Free Essays on My Lai

were, or the astonishing story behind them. I initially caught wind of the slaughter at My Lai in my humanism class toward the start of this semester. As she was disclosing to us this story, I could feel these feelings start to ascend in me. Sentiments of sympathy, outrage, misery, and disarray were all present simultaneously. I did everything I could to keep down the tears. Tragically, regardless of whether it is because of my impassive ways or my past instructive encounters, I need to concede that I don't know particularly about Vietnam. Be that as it may, in the wake of hearing the story, I felt more than roused to learn as much as Possible about Vietnam, and particularly about the town of My Lai. William Calley was a multi year old unit pioneer for the Charlie Company, which was directed by multi year old Ernest Medina. Calley was not actually thought to be official material. He had an absence of regard for the indigenous populace and purposely permitted unfortunate behavior among his troopers. On March 14, 1968 a famous sergeant was slaughtered by a booby trap, and a few different troopers were injured. After the memorial service, the Charlie Company had retribution on their psyches. Skipper Medina educated his troopers that the Viet Cong’s 48th Battalion was dwelling in a little town called My Lai. He disclosed to them that their main goal was to take part fighting with the 48th legion and to pulverize the town of My Lai. The little town of My Lai possessed around 700 occupants. Their homes comprised of red block homes or cover secured cottages. In the town, there was an open square region utilized for holding gatherings. It comprised of ladies, men, youngsters, and old the normal for any network. On March sixteenth, at 7:22 a.m. nine helicopters lifted off towards My Lai. By 8:00 a.m., Calley’s ... Free Essays on My Lai Free Essays on My Lai The Massacre at My Lai Two months prior, on the off chance that somebody had said the words My Lai to me, I presumably would have taken a gander at them slowly and pondered it. At that point, I didn’t comprehend what those words were, or the stunning story behind them. I initially caught wind of the slaughter at My Lai in my human science class toward the start of this semester. As she was revealing to us this story, I could feel these feelings start to ascend in me. Sentiments of empathy, outrage, trouble, and disarray were all present simultaneously. I did everything I could to keep down the tears. Tragically, regardless of whether it is because of my indifferent ways or my past instructive encounters, I need to concede that I don't know particularly about Vietnam. Be that as it may, in the wake of hearing the story, I felt more than roused to learn as much as Possible about Vietnam, and particularly about the town of My Lai. William Calley was a multi year old detachment pioneer for the Charlie Company, which was directed by multi year old Ernest Medina. Calley was not actually thought to be official material. He had an absence of regard for the indigenous populace and purposely permitted wrongdoing among his troopers. On March 14, 1968 a well known sergeant was slaughtered by a booby trap, and a few different troopers were injured. After the burial service, the Charlie Company had retribution on their brains. Chief Medina educated his officers that the Viet Cong’s 48th Battalion was dwelling in a little town called My Lai. He revealed to them that their central goal was to participate fighting with the 48th brigade and to obliterate the town of My Lai. The little town of My Lai possessed around 700 occupants. Their homes comprised of red block homes or cover secured cottages. In the town, there was an open court region utilized for holding gatherings. It comprised of ladies, men, kids, and old the normal for any network. On March sixteenth, at 7:22 a.m. nine helicopters lifted off towards My Lai. By 8:00 a.m., Calley’s ...

Irish Literature And Rebellion Essay Example For Students

Irish Literature And Rebellion Essay Irish Literature and RebellionIn the core of each Irishman shrouds a writer, getting overwhelmed with emotion for his darling Emerald Isle. It is this equivalent enthusiasm, which for a considerable length of time, Great Britain has endeavored to snuff out of the Catholics of Ireland with domineering approaches and the authority of the Protestant religion. Catholics were dealt with like peons in their local home. Hundreds of years of mistreatment beat in the hearts of the Irish and reached boiling point in the works and writing of the children and little girls of Ireland. The Literary Renaissance of Ireland delivered probably the best essayists the world has seen. John OLeary said all that needed to be said, writing must be national and patriotism must be abstract (Harmon, 65). In spite of the fact that there is a perpetual stream of significant artists and dramatists; John Synge, Lady Gregory, Oscar Wilde, and so forth., this papers essential spotlight is on William Butler Yeats and James Joyce, and their commitments during the Irish Literary Renaissance and their points of view on the Irish Question. They saved the names of the legends of the past and commended the Irish soul through their compositions with the goal that the penance of many would not be futile. William Butler Yeats was conceived in the Dublin suburb of Sandymont on June 13, 1865. Strangely enough, his family was of the Protestant confidence. He wasnt a lot of a dissident from the start and didnt truly care such much for tutoring either, in light of the fact that I thought that it was hard to take care of anything less intriguing than my musings, I was hard to educate (DLB 19, 403). Be that as it may, in 1886 he met John OLeary, an old Fenian pioneer. OLeary had been a Young Irelander and battled in the uprising of 1849. He encouraged Yeats and acquainted him with the universe of fenians and fenianism. His effect on Yeats composing is obvious. Yeats started to write in the method of Sir Samuel Ferguson and James Clarence Mangan and develop his patriotism and hostile to English assessment (OConnor, 165). Yeats, as Ferguson, saw writing in Irish was a basic piece of the instruction of any Irishman and attempted to make it so (OConnor, 150). He visited Ireland and built up the National Literary Society. His most prominent desire was to join Catholic Ireland and Protestant Ireland through national writing. He cherished Ireland and the Irish and needed them to be one. Yeats never surrendered his conviction of joining Ireland through language or on Ireland. In any case, he was disturbed at the idea that his pen could be the reason for war. In spite of the fact that he was politically dynamic, his attention was more on the social and abstract domains than on a brutal rebellionAt a mind-blowing finish he was all the while thinking about whether his initial composing had assisted with seeding the ascending, to convey/Certain men the English shot (The Man and the Echo, lines 11-12) (DLB 19, 420). I couldn't discover a duplicate of The Man and the Echo in print so I downloaded and from the web and have joined it. He goes on further to address how on account of his sonnets, he has caused the pulverization of homes and families, Could my expressed words have checke d/There whereby a house lay destroyed? (The Man and the Echo, line 15-16). Yeats views himself as answerable for the passing of his companions and others family. He is disillusioned that his ink could be the explanation behind carnage. The rising that Yeats is discussing is the Easter Rising of 1916. On April 24, 1916, a gathering of Irishmen that considered themselves the Irish Republican Brotherhood drove by Padraic Pearse and James Connollys Ctizen Army, posted the Declaration of the Republic on the entryway of the General Post Office in Dublin and announced Ireland a free nation. I have likewise connected a duplicate of the Declaration of the Republic for reference. Sadly, albeit foreseen by the patriots initiative, the British Troops immediately stifled the insubordination and the signatories were quickly executed for instance to the Irish. At long last, the dissidents battled with common Irish bravery, assaulted by troopers utilizing big guns and dwarfing them twenty to one. Cut off from all conceivable help from the nation, or from fortification of

