Essay Bishop

The below essay is a final draft, and not a final copy; therefore, it does not have page numbers and cannot be quoted in future publications. The published version of the essay is in the following book available in print and online versions in the Seneca library: Elizabeth Bishop in the 21st Century: Reading the New Editions. Eds. Cleghorn, Hicok, Travisano. Charlottesville and London: University of Virginia Press, June 2012. Part II (of the 4 part book with 17 essays by different people) Crossing Continents: Self, Politics, Place Bishop's â€Å"wiring fused†: Bone Key and â€Å"Pleasure Seas†Angus Cleghorn Elizabeth Bishop's Edgar Allan Poe & The Juke-Box and the Library of America edition of Bishop's poetry and prose provide readers with additional context enabling a richer understanding of her poetic project. Alice Quinn's compelling tour of previously unpublished archival material and her strong interpretive directions in the heavily-annotated notes let us color in, highlight and extend lines drawn in The Complete Poems. Some of those poetic lines include wires and cables, which are visible in Bishop's paintings, as published in William Benton's Exchanging Hats.If we consider the extensive presence of wires in the artwork alongside the copious, recently published poetic images of wires, we can observe vibrant innovation, especially in the material Bishop had planned for a Florida volume entitled Bone Key. The wires conduct electricity, as does The Juke-Box, both heating up her place. Florida warms Bishop after Europe: in this geographical shift, we can see Bishop relinquish stiff European statuary forms and begin to radiate in hotbeds of electric light.Also existing in this erotic awakening is a new approach to nature in the modern world. Instead of wires representing something anti-natural (modernity is often this sort of presence in her Nova Scotian poems, for example, when â€Å"The Moose† stares down the bus), the wires conduct ener gy into a future charged with potential where â€Å"It is marvellous to wake up together† after an â€Å"Electrical Storm. † This current brings Bishop into alien territory where lesbian eroticism is illuminated by green light, vines, wires and music. Pleasure Seas,† an uncollected poem that stood alone in The Complete Poems, is amplified by the previously unpublished Florida draft-poems, many of which include the words Bone Key in the margins or under poem titles; this planned volume is visible in the recent editions and is prominent in Bishop's developing sexual-geographic poetics. In The Complete Poems, â€Å"Pleasure Seas† is first of the â€Å"Uncollected Poems† section. As written in the â€Å"Publisher's Note,† Harper's Bazaar accepted the poem but did not print it as promised in 1939.This editorial decision cut â€Å"Pleasure Seas† out of Bishop's public oeuvre until 1983 when Robert Giroux resuscitated it in the uncollected se ction. Thus it is read as a marginal poem, which has received relatively little critical attention. Far less than â€Å"It is marvellous to wake up together,† a previously unpublished poem found by Lorrie Goldensohn in Brazil that has been considered integral to understanding Bishop's hidden potential as an erotic poet since Goldensohn discussed it in her 1992 book, Elizabeth Bishop: The Biography of a Poetry.Perhaps because â€Å"Pleasure Seas† has been widely available since 1983 in The Complete Poems, this poem does not appear to critics as a found gem like â€Å"It is marvellous . . . .† Now, however, we can read these previously disparate poems together in the Library of America Bishop: Poems, Prose and Letters volume, in which â€Å"Pleasure Seas† was placed accurately by editors Lloyd Schwartz and Robert Giroux in the â€Å"Unpublished Poems† section. As such, it accompanies numerous unpublished poems, many of them first published by Quinn i n Edgar Allan Poe & The Juke-Box. Pleasure Seas† is a tour de force, and its rejection in 1939 likely indicated to Bishop that the public world was not ready for such a poem. I speculate that had that poem been published as promised, Bishop would have had more confidence in developing the publication of Bone Key, a volume which would have followed, or replaced A Cold Spring and preceded Questions of Travel; she might have re-formed A Cold Spring into a warmer, more ample volume as Bone Key.A Cold Spring ends with the lesbian mystique of â€Å"The Shampoo,† the bubbles and â€Å"concentric shocks† of which make a lot more sense when accompanied, not by the preceding poem, â€Å"Invitation to Miss Marianne Moore,† but by erotic poems such as â€Å"Pleasure Seas,† â€Å"Full Moon, Key West,† â€Å"The walls went on for years & years†¦,† â€Å"It is marvellous to wake up together,† and â€Å"Edgar Allan Poe & the Juke-Box. â⠂¬  Bishop's writing in Florida involves tremendous struggle to express sexual desire and experience.Automatic bodily impulses contend with traditional strictures. Since in Florida â€Å"pleasures are mechanical† (EAP 49) and for Bishop counter the norms of heterosexual culture, her tentative imagination treads â€Å"the narrow sidewalks / of cement / that carry sounds / like tampered wires †¦ † in â€Å"Full Moon, Key West† (EAP 60). She fears the touch of her feet may detonate bombs. Bishop's recently published material offers explosive amplitudes measured against the constraints of traditional poetic architecture. Full Moon, Key West† and â€Å"The walls went on for years & years†¦,† in EAP are dated circa 1943. In both poems, Bishop envisions nature merging with technology to provide an extension of space in her environment: The morning light on the patches of raw plaster was beautiful. It was crumbled & fine like insects' eggs or wal ls of coral, something natural. Up the bricks outside climbed little grill-work balconies all green, the wires were like vines. And the beds, too, one could study them, white, but with crudely copied lant formations, with pleasure. (EAP 61) Teresa De Lauretis writes in Technologies of Gender about how innovative language and technology (in film) represent gender and sexuality in new formal expressions of life previously considered impossible. The new poetic material from Bishop similarly re-formulates human living spaces. In the above poem, the man-made room's construction breaks down into natural similes. A dialectic between nature and architecture has nature grow into walls, balconies and rooms.This poetic process is found in later poems such as â€Å"Song for the Rainy Season,† in which the mist enters the house to make â€Å"the mildew's / ignorant map† on the wall. Typical human divisions between construction and organicism are made fluid. In â€Å"The walls†¦,† divisions between inner and outer worlds crumble; for instance, white beds are studied, but are they beds to lie in, or plant beds on the balconies? Bishop writes that they are â€Å"with crudely copied / plant formations,† suggesting both flowers and perhaps a patterned bedspread (rather like the wallpaper-skin of â€Å"The Fish†).The phrase, â€Å"walls of coral,† itself merges architecture with nature, also echoing Stevens' 1935 image of â€Å"sunken coral water-walled† in â€Å"The Idea of Order at Key West,† which Bishop had been reading and discussing in letters with Marianne Moore. Stevens and Bishop draw attention to artifices of nature, and nature overpowering artifice. The natural versus manufactured-world dichotomy is deconstructed through innovative cross-over imagery, continuing in these lines: Up the bricks outside climbed little grill-work balconies all green, the wires were like vines. (EAP 61)Vines simply grow up buildin gs, so we have a precedent for nature's encroachment on man-made constructions. Here, Bishop replicates natural vines with â€Å"little grill-work balconies / all green,† a man-made architecture that looks as if it grows on its own. Then the poet surprises us again with another simile, â€Å"the wires were like vines. † The imagery of the wires blackly echoes that of the balconies; again this accretion lends the physical man-made constructions a fluid, surreal life of their own, which is empowered naturally by the simile that has them acting like vines.Vine-wires extend nature through technology into potential domains far from this balconied room. However, despite the revolutionary â€Å"Building, Dwelling, Thinking,† to use the title of the well-known Heidegger essay, this is a poem of walls, which offers temporary extensions of nature, only to be shut down when One day a sad view came to the window to look in, little fields & fences & trees, tilted, tan & gray . Then it went away. Bigger than anything else the large bright clouds moved by rapidly every evening, rapt, on their way to some festivity. How dark it grew, no, but life was not deprived of all that sense f motion in which so much of it consists. (EAP 62) With a last line again sounding like Stevens, and yet the rest of the poem very much Bishop, â€Å"The walls†¦Ã¢â‚¬  concludes with walls between the poet's human nature and nature's indifferent â€Å"festivity. † The muted colors of traditional human habitation infiltrate her window, so Bishop will have to wait, as her wishful thinking indicates earlier in the poem, for a â€Å"future holding up those words / as something actually important / for everyone to see, like billboards† (61). My essay hoists up these formerly scrapped images of alien technology, held back in Bishop's time, â€Å"like billboards. Those diminutive â€Å"little fields & fences & trees, tilted, tan & gray† are found in an earli er poem, â€Å"A Warning for Salesmen,† written between 1935 and 1937. Earlier poems, especially from Bishop's years in Europe, lack wires as conduits of energy and transformation. â€Å"A Warning to Salesmen† offers a static portrait of marital doldrums; it speaks of a lost friend, dry landscape, and farmer at home †¦putting vegetables away in sand In his cellar, or talking to the back Of his wife as she leaned over the stove. The farmer's land Lay like a ship that has rounded the worldAnd rests in a sluggish river, the cables slack. (EAP 16) Alice Quinn found this poem in Bishop's notebook, written when she took a â€Å"trip to France with Hallie Tompkins in July 1935†³ (251). Even if it is a poem of loss, it also anticipates gain. The slack cables await tightening. The lack of desire in the poem begs for it; Quinn notes this through Bishop's scrawling revisions: Lines scribbled at the top of the page to the right of the title: â€Å"Let us in confused, b ut common, voice / Congratulate th'occasion, and rejoice, rejoice, rejoice / The thing love shies at / And the time when love shows confidence. To the right at the bottom of the draft, Bishop writes, â€Å"OK,† but the whole poem is crossed out. And below, on the left: â€Å"My Love / Wonderful is this machine / One gesture started it. † (251) This machine anticipates the mechanical sexual pleasures found in the Florida bars written into â€Å"Edgar Allan Poe ; the Juke-Box. † â€Å"A Warning to Salesman† shows she had long been waiting for Florida. Before she slots nickels into the Floridian Juke-Box, Bishop's trip to France includes time spent residing by â€Å"Luxembourg Gardens† in fall 1935.This poem of garden civilization indicates Bishop's relationship with European traditional architecture; the poem begins: Doves on architecture, architecture Color of doves, and doves in air— The towers are so much the color of air, They could be any where. (EAP 27) While the deadpan-glorious tone might resemble Stevens, we might also think of Bishop's â€Å"The Monument,† which was written earlier and first published in 1940; it also ambiguously provokes present explorations of art, thought and place, rather than fixing memories of the past.Barbara Page's essay, â€Å"Off-Beat Claves, Oblique Realities: The Key West Notebooks of Elizabeth Bishop,† clearly demonstrates that Bishop's â€Å"The Monument† is a response to Stevens' statues in Owl's Clover, one of which was located in Luxembourg Gardens, as Michael North demonstrated in The Final Sculpture: Public Monuments and Modern Poetry. Similar to Stevens' rhetorical parody of monuments, in Bishop's â€Å"Luxembourg Gardens,† â€Å"histories, cities, politics, and people / Are made presentable / For the children playing below the Pantheon† (27) and on goes a list of history's prim pomp.Then a puff of wind sprays the fountain's water, mocking à ¢â‚¬Å"the Pantheon,† the jet of water first drooping, then scattering itself like William Carlos Williams' phallic fountain in â€Å"Spouts. † Finally, the poem ends with a balloon flitting away, as children watching it exclaim, â€Å"It will get to the moon. † By employing the fluid play of kids, wind, water and dispersal, Bishop builds a conglomerate antithesis to traditional Parisian monumentality.With even more Stevensian flux than â€Å"The Monument,† this poem situates Bishop's critique of monuments in Europe, unlike the well-known â€Å"Monument† poem, which could be anywhere, and thus speaks of a more liberating and expansive American perspective, drifting from European classical culture possibly all the way to Asia Minor or Mongolia. Also from her 1935 notebook is â€Å"Three Poems,† which works well to explain Bishop's transition from studying the architecture of Europe to recognizing its sterile limitations and then finding her own perspective.Section III develops an emotional movement away from stultifying monumentality: The mind goes on to say: â€Å"Fortunate affection Still young enough to raise a monument To the first look lost beyond the eyelashes. † But the heart sees fields cluttered with statues And does not want to look. (EAP 19) In the final stanza a future is foretold by the promise of a fortunate traveler: Younger than the mind and less intelligent, He refuses all food, all communications; Only at night, in dreams seeking his fortune, Sees travel, and turns up strange face-cards. EAP 19) Starving (a word Susan Howe uses to describe American women poets before Dickinson), this speaker is impoverished by statues and has, as the lone alternative, future fortune in surreal night visions of travel. Bishop's travels will fill her gypsy-heart's desire as it expands its vocabulary in the roaming poetic technologies found in Florida and Brazil, but Paris itself does not illuminate love. In the Pari s of â€Å"Three Poems,† â€Å"The heart sits in his echoing house / And would not speak at all† (19).This inarticulate â€Å"prison-house† enables us to see why Bishop needed to travel in search of home as an idea, but not a physical settlement, as her use of Pascal illustrates in â€Å"Questions of Travel. † Her jaunt to Brazil inadvertently became an eighteen-year residence with Lota de Macedo Soares, but their home was not fully expressed in the volume, Questions of Travel. Florida was the source of sexual-poetic experimentation; Bishop's work from there proliferates with freedom not yet found in Europe, and not written into the published poems from Brazil.The reticent Bishop did not want to be known as a lesbian poet; it would limit her reputation and her private life in the public sphere, and she likely feared that sexual expression would not be accepted in print. A poem from Questions of Travel, â€Å"Electrical Storm† (1960), strikingly ind icates excitement with Lota in Brazil. Just as striking, though, is the repressive prison-house in this poetry. It reveals as much repression as it does desire: Dawn an unsympathetic yellow. Cra-ack! – dry and light. The house was really struck. Crack! A tinny sound, like a dropped tumbler. . . . hen hail, the biggest size of artificial pearls. Dead-white, wax-white, cold – diplomats' wives favors from an old moon party – they lay in melting windrows on the red ground until well after sunrise. We got up to find the wiring fused, no lights, a smell of saltpetre, and the telephone dead. The cat stayed in the warm sheets. The Lent trees had shed all their petals: wet, stuck, purple, among