GSA Wants You Assignment Example | Topics and Well Written Essays - 1500 words

GSA Wants You - Assignment Example (GSA) Schedules solicitation regarding various significant aspects that require to be taken into concern while conducting the above stated business i.e. producing small remote control aircrafts. These aspects have been discussed in detail in the following. In early days, mailing bunch of paper materials and letters were quite common. Nowadays, advanced technological advancements have certainly changed the perception of individuals and enabled them to keep pace with the changing world. In general, electronic submission is regarded as the process based on which documents are submitted through varied electronic means. The internet medium has certainly become one of the best electronic means through which one can easily transfer the document from one place to other with saving much amount of time (Rush University, n.d.). In the context of building model airplanes into a small business, which produces small remote control aircrafts that are capable of long sustained flights, the electronic submission process can be carried out through internet medium as an essential communication component. It will be vital to mention in this similar concern that the aforesaid mean of electronic submission process eventually contribute in preparing as well a submitting various essential documents electronically, resulting in simplifying the contract process between the two parties (Rush University, n.d.). Specially mentioning, the security measures present in the above discussed business approach are quite important to be taken into concern with the intention of effectively submitting a particular offer along with getting accepted the same. It is quite obvious that the submission of important documents over the internet or web always generate certain threats that might create greater complexities in the operational procedures. In this regard, the measures include following the solicitation instructions carefully and reviewing the same with utmost efficiency among others (Rush

EXPLICATION OF A SONG Essay Example | Topics and Well Written Essays - 1000 words

EXPLICATION OF A SONG - Essay Example It was sung by â€Å"The Beatles† for their album â€Å"Help† in 1965. Since then, the song has achieved milestones over the years. It is a melancholy about a broken love relationship sung by a single member of â€Å"The Beatles†. The story symbolizes the yesterday for the happy days of the past when there used to be joys all around. The basic theme of the song is the message which tells never to lose your love and try to maintain it for the whole of your life. It is love that beautifies the life and nothing else. When there remains no love, one earnestly waits and desires for it to come back. But that never happens as the time once gone never returns. The small lyrical ballad is outstanding in the sense that it narrates the whole story from the very beginning to the end. It has the memories of the golden days, of the separation and the longings for the days to return. The song is complete in nature to the extent that it covers the whole of turns and twists a lov e-story brings with it. The song begins with the title word, â€Å"yesterday†. The poet starts to tell the story of his failure. He tells the reader that there was a time when everything went right for him. There was beauty and love. Life was magnificent. He adds: â€Å"all my troubles seemed so far away† informing the audience that his life had no miseries, sorrows and concerns. What he had to care for was the sweet moments he could enjoy with his girl-friend. Life was no more than a story of the dreamland where all the demands were accord approval. But he knows nothing what happened to his life? The charm of life then was get up from the deep sleep. The troubles which he bade â€Å"good bye† had arrived again. They had the intentions to live there forever: â€Å"now it looks as though they are here to stay†. But as is the nature of love and the story with every lover, hope plays its role does not letting the lover leave its rope; just stick to it. He be lieves in the honesty of the â€Å"yesterday† in the words: â€Å"oh, I believe in yesterday†. The way the â€Å"yesterday† is appealed here is heart-touching. It looks like he is negotiating with the yesterday to persuade her to bring the gone glory to his life once again. Then comes the part of the story where the poet tells us the situation at the present. He tells: â€Å"suddenly, I am not half the man I used to be†. The poet shows us the ruins of his dream valley in the words that he is no more the perfect person. He is living with a broken heart. He sees no attraction in life any more. He convinces us that life comes from inside and it does not matter what looks outside. A man hit at heart can never be taken as alive though walking like a live man. He goes further explaining that: â€Å"there’s a shadow hanging over me†. The darkness prevails over him. He sees no light to proceed in the course of life. Something ugly like shadow has ta ken possession of him. He is not able to see beyond that shadow and for him; the world is a place of anxiety. The poet goes further and complains against the instability of the world and all that is inside it including humans. He weeps that the routine of life did not give him enough time to get to the taste of joys to his full. It was so much a short time for the enjoyment of his love. The troubles were in a very much hurry as to replace the pleasures. The poet’s desire for the â€Å"yesterday†