The Beginners Guide to Product Photography [Tutorial + Examples]

The Beginners Guide to Product Photography [Tutorial + Examples] Online customers seek to satisfy their purchasing urges with the one element that grabs their attention the quickest; images.Images are what transmit the kind of products you sell and how you present them to your target audience. They also create two very important things for your e-commerce store:TransparencyTrustConsumers are in search of quality and value whenever they visit a product page. Images are what help shape a customer’s first impression, which is what best prompts them to either continue purchasing or complete a purchase.If you play your cards right, you can have images thatEngageConvertBoost your consumer’s lifetime valueWe’re going to show you how to do all of that in this article as well as tell you how to optimize the photo creation process in order to save time and money.And the best part about this guide is that you don’t need to have a large budget at your disposal to create professional high-quality product photos. So let’s get cracking.WHAT IS PRODUCT PHOTOGRAPHY?Product photography is a type of photography where you use a variety of methods to showcase products in an attractive manner. It is so that you garner the attention of potential buyers and get them to purchase from your online store.As a matter of fact, product photography is a crucial element for both online and offline advertising for successful brochures, catalogs, online ads, magazine ads, billboards and company websites, especially when selling products to people who are interested in buying such items.Let’s take a closer look as to why photography is very important.PHOTOGRAPHY INCREASES CONVERSIONS90% of the information that we retain in our brain is visual.Customers are easily receptive to visual content than written content. That’s what makes images an important aspect of the consumer decision-making process, and is also essential for determining conversion and retention rates.An image’s quality reflects your brand image, which is vital for nailing that des ired first impression.That’s why in order to make it work, you have to have professional images of the sharpest quality for maximum user engagement.1.  Professional Images Enhance Each Buyer TouchpointAccording to Justuno, 93% of customers consider pictures to be a crucial deciding factor in purchases.Images reflect the value and quality of a product to consumers and the sharper they are in quality, the more it will compel visitors to take action in purchasing it later.2.  Images are a Key Factor of BrandingBranding must be at the focal point of every decision your company, such as:Website updatesSocial media postsAll of your marketing effortsImages are at the forefront of your brand since they’re the first thing to grab the attention of your visitors, instill trust and invite them to get a closer look at your products.Everything about your product image including color scheme, quality, subject matter, and saturation, have to be in perfect harmony to appease your target audience .FUNDAMENTAL PHOTOGRAPHY EQUIPMENT AND PROCESSIf you’re fairly new to the product shooting game, it may be a bit overwhelming for you at first.But after you get your hand used to it, your photographic skills will sharpen to the point where you won’t even have to think about it.The ideal thing to do is to determine a process that is in line with your needs, work your way around it and then establish a list of guidelines to ensure your images are always consistent.Here are some of the finest product photography tips that will serve you well in the long-run:1.  Get the Right Background and ProductHaving the right background is imperative because it makes the editing process simpler for you.It’s essential to use a light or white background because it’s easier to remove when retouching your images.There are plenty of ways for you to improvise a background on a budget, and here are two ways you can do that in just $20:A Shooting Table: You can make this using a simple chair you ha ve in your house or office.A Light TentShooting TableThe first order of business is a chair mounted sweep and for that, you’ll need a roll of craft paper.You can get this done by pushing a chair against a wall, as well as taping craft paper to the wall so that it naturally falls to the ground, which creates a flawless transition between the vertical to the horizontal plane.If not that, you can clip the paper to the top of the chair so that you can improvise a stand for your sweep as indicated by the image above.Light Tent  The next budgeted approach is to make your own lightbox, otherwise known as a light tent.To be specific, a light tent is a device shaped like a box with translucent walls that distributes evenly around the object to be photographed.This is how you set it up:Get a plastic storage container that you can put on its side with the lid off.Next, tape white paper to the bottom. You can even tape some white paper or cloth on the sides to act as diffusers, which helps di stribute light even better and lessens unnecessary shadows.If your budget allows it, you can even use artificial lighting and then place them on either side of the container. But if you’re on a tight budget, your best bet is to use natural lighting by placing your lightbox next to a large window.2. Setting Your Product UpMake sure to set your product up in front of your background on a flat and stable surface.When you’re lighting is all set up, you’re just about ready to shoot.If, for instance, you’re shooting jewelry, then it’s always important to use a bust. And those who are being frugal can improvise one from a piece of cardboard as shown in the image below:You can even use a fishing line if you want to suspend earrings and other small items, which can be removed with ease in the editing process.For harder-to-photograph items, here’s a couple of ideas you can use:Use tape and glue dots to fix small items in place.Mannequins are best for clothing and can be easily rem oved.Try experimenting with a hanger or creative flat lay.If you want lifestyle shots, try asking a friend or team member to put your clothes on for bonus shots.If it’s large objects like furniture you’re planning to shoot, then you’ll have to dig deeper into your wallets to get a stand mounted sweep.However, you can save up on the green by getting a few rolls of craft paper, have them taped to the wall and let gravity do all of the work.This technique uses the same approach as the table mounted sweep, except it’s bigger.3.  