differently it looks just unique and from the point of encounter of the force of the plot extraneous. It cannot be denied that the snake pit Scene is a some mighty tour-de-force of Shaw’s imagination. Shaw had added to the play a drawn-out Preface, rich in thought and nub and at the annul we get the revolutionary’s chip in Book and carrier bag Companion. The overriding Shavian pre-occupation with his philosophy gets to be continued in sin Scene.\r\nWhen perpetually Shae has an opportunity, he expresses his dep oddments (although comically) on happiness, love, marriage, conjure relation backs, women, art, socialism, democracy, industrialisation, religion, morality, virtue, sin, death, peace, war, slavery and a host of other topics. Shaw has been impartial bounteous to allow notwithstanding out the D fiendish to realize his conjecture and freely express his point of view. The spur fuck all this is the assurance that wo whilehood is cold from weak and lost and that sexually woman is Nature’s fraud for the lengthening of human beings race.\r\nA much fright fact is, sexually man is woman’s contrivance for fulfilling nature’s behest in the scoop out possible way. possess by the device fury of creation, woman searches for a anthropoid biologically most desirable and when she finds him, she is most unkind in her pursuit of him. The set out on Juan in Hell Scene lifts up this basic shank of life-Force and Creative grow th with sexually transmitted disease and Superwoman into the commonwealth of Shavian-Socratic dialogue. Shaw comically swaps the Superman of Nietzsche (who was a ruthless being and an build of might! ) by a immature adopt Juan; tanner who promises life as co-operation with woman in its upward struggle.\r\nIf the evolutionist’s account is accurate, life has developed in the waters of the nautical and the slime of the beaches until it cranial orbited the gigantic and coherent since nonextant creatures that peopled the universe of discourse in pre-historic times. In his hallucination sixpence hears get into Juan say this to him. Life is a force which has do innumerable experiments in organising itself. He pull ahead tells him that as long as he can mean something better than himself, he cannot be simplified unless he is striving to bring it into existence or change the way for it: â€Å"That is the rectitude of my life.\r\nThat is the take a leaking at h eart me of life’s incessant dream to higher organisation, wider, deeper, intense, self-consciousness and clearer self-understanding. ” The remonstrate in his turn expresses himself articulately and forcibly about man’s conduct in the world and takes a pessimistic view of him. He holds that human beings are two stupid and evil and on the channel to utter destruction. Shaw makes a firm attri juste in the process surrounded by his two functions as writer: the function of an essayist on the unmatchable hand and on the other, that of a playwright.\r\nThe most-valuable difference is that a playwright has to coif on the percentage point a form of characters whose opinions differ and coming upon for the vital chemical element in play in conflict. It whitethorn be strong-arm conflict, the conflict of emotions, of ideas or even of beliefs. The sense of hearing watches and hastens to the conflict; it hears the characters putting forward contend views; and having heard the arguments the members of the reference use their own thinking powers and reach their own conclusions. much of what is said by the disoblige in Man and Superman is fair asseveration of the parts of human behaviour is endorsed in other plays by Shaw.\r\nWhat is in discredit is the conclusion the Devil draws from the facts. Can man be save from his own ruinous tendencies? The Devil declares that he cannot. Don Juan believes that he can if he is given the capital idea to brave out forâ€the swell idea, for example, that man can, if he bequeaths, can carry out the divine habit (read the purpose of Life-Force). The creative thinker bequeath not fail when the will is earnest to Life, the force behind the Man, and instinctual is a indispensability because without it he blunders into death.\r\n and as Life, later on ages of struggle, evolved that wonderful incarnate organ, the eye, so that the dungeon organism ould see where it was loss and what was go ing and what was coming to help or threaten, and thusly avoid a thousand dangers that at long last slew it, so it is evolving to date in mind’s that shall see, not the physiologic world, just now the purpose of Life, and thereby alter the individual to work for that purpose sort of of thwarting and knotty it by telescope up short-sighted individual(prenominal) aims as fork out: â€Å"I sing not ordnance store and the Hero but the philosophic man; he who seeks in contemplation to shine the inner will of the world, in designing to discover the government agency of fulfilling that will and in action to do that will.\r\nThe supreme cheer of Shaw’s dramaturgical dialectics is to be appoint in the replenishment of renovation of the eighteenth century hear of Don Juan or quite the Spanish Don Giovanni. It is important because tanner receives the mantelpiece of the incendiary from this super human image. Of course, the order has been one of mutation of old materials in to 19th century terms, both thematic and technical. He rejects alone the schism oIn Man and Superman Shaw was not writing a regular play; he lonesome(prenominal) united up dialogue, discussion, arguments for the purpose of making them appear as plays.\r\nStill the incidents of situations in the play do in one way or the other perpetuate the pursuit of man by womanâ€of Tanner by Ann. The most interesting is the Hell Scene where the traditional Don Giovanni motif is most comically inverted in the spirit of parody to substantiate Shaw’s thesis that it is the woman basically who is boa-constrictor from whom the new Don Juan flies remote to save his person. The Hell Scene has been grafted on the plot from outside and it does not grow from the soil of the story.\r\nIts central business is to highlight the central motive of the playâ€the chase of man by woman as part of the process of Creative Evolution as well as the edification of hell as a most dynami c, therefore desirable condition of existence which ensures happiness of humanity. The metamorphosis of the characters like Tanner and Ann suiting the atmosphere is amazing; but soon the dramatic interest wanes as the arguments start rattling the pros and cons of the Scene.\r\nFrom the point of view of the force of the arguments the Hell Scene has significance, other quick-scented it looks just bizarre and from the point of view of the force of the plot extraneous. It cannot be denied that the Hell Scene is a most powerful tour-de-force of Shaw’s imagination. Shaw had added to the play a lengthy Preface, rich in thought and content and at the end we get the Revolutionist’s Hand Book and Pocket Companion. The overriding Shavian pre-occupation with his philosophy gets to be continued in Hell Scene.\r\nWhenever Shae has an opportunity, he expresses his views (although comically) on happiness, love, marriage, sex relations, women, art, socialism, democracy, industrialisati on, religion, morality, virtue, sin, death, peace, war, slavery and a host of other topics. Shaw has been impartial enough to allow even the Devil to have his say and freely express his point of view. The spur behind all this is the assumption that woman is far from weak and helpless and that sexually woman is Nature’s contrivance for the perpetuation of human race.\r\nA more intimidating fact is, sexually man is woman’s contrivance for fulfilling nature’s behest in the best possible way. Possessed by the blind fury of creation, woman searches for a male biologically most desirable and when she finds him, she is most ruthless in her pursuit of him. The Don Juan in Hell Scene lifts up this basic depicted object of life-Force and Creative Evolution with Superman and Superwoman into the realm of Shavian-Socratic dialogue. Shaw comically swaps the Superman of Nietzsche (who was a ruthless being and an embodiment of might! ) by a new Don Juan; Tanner who sees life a s co-operation with woman in its upward struggle.\r\nIf the evolutionist’s account is accurate, life has developed in the waters of the ocean and the slime of the beaches until it reached the gigantic and long since extinct creatures that peopled the res publica in pre-historic times. In his vision Tanner hears Don Juan say this to him. Life is a force which has made innumerable experiments in organising itself. He further tells him that as long as he can conceive something better than himself, he cannot be easy unless he is striving to bring it into existence or clearing the way for it: â€Å"That is the law of my life.\r\nThat is the working within me of life’s incessant aspiration to higher organisation, wider, deeper, intense, self-consciousness and clearer self-understanding. ” The Devil in his turn expresses himself eloquently and forcibly about man’s conduct in the world and takes a pessimistic view of him. He holds that human beings are both stup id and evil and on the road to utter destruction. Shaw makes a firm distinction in the process between his two functions as writer: the function of an essayist on the one hand and on the other, that of a playwright.\r\nThe important difference is that a playwright has to put on the stage a number of characters whose opinions differ and clash for the vital element in drama in conflict. It may be physical conflict, the conflict of emotions, of ideas or even of beliefs. The audience watches and hastens to the conflict; it hears the characters putting forward opposing views; and having heard the arguments the members of the audience use their own thinking powers and reach their own conclusions. Much of what is said by the Devil in Man and Superman is fair statement of the parts of human behaviour is endorsed in other plays by Shaw.\r\nWhat is in doubt is the conclusion the Devil draws from the facts. Can man be saved from his own destructive tendencies? The Devil declares that he cannot . Don Juan believes that he can if he is given the great idea to live forâ€the great idea, for example, that man can, if he wills, can carry out the divine purpose (read the purpose of Life-Force). The brain will not fail when the will is earnest to Life, the force behind the Man, and intellect is a necessity because without it he blunders into death.\r\nJust as Life, after ages of struggle, evolved that wonderful bodily organ, the eye, so that the living organism could see where it was going and what was going and what was coming to help or threaten, and thus avoid a thousand dangers that finally slew it, so it is evolving to date in mind’s that shall see, not the physical world, but the purpose of Life, and thereby enable the individual to work for that purpose instead of thwarting and baffling it by setting up short-sighted personal aims as present tense: â€Å"I sing not arms and the Hero but the philosophic man; he who seeks in contemplation to discover the inner wi ll of the world, in invention to discover the means of fulfilling that will and in action to do that will. ”\r\nThe supreme triumph of Shaw’s dramaturgical dialectics is to be found in the renewal of renovation of the 18th century image of Don Juan or kinda the Spanish Don Giovanni. It is important because Tanner receives the mantle of the incendiary from this super human image. Of course, the method has been one of conversion of old materials in to 19th century terms, both thematic and technical. He rejects al unitedly the schism of Byron and Tanner can be the tar or a mindless womaniser as Byron’s Don Juan has been.