Wonder Woman Comics: History and Development

Wonder Woman Comics: History and Development Wonder Woman Costume For over 60 years, Wonder Woman has filled the pages of her magazine with adventures ranging from battling Nazis, to declawing human-like Cheetahs. Her exploits thrilled and inspired many young girls, including Gloria Steinem. Through all of this, she has had to pilot her invisible jet through territories that her male counterparts have never had to. She is constantly pulled in two directions; her stories must be entertaining and none threatening to the male status quo, while simultaneously furthering her as the original symbol of Girl Power. She is praised for being an icon of strength to women everywhere, but chastised for wearing a skimpy costume and tying men up, as if she were no more than a male fantasy. No comic book character has had to endure as much scrutiny as Wonder Woman. Thats because Wonder Woman represents an entire gender, at a time of important social flux. Although she was created by a man to influence a male audience, Wonder Woman has evolved into an important sym bol of the feminist movement. An Amazon is born Shortly after Superman made his appearance in 1939, a noted psychologist by the name of William Moulton Marston wrote an article in Family Circle magazine, praising comic books. According to Les Daniels in Wonder Woman: The Complete History (Chronicle Books, 2000, pp. 22-24), his article caught the eye of M.C. Gains of DC Comics. Gains was so impressed by the article, he hired Marston into a new position at DC Comics. Within a year, at the urging of his wife, Marston set out to create a female superhero. By February 1941, Marston handed in his first script for ‘Suprema: The Wonder Woman.’(We owe a debt of thanks to whoever dropped the Suprema.) Marston created a unique heroine, based loosely on Greek Mythology. Diana was the Princess of Paradise Island, a mystical place inhabited by Amazons. Her mother, Hippolyte (sometimes referred to as Hippolyta), Queen of the Amazons, wanted a child and petitioned the Goddesses of Olympus to give her one. She was instructed to sculpt a child from clay. When she was done, the goddesses imbued the statue with life. Diana was raised as the princess of her nation, until one day, an aircraft carrying one Steve Trevor crashed off the shores of the island. Diana rescued him and nursed him back to health. The Goddesses decreed a contest should be held to find an Amazon champion to return Trevor to the United States and also help with the war effort. As the princess, Diana was forbidden to enter the contest by her mother, the Queen. Diana disguised herself and won. Reluctantly, Hippolyte awarded Diana the costume of the champion and sent her on her way, and a legend was born. Marston had said his aim with Wonder Woman was to influence a male audience with the notion that females could be just as powerful as men, through the use of their own gifts. A reoccurring theme is the dominance of women over men, by teaching them loving submission. The reality is that the early issues of Wonder Woman almost always contained scenes of bondage. Wonder Womans one weakness was to have her bracelets chained together by a man. Many, many men took advantage of that. Because he was on the team that developed the first polygraph, Marston gave Wonder Woman a magic lasso that would enable her to extract the truth from its victim or make them susceptible to her suggestions. Of course, they had to be tied up. If Wonder Woman wasnt chained up, she was busy tying someone else up to do her bidding. When you combine that with a seductive costume, (The costume created such a ruckus, DC Comics editor, Dorothy Roubicek wrote a memo to Gains suggesting the costume be given a more Greek tunic look. (Daniels, pp. 62-63)) the early Wonder Woman comes off as a fetishistic fantasy. That may be one of the biggest reasons it was such huge success with a male audience. Artist H.G. Peter illustrated Wonder Woman for Marstons entire tenure on the book. Although he was required to delineate Wonder Woman in bondage motifs and other sundry escapades, his art was not overly sexual. This was one of the factors which helped establish Wonder Woman among female fans. She was strong and athletic, but without an unreal body image. Many of her adventures pitted her against a real life enemy, the Nazis. This was