Use The Right LightingLight is perhaps the most important element that defines the quality of your images.It can be quite the chore to set up, but once it’s done, not only does it bring out beautiful results, but it also simplifies your post-processing.Your two options include:Natural Light: Works best if you’ve made a chair-mounted sweepStudio Light: Only if you have the budget for it, or you could go for a lightbox.Natural Light  If your budget’s tight, natural light is your go-to option for lighting. It is relatively easier to manipulate, and for small in-house product shoots, it saves you plenty of time and hassle.Place your product right next to a window, typically one that lets plenty of light through.If the light is too intense, you can reduce it by placing a white paper or a cloth over the window as shown in the image above.But if the shadows are too harsh, then you can reflect and soften some of the light by placing white plasterboard or cardboard on either side of the object. Still, it’s better to shoot when the day is at its brightest, allowing you to play with the light some more.It’s better to have too much sunlight that you can manipulate, instead of not having enough of it.It’s pretty hard to create great lighting in the midst of the editing process.Though you should never shoot under direct sunlight because it can create harsh shadows like that of a strong backlight.Studio LightsTo make use of artificial lighting, you will need at least two softbox light setups in order to get the shadows right.You can buy two clip-on light clamps with strong bulbs in just under $30. However, if you have a slightly higher budget, you’ll be able to get two softbox setups for $50.One of the lights can serve as your key light and the other your fill light or backlight, depending on the results you want.The key light must always be placed to the front slightly on the side of the product, whereas the fill or backlight should be placed on the opposite side, back or above.You can manipulate the lights further, if you want, to get soft, evenly distributed shadows.White plasterboard or chalkboard is also preferable for diffusing some of the light and further softening those shadows.In short, lightboxes serve as a diffuser of sorts, evenly distributing light around the product.Studio lights are able to give you more control over the entire process, particularly if you’re shooting a number of products o ver several hours.As soon as you have the right setup, you can get professional, consistent results and manipulate them for all your shoots.4.  Use A TripodTripods provide our shoots with stability, consistency, and focus.If we can’t get our cameras to focus properly, we can easily end up with blurry images, even when doing your best to hold the camera still with your hand.If your budget doesn’t allow it, you can use a stool or a pile of books to keep your camera steady.Though if you have a slightly higher budget, a good tripod can come under $30, which can serve you well for plenty of years.When using a camera, set your aperture setting on low (or a high f/stop) and slow shutter speed. This will give you a wide depth of field that will keep your entire product in focus and make it appear crisp in quality.It’s important to keep your camera stable especially when you’re shooting with a wide depth of field just to avoid blurry images.5.  Select the Right CameraHaving the right camera is extremely important for any product photography. Fortunately, the prices for DSLR and point and shoot cameras have dropped over the past couple of years.Recommended DSLR Settings  Never use a wide angle lens as it will distort your product image.Use the appropriate aperture for the right shot. Using a wide aperture of f2.8 or f4.5 will reduce your depth of field, leaving parts of your product out of focus. A small aperture like f8 or f11, on the other hand, provides a wider depth of field, keeping your product entirely in focus and looking crisp.When shooting, you should use the right white balance, preferably setting it to the same Kelvin temperature as your lights.However, if you’re getting started, you don’t need to invest in a camera as your smartphone can be a suitable alternative.Smartphone cameras have improved over the years in which sometimes, you can get even better quality images on your phone than on a camera.iPhone or Samsung phone cameras are ideal for p roduct photography, as long as you use the appropriate lighting and background for the shoot.You should invest in a good smartphone stabilizer or tripod, like Joby, which helps speed up post-processing and reduce blur.6.  Post-ProcessingIt’s is vital to retouch your images after shooting to give it a more polished look.Even if you shot your product using a smartphone, editing can make a world of difference between mediocre and professional results.For rookies, obtaining the proper lighting and background will come after plenty of practice. But they can also use photo editing software, which can magically get rid of most of the problems.Retouching can help with lots of things like color correction, background removal, mannequin removal and shadow addition to giving your product a more natural look.Photo-editing can be long and strenuous, especially when you’re just starting out.Thankfully though, there is a good chunk of image editing tools that are there just for you.Free image editing tools include:Canva: this is a free user-friendly editor that is ideal for marketing materials.Pixlr: it is free and has lots of Photoshop features.Snapseed: is a free, powerful and fully-featured mobile app.Fotor: A smartphone app that’s easy to use and free.GUIDELINES FOR PROPER PRODUCT PHOTOGRAPHYWhen you have the process down, be sure to create guidelines for clear shooting, brand, and editing in order to maintain consistency as your business grows.This step might not cost you anything from your wallet, but it will take some time in writing it down.Ensure that you write down all of the minor things, like the distance between the camera and product, angling and lighting setup.Remember, your product photos are generally your brand ambassadors, so maintaining image consistency is pivotal.You should create a technical guide and a template in your photo editing software to ensure you maintain consistent size and scale.In fact, you can go a step further and make a guide for your in-context snaps as well.Be sure to include:SaturationColor paletteShadowsFocal lengthLocation and contextCompositionConsistencyEnsure that you also share your guide with the ones involved in your product shots, as well as post a copy in your in-house studio for quick reference.Maintaining an image guide will not only save you money in the long-run but also time as you never have to repeat the processes all over again and use the time you saved up to grow your business.OPTIMIZE YOUR IMAGESOptimizing your images is important as it gives your images the best quality possible and prevents your web page from loading too slow.Many marketplaces and platforms have their own set of photo editing requirements, so be sure to go with the ones that suit you best.Every second of your product page counts, especially when it comes to delays that could potentially hurt your conversion rate.That’s where you need to take advantage of free minifying tools to optimize your images to shave off th at extra bit of weight that could place a great toll on your website’s loading speed.Also be sure to name your images appropriately as well as include as much relevant metadata and keywords as possible. It will help search engines understand what is in that image and improve your search engine or SEO rankings, giving it a more organic boost.