\r\nShaw’s form of address to be returning to a patriarchal Don Juan is valid to the issue that the theme had originally been less of psychological than of philosophic or even hence theological interest. It is true that Don Juan runs forward from them alone after possessing them. Tanner in Shaw’s play runs away rather to keep them from possessing them. That old motif has been on purpose morose upside down in a vein of parody, embodying Shaw’s metre new motif. Shaw substituted an utterly Scribean closed structure. The Don Juan chronological succession in Act II is incomplete a well-made play, nor a passel of a well-made play. It stands out apart as something appropriately more grim and august.\r\nAs Eric Bentley points out, â€Å"It is not a traditional work of any kind, not even a Platonic dialogue, the relation between Socrates and his interlocutors being quite different. ” Nor is it s make out for two of the speakers, the Commander and Ann hardly present arguments at all. They simply pay a point of view. Do even the Devil and Don Juan discuss anything between them? A Devil is scarcely a being one can diversify to a cause: â€Å"and if the Don is grumpy convince anyone it is himself. ” Certainly it is the philosophy of Bernard Shaw that he parrot-preaches. exclusively one doubts if persuasion is exercised by that on the audience. Rather, the contribution of the four presences spot together as a vision of life and an intimating of super-lifeâ€Man and Superman.\r\nThe comedy of bum Tanner of the vision of Don Juan Tenoriaâ€Shaw and counter-Shaw thesis and antithesis are to be sure, of separate interests, and yet, as usual, the great Shavian achievement is to have link one to the other. Tanner seems a wise man, proves a fool. Don Juan passes for philanderer but proves an explorer and a missionary of the truth. In our trivial, tawdry, clever, Scribean world intellect is egotistic and ever at the mercy of instinct. germinate away the incident in Hell and Shaw has write an anti-intellectual comedy! The episode assigns to the intellect the highest role. No longer, therefore, is Ann the centre and source of thingsâ€only a possible start for Superman. here Don Juan dominates.\r\nHere (or rather in Heaven) intellect is at home, and the Don is recovered of that occupational disease of Shavian Heroes of homelessness. â€Å"He comes to a good end”â€only it is not an end, it’s an episode, and from these celestial mephistophelean heights we must nail down to worldly concern with the shock of Shavian anti-climax, to earth and to tanner, from Superman. f Byron and Tanner can be the rake or a mindless Philanderer as Byron’s Don Juan has been. Shaw’s claim to be returning to a pristine Don Juan is valid to the extent that the theme had originally been less of psychological than of philosophical or even indeed theological interest. It is true that Don Juan runs away from them only after possessing them. Tanner in Shaw’s play runs away rather to prevent them from possessing them.\r\nThat old motif has been deliberately turned upside down in a vein of parody, embodying Shaw’s standard new motif. Shaw substituted an utterly Scribean closed structure. The Don Juan episode in Act II is neither a well-made play, nor a portion of a well-made play. It stands out apart as something appropriately more austere and august. As Eric Bentley points out, â€Å"It is not a traditional work of any kind, not even a Platonic dialogue, the relation between Socrates and his interlocutors being quite different. ” Nor is it s debate for two of the speakers, the Commander and Ann hardly present arguments at all. They simply represent a point of view. Do even the Devil and Don Juan discuss anything between them?\r\nA Devil is scarcely a being one can convert to a cause: â€Å"and if the Don is busy convincing anyone it is himself. ” Certainly it is the philosophy of Bernard Shaw that he parrot-preaches. But one doubts if persuasion is exercised by that on the audience. Rather, the contribution of the four presences come together as a vision of life and an intimating of super-lifeâ€Man and Superman. The comedy of John Tanner of the vision of Don Juan Tenoriaâ₠¬Shaw and counter-Shaw thesis and antithesis are to be sure, of separate interests, and yet, as usual, the great Shavian achievement is to have related one to the other. Tanner seems a wise man, proves a fool. Don Juan passes for philanderer but proves an explorer and a missionary of the truth.\r\nIn our trivial, tawdry, clever, Scribean world intellect is futile and ever at the mercy of instinct. Take away the episode in Hell and Shaw has written an anti-intellectual comedy! The episode assigns to the intellect the highest role. No longer, therefore, is Ann the centre and source of thingsâ€only a possible mother for Superman. Here Don Juan dominates. Here (or rather in Heaven) intellect is at home, and the Don is cured of that occupational disease of Shavian Heroes of homelessness. â€Å"He comes to a good end”â€only it is not an end, it’s an episode, and from these celestial infernal heights we must descend to earth with the shock of Shavian anti-climax, to ear th and to tanner, from Superman.\r\n'

'Herr Samsa Is Content Essay\r'

'In ‘metabolic process’ by Franz Kafka, Gregor Samsa, the main character turns into an insect. Although many would present that this transformation is literal, I would argue that Kafka uses it as a simile or close to other form of symbol. If my theory is cover, this metaphor is used as a mean of portraying the dehumanization and hence aberration of Gregor Samsa caused by the in deform stress and demands of his day-to-day job that he worries close to so untold. I also believe that Kafka uses the ill-tempered case of Gregor to represent a full-length generation of forgeers that all fear the identical fate. Herr Samsa, Gregor’s buzz off, in particular fears this and having seen what he fears most in his son, he becomes rampageous and aggressive towards him; howevertually delivering him a slow, deliberate death.\r\nTo support this argument, we find out that, even up in the lead the actual transformation, Gregor behaves strangely with regards to his work; studying train snip evades for example. It is for this reason that I have decided to carry on with this idea. With Gregor dying at the end of the novella, I decided to use this metaphor of dehumanisation again and apply it to some other(prenominal) one(a) of the workers of the same generation as Gregor’s †his sister’s boyfriend that she has give since the Samsa family left their home to start a new life.\r\nIn redact for my version of Kafka’s extended metaphor to be happy, I have had to adopt his demeanor of writing, some function that is very particular to Kafka. Kafka uses long sentences except keeps the novella moving at quite a a fast pace. This is because he pays undischarged attention to enlarge and turns each detail into something significant. Despite this, he is not especially descriptive concerning the settings that he has chosen in Metamorphosis. This has the particular effect of rendering the scenes of ‘Metamorphosisâ€⠄¢ full of action and gripping for the reader. This is what I have tried to apply in my extension of Kafka’s fantastic tale.\r\nGrete watched her buzz off open the inlet, press out his feet across the mat, adjudge his overcoat off his shoulders and drop it on the banister. He took both his missy’s shoulders, smiled at her for a moment with an case that could only be associated with pride and because gently kissed her fore division. He then go on to the kitchen, Grete in his footsteps. Once in that respect, he placed his hand on his married womanhood’s shoulder, squeezed it, asked her what was for supper and, in turn, kissed her.\r\nHerr Samsa presently locomote to the funding room and with a engaging sigh of relief he settled into an armchair and watched in amusement as Grete gazed fixedly at the clock on the paries counting down the seconds. At barely volt, the doorbell rang and Grete let out a little squeal of delight originally glancing shee pishly at her father and rush along off to answer it. The same crook had not changed one bit for the depart two months yet Herr Samsa could not complain. He knew that five was the time when he could submit to himself the pleasure of watching his daughter’s feeling light up, making her even more beautiful; reminding him of the attractive and successful woman she was turning into. He had neer been happier.\r\nSimple and polite only gratifying converse came from the kitchen †a mixture of questions, exclamations and low-key laughter. Following this, Grete entered with Franz who greeted Herr Samsa with a gentle propensity of his head.\r\nâ€Å"Ah! Franz my son! How are you? And how are things at work?” asked Herr Samsa.\r\nâ€Å"Well, as you k today sir, not too well I’m afraid. We all have a amusing amount of work to get with and I, for one, can hardly cope. The only thing that keeps a smile on my await is the prospect of coming to visit your dau ghter each evening.”\r\nGrete calculateed up at him adoringly and smiled in advance turning to her father with a face that begged no more splatter of work matters. Accepting this, Herr Samsa looked at them both.\r\nâ€Å" very well. Off you go.”\r\nâ€Å"Thank you, sir” replied Franz and he thirstily scuttled behind the beautiful young woman who led him to the parlour.\r\nHerr Samsa got up and poured himself a miniscule glass of schnapps and settled hold down into the warmth of his armchair. As he let his eyes close, he reflected upon how much better life was now. Even divergence anchor to work didn’t disorder him in the least. He felt healthy and fitter than he had been in a long time and he was now always able to join in with the family walk of lifes on Sundays. Franz also came with them. The four of them would walk with their arms linked, public lecture and laughing with a spring in their step.\r\nThus one-half an hour passed very happily fo r Herr Samsa before he was called to join the rest of his family at the dinner hold over. Grete was rather sullen right through and throughout the meal. Her usual manner of sprucely attacking her food was not there. Eventually, whilst Grete’s mother was in the kitchen, clearing the table, he asked her what the matter was. She dismissed the question with another intense stare at the table so her father thought it topper to leave the matter alone.\r\nThe next evening, the cash dispenser at the dinner table was tense once again. Grete insisted on glaring sullenly at her plate. Again, Herr Samsa asked her what the matter was whilst his wife was engaged in the kitchen. Once more, she tried to swerve him scarcely this time, her father insisted and she lifted her face, cover in tears, before answering.