World War II, after all, and women were dong their part to help the war effort. Wonder Woman was a symbol of the emergence of women in active roles. But, even before the war was over, Marston began introducing costumed villains. Interestingly enough most were female. Dr. Poison, the very first costumed villain, was actually a Japanese princess, disguised as a man. As her Rogues Gallery grew, it became more populated with women, than men; The Cheetah, Queen Clea, and Giganta, just to name a few. It seemed that Wonder Woman would be relegated to fighting her own gender. It was another way that she could be interpreted as powerful, without upsetting the status quo. She was rarely seen as someone who could overpower a strong male villain. Wonder Woman did continue to be an important symbol in those early days. She was the only female superhero in the Justice Society of America (A forerunner of the Justice League of America), although she was relegated to the office of secretary. Again, it was a large stride while being subservient to the male heroes in the book. You can almost see her serving coffee at JSA meetings. Her magazine debuted a backup feature called Wonder Women of History in which an important female historical figure was profiled. It seemed that the intention of her being a symbol of feminism were there, while the actions of the stories painted a different, more sexual picture. This is a contradiction that survives even into today. The Silver Age After Marstons death, Robert Kanigher took over the duties on Wonder Woman. In a rare occurrence, Kanigher served as both writer and editor for over 20 years. Gone were the Nazis, and many of Wonder Womans original foes. In their place, Kanigher began writing stories centered on Wonder Womans romantic life. In Sensation Comics #97 (May-June 1950), Wonder Woman becomes the romance editor of a womens magazine. Instead of battling evil villains, Wonder Woman herself became the center of conflict, as characters like Bird-Man and Mer-Man vied for the affections of the Amazon Princess. Other times, she would have a whole story dedicated to explaining to poor Steve Trevor that they could not marry until her services as a hero were no longer required. It seemed that Wonder Woman had been relegated to the role of the maiden fending off numerous suitors, as if she were a southern belle. It is interesting to note that during this time, Wonder Women of History was replaced with a feature called Marriage a la Mode, celebrating the marriage customs of different cultures. Wonder Woman of the 1950s was in a flux, just like American women. They had been asked to do their part during the war, but when the men came home, it was time to go back into the kitchen. The problem was most women realized an untapped potential to be more than a wife and mother. This would show up in the form of modern feminism in the next decade. It must be pointed out that most of the supporting cast was made up of other women; (Hippolyte, other Amazons, and even a younger version of Wonder Woman, Wonder Girl) but the stories were still centered on marriage and boyfriends. The artistic team of Ross Andru and Mike Esposito hiked Wonder Womans star-spangled shorts a bit, but still the art was very respectful to the female body. No larger than life breasts or pencil thin waists. Wonder Woman had an athletic build and was considered statuesque. A Change Will Do You Good 1968 was an interesting year for our Amazing Amazon. After Kanighers departure, Editorial Director Carmine Infantino assigned writer Dennis ONeil and penciller Mike Sekowsky to the title. When a new writer is assigned to a title, the direction of the character usually shifts, but no one could predict the direction ONeil and team were about to take. What they were doing in Wonder Woman, I didnt see how a kid, male or female, could relate to it. It was so far removed from their world, recalled ONeil. (Daniels p. 125) His solution was to remove Wonder Womans powers, effectively putting a normal female out into the world to fend for her self. Gone were the magic lasso, bulletproof bracelets, and invisible jet. Wonder Woman was now outfitted in mod 60s clothes and partnered with an Asian mentor, I Ching. She relied on martial arts instead of Amazon strength. ONeil believed that by making her a normal person struggling in an extraordinary world, she would be a more viable feminist symbol. Many people agreed and sales skyrocketed. Wonder Woman was kept in this direction for almost two years before a very prominent feminist took a very anti-de-powered Wonder Woman stance: Gloria Steinem. In July of 1972, Steinems new magazine, Ms. hit the newsstands with a familiar face on the cover. Beneath a banner that read Wonder Woman for President was a rendering of Wonder Woman, in her traditional costume. Essayist Joanne Edgar took up two pages of the premier issue to denounce the changes made to Wonder Woman, and to assure readers that Wonder Woman would return