The Tragedy Of Medea And Nora - 2328 Words

Aristotle’s definition of tragedy found in his Poetics, translated by S.H Butcher, is that the genre is â€Å"an imitation of an action that is serious, complete, and of a certain magnitude† (23). The different â€Å"magnitude[s]† of tragedy are explored in both Henrik Ibsen’s and in Euripides’ plays; arguably both are influenced by contrasting circumstances at the time of writing. Often the male is seen as the hero in tragedies, with strength being seen as a masculine trait and weakness as a feminine trait. However, Helene P. Foley argues that â€Å"although many female characters in tragedy do not violate popular norms for female behaviour, those who take action, and especially those who speak and act publicly and in their own interest, represent the†¦show more content†¦The suggestion that he is ‘looking out’ for Medea is ironic as it was his own actions that lead to her feeling deceived by someone that she had done all sh e could to help. There is also a sense that he believes himself to be untouchable, despite what he has done, emphasising that it is Medea that is the one who has done something wrong by expressing her emotions. His seeming arrogance is what, arguably, pushes Medea to the infanticide that she commits at the end of the play because he does not own up to what he has done she feels it only right to punish him in the best way that she seems as fitting, killing his children. Nonetheless, Gamel also argues that â€Å"many tragedies feature strong, transgressive female characters and raise questions about the nature and role of women† (486), in the case of Euripides’ play this â€Å"strong, transgressive female† is Medea. He paints her as an extremely bold and stubborn character that is consumed by powerful grief, and it is this grief that fuels her own actions making her a strong female character. Medea is therefore seen as the tragic heroine of the play; however this idea is a complicated one as she does not fit the standards of a hero being morally good, rather it is argued that she is more of a barbarian. Euripides foreshadows Medea’s barbaric actions when she tells her sons that she wishes they were ‘done for, along with [their] father’ (78), her response to the injustice she feels. This sense of

The Water Exercise Buoyancy Waist Band - 928 Words

This AquaJogger is the 1st water exercise buoyancy waist band. It s also the most well AquaJogger Classicknown, widespread item out of all the aquajogger products available. The belt keeps your body afloat in deep water and shallow water, allowing you to get a total body workout with no swimming experience necessary. Please keep in mind, this isn t a life jacket, and ought to never be utilized as a life jacket. ENTIRE BODY WORKOUT Conditioning your entire body is the AquaJogger Classic s whole purpose. The Flotation Belt uses delicate, adaptable and tough EVA foam to keep your body suspended upright in both shallow and deep water, allowing you the autonomy to move all of your appendages any way you want. The foam puts your body in a distinctive forward position, causing you to use your abs and torso to stay upright. Yet, the main key to the Classic is applying resistance to your exercises that the water provides- you can expand the performance of related exercises done on land to get rid of fat and tone muscle quicker. Movements with the AquaJogger Classic are performed statically (in one spot). Consequently, this water exercise belt is anything but difficult to use with no swimming experience needed in the slightest. Since water is the single resistance working against you, the AquaJogger Classic Flotation Belt offers an awesome opportunity to exercise without causing any wear and tear on the joints for elderly swimmers or anyone suffering from chronic pain for any

Twilight 20. IMPATIENCE Free Essays

20. IMPATIENCE When I woke up I was confused. My thoughts were hazy, still twisted up in dreams and nightmares; it took me longer than it should have to realize where I was. We will write a custom essay sample on Twilight 20. IMPATIENCE or any similar topic only for you Order Now This room was too bland to belong anywhere but in a hotel. The bedside lamps, bolted to the tables, were a dead giveaway, as were the long drapes made from the same fabric as the bedspread, and the generic watercolor prints on the walls. I tried to remember how I got here, but nothing came at first. I did remember the sleek black car, the glass in the windows darker than that on a limousine. The engine was almost silent, though we’d raced across the black freeways at more than twice the legal speed. And I remembered Alice sitting with me on the dark leather backseat. Somehow, during the long night, my head had ended up against her granite neck. My closeness didn’t seem to bother her at all, and her cool, hard skin was oddly comforting to me. The front of her thin cotton shirt was cold, damp with the tears that streamed from my eyes until, red and sore, they ran dry. Sleep had evaded me; my aching eyes strained open even though the night finally ended and dawn broke over a low peak somewhere in California. The gray light, streaking across the cloudless sky, stung my eyes. But I couldn’t close them; when I did, the images that flashed all too vividly, like still slides behind my lids, were unbearable. Charlie’s broken expression – Edward’s brutal snarl, teeth bared – Rosalie’s resentful glare – the keen-eyed scrutiny of the tracker – the dead look in Edward’s eyes after he kissed me the last time†¦ I couldn’t stand to see them. So I fought against my weariness and the sun rose higher. I was still awake when we came through a shallow mountain pass and the sun, behind us now, reflected off the tiled rooftops of the Valley of the Sun. I didn’t have enough emotion left to be surprised that we’d made a three-day journey in one. I stared blankly at the wide, flat expanse laid out in front of me. Phoenix – the palm trees, the scrubby creosote, the haphazard lines of the intersecting freeways, the green swaths of golf courses and turquoise splotches of swimming pools, all submerged in a thin smog and embraced by the short, rocky ridges that weren’t really big enough to be called mountains. The shadows of the palm trees slanted across the freeway – defined, sharper than I remembered, paler than they should be. Nothing could hide in these shadows. The bright, open freeway seemed benign enough. But I felt no relief, no sense of homecoming. â€Å"Which way to the airport, Bella?† Jasper had asked, and I flinched, though his voice was quite soft and un-alarming. It was the first sound, besides the purr of the car, to break the long night’s silence. â€Å"Stay on the I-ten,† I’d answered automatically. â€Å"We’ll pass right by it.† My brain had worked slowly through the fog of sleep deprivation. â€Å"Are we flying somewhere?† I’d asked Alice. â€Å"No, but it’s better to be close, just in case.† I remembered beginning the loop around Sky Harbor International†¦ but not ending it. I suppose that must have been when I’d fallen asleep. Though, now that I’d chased the memories down, I did have a vague impression of leaving the car – the sun was just falling behind the horizon – my arm draped over Alice’s shoulder and her arm firm around my waist, dragging me along as I stumbled through the warm, dry shadows. I had no memory of this room. I looked at the digital clock on the nightstand. The red numbers claimed it was three o’clock, but they gave no indication if it was night or day. No edge of light escaped the thick curtains, but the room was bright with the light from the lamps. I rose stiffly and staggered to the window, pulling back the drapes. It was dark outside. Three in the morning, then. My room looked out on a deserted section of the freeway and the new long-term parking garage for the airport. It was slightly comforting to be able to pinpoint time and place. I looked down at myself. I was still wearing Esme’s clothes, and they didn’t fit very well at all. I looked around the room, glad when I discovered my duffel bag on top of the low dresser. I was on my way to find new clothes when a light tap on the door made me jump. â€Å"Can I come in?