\r\nâ€Å"He’s exhausted…I can’t stand it anymore…he impersonates on a brave face… still with me…” She desperately tried to control herself provided burst into tears. Frau Samsa, who had come back into the room, put her arm round her and encouraged her to go on. Grete’s parents watched, bemused and shocked, for this was the first time they had seen her cry since they’d decided to take up their lives. Seeing the dis repose in her parents’ faces, Grete took a deep breath and started again.\r\nâ€Å"He doesn’t complain about it but when we’re alone, he talks about naught but work, almost as if he doesn’t know how to talk about anything else. Just run low night, instead of talking to me, he spent two completely hours studying a train timetable! And he’s developed a standard twitch…spasms every now and then. He’s not really…my Franz…anymore.”\r\nThe undermentioned evening, nothing changed. As always, Herr Samsa was met in the entrance hall by his daughter whom he embraced before making his way to the kitchen, in order to greet h is wife. As Grete waited for the clock to cuddle five, she had the same anxious look on her face. But it faded and was replaced with a frown because as the hands hit five she heard a far-off cry. She glanced at her father but he on the face of it hadn’t heard it and so she continue waiting. She was silently surprised that Franz hadn’t glum up yet, despite the fact that it wasn’t even a minute other(prenominal) yet. As she continued waiting, now perched on the arm of one of the sofas, she heard another cry, closer this time and it resembled more a scream.\r\nYet again, Herr Samsa had not noticed but he was watching Grete with amusement as she visibly became more and more dying(p) as the minutes went by. Once again, a scream came from up the road. This time, it was accompanied by the smashing of a window. Grete rushed to the living room window and pressed herself up against the window to see what was going on. The last cry had even managed to reach her fathe r and he too had jumped out of the comfort of his chair to see what was going on. both wore anxious looks upon their faces and as more shouts of brat approached their house, Frau Samsa joined them from the kitchen, wiping the backs of her hands in her apron as she walked.\r\nâ€Å"Where’s Franz?” she asked immediately.\r\nA look of horror crossed Grete’s face as it occurred to her that the angry manifestation remote and Franz’s lateness could be linked. She tried desperately to see what was going on through the living room window but the angle wasn’t wide enough. A couple of flying stones and an apple came into her knit of vision and with that she rushed to the front door with both her parents close behind her.\r\nIt was as she grabbed the cold brass handle to pull the door open that she realised what this was. She remembered the conversation last night at the table and, sure enough, as she hastily poked her head through the door and looked dow n the street, she clasped her heart. Franz was there sure enough, scuttling desperately down the street, followed by an angry mob yelling at him in disgust and flinging stones of hatred at him. Before her parents were able to see anything, she ran back in, bolted the door and sunk to the floor.\r\nBibliography\r\n� Metamorphosis, Franz Kafka, translated by Malcolm Pasley, Penguin, 2000\r\n'

'My IB chemistry research project Essay\r'

'Molecular gastronomy is often estimation close in the way of training in terms of chemical substance transformations in spite of appearance nutrition. The real meaning behind molecular(a) gastronomy is a practiced prep method acting used both scientists and nutrient professionals that deal the physical and chemical processes that occur term prep. [Feast for the eyeball] Molecular gastronomy seeks to investigate and explain the chemical reasons behind the transformation of constituents, as good as the social, artistic and technical components of culinary. [ feed for tomorrow?] By studying this topic, it can be applied to the real world, by the content of the whole process of preparing, eating, sensing, and enjoying food for thought involves staggeringly on complex chemistry, physics, and biochemistry.\r\nWithin the lab, I’ll perform control experiments. To comp allowe this experiment, I testament cook some(prenominal) versions of the same supply with slight variations, followed by a blind tasting to see if the variations ar significant.\r\nMy IB chemistry IRP will be place out in this EDD form.\r\nIntroduction-\r\nResearch interrogatory: Can we devise b be-ass formulation methods that produce unusual and improved results on the texture and flavor of food?\r\n* occupation Statement: The purpose of this experiment is to plant new culinary technique to bring to pass a new and uncommon and heighten outcome to food. The whole process of preparing, eating, sensing, and enjoying food involves tremendously complex chemistry, physics, and biochemistry. For years, a new culinary trend called ‘molecular training’ has been touted as the most exciting victimisation in haute cuisine. [Culinate †eat to Your Ideal] Molecular Gastronomy will be the change to how we perceive food to our audition buds, and how it will affect the pettishness we’re in. [Kitchen Chemistry]\r\n* Hypothesis: If we are seek to change a important ingredient and the way we cook the dish in a very appetizing dish by adding a new or odd element and new culinary catering skill, thence I mobilise that the flavor and texture of the dish do with the new prep ingredient/cooking method will taste separate then the archetype and have a positive effect on the sensory system of the taste quizzer.\r\n* Independent vari up to(p) quantity (I.V.): The main ingredient of a dish and food preparation process\r\n* Dependent Variable (D.V.): The effect of the finished cuisine has on the tester, and how the texture/flavor have changed from the original dish.\r\n* Constants (C.V.):\r\n*\r\n* equivalent cooking Pan\r\n* Same Food products\r\n* All the same utensils\r\n* For the olives:\r\n* 1/2 cup crude oil-cured black olives, alveolate and finely chopped\r\n* 1 tablespoonful agave nectar, or light maple sirup\r\n* 1 teaspoon sugar\r\n* saltiness\r\n* For the fennel:\r\n* 1 tablespoon extra-virgin olive oil\r\n* 2 tablespoo ns butter\r\n* cunning Fold\r\n* 1 large incandescent lamp fennel, trimmed and cut lengthwise into 8 pieces with the core intact\r\n* salt and impertinently ground black pepper\r\n* cupful dry white wine\r\n* 2 to 3 cups wimp broth\r\n* 1 teaspoons honey\r\n* 20 raisins\r\n* For the snapper: 4 (6-ounce) skin-on red snapper fillets, deboned\r\n* Salt\r\n* 2 tablespoons grapeseed oil\r\n* Passion-fruit vinegar (optional).\r\n* sound off\r\n* Variety of veggies\r\n* Procedure:\r\n1. Preheat oven to two hundred degrees. On a parchment-lined baking sheet, pettifoggery together the olives, agave nectar, sugar and a pinch of salt. Cook for 1 hour, soul-stirring every 15 minutes. (They will be sticky.) Let cool. They can be stored in a cool, dry place for several days.\r\n2. Place the oil and butter in a medium-size heavy saucepan set all over medium-high heat. Once the butter starts to brown, add the fennel. flavor with salt and pepper. Cook until the fennel begins to people of colour around the edges, 2 to 3 minutes.\r\n3. render the wine, bring to a boil and let reduce by half. Pour in at least 2 cups chicken broth to almost cover the fennel. urge in the honey and raisins. Bring to a boil over high heat, then lower the heat and simmer, stirring occasionally, until the period of a paring knife easy pierces the core of the fennel, 20 to 25 minutes. epoch the broth and fennel with salt to taste.\r\n4. When organize to serve, generously season the seek on all sides with salt. Pour the oil in a large nonstick frying pan set over high heat. When the oil is hot, add a piece of fish, skin-side down, insistency on the flesh with a fish spatula for the first fewer seconds to keep it from curling. excerpt with the remaining pieces. Cook until the edges of the skin are golden and three-fourths of the flesh turns opaque, 4 to 5 minutes. Flip and cook for an spare 1 to 3 minutes. Transfer to a plate lined with a typography towel.\r\n5. To serve, place two pieces of fennel, 2 to 3 tablespoons of the braising liquid and a few raisins in the center of a change bowl. Lay the fish, skin-side up, against the fennel and place about 1 tablespoon of the candied olives on top. If desired, drizzle the edge of the plate with a few drops of passion-fruit vinegar.\r\n6. Repeat steps two through nine as attempt two and three, but with the ingredient of beef and veggies, instead of red snapper.\r\n7. Have tester be blindfolded and have them taste the variety of food later on to each one trial, and record data.\r\n8. Once done jazzy up area and dispose of corruptive ingredients/ package up non-used food.\r\nData roll up & Processing-\r\nData Table:\r\n piquance of the dish before and after cooking on scale of Bad (1) to smooth (10).\r\nTesters\r\nTrial 1 (Fish)\r\n to begin with aft(prenominal)\r\nTrial 2 (Beef)\r\n beforehand afterward\r\nTrial 3 (Veggies)\r\n forwards aft(prenominal)\r\nTexture Test Before and after the cooking on scale of mushy (1)- rough (10).\r\nTesters\r\nTrial 1\r\nBefore After\r\nTrial 2\r\nBefore After\r\nTrial 3\r\nBefore After\r\nQualitative Data:\r\n quantifiable Data:\r\nConclusion & paygrade:\r\nSince I will complete this experiment, I hopefully will be able to conclude and make a perspicuous correlation on how ingredients are changed by different cooking methods, how all the senses depend their own roles in our appreciation of food, how cooking methods affect the eventual flavor and texture of food ingredients, how new cooking methods top executive produce improved results of texture and flavor, how our utilization of food is affected by other(a) influences, our environment, our mood, how it is presented, who prepares it.\r\nWork Cited\r\nBarham, Peter. â€Å"Kitchen Chemistry: Taste and piquance Facts †Feature †Discovery driveway.” Discovery Channel International. Web. 13 Oct. 2010. <http://www.yourdiscovery.com/science/kitchen_chemistry/taste _flavour/index.shtml>.\r\nCrain, Liz. â€Å"Edible Experiments †A Norwegian Blogger Goes Molecular :: by Liz Crain :: Culinate.” Culinate †Eat to Your Ideal. 9 Aug. 2007. Web. 14 Nov. 2010. <http://www.culinate.com/columns/blog_feed/khymos>.\r\nGoldberg, Elyssa. â€Å"Feast for the Eyes: Molecular Gastronomy Puts Chemistry to Work in the Kitchen.” Columbia Daily Spectator | News, Sports, and sport Coverage for Morningside Heights. Web. 14 Dec. 2010. <http://www.columbiaspectator.com/2009/04/30/feast-eyes-molecular-gastronomy-puts-chemistry-work-kitchen>.\r\nMUHLKE, CHRISTINE. â€Å"as well Cool for School.” New York Times. 30 Sept. 2007. Web. 12 Sept. 2010. <http://www.nytimes.com/2007/09/30/magazine/30food-t.html?pagewanted=all>.\r\nThis, Herv�. â€Å"Food for Tomorrow? : Article : EMBO Reports.” Nature produce Group : Science Journals, Jobs, and Information. July-Aug. 1999. Web. 10 Oct. 2010. <http://www.na ture.com/embor/ ledger/v7/n11/full/7400850.html>.\r\n'

'Demonstrative Communication Which Includes Nonverbal and Unwritten Communication Essay\r'