to her roots in 1973. Steinem also wrote the forward to a hardcover collection of Marston-era Wonder Woman stories, and took the opportunity to denounce the changes herself. Steinem and others felt that by robbing Wonder Woman of her powers and tools, they had weakened an important symbol. She was no longer a unique person. It could also be suggested that because the idea came from a man, that it was an attempt by males to negate a woman as a powerful force. It seemed that Wonder Woman had been adopted by the feminist movement as a powerful symbol of what a woman could aspire to. It is probable that most women who inv oked Wonder Woman in their feminist rhetoric had not read some of the more outrageous of Marstons stories. Wonder Woman finally got her tiara back in Wonder Woman #204 (January-February 1973). Robert Kanigher was again the editor, if only for a few issues. The adoption of Wonder Woman by Steinem and company appeared to have an immediate influence, as Wonder Woman became a very active superhero, with all manner of villains. For the most part, stories did not center on romance or bondage, but rather on costumed villains and other action oriented heroics. Wonder Woman was finally getting the recognition of being a top notch Super Hero. It was at this time, Wonder Woman finally appeared on network TV. In the fall of 1975, The New, Original Wonder Woman aired on ABC. Starring Lynda Carter, the first episode dealt with Wonder Womans origin, sticking very closely to the comic book version. The ABC show was very tongue in cheek, but was a hit and aired on ABC and CBS, until 1977. Lynda Carter became the first woman to star in an action/adventure TV series, giving more credence to the ties between Wonder Woman and feminists. The comic book version continued in the same vein through the late 70s and early 80s. The only notable event was the change in her costume in 1982. In Wonder Woman #288 (February 1982), the eagle emblazoned on her bustier was traded in for a stylized double w. The change was to herald the creation of the Wonder Woman Foundation, created by DC Comics president Jenette Kahn. The purpose of the foundation was to honor (financially) women over 40 who have made a contribution to society. It was launched to coincide with Wonder Womans 40th anniversary. Rebirth In 1986, the entire DC Comics universe was given a makeover. Many characters, including Wonder Woman, had amassed a large and convoluted history, thanks to the ever revolving door of writers and editors. The solution was a 12 issue series entitled Crisis on Infinite Earths. Every character in the DC Universe (DCU) was rebooted, but none was as drastic as Wonder Woman. In Crisis #12, she was attacked and devolved into the clay from which she was formed. The clay then spread itself over the shores of Paradise Island. The stage was set for a comeback. George Perez took on the daunting task of breathing new life into the Amazon Princess. He was well aware of the fact that he was tinkering with an icon. Perez spent copious amounts of time researching Greek Mythology, and also feminism, discussing the project with his wife, editor Karen Berger, DC President Jennette Kahn, and of course, Gloria Steinem. Wonder Woman and feminism were about to become one and the same. Perez did not tinker with Wonder Womans origin too much. He did move her to present day, instead of World War II. She was still a princess, and was raised on an island of amazons. He did, however, give a very feminist slant to the creation of those amazons. In Wonder Woman #1, (February 1987), it was shown that the amazons were the re-incarnated souls of women whose lives had been cut short by the ignorance of man. As they migrated to Themyscira (Paradise Island) they became enlightened women, who spent their days learning and constructing. They were no longer the warrior race of mythology. As the champion of the contest that sent her to the Patriarchs World, Wonder Woman was an ambassador of her nation, charged with espousing the ideals of her Olympian Gods. This Wonder Woman needed no day job; she had an ambassadorial post at the United Nations. She was first a teacher, second, a hero. It is amazing that Perez was able to use Greek Mythology and give it a feminist slant. In the han ds of a lesser writer, the task would have failed. Greek Myth is rife with the subjugation and humiliation of women. Perez was able to center on the female contingent of Olympus, and keep the males as chauvinistic as before. Perez also handled the art chores, and made Wonder Woman look very real and very feminine, without resorting to objectifying art. Her physique was that of an athlete. She was tall, not too slender, and very muscular. It action sequences, you could see the muscles on her body strain as she attempted feats such as tossing tanks around. During Perezs run, Wonder Woman spent as much time on the lecture circuit as she did fighting off bad guys. The sales of the comic were strong, but DC