the dead-eye pearls. (PPL 81) While the electrical storm is substantial, the poem narrates it after the fact, and the storm cuts off communication with a dead telephone and â€Å"wiring fused. So the electricity certainly was there, but the lightning is pejoratively â€Å"like a dropped tumbler. † And the only animal in bed is Tobias the cat, â€Å"Personal and spiteful as a neighbor's child. † Personal electricity is not expressed, certainly not through Lent; it is spited in the society of neighbors and â€Å"diplomats' wives,† whose nature is described as â€Å"dead-white,† their hail like â€Å"artificial pearls. † Unlike the earlier poem of desire, â€Å"The walls went on for years . . . ,† in which balconies are transformed by vines into wired energy, â€Å"Electrical Storm† displays the reverse action.Nature is hardened into artifice. Social civilization, like Bishop's monuments, is a restrictive agent, part of the past in conflict with the newfound energy of Bishop's tropical present. In Brazil, the poet constantly observes the natural world as vulnerable to civilization. Sometimes Bishop presents an alternative harmony, as in â€Å"Song for the Rainy Season,† which moistly answers to the repres sive short-circuiting of â€Å"The Electrical Storm† by opening the door of an â€Å"open house† to the mist infiltrating the house and causing â€Å"mildew's / ignorant map† on a wall.This poem's erotica is played out as the house receives nature's water. The house, with its opening to the outer environment, suggests Lota de Macedo Soares' property, Samambaia (a giant Brazilian fern), in the mountains above Petr? polis where Soares built Bishop a studio (PPL 911). The progressive architecture of their house lends itself to the way in which Bishop's poem has the outer environment flow indoors. More often, however, Questions of Travel traces aggressive conquests, as Bishop works through history's impact on the country. Natural power has been contained – harnessed, mined and packaged throughout history.Take â€Å"Brazil, January 1, 1502,† for example, and note how Bishop's natural images dialectically break down, then reach forward technologically. T he branches of palm are broken pale-green wheels; symbolic birds keep quiet; the lizards are dragon-like and sinful; the lichens are moonbursts; moss is hell-green; the vines are described as attacking, as â€Å"scaling-ladder vines,† and as â€Å"‘one leaf yes and one leaf no' (in Portuguese)†; and while the â€Å"lizards scarcely breathe,† the â€Å"smaller, female† lizard's tail is â€Å"red as a red-hot wire. † That beacon beckons from the poem's forms of colonial imprisonment. Breathlessness will find breath in EAP. * * William Benton's words from Exchanging Hats: Elizabeth Bishop Paintings accurately convey the benefit of studying two of Bishop's art forms to gain greater compositional insight into her â€Å"One Art. † In his introduction, he writes that, â€Å"If Elizabeth Bishop wrote like a painter, she painted like a writer† (xviii). Wires, cables and electrical technology are strewn abundantly through the paintings. O bserved in sequence, Bishop's black lines powerfully extend this emergent narrative of Bishop as an electric writer. The paintings Olivia, Harris School, County Courthouse, Tombstones for Sale, Graveyard with Fenced Graves, Interior withExtension Cord, Cabin with Porthole, and E. Bishop's Patented Slot-Machine are marked with black lines that technically disturb nature. The bold presence of Bishop's lines factor in virtually every painting to infringe upon nature (with the exception of the explicitly pretty watercolor odes to nature, such as the arrangement on the cover of One Art). When we align the Florida paintings with Bone Key and other published poems from Florida, we can chart the artist's development in accord with the technological presence of wires.As with the early poems in EAP, her oft-undated Florida paintings, circa 1937-39 when Bishop had returned from Europe, depict square architecture set off by wires askew. In Olivia, a painting of a weathered wood house on Olivia Street in Key West, the modest brown house is fronted by two contrasting white porch-pillars, and to the left â€Å"like a cosmic aspect, the telephone lines form a tilted steeple† (Benton 18) connected to the proximate telephone pole. The painting comes across as a satiric â€Å"Monument. † Likewise, the next painting, Harris School (21), is topped with battlements contrasted by wispy kites flying freely in the orange sunlight.Bishop's painterly contrasts invoke satire, rather like the parody of old Parisian architecture in â€Å"Luxembourg Gardens. † County Courthouse (23) is extremely dramatic – a transitional painting in the evolution of Bishop's transgressive art. Benton describes it well: â€Å"A view composed of what obstructs it. The central triangle [courthouse structure] that leads the eye into the painting is at once overwhelmed by foliage. Downed power lines contribute to the sense of disorder. The scene is the exact opposite of what a Sunday watercolorist might select. It is, in fact, a picture whose wit transforms it from a â€Å"scene† into an image of impasse†(22).The palms in the foreground overpower the courthouse of similar size in the center. Nature's supremacy over the architecture of man-made legal institution is accentuated by downed power lines, symbolizing, as often for Bishop, that our efforts to transmit information over and above nature depend on the co-operation of nature, the winds of which can knock down our voices. Tombstones for Sale, which is the cover of The Collected Prose, and Graveyard with Fenced Graves (31, 33) are filled with iron bars in harsh but beautiful contrast with flowering trees. Recall the iron-work balconies ‘growing'† up buildings in â€Å"The walls went on for years and years †¦. † These wonky walls are evident in Interior with Extension Cord, a painting of undetermined year with â€Å"the dramatic focus on the extension cord crossing the pl anes of the white room† (42). In here, the barren walls out-space the open door with view of the garden. The painting yearns for nature to be let in the door. Cabin with Porthole, the next painting (45), provides compositional relief. Bare but cheerful yellow walls surround the open porthole with blue ocean view; the painter's travel bags are casually set in order beside a neat flowerpot on the table.Travel looks homey here, made additionally comfortable by the fan plugged into the wall with electrical cord in the top-right corner. The next undated painting, Gray Church (47), is set by Benton in contrast to the lightness of Cabin with Porthole. The editor's placement of Gray Church, the painting's mood nearly as dark as van Gogh's The Prison Courtyard, suggests that Benton, like Quinn in EAP, ordered a dramatic narrative sequence so observers could follow an interpretive trail of artistic development. Although E.Bishop's Patented Slot-Machine (77)appears later in the book's se quence, perhaps because it is more of a sketch than a painting, it would have likely been created near the time she wrote â€Å"The Soldier and the Slot-Machine† in Florida, as Quinn documents it with a rejection letter from The New Yorker, October 28, 1942 (EAP 279). These amateur works of art evince the crucial importance of publishing flawed poems, scrawl, sketches and paintings that are incredibly useful tools to instruct us about their masters; in this case we see projection of the artist's techno-dreams. Of E.Bishop's Patented Slot-Machine, Benton writes, â€Å"The rainbow arc at the top of the picture – resembling the handle of a suitcase – bears the legend â€Å"The ‘DREAM'† (76). This dream, rainbow-shaped, carries technology in the form of the slot-machine. Whether or not observers want to view the rainbow dream as lesbian codification, as some students of â€Å"The Fish† do with that poem's victorious rainbow of otherness, the und eniable fact is that Bishop has painted â€Å"The ‘DREAM'† onto the handle of her slot-machine. This slot-machine is dependent upon currency for the dream of a fortunate future.Although an amateur painting, it is far more developed in terms of the progress of artistic, hopeful vision than earlier works, such as 1935's â€Å"Three Poems,† in which Bishop is desperately scanning seas from France, and the fortune teller turns up strange face cards as the only potential currency, so the poet dreams of travel. The 1942 sketch and poem, â€Å"The Soldier and the Slot-Machine† (EAP 56-57), not to be confused with the painting just discussed, appears like an adult-version Dr. Seuss parody of E. Bishop's Patented Slot-Machine complete with fearful alien beast atop machine in the sketch.In the poem, Bishop uses the soldier persona to depersonalize her dream, destroyed by a third-person other. Still, the persona employs first person: â€Å"I will not play the slot-m achine† bookends the poem as a mantra of abstinence from the drunken slot-machine. Nevertheless, it consumes coins until they melt surreally into â€Å"a pool beneath the floor . . . / It should be flung into the sea. / / Its pleasures I cannot afford† (EAP 58). This denial and apparent dismissal through the otherness of the soldier stays with Bishop, who cannot trash her desires in the sea; they pulled on her for years even if their expression remained unpublished.After The New Yorker's Charles Pearce rejected â€Å"The Soldier and the Slot-Machine,† Bishop recalled this event twenty-two years later in a letter to Robert Lowell: â€Å"Once I wrote an ironic poem about a drunken sailor and a slot-machine – not a success – and the sailor said he was going to throw the machine into the sea, etc. , and M[oore] congratulated me on being so morally courageous and outspoken† (EAP 279). Moore in 1964 was at that time congratulating Bishop on a moral lesson to be learned about Brazilian crime and punishment in â€Å"The Burglar of Babylon. However, the point that Bishop makes with quiet sarcasm in her letter to Lowell is that Moore missed the irony so crucial to understanding â€Å"The Soldier and the Slot-Machine. † Moore reads moral courage in Bishop's condemnations; actually, Bishop's morally courageous core, the one of social conformity that Moore applauds, melts in the machine. The soldier's denial to play it is weaker than the power of the machine itself, which melts and breaks into subterranean pieces – unacceptable mercurial junk that will be â€Å"taken away,† a disposal of natural, illicit desire.Travel in Florida and Brazil offers many cabins with portholes for Bishop to view the sea far away from stultifying northwestern culture. Sometimes Bishop allows the establishment to triumph, as in the balanced yellow painting of The Armory, Key West. Even here, though, wires dangle from the flagpole to create slight asymmetry. Merida from the Roof (27), the well-known cover of The Complete Poems, while a bit chaotic with copious windmills outnumbering church steeples, nevertheless illustrates an intoxicating tropical harmony. The dominant palm, telephone wires, city streets and buildings hang together nicely from the painter's balcony view.This Mexican painting from 1942 anticipates work Bishop would do in Brazil over the next two decades, such as â€Å"The Burglar of Babylon,† which ends with the poet looking down on Rio's crime-ridden poverty with binoculars. * * * When we contrast The Complete Poems with Edgar Allan Poe ; The Juke-Box, we can see just how much further Bishop's unpublished poems went in configuring her relation with the world through nature and technology's extensions of it; natural growth is given additional electrical currency to express sexual awakening, and I argue, a potentially full realization of her poetic power.Lorrie Goldensohn in The Biography of a Poetry discusses her discovery of â€Å"It is marvellous to wake up together† in a box from Linda Nemer in Brazil. This discovery and â€Å"Edgar Allan Poe & the Juke-Box† best exemplify Bishop's rewired sexuality. Quinn cannot be certain which of these poems was written first. In terms of the arc of the poetics I'm tracing here, it makes sense for â€Å"Poe's Box† to come first because it works to loosen up the sexual expression of â€Å"It is marvellous †¦. However, Quinn notes work on â€Å"Edgar Allan Poe ; The Juke-Box† as late as 1953, and narrates its intended place as the closing poem of A Cold Spring, which Bishop considered calling Bone Key. It may have been written as early as 1938 when Bishop wrote to â€Å"classmate Frani Blough from Key West about her immersion in Poe† (EAP 271). Lloyd Schwartz and Robert Giroux date it in the late thirties to early forties period. As A Cold Spring stands, it concludes with the rapture of à ¢â‚¬Å"The Shampoo† – a thinly veiled poem of lesbian eroticism in nature's guise. And yet when I teach this poem to students, I often have to explain the â€Å"concentric shocks. â€Å"The Shampoo† is a wonderful climax, but it abruptly follows â€Å"Invitation to Miss Marianne Moore. † This sequence repeats the juxtaposition evident in Bishop's letters between her lush tropical experience and her polite correspondence with Moore. Now we can envision an enlarged not so cold spring in the key of human bone warming up with â€Å"Edgar Allan Poe & the Juke-Box. † This poem is filled by emanations of light and sound from the Juke-Box. Starlight and La Conga are the Floridian dance-halls described as â€Å"cavities in our waning moon, / strung with bottles and blue lights / and silvered coconuts and conches† (49).This erotic-tropical electric fulfillment sounds more like Walcott than Bishop. The poem has â€Å"nickels fall into the slots,† drinks drop down throats, hands grope under tablecloths while â€Å"The burning box can keep the measure †¦. † Perhaps to ruin the party, Edgar Allan enters the last stanza in which Bishop writes, â€Å"Poe said that poetry was exact. † This poem, though, is a corrective to Poe's poetics, for Bishop knows for herself and Poe in the drinking establishment of poetry that â€Å"pleasures are mechanical / and know beforehand what they want / and know exactly what they want. Bishop focuses on â€Å"The Motive for Metaphor,† like Stevens, or like Baudelaire whom she was also reading at the time, knowing and tracing her desire for expression as expression. Conversely, Poe in the 19th-century tried to unite his metrical poetic exactitude with ideals of beauty while explaining his technique in â€Å"The Philosophy of Composition. † While the mechanics of meter involve precise measures, Bishop suggests that seeking pleasures is comprised of a more powerful m echanics. â€Å"Lately I've been doing nothing much but reread Poe, and evolve from Poe . . a new Theory-of-the-Story-All-My-Own. It's the ‘proliferal' style, I believe, and you will see some of the results †¦ [a reference to her prize-winning Partisan Review story ‘In Prison']† (OA, 71; EAP 271). Bishop's use of Poe illustrates her gripe with tradition as a source of monumental fixture, thus limited understanding, which has taught her well but prevents the poet from dancing at La Conga and telling that Floridian tale in A Cold Spring. Bishop wanted this poem near the end of A Cold Spring but didn't quite get it done.The final lines of the poem deal a further blow to Poe, and by extension to Bishop herself, when she asks, â€Å"how long does your music burn? / like poetry or all your horror / half as exact as horror here? † (50). Poe's horror stories (see Bishop's notes on â€Å"The Tell-Tale Heart† on the upper-right corner of the draft of this poem), and I would suggest her writing in The Complete Poems (as wonderful as it is), articulate a fictional horror that only comes half-way to expressing the full pleasure of horrific catharsis available in the experience and writing of Florida honky-tonks.Who would have thought Elizabeth Bishop a â€Å"Honky-Tonk Woman†? Bethany Hicok traces Bishop's florid night-life in her 2008 book, Degrees of Freedom: American Women Poets and