' epideictical Communication is a type of communion that keep opens non literal cues. Examples of non-verbal cues accept t nonpareil of voice, facial expressions, and body language. illustrative conversation is one where gestures are employed. founder known as non-verbal intercourse, it deals with the sending and receiving of meanss. Demonstrative communication ho subprogram be formatted by one’s body language, write language, and roughly non verbal communication that give the gate cause the main rate of observe spill the key words of communication which deals with grasping the tone, facial expressions, voice communication which is the main part of communication.\r\nWhen interring the wrong concepts of communication that we all call listen which we do not when it comes to communication. Listen is a communicative communication which we all take as misunderstand of communication when sending, and receiving the main point of a heart and soul. Demonstrative commun ication underside be ways of success by how well a somebody take place with one’s views, and how people use their verbal, or nonverbal communication.\r\nThe message of effusive communication encounters a mortal’s thoughts of communication that involves the way a person gasps the main points of the vector and the pass receiver. People be in possession of their own ways of processing one’s examples of communication such as listening; asking question to what is verbal or nonverbal of the sender and the receiver. Views has to be very sure of what the sender has bewilder of the main point of the message, and how well the receiver has listening to the meaning of the message to contain that there is no misunderstanding of the concepts of the message.\r\nReceivers and senders displace have positive, and negative meaning of how a message is giving and received because the sender who is producing the message can give some mislead information and the receiver can be mislead also by the wrong information. Using your body sing can also give out wrong sing of the way a person sending a message across to the receiver. The main and most all important(predicate) body sing a person can use when giving a direct message is eye meet so That the views are taken you serially about the most important message of what you are saying.\r\n'

'Overcoming Fear Essay\r'

' business organisation fanny be a truly crippling emotion. When I was little, my biggest devotion was move off of a roll. I was perpetu bothy afraid of oscillations because I watched my best servicingmate fall off of one and break her arm. As I got older, however, I accomplished that study how to ride a roulette wheel could be very beneficial, as rise up as a lot of fun. Something I did not know at the time, however, was that learning how to ride would end up creation beneficial to me in other shipway as sound.\r\nOne sidereal day, when I was near eight years old, I asked my granddad if he would teach me how to ride the bicycle he had bought for me two years earlier. He looked at me and say, â€Å"Are you eventually ready, erotic love?” After telling him yes, my gramps said that he would take me tabu that Saturday and ca-ca me my first ride lesson.\r\nAs Saturday approached, I grew more and more apprehensive. Part of me was truly looking forward to l earning how to ride, piece of music the other part of me was scared to remnant of travel off and getting hurt. My grandad seemed to sense my fear, and when Saturday arrived, he took me to the local bicycle shop. We went straight to the section of the store that had all kinds of knee and elbow pads, as well as other protective equipment for riding bicycles, skating, and other activities. He told me to pick turn out the knee and elbow pads I want best and said that they would help embarrass me from getting hurt if I drop down off of my bike.\r\nWhen we got back home, he helped me target on my pads and thus went and got my bicycle out of the garage. He showed me how to get on the bike, and then proceeded to walk beside me, holding onto the bike as I pedaled down the sidewalk. Once we cancelled the corner at the end of the block, my gramps let go for the first time. He stayed right beside me, ready to catch me if I started to tilt sideways. I was only suitable to go a few f eet earlier my grandfather had to catch me. He go along to encourage me to keep trying, and, after falling off several times, I was finally able to ride my bicycle up and down the sidewalk in comportment of my house without any help from my grandfather whatsoever.\r\nI learned that riding a bicycle was a lot easier than I could have ever dreamed. By buying me the knee and elbow pads and telling me that they would help protect me, my grandfather helped to diminish my fear of riding a bicycle. Now when I am faced with a moorage that scares me, I think back to that day my grandfather taught me how to ride. I may belt up feel fear from time to time, besides I know that I can overcome it by asking myself, â€Å"What go out help me to conquer my fear?”Bibliography not needed †This is a true characterisation of an actual event in my childhood.\r\n'

'International Environment Essay\r'

'entrepreneurial activities and innovation has drastically changed the global battle of brazilian companies which has taken the country’s economy beyond its agricultural sector. technology has drastically changed in Brazil because of which legion(predicate) foreign firms have started investing in the country.\r\nA research conducted by the search Institute on Applied political economy (IPEA) studied 1200 industrial firms in Brazil and compared them to similar firms in Mexico and Argentina, results showed Brazilian firms to be very competitive in speciality and high technology returns in the international export market (Wright 2007). The report by Wright (2007) also states that Brazil has limited product development activities due to its weak working capital market structure however it has a very strong research petty(a) on the supply-side which helps them in producing innovative goods.\r\nIn computer markets Brazil is fifth largest in the world; it is also investing do mestically in emerging technologies hence constitute great opportunities for global investment (Fried, 2008). engine room Environment in Singapore The technological environment of Singapore has advanced exponentially in the past few eld; e-commerce transactions have greatly increase in areas such as cyberspace trading and internet banking (The Economist 2007).\r\nThe political science in its Information and Communication engineering 21 (ICT21) master plan of 2000 plan on positioning Singapore as a global capital of communication and information technology by 2010 (The Economist). This distinctly shows the level of research and development operation in the country and the impact it go away have, and has had, in the transfer of technology with respect to global investment; in July 2000 the scotch Development Board Investment setup M-Commerce Ventures to further foreign investment.\r\n'

'NYSE:KKD, A Case Study of Krispy Kreme Doughnuts Inc. Financial Statements\r'

'Krispy Kreme Doughnuts was formed in 1933 when Vernon Carver Rudolph bought a doughnut shop in Kentucky. By 1937 the personal line of credit had branched into a wholesale ope symmetryn, supplying topical anesthetic grocery stores. Today, the business is owned by Krispy Kreme franchises and at that place are approximately 449 factory stores throughout the world.Krispy Kreme first-year floated on the NASDAQ in 2000 and, with a share bell of $40.64, immediately gained a market hoodization of $ euchre million.  A year later they switched to the NYSE where they flat trade under the ticker symbol KKD.In put up to perform a financial analysis of Krispy Kreme we set aside for utilize 3 main financial program lines; the income report, the statement of cash flow and the balance statement.The Income Statement, or clear and loss statement, pass on allow us to key how much profit has been generated by KKD and will allow us to cite how profitable the business is.  Whereas the income statement reports the results from operating the business over a precondition period of time, the balance saddlery provides a get word of the unwavering’s value at a snapshot period in time by presenting details of its assets, liability and owner beauteousness.Whilst an income statement reports a bon ton’s profits this is not rattling the same as their cash flows.  It is therefore grave that we in like manner look at this when analyzing the financial advantageouslyness and wellbeing of a company.  By looking at the free cash flows we are able to observe how much cash is available to the company by and by they lead paid for their investments in operating capital and fixed assets.  The free cash will be the amount that is available to redistribute to the owners and creditors.The financial reports for Krispy Kreme amongst the years 2005 and 2007 fuck be found in Appendix A.  At first glance it is perspicuous that a has been made over the last three years since their 2005 filing.  This could be potentially attributed to their rapid emergence and extension that has necessitated large investments in home, plant, equipment and investments in equity method franchises.  The losses, however, have reduced from $7.2 million in 3rd ninny 2006 to $798 in the 3rd quarter of 2007 that could indicate an improvement.The operating income, excluding the $21.05 million in depreciation, of Krispy Kreme at the end of the 3rd quarter 2007 was $22.11. The company has describe an investment of 12.63 that their annual report (www.krisykreme.com) attributed to the sale of property and the reacquisition of some of the franchises.  In addition to this KKD retired some of their capacious debt leading to a net loss of $15.48 in financing activities.The statement of cash flows reveal a net credit to impairment and lease stopping point of $268,000 in the 3rd quarter of 2007, a broad shift from the charge of $5.4million of 3rd quarter 2006.  understandably in the latter stages of 2006 a number of stores were unkindly or the franchises were terminated.  The third quarter 2007 balance sheet shows that KKD had cash of $23 million and a debt of $88 million.In order to fully understand KKD’s linear perspective in the market we need to understand the selective information in relative terms, i.e. how is KKD performing in equation to their competitors or similar companies. An analysis of KKD’s financial rations provides us with further insight into their operations and can allow us to better gamelight their strengths and weaknesses.  The debt ratio indicates how much debt KKD are using to finance their assets.  KKD’s debt ratio discloses that the company has a debt aim that matches their level of assets.  This is clearly bad new-sprung(prenominal)s.Furthermore they have negative kale per share ratio of -5.45.  This EPS ratio is significantly down the stairs the in dustry average of -2.75 will entail that it will be extremely difficult to attract new investors as they are unable to offer salary on the investment, at the moment they are crack a loss.  In addition to this, if the company financials do not pick up and they are force to default there will be no return for the investors at all.The Return on gross revenue ratio is currently at .39.  This is also down the stairs the industry average.  Such a low ratio indicates that the sales are not equivalent to the company’s current operating expenses.However, on a positive note, the Current Ratio (an indication of the firm’s liquidity as measured by its liquid assets) of 1.71 shows some recovery and demonstrated that KKD have the resources to meet short-term obligations.One potential source of this could be cash generated by financing activities that can facilitate to offset the unrewarded investments in finance acquisitions.  However, this is a short-term option an d will not significantly offset investors concerns.KKD currently has a quick stock turnover and averages 20 days.  This indicates that the company is managing their inventory well and is running an efficient operation with minimal waste.  In addition to this the turnover in receivable is 8 †11 days which is much lower than virtuoso of their major competitors; Starbucks.  Their accounts payable turnover is also high relative to Satrbucks but this is probably a contribute outcome of their franchise model.KKD as an investment has reliable a great deal of negative publicity recently and this will undoubtedly have squeeze their share price.  Accusations relating to their accounting practices and the potential over rising prices of profit levels will undoubtedly have lower investor’s confidence in the company and has also triggered a number of lawsuits.Through analyzing their current financial term and taking into consideration their ongoing issues with the S EC, I would not invest in this company.Reference PageKrispy Kreme Doughnuts Inc KKD (NYSE) Full Description. Retrieved April 3, 2008, from Reuters FundamentalsWeb target: http://stocks.us.reuters.com/stocks/fullDescription.asp?symbol=KKDKrispy Kreme History. Retrieved April 3, 2008, from Krispy KremeWeb site: http://www.krispykreme.com/history.htmlKrispy Kreme Quarterly Financial Report. (2007). Retrieved March 3, 2008, from Krispy KremeWeb site: http://www.krispykreme.com/investorrelations.html\r\n \r\n'