was anxious to use their revamped character in more action oriented stories. William Messner-Loebs, took over as writer, but the major change was in the artist, Mike Deodato, Jr. To many people, all the work that was done to portray Wonder Woman as a strong, intelligent female hero flew out the door as Deodato brought his brand of art to the title. Wonder Woman now had very large breasts, a teeny tiny waist, and legs that went on for miles. Sales of the book were incredibly strong, but much of the attention was on the stylized, sexual appearance of the Amazon. Wonder Woman had never looked quite so slutty. Many claimed that Wonder Woman had become cheesecake, never the less, Deodato stayed on until issue #100. A Look To The Future Phil Jimenez took over the book and attempted to reconcile some of the continuity problems that had already surfaced on the series. Another talented writer/artist, Jimenez nurtured Wonder Woman through some very tough times. Like a mirror to actual world events, 2001 was a very difficult year for Wonder Woman. Themyscira was embroiled in a heated civil war, which resulted in the abolishment of the matriarchy and the loss of the title of princess for her. In a staggering galactic war, Hippolyta her mother and supporting character since the beginning of the book, was killed. Wonder Woman was shown as a woman who had very human problems to cope with. Her battles were not always with super villains or natural disasters. Jimenez showed a hero who had to deal with mother/daughter issues in a way that had rarely been shown in the series. Wonder Woman and her mother did not always get along! In one of his best issues (Wonder Woman #172) Jimenez weaved a tale of jealousy and forgiveness, as a protective mother (Hippolyta) gave her life to protect her seemingly ungrateful daughter. Jimenez was not afraid to show Wonder Woman in an unflattering light. She was jealous of her mother donning similar armor and leaving the shores of Themyscira to become a hero in her own right. Stories such as these brought some very female oriented issues to the forefront. Wonder Woman had never had to deal with issues of her royal status, her relationship with her mother, and the grief of losing a parent. Of course, she came through all of this on top, and ready to fight the good fight, but it was a difficult and interesting journey. As 2003 begins, writer Walter Simonson has revisited the non-powered concept of the 60s. With only 2 issues out, only time will tell if it will be as radical a change as it was before. In the new millennium of Xena, Lara Croft and other female action heroes, is Wonder Woman still relevant to the feminist movement Without her example, many of these franchises would not have had the inspiration to become a reality. Those choppy territories Wonder Woman covered have paved the way. Many writers and artists can use Wonder Womans history as a blueprint for what works, and also what doesnt. Wonder Woman continues to mirror the complexities of feminism; strong and assertive, yet caring and nurturing. All the while balancing family issues and fighting against stereotypes. As her comic book moves ahead, Wonder Woman will continue to tackle issues relating to every woman, and even, every human. Works Cited: Daniels, Les. Wonder Woman: The Complete History. San Francisco: Chronicle Books, 2001. Edgar, Joanna Wonder Woman Revisited: Ms. Warner Communications: (July 1972) 28-29 Jimenez, Phil. Wonder Woman #172. (Second Series) DC Comics: (August 2001) Kanigher, Robert. Sensation Comics #97. DC Comics: (May-June 1950) Kanigher, Robert. Wonder Woman #204. DC Comics: (January-February 1973) Marston, William Moulten. Wonder Woman Archives, Vol. One. New York: DC Comics 1998, 8-16 The New, Original Wonder Woman Wonder Woman, ABC: November 7, 1975 ONeil, Dennis. Wonder Woman #177. DC Comics: (July-August 1968) Perez, George. Wonder Woman #1 (Second Series) DC Comics: (February 1987) Thomas, Roy. Wonder Woman #288 DC Comics: (February 1982) Wolfman, Marv. Crisis On Infinite Earths #12 DC Comics: (December 1986)

The Division of Religion :: essays research papers fc

The East-West Schism, known also as the Great Schism (though this latter term sometimes refers to the later Western Schism), was the event that divided Chalcedonian Christianity into Western Catholicism and Eastern Orthodoxy. Though normally dated to 1054, when Pope Leo IX and Patriarch Michael I excommunicated each other, the East-West Schism was actually the result of an extended period of estrangement between the two Churches. The primary causes of the Schism were disputes over papal authority—the Pope claimed he held authority over the four Eastern patriarchs, while the four eastern patriarchs claimed that the primacy of the Patriarch of Rome was only honorary, and thus he had authority only over Western Christians—and over the insertion of the filioque clause into the Nicene Creed. There were other, less significant catalysts for the Schism, including