the Women's College, 1905-1955, and thanks to Quinn we have the poetic evidence in print. â€Å"It is marvellous to wake up together† is a full and complete rendering of Bishop's eroticism. We might give Bishop latitude for not publishing this one in the Second World War period; Quinn estimates the date between 1941-6 when Bishop lived with Marjorie Stevens in Key West (267).Perhaps in the twenty-first century readers are comfortably relieved to hear Bishop express her lesbian sexuality, but in her time she did not want to be publicly scrut inized as a lesbian poet. In some respects, â€Å"It is marvellous to wake up together† is like â€Å"Electrical Storm,† since the poem speaks of sex after it has happened. Here, though, the stormy clearing is less anxious and repressive. Instead of diplomats' wives and spiteful neighbors' children, Bishop feels â€Å"the air suddenly clear / As if electricity had passed through it / From a black mesh of wires in the sky. All over the roof the rain hisses, / And below, the light falling of kisses† (EAP 44). Technology is god-like, hovering over their chosen house, and yet it is not alien, for the lightning storm's electrical current of rain follows in hisses rhymed with kisses. Bishop is fully in the arena now – with the powers above electrically charging the nature that conducts itself harmoniously in the bedroom. In the second stanza electricity frames the house so readers can imagine it being sketched artistically.Remnants of past prison-houses exist, and yet the past constraints of an inarticulate heart are transformed in this reality where â€Å"we imagine dreamily / Now the whole house caught in a bird-cage of lightning / Would be delightful rather than frightening;† the pleasure of this reality is also a dream, and it remains a dream in the last stanza. My point is not simply that dreams can come true, but that this true dream is limited to this house's electrical currents. The speaker is â€Å"lying flat on [her] back,† which is an interesting line because it suggests sex, and yet it is from this position, this â€Å"same implified point of view† that the speaker emphasizes inquiry: â€Å"All things might change equally easily, / Since always to warn us there might be these black / Electrical wires dangling. Without surprise / The world might change to something quite different †¦. † What sort of change is envisioned? The poem vaguely considers open futures; â€Å"something quite differentâ €  could be horrific or promising. Whatever change may come, these wires hang over the house, through Bishop's poem and art as charged presences connected to future advancement. â€Å"Dear Dr. -† was written in 1946, around the same time Bishop might have finished â€Å"It is marvellous to wake up together. † It continues to wire her present into the future: Yes, dreams come in colors and memories come in colors but those in dreams are more remarkable. Particular & bright(at night) like that intelligent green light in the harbor which must belong to some society of its own, & watches this one now unenviously. (EAP 77) These seven lines pull together a lot. Bishop's dreams – in Paris were quite alienated from her art-culture milieu; in Florida dreams are amplified by Juke-Boxes, liquor and dancing.There she finds physical lushness to match the dream currents that will sizzle in Brazilian experience. And yet in â€Å"Dear Dr. —† near the end of he r relationship with Marjorie Stevens, Bishop is writing from Nova Scotia to her very helpful psychiatrist, Ruth Foster (286), expressing this foreign glow as an alien perspective: â€Å"that intelligent green light in the harbor / which must belong to some society of its own,† suggesting some alien technological prophesy, which â€Å"watches this one now unenviously† (77).Goldensohn writes of electrical impasse in The Biography of a Poetry: â€Å"But still the wires connect to dreams, to nerve circuits that carry out our dreams of rescue and connection, or that fail to: in â€Å"The Farmer's Children,† a story written in 1948 shortly before Bishop went to Brazil, the wires also appear, telephone wires humming with subanimal noise eerily irrelevant to the damned and helpless children of the story† (33). This story, written late in the Florida years, is further evidence of Bishop's â€Å"proliferal† style, the multi-generic â€Å"One Art† deve loped in response to family, Northern traditions, Poe, and Europe.Bishop's evolving art comprised of poetry, fiction, letters and painting demonstrates psycho-sexual evolution found in Southern tropical harbors, far from the Northern remoteness of her mother's Nova Scotia. These poems from Edgar Allan Poe & The Juke-Box register extensively the alien vision so far ahead of what was admitted in Bishop's present. By contrasting the reserved perfections from The Complete Poems, such as â€Å"Electrical Storm,† and the limits of history as in â€Å"Brazil, January 1, 1502,† we can see what is held back there, waiting for the more fully expressed imperfect transgressions of Edgar Allan Poe ; The Juke-Box.The Complete Poems provide intricately innovative poems that point out limited perspectives while expanding ethical imaginations of the future, whereas Quinn's book enables readers to thoroughly explore the dream workings of a poet bursting from the libidinal confines of he r time, swinging by green vines through wires of sound and light to transmit electricity for an erotically ample future. Bishop's anxiety and longing for a more tolerant future society, as expressed in â€Å"Dear Dr. —,† can also be traced back to her thwarted effort at publishing â€Å"Pleasure Seas. This powerful erotic poem sits chronologically in the middle of her poetic development away from Europe (signaled by â€Å"Luxembourg Gardens† and â€Å"Three Poems† circa 1935), and stimulated by Florida in the late 1930s. â€Å"Pleasure Seas† illustrates the new powerful range of Bishop to be discovered when reading EAP and the Library of American edition next to The Complete Poems. As an â€Å"Uncollected Poem† in The Complete Poems, â€Å"Pleasure Seas† would perhaps sit more easily in the Poe . . . Box. The aberration of â€Å"Pleasure Seas† in The Complete Poems may explain why only a handful of critics have discussed its s ignificance.Bonnie Costello, Barbara Comins, Marilyn May Lombardi, and Jeredith Merrin have published helpful interpretations of â€Å"Pleasure Seas. † Each critic picks up on the poem as an indication of developments that Bishop makes, or does not quite make, in other published poems. Bonnie Costello, for example, writes in Questions of Mastery: â€Å"’Seascape’ and ‘Pleasure Seas’†¦anticipate the perspectival shifts in ‘Twelfth Morning; or What You Will,’ ‘Filling Station,’ and ‘Invitation to Miss Marianne Moore,’ in all of which the poet's pessimism is countered.In these later poems she achieves a vision at once immediate, even intimate, and yet directed at the world and questioning a single perspective of selfhood† (15-16). Costello also makes an important observation in a footnote: â€Å"‘Song' may be a rewriting of ‘Pleasure Seas'† (249, n. 16). However, according to Schwart z and Giroux, â€Å"Song† was written in 1937, two years before â€Å"Pleasure Seas,† which then reads as an amplified fulfillment of the sad song from two years earlier. The latter ocean poem swells with pleasure in face of forces that threaten that very pleasure.Now that we can read â€Å"Pleasure Seas† in the larger context of Bishop's struggle to write sexual poetics, the poem makes more sense and gathers like-minded poems into its vortex of desire. â€Å"Pleasure Seas† is a study of water — contained, distorted and freed. It begins with still water â€Å"in a walled off swimming-pool† (195) – another wall like the ones that go on â€Å"for years and years† in the poem from 1943. This man-made pool contains â€Å"pink Seurat bathers,† like the publicly acceptable automatons in his famous paintings, Bathers and La Grande Jatte.This viewer, though, is a surrealist who observes this scene through â€Å"a pane of bluish glass. † Seurat's bathers have â€Å"beds of bathing caps,† again resembling and anticipating the beds inside and outside the balconied rooms of â€Å"The walls go on for years and years †¦. † Are these bathers' heads in or out of it? Contained within a pool, they are willing prisoners of public space in chemically-treated water. At the close of the poem, they are â€Å"Happy . . . likely or not–† in their floral â€Å"white, lavender, and blue† caps, which are susceptible to greater weather forcing the water â€Å"opaque, / Pistachio green and Mermaid Milk. The floral garden colors of their caps contrast with disarming shades. That awfully bright green is â€Å"like that intelligent green light in the harbor† of â€Å"Dear Dr. ,† belonging to the alien society unenvious of the contemporaneous one. Jeredith Merrin, in â€Å"Gaiety, Gayness and Change,† asks how â€Å"Pleasure Seas† moves â€Å"from entrapme nt to freedom, from (to borrow from Bishop's own phrasing from other poems) Despair to Espoir, from the ‘awful' to the ‘cheerful'†? (Merrin in Lombardi 154).The next sentence of â€Å"Pleasure Seas† envisions free ocean water â€Å"out among the keys† of Florida mingling, interestingly, with multi-chromatic â€Å"soap bubbles, poisonous and fabulous,† suggesting both â€Å"The Shampoo† to come, and the poisonous rainbow of oil in â€Å"The Fish† – another natural being that should exist freely in nature, which is caught in a rented boat. Even â€Å"the keys float lightly like rolls of green dust† connotes geological formations that are susceptible to erosion. Everything green and natural is made alien. The threat is intensified by an airplane; a form of human technological height that flattens the water to a â€Å"heavy sheet. The sky view is dangerous in Bishop's poems; consider â€Å"12 O'Clock News† in whi ch the view from the media plane ethnocentrically objectifies the dying indigenes below. In â€Å"Pleasure Seas† the poet says the plane's â€Å"wide shadow pulses† above the surface, and down to the yellow and purple submerged marine life. The water's surface even becomes â€Å"a burning-glass† for the sun – the supreme force of nature is harnessed as destructive technology, as with the high airplane, which, as Barbara Comins notes in â€Å"That Queer Sea,† is â€Å"casting a ‘wide shadow' upon the water . . . uggesting some inherent anguish in going one's ‘own way'† (191). Comins and Merrin see Bishop here pushing the poetic limits of her sexual expression. Even though the sun turns the water into â€Å"a burning glass,† the sun naturally cools â€Å"as the afternoon wears on. † Nature and technology dance in a somewhat vexed but â€Å"dazzling dialectic† here. Brightest of all in this poem is the â€Å"vi olently red bell-buoy / Whose neon-color vibrates over it, whose bells vibrate // To shock after shock of electricity. † Neon is the most alien of lights. As with the Juke-Box charging its place, this buoy electrifies its environment.Its otherly transgression â€Å"rhythmically† shocks pulses through the sea. â€Å"The sea is delight. The sea means room. / It is a dance floor, a well ventilated ballroom. † These lines from â€Å"Pleasure Seas† contain the charge picked up in â€Å"the dance-halls† of â€Å"Edgar Allan Poe & the Juke-Box. † That poem has seedy, drunken desire releasing the inner alien; in â€Å"Pleasure Seas† it is potentially trans-gendered here in the homonym of the â€Å"red bell-buoy,† the color of passion also found in â€Å"the red-hot wire† of the lizard tail in â€Å"Brazil, January 1, 1502. † That lizard is notably female. Both poems vibrate outward into larger spaces.From paradisal waters, the poem retreats to the â€Å"tinsel surface† of swimming pool or ship deck where â€Å"Grief floats off / Spreading out thin like oil. † Natural poison spills, damages, and disperses. â€Å"And love / Sets out determinedly in a straight line†¦But shatters† and refracts â€Å"in shoals of distraction† (196). These shoals receding around the keys anticipate the homosexual vertigo of Crusoe's surreal islands in the late great semi-autobiographical poems of Geography III, the 1976 volume beginning with young Elizabeth Bishop's formative experience of inversion â€Å"In the Waiting Room† – â€Å"falling off / the round, turning world† (160). Pleasure Seas† ends with water crashing into the coral reef shelf – at the surface of nature, half in, half out – â€Å"An acre of cold white spray is there / Dancing happily by itself. † Out there in the sea, as land gives way to coral reef, the poet creates a  "well ventilated ballroom† to be free and ecstatic. Unlike the public spaces of the Florida honky-tonks, these pleasure seas are solitary. They are, however, natural – and thus contrast the ironic happiness of â€Å"the people in the swimming-pool and on the yacht, / Happy the man in that airplane, likely as not–† (196). This pleasure of 1939 holds the promise of liberation, momentarily.While explorations in the late thirties lead to joyful poems such as â€Å"It is marvellous to wake up together,† and the thirsty â€Å"Edgar Allan Poe & the Juke-Box,† another Florida poem bids farewell, circa 1946. â€Å"In the golden early morning †¦Ã¢â‚¬  contains many of the Floridian tropes merging nature with technology. About a trip to the airport, it indicates a break up with Marjorie Stevens (â€Å"M† in the poem). As the speaker is being driven to the airport in the early morning, she reads the newspaper stories of human horror: I kept wondering why we expose ourselves to these farewells ; dangers—Finally you got there ; we started. It was very cold ; so much dew! Every leaf was wet ; glistened. The Navy buildings ; wires ; towers, etc. looked almost like glass ; so frail ; harmless. The water on either side was perfectly flat like mirrors—or rather breathed-on mirrors. (EAP 80) The water as foggy mirror is an example of how technology (a mirror in this case) extends nature to reflect for Bishop an extension of herself that can't quite exist freely on its own, or in the social world. More dramatically, an airplane descends this early morning: â€Å"Then we heard the plane or felt it . . .† She feels the sublime vehicle â€Å"as if it were made out of / the dew coming together, very shiny. † The plane is similar to the aircraft's technological transgression in â€Å"Pleasure Seas,† but â€Å"In the golden early morning . . . ,† it is also like a product of nature made from the dew. This simile resembles the fusion of technology and nature in â€Å"Pleasure Seas† where the red bell-buoy charges the sea, or in â€Å"The walls . . . † where the â€Å"wires were like vines. † These images express Bishop's longing to extend but not quite transcend the provocative desires of the physical world.Her projections are made possible by poetic language's explicit tropic function: it is a technological extension of reality. Bishop's technologies blatantly transgress nature by pointing to her exclusion from it when it participates in traditional symbolic order. She comments, as the flight crew in the poem gets out of the plane, â€Å"I said to you that it was like the procession / at the beginning of a bullfight . . . † (EAP 81). Somebody's going to die. From the outside looking in, Bishop is neither inside the plane, or remaining part of the natural morning. Always liminal, always on the move, she and her poetry are the

C# Step by Step Codes