† Alice asked. I took a deep breath. â€Å"Sure.† She walked in, and looked me over cautiously. â€Å"You look like you could sleep longer,† she said. I just shook my head. She drifted silently to the curtains and closed them securely before turning back to me. â€Å"We’ll need to stay inside,† she told me. â€Å"Okay.† My voice was hoarse; it cracked. â€Å"Thirsty?† she asked. I shrugged. â€Å"I’m okay. How about you?† â€Å"Nothing unmanageable.† She smiled. â€Å"I ordered some food for you, it’s in the front room. Edward reminded me that you have to eat a lot more frequently than we do.† I was instantly more alert. â€Å"He called?† â€Å"No,† she said, and watched as my face fell. â€Å"It was before we left.† She took my hand carefully and led me through the door into the living room of the hotel suite. I could hear a low buzz of voices coming from the TV. Jasper sat motionlessly at the desk in the corner, his eyes watching the news with no glimmer of interest. I sat on the floor next to the coffee table, where a tray of food waited, and began picking at it without noticing what I was eating. Alice perched on the arm of the sofa and stared blankly at the TV like Jasper. I ate slowly, watching her, turning now and then to glance quickly at Jasper. It began to dawn on me that they were too still. They never looked away from the screen, though commercials were playing now. I pushed the tray away, my stomach abruptly uneasy. Alice looked down at me. â€Å"What’s wrong, Alice?† I asked. â€Å"Nothing’s wrong.† Her eyes were wide, honest†¦ and I didn’t trust them. â€Å"What do we do now?† â€Å"We wait for Carlisle to call.† â€Å"And should he have called by now?† I could see that I was near the mark. Alice’s eyes flitted from mine to the phone on top of her leather bag and back. â€Å"What does that mean?† My voice quavered, and I fought to control it. â€Å"That he hasn’t called yet?† â€Å"It just means that they don’t have anything to tell us.† But her voice was too even, and the air was harder to breathe. Jasper was suddenly beside Alice, closer to me than usual. â€Å"Bella,† he said in a suspiciously soothing voice. â€Å"You have nothing to worry about. You are completely safe here.† â€Å"I know that.† â€Å"Then why are you frightened?† he asked, confused. He might feel the tenor of my emotions, but he couldn’t read the reasons behind them. â€Å"You heard what Laurent said.† My voice was just a whisper, but I was sure they could hear me. â€Å"He said James was lethal. What if something goes wrong, and they get separated? If something happens to any of them, Carlisle, Emmett†¦ Edward†¦Ã¢â‚¬  I gulped. â€Å"If that wild female hurts Esme†¦Ã¢â‚¬  My voice had grown higher, a note of hysteria beginning to rise in it. â€Å"How could I live with myself when it’s my fault? None of you should be risking yourselves for me -â€Å" â€Å"Bella, Bella, stop,† he interrupted me, his words pouring out so quickly they were hard to understand. â€Å"You’re worrying about all the wrong things, Bella. Trust me on this – none of us are in jeopardy. You are under too much strain as it is; don’t add to it with wholly unnecessary worries. Listen to me!† he ordered, for I had looked away. â€Å"Our family is strong. Our only fear is losing you.† â€Å"But why should you -â€Å" Alice interrupted this time, touching my cheek with her cold fingers. â€Å"It’s been almost a century that Edward’s been alone. Now he’s found you. You can’t see the changes that we see, we who have been with him for so long. Do you think any of us want to look into his eyes for the next hundred years if he loses you?† My guilt slowly subsided as I looked into her dark eyes. But, even as the calm spread over me, I knew I couldn’t trust my feelings with Jasper there. It was a very long day. We stayed in the room. Alice called down to the front desk and asked them to ignore our maid service for now. The windows stayed shut, the TV on, though no one watched it. At regular intervals, food was delivered for me. The silver phone resting on Alice’s bag seemed to grow bigger as the hours passed. My babysitters handled the suspense better than I did. As I fidgeted and paced, they simply grew more still, two statues whose eyes followed me imperceptibly as I moved. I occupied myself with memorizing the room; the striped pattern of the couches, tan, peach, cream, dull gold, and tan again. Sometimes I stared at the abstract prints, randomly finding pictures in the shapes, like I’d found pictures in the clouds as a child. I traced a blue hand, a woman combing her hair, a cat stretching. But when the pale red circle became a staring eye, I looked away. As the afternoon wore on, I went back to bed, simply for something to do. I hoped that by myself in the dark, I could give in to the terrible fears that hovered on the edge of my consciousness, unable to break through under Jasper’s careful supervision. But Alice followed me casually, as if by some coincidence she had grown tired of the front room at the same time. I was beginning to wonder exactly what sort of instructions Edward had given her. I lay across the bed, and she sat, legs folded, next to me. I ignored her at first, suddenly tired enough to sleep. But after a few minutes, the panic that had held off in Jasper’s presence began to make itself known. I gave up on the idea of sleep quickly then, curling up into a small ball, wrapping my arms around my legs. â€Å"Alice?† I asked. â€Å"Yes?† I kept my voice very calm. â€Å"What do you think they’re doing?† â€Å"Carlisle wanted to lead the tracker as far north as possible, wait for him to get close, and then turn and ambush him. Esme and Rosalie were supposed to head west as long as they could keep the female behind them. If she turned around, they were to head back to Forks and keep an eye on your dad. So I imagine things are going well if they can’t call. It means the tracker is close enough that they don’t want him to overhear.† â€Å"And Esme?† â€Å"I think she must be back in Forks. She won’t call if there’s any chance the female will overhear. I expect they’re all just being very careful.† â€Å"Do you think they’re safe, really?† â€Å"Bella, how many times do we have to tell you that there’s no danger to us?† â€Å"Would you tell me the truth, though?† â€Å"Yes. I will always tell you the truth.† Her voice was earnest. I deliberated for a moment, and decided she meant it. â€Å"Tell me then†¦ how do you become a vampire?† My question caught her off guard. She was quiet. I rolled over to look at her, and her expression seemed ambivalent. â€Å"Edward doesn’t want me to tell you that,† she said firmly, but I sensed she didn’t agree. â€Å"That’s not fair. I think I have a right to know.† â€Å"I know.† I looked at her, waiting. She sighed. â€Å"He’ll be extremely angry.† â€Å"It’s none of his business. This is between you and me. Alice, as a friend, I’m begging you.† And we were friends now, somehow – as she must have known we would be all along. She looked at me with her splendid, wise eyes†¦ choosing. â€Å"I’ll tell you the mechanics of it,† she said finally, â€Å"but I don’t remember it myself, and I’ve never done it or seen it done, so keep in mind that I can only tell you the theory.