variance over liturgical practices and conflicting claims of jurisdiction. The Church split along doctrinal, theological, linguistic, political, and geographic lines, and the fundamental breach has never been healed. It might be alleged that the two churches actually reunited in 1274 (by the Second Council of Lyons) and in 1439 (by the Council of Basel), but in each case the councils were repudiated by the Orthodox as a whole, given that the hierarchs had overstepped their authority in consenting to these so-called "unions". Further attempts to reconcile the two bodies have failed; however, several ecclesiastical communities that originally sided with the East changed their loyalties, and are now called Eastern Rite Catholic Churches. For the most part, however, the Western and the Eastern Churches are separate. Each takes the view that it is the "One Holy Catholic and Apostolic Church", implying that it was the other group that left the true church during the Schism. Since its earliest days, the Church recognized the special positions of three bishops, who were known as patriarchs: the Bishop of Rome, the Bishop of Alexandria, and the Bishop of Antioch. They were joined by the Bishop of Constantinople and by the Bishop of Jerusalem, both confirmed as patriarchates by the Council of Chalcedon in 451. The patriarchs held both authority and precedence over fellow bishops in the Church. Among them, the Bishop of Rome (the Pope) was deemed to hold a higher status, by virtue of his position as the successor of Saint Peter. Moreover, the Pope's see was of particular importance, as Rome was the capital of the Roman Empire. Even

How does Wilfred Owen Create Sympathy in his Poem “Disabled” Essay

Wilfred Owen uses a variety of poetic devices to make the reader feel sympathetic for the disabled person portrayed in the poem. Many of Owens ideas of sympathy are not easy to find and the reader picks them up more subliminally unless he were to study the poem. Firstly, the most important point to convey sympathy is the theme of retrospect and tense in this piece and it runs clearly throughout. Owen starts the first stanza in the present tense and we immediately see that he is lonely and inactive. â€Å"He sat in a wheeled chair, waiting†¦Ã¢â‚¬  shows us that he is unable to move and can only sit, his life is controlled by doctors and his ability to make decisions is compromised by injury. Furthermore, the word â€Å"waiting† shows that all he can do is sit around and wait for things to happen, he cannot create or instigate something to cheer him. The poem then, in the fifth stanza he reminisces about what he thought war might be like, â€Å"†¦jewelled hilts† and glory. However, at the end he says, â€Å"Now he will spend a few sick years in institutes†. We feel sorry for the man as we think he has been cheated and lulled into a false sense of security. Owen also uses contrast to evoke sympathy in the way he rhymes at the end of the sentences. The rhyming words contradict or juxtapose one another. â€Å"Knees† and â€Å"disease† are used for contrast as having knees symbolise health and normal lifestyle and it’s what he had before the war. Disease on the other hand symbolises a lack of knees or bad health and it is what he was left with after the war. The juxtaposition of good and bad things makes us feel sad for the man and also make us feel his regret of joining up. Another vessel which Owen uses to make us feel sympathetic is metaphor and simile. He says, â€Å"Poured it down shell holes till the veins ran dry†. This shows us how angry he is with himself in the fact that he is saying he might just as well have poured his blood and his life away. He feels like he made no impact on the war and only bad has come out of it. Caesura is also used to break up sentences and disrupt the flow of a poem. They can create sympathy as sometimes they can be ironic or rhetorical questions. â€Å"He thought he’d better join – he wonders why† is a good example as it shows his remorse for joining the army and the fact that it is out of sync and without a rhyming pair makes it stand out in our memory as a definitive thought of his. The poem also ends with questions like â€Å"why don’t they come† which tell the reader that since the war he is completely reliant on others and he despairs with his lack of freedom. Owen also uses women and war officers to make us feel sympathetic. â€Å"Smiling, they wrote his lie† tells us that the officer signing him up knew that he was not eighteen and was not doing his job properly. It shows that the officers cared more about the numbers in the army than the actual wellbeing of English people. He also describes women as being shallow and their eyes â€Å"passed from him to the men that were whole†. This shows they do not care about a man’s personality and character, only his looks and sexual appeal. This makes us feel angry towards women for being so shallow and want them to not be so driven by seemingly unimportant things.