'The Source of Creativity in Writers\r'

'We gear up custody bemuse eer been intensely curious to k straighta focal gather up d let adjure well the primaeval who vagabond a similar forefront to Ariosto †from what arisings that funny world, the productive generator, draws his material, and how he hu compositionsages to bestow up such(prenominal) an psychological picture on us with it and to rush in us senses of which, perchance, we had non notwithstanding survey ourselves cap competent.Our stakes is scarce heightened the more by the feature that, if we invite him, the source himself sires us no explanation, or n superstar that is fair to middling; and it is non at e truly last(predicate) wounded by our k like a shota sidereal daysledge that non tear down the cle arst cleverness into the determinants of his superior of material and into the nature of the device of creating inventive adult malenikin testament ever help to off inventive generators of us. If we co uld at least(prenominal) ap patch in ourselves or in people handle ourselves an credit line which was in just about panache akin to seminal paper!An examination of it would then consecrate us a hope of obtaining the roots of an explanation of the originative consort of generators. And, indeed, in that respect is most prospect of this being workable. after each, creative sources themselves want to littleen the distance amid their physique and the common run of humanity; they so frequently assure us that all man is a poet at perk upt and that the last poet exit not perish till the last man does. Should we not await for the startle traces of fanciful exercise as early as in untestedsterhood The peasant’s ruff-loved and nigh intense occupation is with his be guard or plot of grounds.Might we not say that e genuinely electric s allowr at simulated military operation be slangs like a creative source, in that he creates a human beings of hi s own, or, rather, re-arranges the affaires of his implanting in a new musical mode which pleases him? It would be wrong to reckon he does not appropriate that do important expertly; on the contrary, he takes his fetch very seriously and he expends striking amounts of emotion on it. The opposite of chat up is not what is serious however what is real. In spite of all the emotion with which he cathects his world of romp, the kidskin distinguishes it quite an headspring from reality; and he likes to link his imagined objects and situations to the unmistakable and panoptic things of the real world.This linking is all that differentiates the child’s ‘play’ from ‘ semblanceing’. The creative writer does the comparable as the child at play. He creates a world of conjuring trick which he takes very seriously †that is, which he invests with crowing amounts of emotion objet dart separating it astutely from reality. wording has c arry on this semblance commit amidst children’s play and poetical creation. It gives [in German] the ca-ca of ‘Spiel’ [‘play’] to those forms of grotesque committal to writing which require to be relate to tactual objects and which be capable of re feedation.It speaks of a ‘Lustspiel’ or ‘Trauerspiel’ [‘ vexdy’ or ‘tragedy’: literally, ‘ frolic play’ or ‘ mourning play’] and describes those who carry egress the re typifyation as ‘Schauspieler’ [‘players’: literally ‘show-players’]. The unreality of the writer’s imaginative world, however, has very important consequences for the technique of his art; for m every a(prenominal) things which, if they were real, could give no cod lovement, fag do so in the play of magic trick, and numerous excitements which, in themselves, argon developedly distressing, hatful bec ome a source of enjoyment for the he atomic number 18rs and spectators at the performance of a writer’s work. in that respect is an separate consideration for the saki of which we allow dwell a moment vaster on this demarcation line among reality and play. When the child has crowing up and has take carryd to play, and after he has been travail for decades to reckon the realities of liveliness with proper unassumingness, he whitethorn star day catch out himself in a psychological situation which once more undoes the pedigree amidst play and reality.As an adult he can look choke off on the intense seriousness with which he once carried on his games in puerility; and, by equating his ostensibly serious occupations of to-day with his adolescentness games, he can throw off the besides arduous burden imposed on him by demeanor and win the high reelect of sport afforded by humour. As people grow up, then, they cease to play, and they come out to give up the yield of pleasance which they gained from playing. precisely whoever under nominates the human mind knows that merely anything is harder for a man than to give up a pleasure which he has once perplexd.Actually, we can never give anything up; we sole(prenominal) ex transplant unrivalled thing for an separate. What appears to be a renunciation is unfeignedly the ecesis of a substitute or surrogate. In the same commission, the suppuration child, when he stops playing, gives up postal code just now the link with real objects; instead playing, he now phantasies. He builds castles in the air and creates what ar called day- dreams. I believe that most people induce phantasies at snip in their lives. This is a concomitant which has long been overlooked and whose importance has in that respectfore not been sufficiently appreciated.People’s phantasies argon less slatternly to obtain than the play of children. The child, it is authorized, plays by himself o r forms a unopen psychical system with opposite children for the purposes of a game; still even though he whitethorn not play his game in confront of the vainglorious-ups, he does not, on the new(prenominal) hand, veil it from them. The adult, on the contrary, is guilty of his phantasies and hides them from separate people. He cherishes his phantasies as his most intimate possessions, and as a observe he would rather confess his misdeeds than tell any star his phantasies.It whitethorn come close that for that reason he believes he is the besides mortal who invents such phantasies and has no report that creations of this frame argon widespread among other people. This balance in the behaviour of a individual who plays and a person who phantasies is accounted for by the motives of these two activities, which ar save adjuncts to for each unity other. A child’s play is hardened by respectes: in point of event by a single deficiency- ace that helps in his lift †the offer to be big and grown up. He is everlastingly playing at being ‘grown up’, and in his games he imitates what he knows nearly the lives of his elders.He has no reason to contain this wish. With the adult, the scene is different. On the one hand, he knows that he is expected not to go on playing or conjurationing any all-night, unless to act in the real world; on the other hand, nearly of the wishes which give get up to his phantasies be of a kind which it is all-important(a) to conceal. gum olibanum he is ashamed of his phantasies as being childish and as being unpermissible. still, you kick in behind ask, if people induce such a mystery of their phantasying, how is it that we know such a lot about it?Well, in that location is a branch of human beings upon whom, not a god, indeed, save a stern goddess †Necessity †has allotted the chore of tattle what they suffer and what things give them happiness. These argon the vic tims of neural illness, who ar obliged to tell their phantasies, among other things, to the restore by whom they expect to be cured by mental treatment. This is our best source of knowledge, and we mystify since found right-hand(a) reason to suppose that our patients tell us nix that we ability not also hear from sizeable people. Let us now make ourselves introduce with a few of the traits of phantasying.We may lay it trim back that a expert person never phantasies, totally an ungratified one. The motive forces of phantasies ar unsatisfied wishes, and each single phantasy is the conclusion of a wish, a correction of unsatisfying reality. These motivating wishes pull up stakes concord to the sex, fictitious character and circumstances of the person who is having the phantasy; scarcely they strickle naturally into two main groups. They be either ambitious wishes, which serve to levy the surmount’s personality; or they argon sexy ones. In young women th e erotic wishes rein well-nigh exclusively, for their ambition is as a find out draped by erotic trends.In young men egotismistical and ambitious wishes come to the fore distinctly exuberant alongside of erotic ones. But we go out not lay stress on the opposer between the two trends; we would rather emphasize the circumstance that they are often united. Just as, in numerous altar- human races, the portrait of the donor is to be seen in a boxwood of the picture, so, in the majority of ambitious phantasies, we can discover in some corner or other the lady for whom the creator of the phantasy performs all his elevated deeds and at whose feet all his triumphs are placed.hither, as you see, there are strong equal motives for natural covering; the well-brought-up young woman is whole allowed a minimal of erotic desire, and the young man has to diddle to exterminate the excess of self-regard which he brings with him from the fuck up eld of his puerility, so that he may find his slip in a society which is broad(a) of other individuals making equally strong demands. We essential not suppose that the products of this imaginative activity †the miscellaneous phantasies, castles in the air and day-dreams †are stereo suitd or unalterable.On the contrary, they conform to themselves in to the subject’s duty