SREEKANTH C# STEP BY STEP Microsoft Visual Studio C#. NET Step By Step 1 SREEKANTH C# STEP BY STEP Introduction Microsoft Visual C# is a powerful but simple language aimed primarily at developers creating applications by using the Microsoft . NET Framework. It inherits many of the best features of C++ and Microsoft Visual Basic, but few of the inconsistencies and anachronisms, resulting in a cleaner and more logical language. The advent of C# 2. 0 has seen several important new features added to the language, including Generics, Iterators, and anonymous methods.The development environment provided by Microsoft Visual Studio 2005 makes these powerful features easy to use, and the many new wizards and enhancements included in Visual Studio 2005 can greatly improve your productivity as a developer. The aim of this book is to teach you the fundamentals of programming with C# by using Visual Studio 2005 and the . NET Framework. You will learn the features of the C# language, and then use them to build applications running on the Microsoft Windows operating system.By the time you complete this book, you will have a thorough understanding of C# and will have used it to build Windows Forms applications, access Microsoft SQL Server databases, develop ASP. NET Web applications, and build and consume a Web service. Part I Introducing Microsoft Visual C# and Microsoft Visual Studio 2005 Chapter 1 Welcome to C# After completing this chapter, you will be able to: †¢ †¢ †¢ †¢ Use the Visual Studio 2005 programming environment. Create a C# console application. Use namespaces. Create a C# Windows Forms application. Microsoft Visual C# is Microsoft's powerful, component-oriented language.C# plays an important role in the architecture of the Microsoft . NET Framework, and some people have drawn comparisons to the role that C played in the development of UNIX. If you already know a language such as C, C++, or Java, you'll find the syntax of C# reassuringly fami liar because it uses the same curly brackets to delimit blocks of code. However, if you are used to programming in other languages, you should soon be able to pick up the syntax and feel of C#; you just need to learn to put the curly brackets and semi-colons in the right place. Hopefully this is just the book to help you!In Part I, you'll learn the fundamentals of C#. You'll discover how to declare variables and how to use operators such as plus (+) and minus (-) to create values. You'll see how to write methods and pass arguments to methods. You'll also learn how to use selection statements such as if and iteration statements such as while. Finally, you'll understand how C# uses exceptions to handle errors in a graceful, easy-to-use manner. These topics form the core of C#, and from this solid foundation, you'll progress to more advanced features in Part II through Part VI. 2 SREEKANTH C# STEP BY STEPBeginning Programming with the Visual Studio 2005 Environment Visual Studio 2005 i s a tool-rich programming environment containing all the functionality you'll need to create large or small C# projects. You can even create projects that seamlessly combine modules from different languages. In the first exercise, you'll start the Visual Studio 2005 programming environment and learn how to create a console application. Create a console application in Visual Studio 2005 1. In Microsoft Windows, click the Start button, point to All Programs, and then point to Microsoft Visual Studio 2005. 2.Click the Microsoft Visual Studio 2005 icon. Visual Studio 2005 starts. NOTE If this is the first time that you have run Visual Studio 2005, you might see a dialog box prompting you to choose your default development environment settings. Visual Studio 2005 can tailor itself according your preferred development language. The various dialog boxes and tools in the integrated development environment (IDE) will have their default selections set for the language you 3 SREEKANTH C# STEP BY STEP choose. Select Visual C# Development Settings from the list, and then click the Start Visual Studio button.After a short delay, the Visual Studio 2005 IDE appears. 3. On the File menu, point to New, and then click Project. The New Project dialog box opens. This dialog box allows you to create a new project using various templates, such as Windows Application, Class Library, and Console Application, that specify the type of application you want to create. NOTE The actual templates available depend on the version of Visual Studio 2005 you are using. It is also possible to define new project templates, but that is beyond the scope of this book. 4.In the Templates pane, click the Console Application icon. 5. In the Location field, type C:Documents and SettingsYourNameMy DocumentsMicrosoft PressVisual CSharp Step by StepChapter 1. Replace the text YourName in this path with your Windows user name. To save a bit of space throughout the rest of this book, we will simply refer to th e path â€Å"C:Documents and SettingsYourNameMy Documents† as your â€Å"My Documents† folder. 4 SREEKANTH C# STEP BY STEP NOTE If the folder you specify does not exist, Visual Studio 2005 creates it for you. 6. In the Name field, type TextHello. . Ensure that the Create Directory for Solution check box is checked and then click OK. The new project opens. The menu bar at the top of the screen provides access to the features you'll use in the programming environment. You can use the keyboard or the mouse to access the menus and commands exactly as you can in all Windows-based programs. The toolbar is located beneath the menu bar and provides button shortcuts to run the most frequently used commands. The Code and Text Editor window occupying the main part of the IDE displays the contents of source files.In a multi-file project, each source file has its own tab labeled with the name of the source file. You can click the tab once to bring the named source file to the foreg round in the Code and Text Editor window. The Solution Explorer displays the names of the files associated with the project, among other items. You can also double-click a file name in the Solution Explorer to bring that source file to the foreground in the Code and Text Editor window. 5 SREEKANTH C# STEP BY STEP Before writing the code, examine the files listed in the Solution Explorer, which Visual Studio 2005 has created as part of your project: Solution ‘TextHello' This is the top-level solution file, of which there is one per application. If you use Windows Explorer to look at your My DocumentsVisual CSharp Step by StepChapter 1TextHello folder, you'll see that the actual name of this file is TextHello. sln. Each solution file contains references to one or more project files. †¢ TextHello This is the C# project file. Each project file references one or more files containing the source code and other items for the project. All the source code in a single project must be written in the same programming language.In Windows Explorer, this file is actually called TextHello. csproj, and it is stored in your My DocumentsVisual CSharp Step by StepChapter 1TextHelloTextHello folder. †¢ Properties This is a folder in the TextHello project. If you expand it, you will see that it contains a file called AssemblyInfo. cs. AssemblyInfo. cs is a special file that you can use to add attributes to a program, such as the name of the author, the date the program was written, and so on. There are additional attributes that you can use to modify the way in which the program will run.These attributes are outside the scope of this book. †¢ References This is a folder that contains references to compiled code that your application can use. When code is compiled, it is converted into an assembly and given a unique name. Developers use assemblies to package up useful bits of code that they have written for distribution to other developers that might want to use them in their applications. Many of the features that you will be using when writing applications using this book will make use of assemblies provided by Microsoft with Visual Studio 2005. †¢ Program. csThis is a C# source file, and is the one displayed in the Code and Text Editor window when the project is first created. You will write your code in this file. It contains some code that Visual Studio 2005 provides automatically, which you will examine shortly. Writing Your First Program The Program. cs file defines a class called Program that contains a method called Main. All methods must be defined inside a class. The Main method is special—it designates the program's entry point. It must be a static method. (Methods are discussed in 6 SREEKANTH C# STEP BY STEP Chapter 3, â€Å"Writing Methods and Applying Scope. Static methods are discussed in Chapter 7, â€Å"Creating and Managing Classes and Objects. † The Main method is discussed in Chapter 11, â€Å"Unde rstanding Parameter Arrays. †) IMPORTANT C# is a case-sensitive language. You must spell Main with a capital M. In the following exercises, you'll write the code to display the message Hello World in the console; you'll build and run your Hello World console application; you'll learn how namespaces are used to partition code elements. Write the code using IntelliSense technology 1. In the Code and Text Editor window displaying the Program. s file, place the cursor in the Main method after the opening brace, and type Console. As you type the letter C at the start of the word Console an IntelliSense list appears. This list contains all of the valid C# keywords and data types that are valid in this context. You can either continue typing, or scroll through the list and double-click the Console item with the mouse. Alternatively, after you have typed Con, the Intellisense list will automatically home in on the Console item and you can press the Tab, Enter, or Spacebar key to selec t it. Main should look like this: static void Main(string[] args) Console } NOTE Console is a built-in class that contains the methods for displaying messages on the screen and getting input from the keyboard. 2. Type a period immediately after Console. Another Intellisense list appears displaying the methods, properties, and fields of the Console class. 3. Scroll down through the list until WriteLine is selected, and then press Enter. Alternatively, you can continue typing until WriteLine is selected and then press Enter. The IntelliSense list closes, and the WriteLine method is added to the source file. Main should now look like this: static void Main(string[] args) Console. WriteLine } 4. Type an open parenthesis. Another IntelliSense tip appears. This tip displays the parameters of the WriteLine method. In fact, WriteLine is an overloaded method, meaning that Console contains more than one method named Write Line. Each version of the WriteLine method can be used to output differ ent 7 SREEKANTH C# STEP BY STEP types of data. (Overloaded methods are discussed in Chapter 3. ) Main should now look like this: static void Main(string[] args) { Console. WriteLine( } You can click the tip's up and down arrows to scroll through the overloaded versions of WriteLine. . Type a close parenthesis, followed by a semicolon. Main should now look like this: static void Main(string[] args) { Console. WriteLine(); } 6. Type the string â€Å"Hello World† between the left and right parentheses. Main should now look like this: static void Main(string[] args) { Console. WriteLine(â€Å"Hello World†); } TIP Get into the habit of typing matched character pairs, such as ( and ) and { and }, before filling in their contents. It's easy to forget the closing character if you wait until after you've entered the contents. 8 SREEKANTH C# STEP BY STEP NOTEYou will frequently see lines of code containing two forward slashes followed by ordinary text. These are comments. They a re ignored by the compiler, but are very useful for developers because they help document what a program is actually doing. For example: Console. ReadLine(); // Wait for the user to press the Enter key All text from the two slashes to the end of the line will be skipped by the compiler. You can also add multi-line comments starting with /*. The compiler will skip everything until it finds a */ sequence, which could be many lines lower down.You are actively encouraged to document your code with as many comments as necessary. Build and run the console application 1. On the Build menu, click Build Solution. This action causes the C# code to be compiled, resulting in a program that you can run. The Output windows appears below the Code and Text Editor window. a. TIP If the Output window does not appear, click the View menu, and then click Output to display it. b. In the Output window, messages similar to the following show how the program is being compiled and display the details of any errors that have 9 SREEKANTH C# STEP BY STEP occurred.In this case there should be no errors or warnings, and the program should build successfully: c. —— Build started: Project: TextHello, Configuration: Debug Any CPU —d. Csc. exe /config /nowarn:†1701;1702†³ /errorreport: prompt /warn:4 †¦ e. Compile complete –- 0 errors, 0 warnings f. TextHello -> C:Documents and SettingsJohnMy DocumentsMicrosoft Press†¦ g. ============ Build: 1 succeeded or up-to-date, 0 failed, 0 skipped ======== h. NOTE An asterisk after the file name in the tab above the Code and Text Editor window indicates that the file has been changed since it was last saved.There is no need to manually save the file before building because the Build Solution command automatically saves the file. 2. On the Debug menu, click Start Without Debugging. A Command window opens and the program runs. The message Hello World appears, and then the program waits for the user to press any key, as shown in the following graphic: 3. Ensure that the Command window displaying the program has the focus, and then press Enter. The Command window closes and you return to the Visual Studio 2005 programming environment. NOTE If you run the program using Start Debugging on the Debug menu, the pplication runs but the Command window closes immediately without waiting for you to press a key. 4. In the Solution Explorer, click the TextHello project (not the solution), and then click Show All Files button. Entries named bin and obj appear above the C# source filenames. These entries correspond directly to folders named bin and obj in the project folder (My DocumentsVisual CSharp Step by StepChapter 1TextHelloTextHello). These folders are created when you build your application, and they contain the executable version of the program and some other files. 10 SREEKANTHC# STEP BY STEP 5. 5. In the Solution Explorer, click the + to the left of the bin entry. Another folder named Deb ug appears. 6. 6. In the Solution Explorer, click the + to the left of the Debug entry. Three entries named TextHello. exe, TextHello. pdb, and TextHello. vshost. exe appear. The file TextHello. exe is the compiled program, and it is this file that runs when you click Start Without Debugging in the Debug menu. The other two files contain information that is used by Visual Studio 2005 if you run your program in Debug mode (when you click Start Debugging in the Debug menu).Command Line Compilation You can also compile your source files into an executable file manually by using the csc command-line C# compiler. You must first complete the following steps to set up your environment: 1. On the Windows Start menu, point to All Programs, point to Microsoft Visual Studio 2005, point to Visual Studio Tools, and click Visual Studio 2005 Command Prompt. A Command window opens, and the envionment variables PATH, LIB, and INCLUDE are configured to include the locations of the various . NET Frame work libraries and utilities. TIP You can also run the vcvarsall. at script, located in the C:Program FilesMicrosoft Visual Studio 8VC folder, if you want to configure the environment variables while running in an ordinary Command Prompt window. 