† I waited. â€Å"As predators, we have a glut of weapons in our physical arsenal – much, much more than really necessary. The strength, the speed, the acute senses, not to mention those of us like Edward, Jasper, and I, who have extra senses as well. And then, like a carnivorous flower, we are physically attractive to our prey.† I was very still, remembering how pointedly Edward had demonstrated the same concept for me in the meadow. She smiled a wide, ominous smile. â€Å"We have another fairly superfluous weapon. We’re also venomous,† she said, her teeth glistening. â€Å"The venom doesn’t kill – it’s merely incapacitating. It works slowly, spreading through the bloodstream, so that, once bitten, our prey is in too much physical pain to escape us. Mostly superfluous, as I said. If we’re that close, the prey doesn’t escape. Of course, there are always exceptions. Carlisle, for example.† â€Å"So†¦ if the venom is left to spread†¦Ã¢â‚¬  I murmured. â€Å"It takes a few days for the transformation to be complete, depending on how much venom is in the bloodstream, how close the venom enters to the heart. As long as the heart keeps beating, the poison spreads, healing, changing the body as it moves through it. Eventually the heart stops, and the conversion is finished. But all that time, every minute of it, a victim would be wishing for death.† I shivered. â€Å"It’s not pleasant, you see.† â€Å"Edward said that it was very hard to do†¦ I don’t quite understand,† I said. â€Å"We’re also like sharks in a way. Once we taste the blood, or even smell it for that matter, it becomes very hard to keep from feeding. Sometimes impossible. So you see, to actually bite someone, to taste the blood, it would begin the frenzy. It’s difficult on both sides – the blood-lust on the one hand, the awful pain on the other.† â€Å"Why do you think you don’t remember?† â€Å"I don’t know. For everyone else, the pain of transformation is the sharpest memory they have of their human life. I remember nothing of being human.† Her voice was wistful. We lay silently, wrapped in our individual meditations. The seconds ticked by, and I had almost forgotten her presence, I was so enveloped in my thoughts. Then, without any warning, Alice leaped from the bed, landing lightly on her feet. My head jerked up as I stared at her, startled. â€Å"Something’s changed.† Her voice was urgent, and she wasn’t talking to me anymore. She reached the door at the same time Jasper did. He had obviously heard our conversation and her sudden exclamation. He put his hands on her shoulders and guided her back to the bed, sitting her on the edge. â€Å"What do you see?† he asked intently, staring into her eyes. Her eyes were focused on something very far away. I sat close to her, leaning in to catch her low, quick voice. â€Å"I see a room. It’s long, and there are mirrors everywhere. The floor is wooden. He’s in the room, and he’s waiting. There’s gold†¦ a gold stripe across the mirrors.† â€Å"Where is the room?† â€Å"I don’t know. Something is missing – another decision hasn’t been made yet.† â€Å"How much time?† â€Å"It’s soon. He’ll be in the mirror room today, or maybe tomorrow. It all depends. He’s waiting for something. And he’s in the dark now.† Jasper’s voice was calm, methodical, as he questioned her in a practiced way. â€Å"What is he doing?† â€Å"He’s watching TV†¦ no, he’s running a VCR, in the dark, in another place.† â€Å"Can you see where he is?† â€Å"No, it’s too dark.† â€Å"And the mirror room, what else is there?† â€Å"Just the mirrors, and the gold. It’s a band, around the room. And there’s a black table with a big stereo, and a TV. He’s touching the VCR there, but he doesn’t watch the way he does in the dark room. This is the room where he waits.† Her eyes drifted, then focused on Jasper’s face. â€Å"There’s nothing else?† She shook her head. They looked at each other, motionless. â€Å"What does it mean?† I asked. Neither of them answered for a moment, then Jasper looked at me. â€Å"It means the tracker’s plans have changed. He’s made a decision that will lead him to the mirror room, and the dark room.† â€Å"But we don’t know where those rooms are?† â€Å"No.† â€Å"But we do know that he won’t be in the mountains north of Washington, being hunted. He’ll elude them.† Alice’s voice was bleak. â€Å"Should we call?† I asked. They traded a serious look, undecided. And the phone rang. Alice was across the room before I could lift my head to look at it. She pushed a button and held the phone to her ear, but she didn’t speak first. â€Å"Carlisle,† she breathed. She didn’t seem surprised or relieved, the way I felt. â€Å"Yes,† she said, glancing at me. She listened for a long moment. â€Å"I just saw him.† She described again the vision she’d seen. â€Å"Whatever made him get on that plane†¦ it was leading him to those rooms.† She paused. â€Å"Yes,† Alice said into the phone, and then she spoke to me. â€Å"Bella?† She held the phone out toward me. I ran to it. â€Å"Hello?† I breathed. â€Å"Bella,† Edward said. â€Å"Oh, Edward! I was so worried.† â€Å"Bella,† he sighed in frustration, â€Å"I told you not to worry about anything but yourself.† It was so unbelievably good to hear his voice. I felt the hovering cloud of despair lighten and drift back as he spoke. â€Å"Where are you?† â€Å"We’re outside of Vancouver. Bella, I’m sorry – we lost him. He seems suspicious of us – he’s careful to stay just far enough away that I can’t hear what he’s thinking. But he’s gone now – it looks like he got on a plane. We think he’s heading back to Forks to start over.† I could hear Alice filling in Jasper behind me, her quick words blurring together into a humming noise. â€Å"I know. Alice saw that he got away.† â€Å"You don’t have to worry, though. He won’t find anything to lead him to you. You just have to stay there and wait till we find him again.† â€Å"I’ll be fine. Is Esme with Charlie?† â€Å"Yes – the female has been in town. She went to the house, but while Charlie was at work. She hasn’t gone near him, so don’t be afraid. He’s safe with Esme and Rosalie watching.† â€Å"What is she doing?† â€Å"Probably trying to pick up the trail. She’s been all through the town during the night. Rosalie traced her through the airport, all the roads around town, the school†¦ she’s digging, Bella, but there’s nothing to find.† â€Å"And you’re sure Charlie’s safe?† â€Å"Yes, Esme won’t let him out of her sight. And we’ll be there soon. If the tracker gets anywhere near Forks, we’ll have him.† â€Å"I miss you,† I whispered. â€Å"I know, Bella. Believe me, I know. It’s like you’ve taken half my self away with you.† â€Å"Come and get it, then,† I challenged. â€Å"Soon, as soon as I possibly can. I will make you safe first.† His voice was hard. â€Å"I love you,† I reminded him. â€Å"Could you believe that, despite everything I’ve put you through, I love you, too?† â€Å"Yes, I can, actually.† â€Å"I’ll come for you soon.† â€Å"I’ll be waiting.† As soon as the phone went dead, the cloud of depression began to creep over me again. I turned to give the phone back to Alice and found her and Jasper bent over the table, where Alice was sketching on a piece of hotel stationery. I leaned on the back of the couch, looking over her shoulder. She drew a room: long, rectangular, with a thinner, square section at the back. The wooden planks that made up the floor stretched lengthwise across the room. Down the walls were lines denoting the breaks in the mirrors. And then, wrapping around the walls, waist high, a long band. The band Alice said was gold. â€Å"It’s a ballet studio,† I said, suddenly recognizing the familiar shapes. They looked at me, surprised. â€Å"Do you know this room?† Jasper’s voice sounded calm, but there was an undercurrent of something I couldn’t identify. Alice bent her head to her work, her hand flying across the page now, the shape of an emergency exit taking shape against the back wall, the stereo and TV on a low table by the front right corner. â€Å"It looks like a place I used to go for dance lessons – when I was eight or nine. It was shaped just the same.