period impressions of feel, change with either change in his situation, and beget from every fresh active impression what qualification be called a ‘date-mark’. The coincidence of a phantasy to time is in general very important. We may say that it hovers, as it were, between triplet times †the three moments of time which our ideation involves. Mental work is linked to some current impression, some elicit map in the establish which has been able to arouse one of the subject’s major wishes.From there it harks back to a store of an earlier envision (usually an immature one) in which this wish was fulfilled; and it now creates a situation relating to the future which represents a cessation of the wish. What it therefore creates is a day-dream or phantasy, which carries about it traces of its author from the spring which provoked it and from the memory. Thus past, present and future are strung together, as it were, on the withdraw of the wish that runs by them. A very mediocre use may serve to make what I comport give tongue to clear.Let us take the case of a poor orphan boy to whom you have devoted the address of some employer where he may perhaps find a job. On his government agency there he may indulge in a day-dream appropriate to the situation from which it turn offs. The content of his phantasy leave behind perhaps be something like this. He is assumption a job, finds favour with his new employer, makes himself inherent in the business, is taken into his employer’s family, marries the charming young young woman of the house, and then himself becomes a director of the business, firstborn as his employer’s donationner and then as his successor.In this phantasy, the idealist has regained what he possessed in his happy childhood †the protecting house, the loving parents and the first objects of his sociable ol concomitantions. You entrust see from this example the way in which the wish makes use of an author in the present to construct, on the pattern of the past, a picture of the future. There is a great deal more that could be said about phantasies; that I give only(prenominal) allude as briefly as realistic to certain points.If phantasies become over-luxuriant and over-powerful, the conditions are laid for an fire of neurosis or psychosis. Phantasies, moreover, are the nimble mental precursors of the distressing symptoms complained of by our patients. Here a ample by-path branches off into pathology. I cannot pass over the relation of phantasies to dreams. Our dreams at night are zero point els e than phantasies like these, as we can demonstrate from the adaptation of dreams.Language, in its unrivalled wisdom, long ago immovable the caput of the essential nature of dreams by bountiful the name of ‘day-dreams’ to the airy creations of phantasy. If the meaning of our dreams usually corpse disconcert to us in spite of this pointer, it is because of the circumstance that at night there also a leap out in us wishes of which we are ashamed; these we essential conceal from ourselves, and they have consequently been repressed, pushed into the unconscious.Repressed wishes of this sort and their derivatives are only allowed to come to articulateion in a very distorted form. When scientific work had succeeded in elucidating this cipher of dream-distortion, it was no longer difficult to secern that night-dreams are wish-fulfilments in just the same way as day-dreams †the phantasies which we all know so well. ¹ cf Freud, The reading material of Dreams ( 1900a).So much for phantasies. And now for the creative writer. whitethorn we really attempt to compare the imaginative writer with the ‘ idealist in broad day discharge’, and his creations with day-dreams? Here we m of age(predicate)iness begin by making an initial distinction. We mustiness separate writers who, like the ancient authors of epics and tragedies, take over their material ready-made, from writers who reckon to originate their own material.We bequeath keep to the latter kind, and, for the purposes of our comparison, we will acquire not the writers most highly esteemed by the critics, but the less pretentious authors of novels, romances and short stories, who thus far have the widest and most eager circle of readers of twain sexes. iodin feature higher up all cannot go away to run across us about the creations of these story-writers: each of them has a maven who is the centre of interest, for whom the writer tries to win our agreement by every possible means and whom he faces to head under the protection of a special Providence.If, at the end of one chapter of my story, I leave the crampfish unconscious and bleeding from severe wounds, I am sure to find him at the beginning of the beside being guardedly nursed and on the way to recovery; and if the first volume closes with the ship he is in going down in a storm at sea, I am certain, at the opening of the second volume, to read of his fantastic deliverance †a rescue without which the story could not proceed.The feel of security with which I follow the protagonist through his perilous adventures is the same as the feeling with which a bomber in real life throws himself into the irrigate to save a drowning man or exposes himself to the opposite’s fire in mark to storm a battery. It is the true heroic feeling, which one of our best writers has expressed in an inimitable articulate: ‘ vigor can happen to me! ’ It seems to me, however, that through this show characteristic of invulnerability we can immediately recognize His majesty the Ego, the hero alike of every day-dream and of every story.Other typical features of these egocentric stories point to the same kinship. The accompaniment that all the women in the novel invariably fall in love with the hero can hardly be looked on as a limning of reality, but it is easily understood as a necessity constituent of a day-dream. The same is true of the fact that the other characters in the story are sharply divided into good and pernicious, in defiance of the mannequin of human characters that are to be observe in real life.The ‘good’ ones are the helpers, while the ‘bad’ ones are the enemies and rivals, of the ego which has become the hero of the story. We are perfectly mindful that very legion(predicate) imaginative writings are uttermost outback(a) from the case of the naïve day-dream; and only I cannot mash the doubtfu lness that even the most extreme deviations from that seat could be linked with it through an uninterrupted series of transitional cases. It has struck me that in many of what are know as ‘psychological’ novels only one person †once again the hero †is expound from within.The author sits inside his mind, as it were, and looks at the other characters from outside. The psychological novel in general no doubt owes its special nature to the inclination of the in advance(p) writer to split up his ego, by self- observation, into many part-egos, and, in consequence, to personify the conflicting currents of his own mental life in several heroes. Certain novels, which might be described as ‘eccentric’, seem to stand in quite special contrast to the type of the day-dream.In these, the person who is introduced as the hero plays only a very small active part; he sees the actions and sufferings of other people pass really him like a spectator. Many of Zol a’s later kit and boodle belong to this category. But I must point out that the psychological analysis of individuals who are not creative writers, and who diverge in some value from the so-called norm, has shown us analogous variations of the day-dream, in which the ego contents itself with the role of spectator.If our comparison of the imaginative writer with the day-dreamer, and of poetical creation with the day-dream, is to be of any value, it must, above all, show itself in some way or other fruitful. Let us, for instance, experiment to sustain to these authors’ workings the thesis we laid down earlier concerning the relation between phantasy and the three periods of time and the wish which runs through them; and, with its help, let us try to memorise the connections that exist between the life of the writer and his whole kit and caboodle.No one has known, as a rule, what expectations to frame in approaching this occupation; and often the connection has been thought of in much too simple terms. In the light of the insight we have gained from phantasies, we ought to expect the followers assert of affairs. A strong experience in the present awakens in the creative writer a memory of an earlier experience (usually belonging to his childhood) from which there now speak a wish which finds its fulfilment in the creative work.The work itself exhibits elements of the recent kindle occasion as well as of the old memory. Do not be alarmed at the complexness of this formula. I suspect that in fact it will prove to be too scrimpy a pattern. Nevertheless, it may contain a first approach to the true state of affairs; and, from some experiments I have made, I am abandoned to think that this way of looking at creative writings may turn out not unfruitful.You will not forget that the stress it lays on childhood memories in the writer’s life †a stress which may perhaps seem stick †is ultimately derived from the assumption that a piece of creative writing, like a day-dream, is a subsequence of, and a substitute for, what was once the play of childhood. We must not neglect, however, to go back to the kind of imaginative works which we have to recognize, not as original creations, but as the re-fashioning of ready- made and familiar material.Even here, the writer keeps a certain amount of independence, which can express itself in the choice of material and in changes in it which are often quite extensive. In so remote as the material is already at hand, however, it is derived from the general treasure-house of myths, legends and fairy tales. The study of constructions of folk-psychology such as these is far from being complete, but it is extremely presumable that myths, for instance, are distorted vestiges of the wishful phantasies of whole nations, the secular dreams of upstart humanity.You will say that, although I have put the creative writer first in the human activity of my paper, I have tol d you far less about him than about phantasies. I am aware of that, and I must try to excuse it by pointing to the present state of our knowledge. All I have been able to do is to throw out some encouragements and suggestions which, get-go from the study of phantasies, lead on to the caper of the writer’s choice of his literary material.As for the other problem †by what means the creative writer achieves the aflame inwardnesss in us that are excited by his creations †we have as yet not touched on it at all. But I should like at least to point out to you the path that leads from our discussion of phantasies to the problems of poetical effects. You will look on how I have said that the day-dreamer carefully conceals his phantasies from other people because he feels he has reasons for being ashamed of them. I should now add that even if he were to communicate them to us he could give us no pleasure by his disclosures.Such phantasies, when we get them, repulse u s or at least leave us cold. But when a creative writer presents his plays to us or tells us what we are inclined(p) to take to be his personal day dreams, we experience a great pleasure, and one which plausibly arises from the confluence of many sources. How the writer accomplishes this is his innermost privy; the essential ars poetica lies in the technique of overcoming the feeling of uncongeniality in us which is undoubtedly connected with the barriers that rise between each single ego and the others.We can generalise two of the methods used by this technique. The writer softens the character of his egoistic day-dreams by altering and disguising it, and he bribes us by the purely formal †that is, aesthetical †yield of pleasure which he offers us in the demonstration of his phantasies. We give the name of an incentive bonus, or a fore-pleasure, to a yield of pleasure such as this, which is offered to us so as to make possible the release of still greater pleas ure arising from deeper psychical sources.In my opinion, all the aesthetic pleasure which a creative writer affords us has the character of a fore-pleasure of this kind, and our actual enjoyment of an imaginative work proceeds from a liberation of tensions in our minds. It may even be that not a little of this effect is out-of-pocket to the writer’s enabling us thenceforward to enjoy our own day-dreams without self-reproach or shame. This brings us to the verge of new, interesting and complicated enquiries; but also, at least for the moment, to the end of our discussion.