2. In the Visual Studio 2005 Command Prompt window, type the following command to go to the My DocumentsMicrosoft PressVisual CSharp Step by StepChapter 1TextHelloTextHello project folder: 3. cd Documents and SettingsYourNameMy DocumentsMicrosoft PressVisual CSharp Step by StepChapter 1TextHelloTextHello 4. Type the following command: csc /out:TextHello. exe Program. cs 11 SREEKANTH C# STEP BY STEPThis command creates the executable file TextHello. exe from the C# source file. If you don't use the /out command-line option, the executable file takes its name from the source file and is called Program. exe. 5. Run the program by typing the following command: TextHello The program should run exactly as before, except that you will not see the à ¢â‚¬Å"Press any key to continue† prompt. Using Namespaces The example you have seen so far is a very small program. However, small programs can soon grow into bigger programs. As a program grows, it creates two problems. First, more code is harder to understand and maintain than less code.Second, more code usually means more names; more named data, more named methods, and more named classes. As the number of names increases so does the likelihood of the project build failing because two or more names clash (especially when the program uses third-party libraries). In the past, programmers tried to solve the name-clashing problem by prefixing names with some sort of qualifier (or set of qualifiers). This solution is not a good one because it's not scalable; names become longer and you spend less time writing software and more time typing (there is a difference) and reading and re-reading incomprehensibly long names.Namespaces help solve this problem by creating a named container for other identifiers, such as classes. Two classes with the same name will not be confused with each other if they live in different namespaces. You can create a class named Greeting inside the namespace named TextHello, like this: namespace TextHello { class Greeting { †¦ } } You can then refer to the Greeting class as TextHello. Greeting in your own programs. If someone else also creates a Greeting class in a different namespace and installs it on your computer, your programs will still work as expected because they are using the TextHello.Greeting class. If you want to refer the new Greeting class, you must specify that you want the class from the new namespace. It is good practice to define all your classes in namespaces, and the Visual Studio 2005 environment follows this recommendation by using the name of your project as the toplevel namespace. The . NET Framework Software Developer Kit (SDK) also adheres to this recommendation; every class in the . NET Framework lives inside a namespace. For 12 SREEKANTH C# STEP BY STEP example, the Console class lives inside the System namespace. This means that its fully qualified name is actually System.Console. Of course, if you had to write the fully qualified name of a class every time, it would be no better that just naming the class SystemConsole. Fortunately, you can solve this problem with a using directive. If you return to the TextHello program in Visual Studio 2005 and look at the file Program. cs in the Code and Text Editor window, you will notice the following statements: using System; using System. Collections. Generic; using System. Text; The using statement brings a namespace into scope, and you no longer have to explictly qualify objects with the namespace they belong to in the code that follows.The three namespaces shown contain classes that are used so often that Visual Studio 2005 automatically adds these using statements every time you create a new project. You can add further using direct ives to the top of a source file. The following exercise demonstrates the concept of namespaces further. Try longhand names 1. In the Code And Text Editor window, comment out the using directive at the top of Program. cs: //using System; 2. On the Build menu, click Build Solution. The build fails, and the Output pane displays the following error message twice (once for each use of the Console class):The name ‘Console' does not exist in the current context. 3. In the Output pane, double-click the error message. The identifier that caused the error is selected in the Program. cs source file. TIP The first error can affect the reliability of subsequent diagnostic messages. If your build has more than one diagnostic message, correct only the first one, ignore all the others, and then rebuild. This strategy works best if you keep your source files small and work iteratively, building frequently. 4. In the Code and Text Editor window, edit the Main method to use the fully qualified name System. Console.Main should look like this: static void Main(string[] args) { System. Console. WriteLine(â€Å"Hello World†); 13 SREEKANTH C# STEP BY STEP } NOTE When you type System. , notice how the names of all the items in the System namespace are displayed by IntelliSense. 5. On the Build menu, click Build Solution. The build succeeds this time. If it doesn't, make sure Main is exactly as it appears in the preceding code, and then try building again. 6. Run the application to make sure it still works by clicking Start Without Debugging on the Debug menu. In the Solution Explorer, click the + to the left of the References entry.This displays the assemblies referenced by the Solution Explorer. An assembly is a library containing code written by other developers (such as the . NET Framework). In some cases, the classes in a namespace are stored in an assembly that has the same name (such as System), although this does not have to be the case—some assemblies hold more than one namespace. Whenever you use a namespace, you also need to make sure that you have referenced the assembly that contains the classes for that namespace; otherwise your program will not build (or run). Creating a Windows Forms ApplicationSo far you have used Visual Studio 2005 to create and run a basic Console application. The Visual Studio 2005 programming environment also contains everything you'll need to create graphical Windows applications. You can design the form-based user interface of a Windows application interactively by using the Visual Designer. Visual Studio 2005 then generates the program statements to implement the user interface you've designed. From this explanation, it follows that Visual Studio 2005 allows you to maintain two views of the application: the Design View and the Code View.The Code and Text Editor window (showing the program statements) doubles as the Design View window (allowing you to lay out your user interface), and you can switch bet ween the two views whenever you want. In the following set of exercises, you'll learn how to create a Windows program in Visual Studio 2005. This program will display a simple form containing a text box where you can enter your name and a button that, when clicked, displays a personalized greeting in a message box.You will use the Visual Designer to create your user interface by placing controls on a form; inspect the code generated by Visual Studio 2005; use the Visual Designer to change the control properties; use the Visual Designer to resize the form; write the code to respond to a button click; and run your first Windows program. Create a Windows project in Visual Studio 2005 1. On the File menu, point to New, and then click Project. The New Project dialog box opens. 2. In the Project Types pane, click Visual C#. 14 SREEKANTH C# STEP BY STEP 3. In the Templates pane, click the Windows Application icon. . Ensure that the Location field refers to your My DocumentsVisual CSharp St ep by StepChapter 1 folder. 5. In the Name field, type WinFormHello. 6. In the Solutions field, ensure that Create new Solution is selected. This action creates a new solution for holding the Windows application. The alternative, Add to Solution, will add the project to the TextHello solution. 7. Click OK. Visual Studio 2005 closes your current application (prompting you to save it first of necessary) and creates and displays an empty Windows form in the Design View window.In the following exercise, you'll use the Visual Designer to add three controls to the Windows form and examine some of the C# code automatically generated by Visual Studio 2005 to implement these controls. Create the user interface 1. Click the Toolbox tab that appears to the left of the form in the Design View. The Toolbox appears, partially obscuring the form and displaying the various components and controls that you can place on a Windows form. 2. In the Toolbox, click the + sign by Common Controls to display a list of controls that are used by most Windows Forms applications. 15 SREEKANTHC# STEP BY STEP 3. Click Label, and then click the visible part of the form. A Label control is added to the form, and the Toolbox disappears from view. TIP If you want the Toolbox to remain visible but not hide any part of the form, click the Auto Hide button to the right in Toolbox title bar (it looks like a pin). The Toolbox appears permanently on the left side of the Visual Studio 2005 window, and the Design View shrinks to accommodate it. (You might lose a lot of space if you have a low-resolution screen. ) Clicking the Auto Hide button once more causes the Toolbox to disappear again. 4.The Label control on the form is probably not exactly where you want it. You can click and drag the controls you have added to a form to reposition them. Using this technique, move the Label control so that it is positioned towards the upper-left corner of the form. (The exact placement is not critical for this app lication. ) 5. On the View menu, click Properties Window. The Properties window appears on the right side of the screen. The Properties window allows you to set the properties for items in a project. It is context sensitive, in that it displays the properties for the currently selected item.If you click anywhere on the form displayed in the Design View, you will see that the Properties windows displays the properties for the form itself. If you click the Label control, the window displays the properties for the label instead. 6. Click the Label control on the form. In the Properties window, locate the Text property, change it from label1 to Enter your name, and then press Enter. On the form, the label's text changes to Enter Your Name. TIP By default, the properties are displayed in categories. If you prefer to display the properties in alphabetical order, click the Alphabetical button that appears above the properties list. . Display the Toolbox again. Click TextBox, and then click the form. A TextBox control is added to the form. Move the TextBox control so that it is directly underneath the Label control. TIP When you drag a control on a form, alignment handles appear automatically when the control becomes aligned vertically or horizontally with other controls. This give you a quick visual cue for making sure that controls are lined up neatly. 8. While the TextBox control is selected, locate the Text property in the Properties window, type here, and then press Enter. On the form, the word here appears in the text box. 9.In the Properties window, find the (Name) property. Visual Studio 2005 gives controls and forms default names, which, although they are a good starting point, are not always very meaningful. Change the name of the TextBox control to userName. 16 SREEKANTH C# STEP BY STEP NOTE We will talk more about naming conventions for controls and variables in Chapter 2, â€Å"Working with Variables, Operators, and Expressions. † 10. Display the T oolbox again, click Button, and then click the form. Drag the Button control to the right of the TextBox control on the form so that it is aligned horizontally with the text box. 11.Using the Properties window, change the Text property of the Button control to OK. Change its (Name) property to ok. The caption on the button changes. 12. Click the Form1 form in the Design View window. Notice that resize handles (small squares) appear on the lower edge, the right-hand edge, and the righthand bottom corner of the form. 13. Move the mouse pointer over the resize handle. The pointer changes to a diagonal double-headed arrow. 14. Hold down the left mouse button, and drag the pointer to resize the form. Stop dragging and release the mouse button when the spacing around the controls is roughly equal.TIP You can resize many controls on a form by selecting the control and dragging one of the resize handles that appears in the corners of the control. Note that a form has only one resize handle, whereas most controls have four (one on each corner). On a form, any resize handles other than the one in the lower-right corner would be superfluous. Also note that some controls, such as Label controls, are automatically sized based on their contents and cannot be resized by dragging them. The form should now look similar to the one in the following graphic. 1. In the Solution Explorer, right-click the file Form1. s, and then click View Code. The Form1. cs source file appears in the Code and Text Editor window. There are now two tabs named Form1. cs above the Code and Text Editor/Design View window. You can click the one suffixed with [Design] to return to Design View window at any time. Form1. cs contains some of the code automatically generated by Visual Studio 2005. You should note the following elements: 17 SREEKANTH C# STEP BY STEP o using directives Visual Studio 2005 has written a number of using directives at the top of the source file (more than for the previous example) . For example: using System. Windows. Forms;The additional namespaces contain the classes and controls used when building graphical applications—for example, the TextBox, Label, and Button classes. o The namespace Visual Studio 2005 has used the name of the project as the name of the toplevel namespace: namespace WinFormHello { †¦ } o A class Visual Studio 2005 has written a class called Form1 inside the WinForm Hello namespace: namespace WinFormHello { partial class Form1 †¦ { †¦ } } NOTE For the time being, ignore the partial keyword in this class. I will describe its purpose shortly. This class implements the form you created in the Design View. Classes are discussed in Chapter 7. ) There does not appear to be much else in this class—there is a little bit of code known as a constructor that calls a method called InitializeComponent, but nothing else. (A constructor is a special method with the same name as the class. It is executed when the form is cr eated and can contain code to initialize the form. Constructors are also discussed in Chapter 7. ) However, Visual Studio 2005 is performing a sleight of hand and is hiding a few things from you, as I will now demonstrate. In a Windows Forms application, Visual Studio 2005 actually generates a potentially large amount of code.This code performs operations such as 18 SREEKANTH C# STEP BY STEP creating and displaying the form when the application starts, and creating and positioning the various controls on the form. However, this code can change as you add controls to a form and change their properties. You are not expected to change this code (indeed, any changes you make are likely to be overwritten the next time you edit the form in the Design View), so Visual Studio 2005 hides it from you. To display the hidden code, return to the Solution Explorer, and click the Show All Files button.The bin and obj folders appear, much as they did with the Console application you developed in th e first part of this chapter. However, notice that Form1. cs now has a + sign next to it. If you click this + sign, you see a file called Form1. Designer. cs, and a file called Form1. resx. Double-click the file Form1. Designer. cs to display its contents in the Code and Text Editor window. You will see the remaining code for the Form1 class in this file. C# allows you to split the code for a class across multiple source files, as long as each part of the class is marked with the partial keyword.This file includes a region labelled Windows Form Designer generated code. Expanding this region by clicking the + sign reveals the code created and maintained by Visual Studio 2005 when you edit a form using the Design View window. The actual contents of this file include: o The InitializeComponent method This method is mentioned in the file Form1. cs. The statements inside this method set the properties of the controls you added to the form in the Design