Problems and Issues in Implementing of Ra 9344 of Isabela

PROBLEMS AND ISSUES IN IMPLEMENTING OF RA 9344 OF ISABELA Chapter I INTRODUCTION I.BACKGROUND OF STUDY Children often test the limits and boundaries set by their parents and other authority figures. Among adolescents, some rebelliousness and experimentation is common. However, a few children consistently participate in problematic behaviors that negatively affect their family, academic, social, and personal functioning. These children present great concern to parents and the community at large. The prevention of delinquency requires identifying at-risk individuals and their environments before delinquent activity and behavior occur, and then removing such risk factors or strengthening resistance to the risk factors already present.†¦show more content†¦The diminished influence of peers after men marry has also been cited as a factor in desisting from offending. There is strong evidence that young people with criminal friends are more likely to commit crimes themselves. However it may be the case that offenders prefer to associate with one another, rather than delinquent peers causing someone to start offending. Furthermore there is the question of how the delinquent peer group became delinquent initially. In Social disorganization Current positivist approaches generally focus on the culture. A type of criminological theory attributing variation in crime and delinquency over time and among territories to the absence or breakdown of communal institutions (e.g. family, school, church and social groups.) and communal relationships that traditionally encouraged cooperative relationships among people. Mertons suggests five adaptations to this dilemma: 1. Innovation: individuals who accept socially approved goals, but not necessarily the socially approved means. 2. Retreatism: those who reject socially approved goals and the means for acquiring them. 3. Ritualism: those who buy into a system of socially approved means, but lose sight of the goals. Merton believed that drug users are in this category. 4. Conformity: those who conform to the systems means and goals. 5. Rebellion: people who negate socially