† I touched the page where the square section jutted out, narrowing the back part of the room. â€Å"That’s where the bathrooms were – the doors were through the other dance floor. But the stereo was here† – I pointed to the left corner – â€Å"it was older, and there wasn’t a TV. There was a window in the waiting room – you would see the room from this perspective if you looked through it.† Alice and Jasper were staring at me. â€Å"Are you sure it’s the same room?† Jasper asked, still calm. â€Å"No, not at all – I suppose most dance studios would look the same – the mirrors, the bar.† I traced my finger along the ballet bar set against the mirrors. â€Å"It’s just the shape that looked familiar.† I touched the door, set in exactly the same place as the one I remembered. â€Å"Would you have any reason to go there now?† Alice asked, breaking my reverie. â€Å"No, I haven’t been there in almost ten years. I was a terrible dancer – they always put me in the back for recitals,† I admitted. â€Å"So there’s no way it could be connected with you?† Alice asked intently. â€Å"No, I don’t even think the same person owns it. I’m sure it’s just another dance studio, somewhere.† â€Å"Where was the studio you went to?† Jasper asked in a casual voice. â€Å"It was just around the corner from my mom’s house. I used to walk there after school†¦Ã¢â‚¬  I said, my voice trailing off. I didn’t miss the look they exchanged. â€Å"Here in Phoenix, then?† His voice was still casual. â€Å"Yes,† I whispered. â€Å"Fifty-eighth Street and Cactus.† We all sat in silence, staring at the drawing. â€Å"Alice, is that phone safe?† â€Å"Yes,† she reassured me. â€Å"The number would just trace back to Washington.† â€Å"Then I can use it to call my mom.† â€Å"I thought she was in Florida.† â€Å"She is – but she’s coming home soon, and she can’t come back to that house while†¦Ã¢â‚¬  My voice trembled. I was thinking about something Edward had said, about the red-haired female at Charlie’s house, at the school, where my records would be. â€Å"How will you reach her?† â€Å"They don’t have a permanent number except at the house – she’s supposed to check her messages regularly.† â€Å"Jasper?† Alice asked. He thought about it. â€Å"I don’t think there’s any way it could hurt – be sure you don’t say where you are, of course.† I reached eagerly for the phone and dialed the familiar number. It rang four times, and then I heard my mom’s breezy voice telling me to leave a message. â€Å"Mom,† I said after the beep, â€Å"it’s me. Listen, I need you to do something. It’s important. As soon as you get this message, call me at this number.† Alice was already at my side, writing the number for me on the bottom of her picture. I read it carefully, twice. â€Å"Please don’t go anywhere until you talk to me. Don’t worry, I’m okay, but I have to talk to you right away, no matter how late you get this call, all right? I love you, Mom. Bye.† I closed my eyes and prayed with all my might that no unforeseen change of plans would bring her home before she got my message. I settled into the sofa, nibbling on a plate of leftover fruit, anticipating a long evening. I thought about calling Charlie, but I wasn’t sure if I should be home by now or not. I concentrated on the news, watching out for stories about Florida, or about spring training – strikes or hurricanes or terrorist attacks – anything that might send them home early. Immortality must grant endless patience. Neither Jasper nor Alice seemed to feel the need to do anything at all. For a while, Alice sketched the vague outline of the dark room from her vision, as much as she could see in the light from the TV. But when she was done, she simply sat, looking at the blank walls with her timeless eyes. Jasper, too, seemed to have no urge to pace, or peek through the curtains, or run screaming out the door, the way I did. I must have fallen asleep on the couch, waiting for the phone to ring again. The touch of Alice’s cold hands woke me briefly as she carried me to the bed, but I was unconscious again before my head hit the pillow. How to cite Twilight 20. IMPATIENCE, Essay examples

World War I Essay Example Essay Example

World War I Essay Example Paper World War I Essay Introduction Class tension did not primarily manifest itself in an increase in spontaneous outbreaks of unrest, of collective protests or of violence. Instead it showed itself in union-organized strike movements and in the increasing confrontation, at the level of political decision making process, between emancipatory forces and those defending the status quo.When collective action intensifies, the practicality of things matter more than some rhetorical political and ideological questions of class struggle. The conditions of the German working class can be summed up by two words; ‘deprivation’ and ‘exploitation’. Issues of immediate concern addressed and fought for by the German unions were about ‘bread and butter’ such as wages, hours, working conditions and not that of dissemination of socialist ideas.15 Strikes became synonymous to industrial action, an outlet for the workers to improve and defend their living standards especially concerning wages. The a bove was the scenario with the working class in Germany and how they were mobilized into collective action. With the Great War approaching, mass mobilization took a different turn. As an extension of the mobilization of the German workers was the politicization of the mass at political level. To reiterate, it is argued that in Germany mass mobilization in form of politicization towards the Great War was the result of her domestic and social tension.16 The industrialized and urbanized Germany had led to the establishment of popular elected parliament whereby the monarchy, the army, and the Prussian nobility were wielded political power. Resented by this concentration of power, German working class established socialist movement and held powerful wave of strikes in 1914. World War I Essay Body Paragraphs Germany inherited a great legacy from their political realist leader Otto Von Bismarck who led Germany successfully in his foreign affairs thus silencing the political unrest incited by the liberals at home and this strategy was adopted by the German ruling class. It is further argued, fearing the opposition from the socialist movement to intensify and at the same time wanting to maintain their status quo, ‘German ruling class was willing to gamble on diplomatic victory and even war as the means to rallying the masses to its side and preserving its privileged position’.17 This they hope can silence the working class. It is argued that the seeds of tension between the working class (the radicalized German right-wing that included the petty bourgeois group) and the industrial workers represented by the Social Democratic Party on the Left were already sown in the 1890s.18 This division and disunity within Germany have to be overcome and imperial expansion deemed to be a leg itimate way to unite the nation. Another aspect of politicization of the masses by the Right was in what a modern but strong phrase would describe, â€Å"wag the dog† i.e diverting the Germans’ attention from domestic crisis, with the exception that the war was not fake and the assassination of Archduke Franz Ferdinand was a good excuse to wage a war and thus precipitated it. Politicization of the mass for total war was also helped by popular press as a brainwashing agent fueling nationalism among European nations that ‘were grouped into alliances that faced each other with ever mounting hostility’.19 At political level among the ruling class, the