View. (Methods are discussed in Cha pter 3. ) Some of the statements in this method that correspond to the actions you performed using the Properties window are shown below: .. private void InitializeComponent() { this. label1 = new System. Windows. Forms. Label(); this. userName = new System. Windows. Forms. TextBox(); this. ok = new System. Windows. Forms. Button(); †¦ this. label1. Text = â€Å"Enter your name†; †¦ this. userName. Text = â€Å"here†; †¦ this. ok. Text = â€Å"OK†; †¦ } †¦ o Three fields Visual Studio 2005 has created three fields inside the Form1 class. These fields appear near the end of the file: private System. Windows. Forms. Label label1; 19 SREEKANTH C# STEP BY STEP private System. Windows. Forms. TextBox userName; private System. Windows. Forms. Button ok; .. These fields implement the three controls you added to the form in Design View. (Fields are discussed in Chapter 7. ) It is worth restating that although this file is interesting to look at, you should never edit its contents yourself. Visual Studio 2005 automatically updates this file when you make changes in the Design View. Any code that you need to write yourself should be placed in the Form1. cs file. At this point you might well be wondering where the Main method is and how the form gets displayed when the application runs; remember that Main defines the point at which the program starts.In the Solution Explorer, you should notice another source file called Program. cs. If you double-click this file the following code appears in the Code and Text Editor window: namespace WinFormHello { static class Program { /// /// The main entry point for the application. /// [STAThread] static void Main() { Application. EnableVisualStyles(); Application. Run(new Form1()); } } } You can ignore most of this code. However, the key statement is: Application. Run(new Form1()); This statement creates the form and displays it, whereupon the form takes over. In the following exercise, you'll learn how to add code that runs when he OK button on the form is clicked. Write the code for the OK button 1. Click the Form1. cs[Design] tab above the Code and Text Editor window to display Form1 in the Design View. 2. Move the mouse pointer over the OK button on the form, and then double-click the button. The Form1. cs source file appears in the Code and Text Editor window. Visual Studio 2005 has added a method called ok_Click to the Form1 class. (It has also added a statement to the InitializeComponent method in the Form1. Designer. cs file to automatically call ok_Click when the OK button is 20 SREEKANTH C# STEP BY STEP clicked.It does this by using a delegate type; delegates are discussed in Chapter 16, â€Å"Delegates and Events. †) 3. Type the MessageBox statement shown below inside the ok_Click method. The complete method should look like this: 4. private void ok_Click(object sender, System. EventArgs e) 5. { 6. MessageBox. Show(â€Å"Hello † + userName . Text); } Make sure you have typed this code exactly as shown, including the trailing semicolon. You're now ready to run your first Windows program. Run the Windows program 1. On the Debug menu, click Start Without Debugging. Visual Studio 2005 saves your work, compiles your program, and runs it.The Windows form appears: 2. Enter your name, and then click OK. A message box appears welcoming you by name. 3. Click OK in the message box. The message box closes. 4. In the Form1 window, click the Close button (the X in the upper-right corner of the form). The Form1 window closes. †¢ If you want to continue to the next chapter Keep Visual Studio 2005 running, and turn to Chapter 2. †¢ If you want to exit Visual Studio 2005 now On the File menu, click Exit. If you see a Save dialog box, click Yes to save your work. Chapter 1 Quick Reference TO Do this KeyCombination 21 SREEKANTH C# STEP BY STEP Create a onsole application new On the File menu, point to New, and then click Projec t to open the New Project dialog box. For the project type, select Visual C#. For the template, select Console Application. Select a directory for the project files in the Location box. Choose a name for the project. Click OK. Create a Windows application new On the File menu, point to New, and then click Project to open the New Project dialog box. For the project type, select Visual C#. For the template, select Windows Application. Select a directory for the project files in the location box. Choose a name for the project.Click OK. Build application F6 the On the Build menu, click Build Solution. Ctrl+F5 Chapter 2 Working with Variables, Operators, and Expressions After completing this chapter, you will be able to: †¢ †¢ †¢ †¢ †¢ Understand statements, identifiers, and keywords. Use variables to store information. Work with primitive data types. Use arithmetic operators such as the plus sign (+) and the minus sign (–). Increment and decrement variabl es. In Chapter 1, â€Å"Welcome to C#,† you learned how to use the Microsoft Visual Studio 2005 programming environment to build and run a console program and a Windows Forms application.In this chapter, you'll be introduced to the elements of Microsoft Visual C# syntax and semantics, including statements, keywords, and identifiers. You'll study the primitive types that are built into the C# language and the characteristics of the values that each type holds. You'll also see how to declare and use local variables (variables that exist only within a function or other small section of code), learn about the arithmetic operators that C# provides, learn how to use operators to manipulate values, and learn how to control expressions containing two or more operators. Understanding StatementsA statement is a command that performs an action. Statements are found inside methods. You'll learn more about methods in Chapter 3, â€Å"Writing Methods and Applying Scope,† but for now , think of a method as a named sequence of statements inside a class. Main, which was introduced in the previous chapter, is an example of a method. Statements in C# must follow a well-defined set of rules. These rules are collectively known as syntax. (In contrast, the specification of what statements do is collectively known as semantics. ) One of the simplest and most important C# syntax rules states 22 SREEKANTH C# STEP BY STEP hat you must terminate all statements with a semicolon. For example, without its terminating semicolon, the following statement won't compile: Console. WriteLine(â€Å"Hello World†); TIP C# is a â€Å"free format† language, which means that white space, such as a space character or a new line, is not significant except as a separator. In other words, you are free to lay out your statements in any style you choose. A simple, consistent layout style makes a program easier to read and understand. The trick to programming well in any language is learning its syntax and semantics and then using the language in a natural and idiomatic way.This approach makes your programs readable and easy to modify. In the chapters throughout this book, you'll see examples of the most important C# statements. Using Identifiers Identifiers are the names you use to identify the elements in your programs. In C#, you must adhere to the following syntax rules when choosing identifiers: †¢ †¢ You can use only letters (uppercase and lowercase), digits, and underscore characters. An identifier must start with a letter (an underscore is considered a letter). For example, result, _score, footballTeam, and plan9 are all valid identifiers, whereas result%, footballTeam$, and 9plan are not.IMPORTANT C# is a case-sensitive language: footballTeam and FootballTeam are not the same identifier. Identifying Keywords The C# language reserves 77 identifiers for its own use, and you should not reuse these identifiers for your own purposes. These identi fiers are called keywords, and each has a particular meaning. Examples of keywords are class, namespace, and using. You'll learn the meaning of most of the keywords as you proceed through this book. The keywords are listed in the following table. abstract break char continue do event finally foreach in is as byte checked decimal double explicit fixed goto int ock base case class default else extern float if interface long 23 bool catch const delegate enum false for implicit internal namespace SREEKANTH new out protected return sizeof struct true ulong using while C# STEP BY STEP null override public sbyte stackalloc switch try unchecked virtual object params readonly sealed static this typeof unsafe void operator private ref short string throw uint ushort volatile TIP In the Visual Studio 2005 Code and Text Editor window, keywords are colored blue when you type them. TIP In the Visual Studio 2005 Code and Text Editor window, keywords are colored blue when you type them.Using Variabl es A variable is a storage location that holds a value. You can think of a variable as a box holding temporary information. You must give each variable in a program a unique name. You use a variable's name to refer to the value it holds. For example, if you want to store the value of the cost of an item in a store, you might create a variable simply called cost, and store the item's cost in this variable. Later on, if you refer to the cost variable, the value retrieved will be the item's cost that you put there earlier. Naming VariablesYou should adopt a naming convention for variables that help you avoid confusion concerning the variables you have defined. The following list contains some general recommendations: †¢ †¢ Don't use underscores. Don't create identifiers that differ only by case. For example, do not create one variable named myVariable and another named MyVariable for use at the same time, because it is too easy to get them confused. NOTE Using identifiers tha t differ only by case can limit the ability to reuse classes in applications developed using other languages that are not case sensitive, such as Visual Basic. †¢ †¢ †¢ Start the name with a lowercase letter.In a multiword identifier, start the second and each subsequent word with an uppercase letter. (This is called camelCase notation. ) Don't use Hungarian notation. (Microsoft Visual C++ developers reading this book are probably familiar with Hungarian notation. If you don't know what Hungarian notation is, don't worry about it! ) 24 SREEKANTH C# STEP BY STEP IMPORTANT You should treat the first two recommendations as compulsory because they relate to Common Language Specification (CLS) compliance. If you want to write programs that can interoperate with other languages, such as Microsoft Visual Basic .NET, you need to comply with these recommendations. For example, score, footballTeam, _score, and FootballTeam are all valid variable names, but only the first two ar e recommended. Declaring Variables Remember that variables are like boxes in memory that can hold a value. C# has many different types of values that it can store and process—integers, floating-point numbers, and strings of characters, to name three. When you declare a variable, you must specify what type of data it will hold. NOTE Microsoft Visual Basic programmers should note that C# does not allow implicit declarations.You must explicitly declare all variables before you can use them if you want your code to compile. You declare the type and name of a variable in a declaration statement. For example, the following statement declares that the variable named age holds int (integer) values. As always, the statement must be terminated with a semi-colon. int age; The variable type int is the name of one of the primitive C# types—integer which is a whole number. (You'll learn about several primitive data types later in this chapter. ) After you've declared your variable, you can assign it a value. The following statement assigns age the value 42.Again, you'll see that the semicolon is required. age = 42; The equal sign (=) is the assignment operator, which assigns the value on its right to the variable on its left. After this assignment, the age variable can be used in your code to refer to the value it holds. The next statement writes the value of the age variable, 42, to the console: Console. WriteLine(age); TIP If you leave the mouse pointer over a variable in the Visual Studio 2005 Code and Text Editor window, a ToolTip appears telling you the type of the variable. Working with Primitive Data Types C# has a number of built-in types called primitive data types.The following table lists the most commonly used primitive data types in C#, and the ranges of values that you can store in them. 25 SREEKANTH C# STEP BY STEP Data type int Description Size (bits) *Range Sample usage Whole numbers 32 int count; count = 42; long Whole numbers (bigger range) 64 float Floating-point numbers 32 231 through 2311 263 through 2631  ±3. 4 ? 1038 double Double accurate) numbers decimal Monetary values 128 string Sequence of characters 16 bits per Not applicable character char Single character 16 bool Boolean 8 precision (more 64 floating-point  ±1. 7 ? 10308 28 significant igures long wait; wait = 42L; float away; away = 0. 42F; double trouble; trouble = 0. 42; decimal coin; coin = 0. 42M; string vest; vest = â€Å"42†; char grill; grill = ‘4'; 0 through 216 1 bool teeth; true or false teeth false; = *The value of 216 is 32,768; the value of 231 is 2,147,483,648; and the value of 263 is 9,223,372,036,854,775,808. Unassigned Local Variables When you declare a variable, it contains a random value until you assign a value to it. This behavior was a rich source of bugs in C and C++ programs that created a variable and used it as a source of information before giving it a value.C# does not allow you to use an unassigned variable. Y ou must assign a value to a variable before you can use it, otherwise your program will not compile. This requirement is called the Definite Assignment Rule. For example, the following statements will generate a compile-time error because age is unassigned: int age; Console. WriteLine(age); // compile time error Displaying Primitive Data Type Values In the following exercise, you'll use a C# program named PrimitiveDataTypes to demonstrate how several primitive data types work. Display primitive data type values 26SREEKANTH C# STEP BY STEP 1. Start Visual Studio 2005. 2. On the File menu, point to Open, and then click Project/Solution. The Open Project dialog box appears. 3. Move to the Microsoft PressVisual CSharp Step by StepChapter 2PrimitiveDataTypes folder in your My Documents folder. Select the file PrimitiveDataTypes. sln and then click Open. The solution loads, and the PrimitiveDataTypes project. Solution Explorer displays the solution and NOTE Solution file names have the . sln suffix, such as PrimitiveDataTypes. sln. A solution can contain one or more projects.Project files have the . csproj suffix. If you open a project rather than a solution, Visual Studio 2005 will automatically create a new solution file for it. If you build the solution, Visual Studio 2005 automatically saves any updated or new files, and you will be prompted to provide a name and location for the new solution file. 4. On the Debug menu, click Start Without Debugging. The following application window appears: 5. In the Choose A Data type list, click the string type. The value 42 appears in the Sample value box. 6. Click the int type in the list.The value to do appears in the Sample value box, indicating that the statements to display an int value still need to be written. 27 SREEKANTH C# STEP BY STEP 7. Click each data type in the list. Confirm that the code for the double and bool types also needs to be completed. 8. Click Quit closing the window and stopping the program. Contro l returns to the Visual Studio 2005 programming environment. Use primitive data types in code 1. Right-click the Form1. cs file in the Solution Explorer and then click View Code. The Code and Text Editor window opens displaying the Form1. cs file. 2.In the Code and Text Editor window, find the show Float Value method listed here: private void showFloatValue() { float var; var = 0. 