Presentation of Self in Everyday Life Essay

A Canadian-American sociologist/writer named Erving Goffman, proposed the dramaturgical perspective or the theory of â€Å"dramaturgy† in his book: The Presentation of Self in Everyday Life, in order to explain the behavior of people. The book catered the interest of many readers as it was published initially in 1956. Not only mentioning the successful integration of the dramaturgical approach as a major contribution in Sociology, Goffman, was also criticized for the detraction of such authentic-written style of research he used as compared to the conventional researches that was used by many researchers and proponents of some theories. Goffman, as a competent and keen observant, combined different theories related to support and create his new theory of dramaturgy (Sannicolas, 1997). Moreover, the focus of this paper then, is to discuss the relevance of dramaturgy in everyday scenario of a man’s real life. Body Dramaturgy is a term popularized by sociologist, Erving Goffman, pertaining to the study of mechanisms of man’s social interactions by means of communication and â€Å"face-to face† encounters. Dramaturgy emphasizes the creation or projection of â€Å"roles† attempting to be congruent and accepted in the norms of society where a particular man or â€Å"actor† belongs in order to avoid ostracism and harmful discrimination of the majority group at their backs (an example of backstage behavior). It also functions for man to rehearse and practice one’s ideal goals for the purpose of portraying those roles into the â€Å"stage† or real world (frontstage behavior), and to be viewed by perceived viewers or onlookers (audience). The dramaturgy or dramaturgical perspective can be best understood by showing an example in some personal and professional situations. For instance, in a particular scenario, a play, an act or a drama occurs; perhaps, a person encountering an acquaintance or friend, may be â€Å"forced† in the situation to greet the person coming nearby and may therefore reveal a phony or a fake smile in order for the other person not to think negatively about the person who is expected to greet. The second person on the other hand, would and might as well return the greetings back because of the perceived â€Å"rightness† of the act as implied by the social norms and equity rules. Moreover, these two different persons may perform and engage in a talk and communicate through non-verbal gestures and of course, verbal language; these persons then, may use or show a facial mask or a facade we call in psychology, the â€Å"persona†. In a professional situation however, a good example may be the HR interviewer and the applicant (interviewee): both would have to perform their assigned and implied roles as for the HR interviewer, has to appear intimidating, serious, and straightforward with less smiles, and for the applicant’s part, one has to act as the confident but not so arrogant and aggressive projected image to impress the interviewer and has to act that one knows what one is doing and the position applying for (Sannicolas, 1997). Conclusion Further, it is concluded that the theory of dramaturgy explains the tendency of people to project rehearsed roles for the purpose of perfecting their interpersonal social skills. Sincere or not, obsequious or assertive, man’s mechanism is explained as such dominated by those internal ideal roles that is projected and performed outwards by persons in social situations (Sannicolas, 1997). References Sannicolas, N. (1997). Erving Goffman, dramaturgy, and on-line relationships. Retrieved October 31, 2008, from, http://www. dinicola. it/sit/Cybersoc%20Issue%201%20-%20Erving%20Goffman,Dramaturgy,and%20On-Line%20Relationships. htm