Revenge Conventions In Hamlet Essay - 1182 Words

Hamlet is a play written by William Shakespeare that very closely follows the dramatic conventions of revenge in Elizabethan theater. All revenge tragedies originally stemmed from the Greeks, who wrote and performed the first plays. After the Greeks came Seneca who was very influential to all Elizabethan tragedy writers. Seneca who was Roman, basically set all of the ideas and the norms for all revenge play writers in the Renaissance era including William Shakespeare. The two most famous English revenge tragedies written in the Elizabethan era were Hamlet, written by Shakespeare and The Spanish Tragedy, written by Thomas Kyd. These two plays used mostly all of the Elizabethan conventions for revenge tragedies in their plays. Hamlet†¦show more content†¦Seneca s influence formed part of a developing tradition of tragedies whose plots hinge on political power, forbidden sexuality, family honor and private revenge. There was no author who exercised a wider or deeper influence u pon the Elizabethan mind or upon the Elizabethan form of tragedy than did Seneca. For the dramatists of Renaissance Italy, France and England, classical tragedy meant only the ten Latin plays of Seneca and not Euripides, Aeschylus and Sophocles. Hamlet is certainly not much like any play of Seneca s one can name, but Seneca is undoubtedly one of the effective ingredients in the emotional charge of Hamlet. Hamlet without Seneca is inconceivable. During the time of Elizabethan theater, plays about tragedy and revenge were very common and a regular convention seemed to be formed on what aspects should be put into a typical revenge tragedy. In all revenge tragedies first and foremost, a crime is committed and for various reasons laws and justice cannot punish the crime so the individual who is the main character, goes through with the revenge in spite of everything. The main character then usually had a period of doubt , where he tries to decide whether or not to go through with the rev enge, which usually involves tough and complex planning. Other features that were typical were the appearance of a ghost, to get the revenger to go through with the deed. TheShow MoreRelatedHamlet Is Not Like Any Tragedy1142 Words   |  5 Pages10/30/17 Project: Shakespeare Essay Hamlet is not like any tragedy. Hamlet is a classic revenge tragedy. All the revenge tragedies were popular in England during the late 16th and early 17th. A Shakespearean tragedy is built upon a central conflict which runs through from the beginning to the end of the tragedy until the conflict is finally resolved. The play is built upon the long, tragic conflict between Hamlet and Claudius and the conflict is built upon the figure of revenge. The Driving points thatRead MoreHamlet as So Much More Than a Traditional Revenge Tragedy Essay1713 Words   |  7 PagesHamlet as So Much More Than a Traditional Revenge Tragedy Although Shakespeare wrote Hamlet closely following the conventions of a traditional revenge tragedy, he goes far beyond this form in his development of Hamlets character. Shakespeares exploration of Hamlets complex thoughts and emotions is perhaps more the focus of the play rather than that of revenge, thus in Hamlet Shakespeare greatly develops and enhances the form of the traditional revenge tragedy. Read MoreWilliam Shakespeare s The Spanish Tragedy 2479 Words   |  10 Pagesset of rules and conventions if they want their piece of writing to fall into a particular genre with a certain theme. Throughout my essay, I will look into how Thomas Kyd’s ‘The Spanish Tragedy’ follows the traditional techniques we typically assume will be in a revenge tragedy, and how Shakespeare’s ‘Hamlet’ follows these conventions as well as how Hamlet sometimes challenges the typical conventions of revenge tragedy plays and pushes them. I will also discuss the notion of revenge, as well as discussRead MoreAnalysis Of Shakespeare s Hamlet 886 Words   |  4 Pages â€Å"The play’s the thing†¦Ã¢â‚¬  (Hamlet 2.2 .581) The meta-theatrical play The Mousetrap is central to Hamlet. The play-within-a play is a catalyst to the plot and works to illuminate character. This essay will argue that the scene places Hamlet into the role of a playwright who employs theatrical conventions in order to manipulate his audience rather than entertain. Hamlet transforms The Mousetrap play into an accusatory analogy of King Claudius. This scene also largely contrasts the playwright ShakespeareRead More Significance of the Ghost to William Shakespeares Hamlet Essay1580 Words   |  7 PagesGhost to William Shakespeares Hamlet In Shakespeares Hamlet, the ghost plays a key role in influencing the destinies of the other characters. The ghost is important to the play as it symbolizes both fate and catalyses the plot. It also brings the play into the revenge tragedy genre, which allows foreshadowing to occur and helps the audience, both Elizabethan and contemporary to better understand the play and appreciate it. The late King Hamlet is forced to roam theRead MoreHamlet Essay Holly Silm1491 Words   |  6 Pagesï » ¿Hamlet Essay Holly Silm ‘Explore how time and place are used in Shakespeare’s Hamlet to shape the audience’s understanding of corruption’ The attribution of universality to a particular text is a prerogative of literary criticism that is fraught with the responsibility of contriving reconciliatory persuasions in preservation of the fundamental textual integrity of that text. William Shakespeare’s Hamlet has inspired diverse interpretations regarding its authorial preoccupations, structure andRead MoreWilliam Shakespeare s Hamlet : A Critical Analysis1511 Words   |  7 Pagess Hamlet: A Critical Analysis of Act V Regarded widely as an immutable element of classical literature, Shakespeare s Hamlet broke the proverbial bindings of dramatic convention in its time and hitherto continues to provoke careful consideration of the dramatic issues explored therein. As varied as they are extreme, the themes that Shakespeare s Hamlet explore continue to spur intense debate due to the ambiguity of dramatic elements present in-throughout. Act V as the denouement of Hamlet isRead More The Relationship between Hamlet and the Bible. Essay2412 Words   |  10 PagesThe Relationship between Hamlet and the Bible.  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚        Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   It may appear that anything could be twisted into a typological pattern. Such interpretations appear to suffer from the structuralist faults of skating too lightly over actual texts, ignoring details that cannot be forced into a preconceived mold, and robbing narratives of their concrete shapes through abstraction. I would stress that there is more to Shakespeare than typology, but I would also insist that typology is often anRead More Revenge and Vengeance in Shakespeares Hamlet - Pure Revenge Tragedy?1932 Words   |  8 PagesHamlet – the Revenge Tragedy?  Ã‚        Ã‚  Ã‚   A baffling array of considerations relevant to the revenge aspect of Shakespeare’s tragic drama Hamlet make an essay on this topic an interesting experience.    Ruth Nevo in â€Å"Acts III and IV: Problems of Text and Staging† explains the uncertain place which revenge occupies within the hero’s most famous soliloquy:    And conversely, because self-slaughter is the ostensible subject of the whole disquisition, we cannot read the speech simplyRead More Shakespeares Hamlet - A Clear Revenge Tragedy? Essay1974 Words   |  8 PagesHamlet – a Revenge Tragedy?  Ã‚        Ã‚   Most of the revenge-tragic aspect of the Shakespearean play Hamlet is explicitly presented. Some is disguised as straight tragedy, for example, Ophelia’s insanity and death; and some is implied tragedy found in the history of verbal allusions.    In the essay â€Å"An Explication of the Player’s Speech,† Harry Levin discusses the implied tragic dimension of the â€Å"Hecuba† soliloquy:    But the lyrical note can prevail no more than the epical, since