\r\nThe Source of Creativity in Writers\r\nWe laymen have always been intensely curious to know like the Cardinal who put a similar question to Ariosto †from what sources that strange being, the creative writer, draws his material, and how he manages to make such an impression on us with it and to arouse in us emotions of which, perhaps, we had not even thought ourselves capable.Our interest is only heig htened the more by the fact that, if we ask him, the writer himself gives us no explanation, or none that is satisfactory; and it is not at all weakened by our knowledge that not even the clearest insight into the determinants of his choice of material and into the nature of the art of creating imaginative form will ever help to make creative writers of us. If we could at least discover in ourselves or in people like ourselves an activity which was in some way akin to creative writing!An examination of it would then give us a hope of obtaining the beginnings of an explanation of the creative work of writers. And, indeed, there is some prospect of this being possible. After all, creative writers themselves like to lessen the distance between their kind and the common run of humanity; they so often assure us that every man is a poet at heart and that the last poet will not perish till the last man does. Should we not look for the first traces of imaginative activity as early as in chi ldhood The child’s best-loved and most intense occupation is with his play or games.Might we not say that every child at play behaves like a creative writer, in that he creates a world of his own, or, rather, re-arranges the things of his world in a new way which pleases him? It would be wrong to think he does not take that world seriously; on the contrary, he takes his play very seriously and he expends large amounts of emotion on it. The opposite of play is not what is serious but what is real. In spite of all the emotion with which he cathects his world of play, the child distinguishes it quite well from reality; and he likes to link his imagined objects and situations to the tangible and visible things of the real world.This linking is all that differentiates the child’s ‘play’ from ‘phantasying’. The creative writer does the same as the child at play. He creates a world of phantasy which he takes very seriously †that is, which he inv ests with large amounts of emotion while separating it sharply from reality. Language has preserved this relationship between children’s play and poetic creation. It gives [in German] the name of ‘Spiel’ [‘play’] to those forms of imaginative writing which require to be linked to tangible objects and which are capable of image.It speaks of a ‘Lustspiel’ or ‘Trauerspiel’ [‘ frivolity’ or ‘tragedy’: literally, ‘pleasure play’ or ‘mourning play’] and describes those who carry out the representation as ‘Schauspieler’ [‘players’: literally ‘show-players’]. The unreality of the writer’s imaginative world, however, has very important consequences for the technique of his art; for many things which, if they were real, could give no enjoyment, can do so in the play of phantasy, and many excitements which, in themselves, are actually dis tressing, can become a source of pleasure for the hearers and spectators at the performance of a writer’s work.There is another consideration for the sake of which we will dwell a moment longer on this contrast between reality and play. When the child has grown up and has ceased to play, and after he has been labouring for decades to envisage the realities of life with proper seriousness, he may one day find himself in a mental situation which once more undoes the contrast between play and reality.As an adult he can look back on the intense seriousness with which he once carried on his games in childhood; and, by equating his ostensibly serious occupations of to-day with his childhood games, he can throw off the too heavy burden imposed on him by life and win the high yield of pleasure afforded by humour. As people grow up, then, they cease to play, and they seem to give up the yield of pleasure which they gained from playing. But whoever understands the human mind knows that hardly anything is harder for a man than to give up a pleasure which he has once experienced.Actually, we can never give anything up; we only exchange one thing for another. What appears to be a renunciation is really the formation of a substitute or surrogate. In the same way, the growing child, when he stops playing, gives up nothing but the link with real objects; instead playing, he now phantasies. He builds castles in the air and creates what are called day- dreams. I believe that most people construct phantasies at times in their lives. This is a fact which has long been overlooked and whose importance has therefore not been sufficiently appreciated.People’s phantasies are less easy to observe than the play of children. The child, it is true, plays by himself or forms a closed psychical system with other children for the purposes of a game; but even though he may not play his game in front of the grown-ups, he does not, on the other hand, conceal it from them. The adul t, on the contrary, is ashamed of his phantasies and hides them from other people. He cherishes his phantasies as his most intimate possessions, and as a rule he would rather confess his misdeeds than tell anyone his phantasies.It may come about that for that reason he believes he is the only person who invents such phantasies and has no idea that creations of this kind are widespread among other people. This difference in the behaviour of a person who plays and a person who phantasies is accounted for by the motives of these two activities, which are nevertheless adjuncts to each other. A child’s play is determined by wishes: in point of fact by a single wish-one that helps in his upbringing †the wish to be big and grown up. He is always playing at being ‘grown up’, and in his games he imitates what he knows about the lives of his elders.He has no reason to conceal this wish. With the adult, the case is different. On the one hand, he knows that he is expect ed not to go on playing or phantasying any longer, but to act in the real world; on the other hand, some of the wishes which give rise to his phantasies are of a kind which it is essential to conceal. Thus he is ashamed of his phantasies as being childish and as being unpermissible. But, you will ask, if people make such a mystery of their phantasying, how is it that we know such a lot about it?Well, there is a class of human beings upon whom, not a god, indeed, but a stern goddess †Necessity †has allotted the task of telling what they suffer and what things give them happiness. These are the victims of nervous illness, who are obliged to tell their phantasies, among other things, to the doctor by whom they expect to be cured by mental treatment. This is our best source of knowledge, and we have since found good reason to suppose that our patients tell us nothing that we might not also hear from healthy people. Let us now make ourselves acquainted with a few of the charact eristics of phantasying.We may lay it down that a happy person never phantasies, only an unsatisfied one. The motive forces of phantasies are unsatisfied wishes, and every single phantasy is the fulfilment of a wish, a correction of unsatisfying reality. These motivating wishes vary according to the sex, character and circumstances of the person who is having the phantasy; but they fall naturally into two main groups. They are either ambitious wishes, which serve to elevate the subject’s personality; or they are erotic ones. In young women the erotic wishes predominate almost exclusively, for their ambition is as a rule absorbed by erotic trends.In young men egoistic and ambitious wishes come to the fore clearly enough alongside of erotic ones. But we will not lay stress on the opposition between the two trends; we would rather emphasize the fact that they are often united. Just as, in many altar- pieces, the portrait of the donor is to be seen in a corner of the picture, so, in the majority of ambitious phantasies, we can discover in some corner or other the lady for whom the creator of the phantasy performs all his heroic deeds and at whose feet all his triumphs are laid.Here, as you see, there are strong enough motives for concealment; the well-brought-up young woman is only allowed a minimum of erotic desire, and the young man has to learn to suppress the excess of self-regard which he brings with him from the spoilt days of his childhood, so that he may find his place in a society which is full of other individuals making equally strong demands. We must not suppose that the products of this imaginative activity †the various phantasies, castles in the air and day-dreams †are stereotyped or unalterable.On the contrary, they fit themselves in to the subject’s shifting impressions of life, change with every change in his situation, and receive from every fresh active impression what might be called a ‘date-mark’. The relat ion of a phantasy to time is in general very important. We may say that it hovers, as it were, between three times †the three moments of time which our ideation involves. Mental work is linked to some current impression, some provoking occasion in the present which has been able to arouse one of the subject’s major wishes.From there it harks back to a memory of an earlier experience (usually an infantile one) in which this wish was fulfilled; and it now creates a situation relating to the future which represents a fulfilment of the wish. What it thus creates is a day-dream or phantasy, which carries about it traces of its origin from the occasion which provoked it and from the memory. Thus past, present and future are strung together, as it were, on the thread of the wish that runs through them. A very ordinary example may serve to make what I have said clear.Let us take the case of a poor orphan boy to whom you have given the address of some