plan was; A campaign to commit the Government to a so-called Siegfriden in which Germany would use her expected victory to demand a large-scale territorial annexations in both East and West and in the form of overseas colonies. This was regarded as vital not simply in order to reestablish Germany as a world power , but also as a means of diverting pressure for democratic reform at home.The liberals would argue war is justified and as â€Å"the art to conquering at home†.21 This maneuvering of mobilization by the mean of politicization by the German ruling class was successful and marked the triumph of nationalism before and during the interwar period which is a pre-condition for a war to break out. While bureaucratization and technology have vastly extended the state’s capacity for surveillance and repression, mass involvement in the political process has made legitimacy, the consent of the ruled, an increasingly vital condition of the state’s effective operation. Political mobilization as a process has acted to legitimize (or contest) the authority of regimes as well as to articulate interests within them.Fritz Fischer however is of the opinion that Social Darwinism and militarist doctrines had affected Germany to become the leading economic and political power in Europ e and to play a greater role in world politics; to achieve this goal she was willing to go to war.24 Fischer’s critics however argue that Social Darwinism and militarism was not uniquely a German phenomenon, but plague other European nations as well.25 This is agreeable as military race among European powers such France, Britain, Italy and Russia was already at its rapid pace waiting to explode. Perhaps the synthesis of the two arguments; nationalism and Social Darwinism can be used to explain what generated the mass to mobilize in Germany that led to the Great War to break out.Believing that Germany must either grow or die, nationalists pressed the government to build a powerful navy, acquire colonies, gain a much greater share of the world’s markets and expand German interests and influence in Europe. Sometimes these goals were expressed in the language of Social Darwinism: nations are engaged in an eternal struggle for survival and domination.26 Furthermore the mili tant nationalists preached,the special destiny of the German race and advocated German expansion in Europe and overseas. Decisive victories against Austria (1866) and France (1871), the formation of the German Reich, rapid industrialization, and the impressive achievements of German science and scholarship had molded a powerful and dynamic nation. Imbued with great expectations for the future, Germans became increasingly impatient to see the fatherland gain its â€Å"rightful† place in world affairs – an attitude that alarmed non-Germans.27 War had mobilized European working class and turned their allegiance to their fatherland respectively. ‘Even the socialists, who had pledge their loyalty to an international worker’s movement, devoted themselves to their respective nations’.28 Perhaps it can be argued that at this point the celebration or welcoming of war by the German working class they naively saw as an opportunity for a change for they are tir ed of the striking gap between the proletariat and the bourgeoisie. On the eve of the War, ‘the workers formed a quite clearly identifiable, excluded and underprivileged group’.29 War was even celebrated, ‘war and its violence seemed to offer an escape from the dull routine of classroom, job and home and from the emptiness, drabness, mediocrity, and pettiness of bourgeois society’. Patriotic and nationalistic sentiments swept across Europe and cemented people into a collectivity ready to commit to the nation. The youth had been indoctrinated with strong nationalist sentiment, beliefs and myths that were designed in state-directed education curriculum to create social cohesion.Amidst the World War I, propaganda machines garnered complete mobilization of the mass and at this time, not only the general German nation is united but also other European nations outside Germany as part of her Central Power allies vis-à ¯Ã‚ ¿Ã‚ ½-vis the Entente Powers are plunged into a psychological warfare.32 Germany and her allies, as the undisputed aggressor was effectively depicted as the bad guy on war posters. In psychological warfare, ‘truth’, ‘ethics’, ‘authority, ‘morality’ have no place in the dictionary of mass propaganda.33 Another mechanism for mass mobilization was the indiscriminate and impersonal general mass conscription that consequently made the line between combatant and civilian blurred, hence the very large scale of casualties in the Great War.34 H.G Wells once argues, mass mobilization legitimizes civilians as targets. Wartime mobilization and Revolution in GermanyIn Germany in 1916, in the midst of the Great War, German males between seventeen and sixty were required to work only for war effort.35 Labor was ranked among soldiers and sailors in their importance as vital resource in World War I and was fully exploited by the state and factory employers in the relentless effort to keep the ar my in the field supplied with bullets, shells, and uniforms. This massive exploitation of workers had plunged Germany and other European countries into another series of workers’ strikes. The scenarios especially were rampant in German industrial cities. Like the situation before the war, issues of great concern were about â€Å"bread and butter† and added by other critical problems between the military and industry (workers) as question such as ‘why they should make sacrifices to save a state which was in no way representative of their interests on account of its undemocratic structure’. In this sense, workers were also concerned about political reforms that could affect them. War was fought and ended with bitter result, German economy was drained, grudges were still held among the general German working class and to a large extent the middle class sectors who were directly or indirectly affected by the war economically. The most significant repercussion of the war had on the workers was the radicalization of certain sections of European labor movements and created factions between labor movements and class tensions.37 This radicalization ultimately changes the course of German mass mobilization. Problems such as, food shortage, inflation, longer working hours, increased governmental regulation of mobility and overtaxing were all factors that served to fuel working class ranging from those in industries, farmers, miners and to bitterly resent the state. Workers demanded that the State intervened more, unable to address to all their demands, German state faced massive unrest and complete anarchy when laws were not obeyed hence the fast disappearing of confidence in the government and in September 1918, a workers assembly at Stuttgart concluded the helplessness of the government.39 With the participations of Proletarian councilmen, returning veterans, fiery socialist orators, collective action was carried out in November 1918 marking a German revolution and the decline of Weimar Republic’s power for a formation of a more egalitarian â€Å"people’s state† or Volkstaat.40 From 1918 until 1920 marked the period of people’s pressure when the Wilhelmine government had to surrender to the populist demand for more effective representation and more say in the government policy and decision making.41 We will write a custom essay sample on World War I Essay Example specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on World War I Essay Example specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on World War I Essay Example specifically for you FOR ONLY $16.38 $13.9/page Hire Writer