42F; value. Text = â€Å"0. 42F†; } TIP To locate an item in your project, point to Find And Replace on the Edit menu and click Quick Find. A dialog box opens asking what you want to search for. Type the name of the item you're looking for, and then click Find Next. By default, the search is not case-sensitive. If you want to perform a case-sensitive search, click the + button next to the Find Options label to display additional options, and check the Match Case check box.If you have time, you can experiment with the other options as well. You can also press Ctrl+F (press the Control key, and then p ress F) to display the Quick Find dialog box rather then usin g the Edit menu. Similarly, you can press Ctrl+H to display the Quick Find and Replace dialog box. The showFloatValue method runs when you click the float type in the list box. This method contains three statements: The first statement declares a variable named var of type float. The second statement assigns var the value 0. 42F. (The F is a type suffix specifying that 0. 2 should be treated as a float value. If you forget the F, the value 0. 42 will be treated as a double, and your program will not compile because you cannot assign a value of one type to a variable of a different type in this way. ) The third statement displays the value of this variable in the value TextBox on the form. This statement requires a little bit of your attention. The way in which you display an item in a TextBox is to set its Text property. You did this at 28 SREEKANTH C# STEP BY STEP design time in Chapter 1 using the Properties window. Thi s statement shows ou how to perform the same task programmatically, using the expression value. Text. The data that you put in the Text property must be a string (a sequence of characters), and not a number. If you try and assign a number to the Text property your program will not compile. For this reason, the statement simply displays the text â€Å"0. 42F† in the TextBox (anything in double-quotes is text, otherwise known as a string). In a real-world application, you would add statements that convert the value of the variable var into a string and then put this into the Text property, but you need to know a little bit more about C# and the .NET Framework before we can do that (we will cover data type conversions in Chapter 11, â€Å"Understanding Parameter Arrays,† and Chapter 19, â€Å"Operator Overloading†). 3. In the Code and Text Editor window, locate the showIntValue method listed here: private void showIntValue() { value. Text = â€Å"to do†; } T he showIntValue method is called when you click the int type in the list box. TIP Another way to find a method in the Code and Text Editor window is to click the Members list that appears above the window, to the right. This window displays a list of all the methods (and other items).You can click the name of a member, and you will be taken directly to it in the Code and Text Editor window. 4. Type the following two statements at the start of the showIntValue method, after the open curly brace: int var; var = 42; The showIntValue method should now look like this: private void showIntValue() { int var; var = 42; value. Text = â€Å"to do†; } 5. On the Build menu, click Build Solution. a. The build will display some warnings, but no errors. You can ignore the warnings for now. 6. In the original statement, change the string â€Å"to do† to â€Å"42†. b. The method should now look exactly like this: 9 SREEKANTH C# STEP BY STEP c. private void showIntValue() d. { i. int var; ii. var = 42; iii. value. Text = â€Å"42†; e. } 7. On the Debug menu, click Start Without Debugging. f. The form appears again. g. TIP If you have edited the source code since the last build, the Start Without Debugging command automatically rebuilds the program before starting the application. 8. Select the int type in the list box. Confirm that the value 42 is displayed in the Sample value text box. 9. Click Quit to close the window and stop the program. 10. In the Code and Text Editor window, find the showDoubleValue method. 1. Edit the showDoubleValue method exactly as follows: private void showDoubleValue() { double var; var = 0. 42; value. Text = â€Å"0. 42†; } 12. In the Code and Text Editor window, locate the showBoolValue method. 13. Edit the showBoolValue method exactly as follows: private void showBoolValue() { bool var; var = false; value. Text = â€Å"false†; } 14. On the Debug menu, click Start Without Debugging. The form appears. 15. I n the list, select the int, double, and bool types. In each case, verify that the correct value is displayed in the Sample value text box. 16. Click Quit to stop the program.Using Arithmetic Operators C# supports the regular arithmetic operations you learned in your childhood: the plus sign (+) for addition, the minus sign (–) for subtraction, the asterisk (*) for multiplication, and the forward slash (/) for division. These symbols (+, –, *, and /) are called operators as they â€Å"operate† on values to create new values. In the following 30 SREEKANTH C# STEP BY STEP example, the variable moneyPaidToConsultant ends up holding the product of 750 (the daily rate) and 20 (the number of days the consultant was employed): long moneyPaidToConsultant; oneyPaidToConsultant = 750 * 20; NOTE The values that an operator operates on are called operands. In the expression 750 * 20, the * is the operator, and 750 and 20 are the operands. Determining an Operator's Values Not all operators are applicable to all data types, so whether you can use an operator on a value depends on the value's type. For example, you can use all the arithmetic operators on values of type char, int, long, float, double, or decimal. However, with one exception, you can't use the arithmetic operators on values of type string or bool.So the following statement is not allowed because the string type does not support the minus operator (subtracting one string from another would be meaningless): // compile time error Console. WriteLine(â€Å"Gillingham† – â€Å"Manchester City†); The exception is that the + operator can be used to concatenate string values. The following statement writes 431 (not 44) to the console: Console. WriteLine(â€Å"43† + â€Å"1†); TIP You can use the method Int32. Parse to convert a string value to an integer if you need to perform arithmetic computations on values held as strings.You should also be aware that the type of the result of an arithmetic operation depends on the type of the operands used. For example, the value of the expression 5. 0 / 2. 0 is 2. 5; the type of both operands is double (in C#, literal numbers with decimal points are always double, not float, in order to maintain as much accuracy as possible), and so the type of the result is also double. However, the value of the expression 5 / 2 is 2. In this case, the type of both operands is int, and so the type of the result is also int. C# always rounds values down in circumstances like this.The situation gets a little more complicated if you mix the types of the operands. For example, the expression 5 / 2. 0 consists of an int and a double. The C# compiler detects the mismatch and generates code that converts the int into a double before performing the operation. The result of the operation is therefore a double (2. 5). However, although this works, it is considered poor practice to mix types in this way. C# also supports one less -familiar arithmetic operator: the remainder, or modulus, operator, which is represented by the percent symbol (%). The result of x % y is the remainder after dividing x by y.For example, 9 % 2 is 1 since 9 divided by 2 is 8, remainder 1. NOTE In C and C++, you can't use the % operator on floating-point values, but you can use it in C#. Examining Arithmetic Operators 31 SREEKANTH C# STEP BY STEP The following exercise demonstrates how to use the arithmetic operators on int values using a previously written C# program named MathsOperators. Work with arithmetic operators 1. On the File menu, point to Open, and then click Project/Solution. Open the MathsOperators project, located in the Microsoft PressVisual CSharp Step by StepChapter 2MathsOperators folder in your My Documents folder. . On the Debug menu, click Start Without Debugging. A form appears on the screen. 3. Type 54 in the left operand text box. 4. Type 13 in the right operand text box. You can now apply any of the operators to the values in the text boxes. 5. Click the – Subtraction option, and then click Calculate. The text in the Expression box changes to 54 – 13, and 41 appears in the Result box, as shown in the following graphic: 6. Click the / Division option, and then click Calculate. The text in the Expression text box changes to 54 / 13, and the number 4 appears in the Result box. In real life, 54 / 13 is 4. 53846 recurring, but this is not real life; this is C#! In C#, when you divide one integer by another integer, the answer you get back is an integer, as explained earlier. 32 SREEKANTH C# STEP BY STEP 7. Select the % Remainder option, and then click Calculate. The text in the Expression text box changes to 54 % 13, and the number 2 appears in the Result box. This is because the remainder after dividing 54 by 13 is 2 (54 – ((54 / 13) * 13) is 2 if you do the arithmetic rounding down to an integer at each stage—my old maths master at school would be horrified to b e told that (54 / 13) * 13 does not equal 54! . 8. Practice with other combinations of numbers and operators. When you're finished, click Quit. The program stops, and you return to the Visual Studio 2005 programming environment. Now take a look at the MathsOperators program code. Examine the MathsOperators program code 1. Display the Form1 form in the Design View window (click the Form1. cs[Design] tab if necessary). TIP You can quickly switch between the Design View window and the Code and Text Editor displaying the code for a form by pressing the F7 key. 2. In the View menu, point to Other Windows and then click Document Outline.The Document Outline window appears showing the names and types of the controls on the form. If you click each of the controls on the form, the name of the control is highlighted in the Document Outline window. 33 SREEKANTH C# STEP BY STEP IMPORTANT Be careful not to accidentally delete or change the names of any controls on the form while viewing them in the Document Outline window. The application will no longer work if you do. 3. Click the the two TextBox controls that the user types numbers into on the form. In the Document Outline window, verify that they are named lhsOperand and rhsOperand.When the form runs, the Text property of each of these controls holds (as strings) the numeric values you enter. 4. Towards the bottom of the form, verify that the TextBox control used to display the expression being evaluated is named expression, and that the TextBox control used to display the result of the calculation is named result. At runtime, setting the Text property of a TextBox control to a string value causes that value to be displayed. 5. Close the Document Outline window. 6. Press F7 to display the Form1. cs source file in the Code and Text Editor window. 7.In the Code and Text Editor window, locate the subtractValues method: private void subtractValues() { int lhs = int. Parse(lhsOperand. Text); int rhs = int. Parse(rhsOperand. Text); int outcome; outcome = lhs – rhs; expression. Text = lhsOperand. Text + † – † + rhsOperand. Text; result. Text = outcome. ToString(); } The first statement in this method declares an int variable called lhs and initializes it to the result of the explicit conversion of the lhsOperand. Text property to an int. (The Text property of a TextBox is a string, and must be converted to an integer before you can store it in an int. This is what the int.Parse method does) The second statement declares an int variable called rhs and initializes it to the result of the explicit conversion of the rhsOperand. Text property to an int. The third statement declares an int variable called outcome. The fourth statement subtracts the value of the rhs variable from the value of the lhs variable, and the result is assigned to outcome. The fifth statement concatenates three strings (using the + operator) and assigns the result to the expression. Text property. The sixth st atement converts the int value of outcome to a string by using the ToString method, and assigns the string to the result.Text property. 34 SREEKANTH C# STEP BY STEP The Text Property and the ToString Method I mentioned earlier that TextBox controls displayed on a form have a Text property that allows you to access the displayed contents. For example, the expression result. Text refers to the contents of the result text box on the form. Text boxes also have many other properties, such as the location and size of the text box on the form. You will learn more about properties in Chapter 14, â€Å"Implementing Properties to Access Attributes. † Every class has a ToString method.The purpose of ToString is to convert an object into its string representation. In the previous example, the ToString method of the integer object, outcome, is used to convert the integer value of outcome into the equivalent string value. This conversion is necessary because the value is displayed in the T ext property of the result field—the Text property can only contain strings. When you Controlling Precedence Precedence governs the order in which an expression's operators are evaluated. Consider the following expression, which uses the + and * operators: 2+3*4This expression is potentially ambiguous; does 3 bind to the + operator on its le

300 Prosecitions by Bloody Mary

Beginning in 1555 after Parliament brought back the act to allow the killing of heretics, Bloody Mary attempted to change England (Queen 2). One of the ways that Queen Mary Tudor earned her title as Bloody Mary was because she mass-murdered about three-hundred or so Protestants. Mary was Catholic and wanted England to remain as Roman Catholic. The first person to be burned at the stake was John Rogers who was the brains behind printing the Matthews-Tyndale Bible. Followed by Rogers was Thomas Cranmer, the Archbishop of Canterbury was executed for the Great Bible (Queen â€Å"Bloody† Mary 2). People who took the side of the â€Å"heretics† were also arrested and eventually killed. Religious leaders publicized their ideas and disagreed with Mary; they tried to persuade people that horrible rulers should not continue to be a tyrant but instead resist against them (Queen 2). Other people also burned included Nicholas Ridley; Bishop of London, Hugh Latimer; Bishop of Worcester, John Philpot; Archdeacon of Westminster, and John Hooper; Bishop of Gloucester. The executed victims came from all sorts of backgrounds except the nobility, in the sense that poor ordinary regular people were killed. The educated people and preachers were not burned everyday (Queen 2). Once a person had been convicted of heresy, they did not have an opportunity to confess. This outraged people and brought an ill feeling towards the burnings. People were against it because normally someone would have a chance, even right before being burned to confess and apologize, or recant (Queen 3). Overall, Bloody Mary earned the title from her angry English country after the murder of 300 Protestants and Protestant leaders along with eight hundred fled to Germany and Switzerland. It all ended along with her lonely death in 1558. (Biography 4) Works Cited â€Å"Queen â€Å"Bloody† Mary. † GREATSITE. COM: antique Bibles, rare Bibles, ancient Bible leaves. 23 Feb. 2009. Greatsite Marketing. 23 Feb. 2009 . â€Å"Queen Mary. † 23 Feb. 2009 . â€Å"Biography of Mary Tudor, Bloody Mary. † Essortment Articles: Free Online Articles on Health, Science, Education & More. 2002. 23 Feb. 2009 .