Evolution of tribal culture Essay Example For Students

Evolution of tribal culture Essay The arrival of Mr Brown as a harmless missionary is the first hand experience the people of Umuofia have with the white men. Mr Brown is a gentle unthreatening man who treats the Umuofians with respect. He even becomes accepted by the elders of the clan. They may not agree with his beliefs and customs but they find him amusing and like him as a person. The way the elders accept Mr Brown as a person and dont heavily discriminate against him because of his beliefs shows how civilized they are. Achebe shows that the Ibo are willing to respect Mr Browns beliefs and make no real effort to restrain his religious practise. The Ibo treat Mr brown the same way that he treats them again showing a civilized attitude. Some Ibo people such as Okokwo and his friend Obierika do not approve of this and forsee the destruction of the clan. We were amused at his foolishness and allowed him to stay. Now he has won our brothers, and our clan no longer act like one. He has put a knife on the things that held us together and we have fallen apart  This is possibly the most famous quotation of the novel and underlines their thoughts and fears. Achebe shows how the white men penetrate the clan from within and begin to crack its foundations.  The departure of Mr Brown is a turning point and is where Okonwos fears begin to come true. Despite this it could be said that the clan evolved rather than eroded. There were many men and women in Umuofia who did not feel as strongly as Okonkwo  This shows that many people didnt feel threatened by the white men and felt they could benefit from the arrival of the white man.  He had also built a trading store and for the first time palm oil and kernel became things of great price.  The arrival of the Reverend James Smith is a turning point in the novel. He has no respect for the Ibo beliefs and openly condemns them in public. This disrespect for the Ibo culture along with the actions of his most fanatical follower Enoch, provoke the Egwugwu to burn down his church. This in turn leads to the District Commissioners punishment of the Egwugwu. They are deceived and humiliated. Okonkwo swore revenge. The fine set by the District Commisioner is increased by the court messengers and shows the corruption of the white men which never existed on such a scale in Umuofia. Achebe is highlighting yet again that in some respects the Ibo culture is purer and more civilized. After this incident it is clear to foresee the end of the novel and what happens to Okonkwo. He ends the novel as a martyr. On the other hand, depending on the reader, he could also be seen as a casualty of evolution. During the novel Achebe does his best to show the destruction of a civilization. He spends a large proportion of the novel establishing the civilization to create the feeling and sympathy within the reader. He uses emotion to sway the reader into feeling that the white men destroy a pure and natural civilisation. He does this very effectively as shown during this essay and creates sympathy. However I cannot but help feel that the novel could also be interpreted as a fiction of the evolution of tribal culture. This is emphasized by the fact that both sides commit crimes towards one another. It is true to say that the white men disturbed and invaded the Africans for reasons of greed that are completely unjustified. However the story is only told through the eyes of a strong rooted Ibo idealist (Okonkwo) whose views are in places somewhat extreme. Achebe successfully gives a good account of colonialisation and its casualties and through this effectively portays the influence the white men had on traditional Ibo society.