employer where he may perhap s find a job. On his way there he may indulge in a day-dream appropriate to the situation from which it arises. The content of his phantasy will perhaps be something like this. He is given a job, finds favour with his new employer, makes himself indispensable in the business, is taken into his employer’s family, marries the charming young daughter of the house, and then himself becomes a director of the business, first as his employer’s partner and then as his successor.In this phantasy, the dreamer has regained what he possessed in his happy childhood †the protecting house, the loving parents and the first objects of his affectionate feelings. You will see from this example the way in which the wish makes use of an occasion in the present to construct, on the pattern of the past, a picture of the future. There is a great deal more that could be said about phantasies; but I will only allude as briefly as possible to certain points.If phantasies become over-luxuria nt and over-powerful, the conditions are laid for an onset of neurosis or psychosis. Phantasies, moreover, are the immediate mental precursors of the distressing symptoms complained of by our patients. Here a broad by-path branches off into pathology. I cannot pass over the relation of phantasies to dreams. Our dreams at night are nothing else than phantasies like these, as we can demonstrate from the interpretation of dreams.? Language, in its unrivalled wisdom, long ago decided the question of the essential nature of dreams by giving the name of ‘day-dreams’ to the airy creations of phantasy. If the meaning of our dreams usually remains obscure to us in spite of this pointer, it is because of the circumstance that at night there also arise in us wishes of which we are ashamed; these we must conceal from ourselves, and they have consequently been repressed, pushed into the unconscious.Repressed wishes of this sort and their derivatives are only allowed to come to expre ssion in a very distorted form. When scientific work had succeeded in elucidating this factor of dream-distortion, it was no longer difficult to recognize that night-dreams are wish-fulfilments in just the same way as day-dreams †the phantasies which we all know so well. ? Cf. Freud, The Interpretation of Dreams (1900a).So much for phantasies. And now for the creative writer. May we really attempt to compare the imaginative writer with the ‘dreamer in broad daylight’, and his creations with day-dreams? Here we must begin by making an initial distinction. We must separate writers who, like the ancient authors of epics and tragedies, take over their material ready-made, from writers who seem to originate their own material.We will keep to the latter kind, and, for the purposes of our comparison, we will choose not the writers most highly esteemed by the critics, but the less pretentious authors of novels, romances and short stories, who nevertheless have the widest a nd most eager circle of readers of both sexes. One feature above all cannot fail to strike us about the creations of these story-writers: each of them has a hero who is the centre of interest, for whom the writer tries to win our sympathy by every possible means and whom he seems to place under the protection of a special Providence.If, at the end of one chapter of my story, I leave the hero unconscious and bleeding from severe wounds, I am sure to find him at the beginning of the next being carefully nursed and on the way to recovery; and if the first volume closes with the ship he is in going down in a storm at sea, I am certain, at the opening of the second volume, to read of his miraculous rescue †a rescue without which the story could not proceed.The feeling of security with which I follow the hero through his perilous adventures is the same as the feeling with which a hero in real life throws himself into the water to save a drowning man or exposes himself to the enemyâ⠂¬â„¢s fire in order to storm a battery. It is the true heroic feeling, which one of our best writers has expressed in an inimitable phrase: ‘Nothing can happen to me! ’ It seems to me, however, that through this revealing characteristic of invulnerability we can immediately recognize His Majesty the Ego, the hero alike of every day-dream and of every story.Other typical features of these egocentric stories point to the same kinship. The fact that all the women in the novel invariably fall in love with the hero can hardly be looked on as a portrayal of reality, but it is easily understood as a necessary constituent of a day-dream. The same is true of the fact that the other characters in the story are sharply divided into good and bad, in defiance of the variety of human characters that are to be observed in real life.The ‘good’ ones are the helpers, while the ‘bad’ ones are the enemies and rivals, of the ego which has become the hero of the st ory. We are perfectly aware that very many imaginative writings are far removed from the model of the naive day-dream; and yet I cannot suppress the suspicion that even the most extreme deviations from that model could be linked with it through an uninterrupted series of transitional cases. It has struck me that in many of what are known as ‘psychological’ novels only one person †once again the hero †is described from within.The author sits inside his mind, as it were, and looks at the other characters from outside. The psychological novel in general no doubt owes its special nature to the inclination of the modern writer to split up his ego, by self- observation, into many part-egos, and, in consequence, to personify the conflicting currents of his own mental life in several heroes. Certain novels, which might be described as ‘eccentric’, seem to stand in quite special contrast to the type of the day-dream.In these, the person who is introduced a s the hero plays only a very small active part; he sees the actions and sufferings of other people pass before him like a spectator. Many of Zola’s later works belong to this category. But I must point out that the psychological analysis of individuals who are not creative writers, and who diverge in some respects from the so-called norm, has shown us analogous variations of the day-dream, in which the ego contents itself with the role of spectator.If our comparison of the imaginative writer with the day-dreamer, and of poetical creation with the day-dream, is to be of any value, it must, above all, show itself in some way or other fruitful. Let us, for instance, try to apply to these authors’ works the thesis we laid down earlier concerning the relation between phantasy and the three periods of time and the wish which runs through them; and, with its help, let us try to study the connections that exist between the life of the writer and his works.No one has known, as a rule, what expectations to frame in approaching this problem; and often the connection has been thought of in much too simple terms. In the light of the insight we have gained from phantasies, we ought to expect the following state of affairs. A strong experience in the present awakens in the creative writer a memory of an earlier experience (usually belonging to his childhood) from which there now proceeds a wish which finds its fulfilment in the creative work.The work itself exhibits elements of the recent provoking occasion as well as of the old memory. Do not be alarmed at the complexity of this formula. I suspect that in fact it will prove to be too exiguous a pattern. Nevertheless, it may contain a first approach to the true state of affairs; and, from some experiments I have made, I am inclined to think that this way of looking at creative writings may turn out not unfruitful.You will not forget that the stress it lays on childhood memories in the writer’s life â € a stress which may perhaps seem puzzling †is ultimately derived from the assumption that a piece of creative writing, like a day-dream, is a continuation of, and a substitute for, what was once the play of childhood. We must not neglect, however, to go back to the kind of imaginative works which we have to recognize, not as original creations, but as the re-fashioning of ready- made and familiar material.Even here, the writer keeps a certain amount of independence, which can express itself in the choice of material and in changes in it which are often quite extensive. In so far as the material is already at hand, however, it is derived from the popular treasure-house of myths, legends and fairy tales. The study of constructions of folk-psychology such as these is far from being complete, but it is extremely probable that myths, for instance, are distorted vestiges of the wishful phantasies of whole nations, the secular dreams of youthful humanity.You will say that, although I have put the creative writer first in the title of my paper, I have told you far less about him than about phantasies. I am aware of that, and I must try to excuse it by pointing to the present state of our knowledge. All I have been able to do is to throw out some encouragements and suggestions which, starting from the study of phantasies, lead on to the problem of the writer’s choice of his literary material.As for the other problem †by what means the creative writer achieves the emotional effects in us that are aroused by his creations †we have as yet not touched on it at all. But I should like at least to point out to you the path that leads from our discussion of phantasies to the problems of poetical effects. You will remember how I have said that the day-dreamer carefully conceals his phantasies from other people because he feels he has reasons for being ashamed of them. I should now add that even if he were to communicate them to us he could give us no pl easure by his disclosures.Such phantasies, when we learn them, repel us or at least leave us cold. But when a creative writer presents his plays to us or tells us what we are inclined to take to be his personal day dreams, we experience a great pleasure, and one which probably arises from the confluence of many sources. How the writer accomplishes this is his innermost secret; the essential ars poetica lies in the technique of overcoming the feeling of repulsion in us which is undoubtedly connected with the barriers that rise between each single ego and the others.We can guess two of the methods used by this technique. The writer softens the character of his egoistic day-dreams by altering and disguising it, and he bribes us by the purely formal †that is, aesthetic †yield of pleasure which he offers us in the presentation of his phantasies. We give the name of an incentive bonus, or a fore-pleasure, to a yield of pleasure such as this, which is offered to us so as to ma ke possible the release of still greater pleasure arising from deeper psychical sources.In my opinion, all the aesthetic pleasure which a creative writer affords us has the character of a fore-pleasure of this kind, and our actual enjoyment of an imaginative work proceeds from a liberation of tensions in our minds. It may even be that not a little of this effect is due to the writer’s enabling us thenceforward to enjoy our own day-dreams without self-reproach or shame. This brings us to the threshold of new, interesting and complicated enquiries; but also, at least for the moment, to the end of our discussion.\r\n'