Othello Essays (1364 words) - Othello, Iago, Emilia, Michael Cassio

Othello Othello, written by William Shakespeare is the story of Othello, the protagonist and tragic hero of the play. A Moor commanding the armies of Venice, he is a celebrated general and heroic figure whose "free and open nature" will enable Iago to twist his love for his wife Desdemona into a powerful jealousy. Iago is Othello's ensign, and Shakespeare's greatest villain. His public face of bravery and honesty conceals a Satanic delight in manipulation and destruction. Passed over for a promotion by his commander, he vows to destroy the Moor. If Iago is an artist of evil, then this scene is the finest canvas he paints. This is the crucial moment in the play, the scene where he, , deceives Othello and induces him to fall. He does so by expanding on the tactics used in prior scenes. Once the seed of doubt is planted in the Moor's mind with a quick "Ha! I like not that" (III.iii.35) (when they come upon Desdemona and Cassio) and a few probing questions about the ex-lieutenant's relationship to Othello's wife, Iago retreats into the guise he has adopted. He becomes "honest Iago," again, as in the brawl in Act II, scene ii--the reluctant truth-teller who must have unpleasant news dragged from him by a determined Othello. The honesty suggested by his reluctance to speak is reinforced by the moralizing tone that he takes with his commander. Iago actually lectures Othello, warning him against jealousy ("the green-eyed monster") and insisting that he will not speak slander: "he that filches from me my good name / Robs of that which not enriches him / And makes me poor indeed" (III.iii.158-61). At the same time, he plays upon the insecurities of the honest, noble African in sophisticated, decadent Venice by lecturing Othello on how Venetian women are deceitful and treacherous by nature. The overall effect is to pour verbal poison in his master's ear--not by lying, but by flavoring truth with innuendo. Othello will later declare that he is "not easily jealous," and that assessment of his character seems to be shared by most of the figures around him in the play. The critical response is mixed--some critics insist that his claims to be innocent of jealousy are merely self-justifying, and certainly he slips easily into assuming his wife to be unfaithful. Other critics make the distinction between an inner, self-created jealousy, which he seems to lack, and a deep insecurity and "trusting nature," as Iago puts it, which allow a clever manipulator to plant seeds of doubt. Behind his insecurity lies a man uneasy with his place in Venetian society: he may have married a white woman, a daughter of a Senator, but can he keep her? The seizure of the handkerchief is a great coup for Iago in his quest to destroy Othello, and he is aided by his wife, who apparently has no scruples about betraying her mistress in small matters. Shakespeare will eventually transform Emilia into a voice of moral outrage, and by the final scene the audience will applaud her role in Iago's destruction, but for now it is worth noticing that she is only Iago's accomplice. It will take a great shock to inspire outrage against him--a shock which comes too late. The scene ends with Iago triumphant, named as lieutenant (the rank to which he aspired from the beginning) to a man bent on destruction, and ready to join in that destruction himself--because in killing Cassio and Desdemona, Othello is killing himself. And that, of course, has been Iago's goal from the beginning. Othello's wild, violent behavior in front of Lodovico, in which he strikes his wife and abuses her for no apparent reason, demonstrate the perversion of order that Iago has brought about. There is no one to halt Othello's lawlessness, because he himself is the law in Cyprus. Othello's accusations and refusal to accept Desdemona's denials are brutal and unfair, but his language recovers some of the nobility that it had lost in previous scenes. Iago-like curses are replaced by sorrowful laments for what has been lost, and the audience is reminded the heroism and dignity that Othello possessed at the beginning of the play. His cry "O, thou weed, / Who art so lovely fair, and smell'st so sweet, / That the sense aches at thee--would thou hadst ne'er / been born!" (IV.ii.69-72) is a powerful expression of the love that he still holds for his wife, which has been ruined for ever by Iago's poisons. Othello is wrong, terribly wrong, but Shakespeare demands that