History of Latin America: The Colonial to Contemporary Period Essay

The history of Latin America can only be understood in its relations with other countries and continents. Europe and Anglo-America play a huge role in shaping the history of Latin America from pre-colonial times to the contemporary period. The expansionist policies of colonizing countries clearly meddled with the history of Latin America. This is seen in the longstanding presence of dominant countries in the continent. The effects of these forces can be seen in the economy, politics, culture and history of Latin America. Interestingly, defining Latin America by presenting its history is a monumental task. For one, Latin America is not a homogenous continent. â€Å"It is an immense world region striving to establish its place in the new global order†¦ it is home to some 500 million people who well represent the rich racial and cultural diversity of the human family† (Vanden and Prevost 1). Rather than present Latin American history in the traditional historical framework—dates, geography, political successions—which is linear in nature, this essay resonates Eduardo Galeano’s depiction of Latin American history. This presentation is based on a number of facets of history that are suitable images of what Latin American peoples had collectively undergone. This essay seeks to present the history of Latin America from the colonial to contemporary period. Given the vast scope of the region’s history, specific thematic spheres are focal discussion points in this essay. The discussion will focus in terms of: slavery, foreign domination, agriculture structure, foreign debt, living standards and neo-liberalism. Lastly, the conclusion presents a synthesized view of Latin America’s history. Slavery One phenomenon collectively experienced by Latin America is slavery. The main reason for the interest of colonizers in Latin America is economic in nature. Slavery is a means of production whereby the mass production of goods from the colonizing countries would have free labor. Intensifying the capital would translate to a corresponding increase of productivity for the colonizer. Slavery took place almost immediately after the invasion of Latin American countries. It is tied to the new law and order promulgated by the ones in the bastion of power. Modem day transatlantic slave trade dated from 1519 to 1867; by 1530 the Spanish crown had authorized the spread of slavery to Puerto Rico, Cuba, and Jamaica† (Vanden and Prevost 33). The colonizers of Europe and the US had the â€Å"realization that new laborers, artisans, and those with other skills could add to the growing nations† (8). This means that slavery crept through the entire continent, every colonizer followed suit—fearing of lagging behind the economies of colonizers that are founded on slave labor—since then others have already adopted the practice of slavery. In the movie Burn, the island of Queimada is ravaged with unscrupulous practices of production. Slaves were used in the sugar plantations and manufacturing plants so that the profits are maximized (Burn 1969). Although, there are different forms of slavery within Latin America and in some countries, slavery as a tool for economic production even failed. The case of Brazil and the Carribean showed that resistance to slavery can be successful. â€Å"In northern Brazil and the Caribbean, native slavery failed, and the native peoples would not otherwise provide the abundant labor needed† (Vanden and Prevost 32). Foreign Domination Pre-colonial Latin America is isolated in nature: the economies there were â€Å"small local spheres that are isolated from events outside the valley, village or small town. † (146) Civilizations such as the Mayan, Mohican, etc. contributed to the breakdown of isolationism, although the collapse is only in economic terms and is limited only to the region. Less centralized societies existed before the foreign presence in the region and had been self-sustaining for centuries. â€Å"Latin American integration into the world economy only began when the Europeans arrived† (146). During the period of foreign domination, the breakdown of autonomy of the different facets of society became a massive and all-encompassing policy. Politics, culture, economics, social order, law and governance are all key positions held by foreign powers. The relationship between the empire and colonies is similar to the relationship of the slaves to their masters. Core-periphery relationship enabled the rich empires to continually develop at the expense of the peripheries. The decisions on resources, politics and over-all direction of the Latin America are done on foreign soil. Galeano points out that the expansionist policy of foreign colonizers had a push and a pull factor. The push factor is the desire of colonizers for glory. The first of the conquerors that came to Latin America are the Europeans notably the Spanish. Initially, the desire for glory drove explorers to different expeditions of other lands. The pull factor is the allure of the expeditionary forces to the vast riches of the region. â€Å"After the reports of the riches of the empire to the south had reached the Spanish settlement in Panama, considerable interest in conquest developed. Eventually, the Spanish came back with its conquistadores† (Galeano 27). The rest, as we now know from hindsight, is history. Agriculture Production Agricultural production in the Latin America became the fuel for development of the imperial global market. â€Å"At the same time, directly or indirectly but decisively, it spurred the growth of Dutch, French, English and United States industry. The demand for sugar produced the plantation, an enterprise motivated by†¦ profit and placed at the service of the international market that Europe is organizing. (Galeano 72). Agriculture production policies of the imperial powers deliberately shifted from small-scale farming into monocrop economies. â€Å"As national economies developed, regions and often whole nations became dedicated to monoculture—dedication to one crop or commodity. † (Vanden and Prevost 151). Colombia and El Salvador focused on selling coffee on the international market, Mexico and Venezuela were dependent on the petroleum commodity, Bolivia centered on tin. Coffee and bananas became the biggest agricultural products of Central America. From being self-sufficient agricultures, where people â€Å"nourished themselves on a balanced diet consisting of beans, corn, and squash,† (Vanden and Prevost 19), the shift into agro-industries is triggered by the principle of comparative advantage on the international market. Latin America at this point became a good source of raw materials and food for the imperialist states. The priority of agriculture in peripheries is always the self-serving interest of the US and Europe. While Brazil prospered due to its exports of sugarcane monoculture, the nation’s children ironically starved. Abundance and prosperity came hand in hand with chronic malnutrition and misery for most of the population† (Galeano 75). Foreign Debt At present Jamaica owes over $4. 5 billion to the IMF, the World Bank and the Inter-American Development Bank (IADB) among other international lending agencies yet the significant development that these loans have guaranteed have yet to manifest. The amounts of foreign exchange together with the structural adjustment policies have had a negative impact in the life of everybody. In another part of the movie, we can see the history of a chicken plant which had a good business selling high-quality chicken to the internal Jamaica market; but this business has been demoralize by U. S. ; while there are a lot of restriction on foods and goods imported into the U. S. there are regularly no restrictions on foods and goods exported to foreign developing country. (Life and Debt 2001). Jamaica is not alone in its debt crisis. After the shift from colonialism to the independence of Latin America, the new world order shifted its principles from liberalism to a neo-liberal, neo-colonial system. Virtually all of Latin America is on the throes of economic dependence on international financial institutions, namely the IMF and World Bank. The loans do not come without strings attached to it. Structural adjustment programs and stringent conditionalities essentially limit the capability of Latin America to compete at the global market. For instance, produce from Third World countries such as that in Latin America are penalized with tariffs and quotas as they enter First World markets, while finished products of the US and Europe find their ‘niche’ market in the Third World. The free play of supply and demand does not exist on the international market, the reality is a dictatorship of one group over the other† (Galeano 259). Conclusion: Global Economic Hegemony The alienation of the peoples of Latin America, their sufferings and collective aspirations juxtaposed with the injustices experienced within its history are the prime reasons for the regions revolutionary and bloody history. From slavery, to feudalism, to mercantilism, to capitalism, the world order had changed via neo-liberalism, neo-colonialism and globalization. Sadly, none of these modes of production had effectively benefitted Latin America. These different economic historical periods are only different forms of the same thing—inequalities, poverty, human rights abuses and a melange of problems that hound Latin America today. Since the colonial period, the grips of powerful nation states had never loosened on Latin America. It is a good source of raw materials, with cheap labor and also a good market for finished products. The international economic structures enabled â€Å"economic policy recommendations that are dominated by orthodox capitalist economic thinking† (Vanden and Prevost 165). Inequalities continue to exist and are even presented in smokescreens such as Free Trade, which is not free after all. The Global North competing in the international market against the Global South is a very one-sided economic structure that benefits the North at the expense of the South. The contemporary global economic hegemony is essential for the US and Europe, it is essential for their survival. Globalization shrank the world into a smaller entity but the international economy is still run by colonial powers. 21st century domination of the world does not come in barbaric way, the methods of coercion and domination are subtle yet they are as cruel and deadly as before. What had happened for the past centuries is an enslavement of Latin America and a raping of humanity by colonizers.

Diddy - Dirty Money - Coming Home ft. Skylar Grey Essay

Diddy - Dirty Money - Coming Home ft. Skylar Grey - Essay Example It tells the story of a person who has made many mistakes in life and has under gone various difficulties in life, and at the end of the day, he realizes that he needs a fresh star to hi life. The person is thus left with the choice of going back home to rebuild his life and start all over a new. The song captures this troubled past of the singer when she sings, â€Å"Let the rain wash away all the pain of yesterday. I know my kingdom awaits and they have forgiven my mistakes.† This clearly brings out the major theme of the song as forgiveness and the need to move on after under going a turbulent period in ones life. The song also talks about repentance and the need to forgive past mistakes. This is illustrated in the song where the singer asks his children to forgive him for not being there for them when they needed him most. He asks them to forgive him as he acknowledges that he was wrong. He blames this on his fame and fortunes that have led him to develop an alternative personality that is expected of him as a superstar, and this leads him to forget of his role as a father and husband. This is illustrated in the song when he raps, â€Å"Its easy to be Puff, but its harder to be Sean. If the twins asked me why I did not marry their mom, how would I respond?† he thus acknowledges that a new day begins by a new dawn, and that it was time he returned home to his loved ones to make up for the lost time and the mistakes that he may have made when he was away. The singer thus recognizes that a house is not a home, and he thus chooses to go back to his family to create a home. The song is meant to give hope to someone who is depressed in alls situation he or she is going through. It gives encouragement to the suppressed and points out that help is coming so no should ever give in life. It also encourages people to overcome their problems and seek to become

Logic & Reasoning Discussion Forum Essay Example | Topics and Well Written Essays - 250 words

Logic & Reasoning Discussion Forum - Essay Example Reasoning involved is: XYZ is old, so XYZ is better. The logic is that- how can the age of something relate to its efficiency? For example, fallacious appeal to tradition makes us believe that witches cause diseases and microorganisms do not, because witches myth is a belief that has been there since ages. 3. This fallacy is called hasty generalization. Was Smith not hastening in believing what he saw only once? Also called fallacy of insufficient statistics or hasty induction, this fallacy takes place when a person, Smith here, jumps to conclusion by looking at insufficient evidence or small sample of a large population (Sellnow 392). Reasoning involved is: if observed X% of all As are Bs, still all As cannot be Bs, or if two of all squirrels are white, still all squirrels cannot be white. Logic here is that a conclusion cannot be drawn from merely observing a small sample taken from population. 4. Paraphrase: Under the new targets, the United States and Russia guarantee that both of them will deploy 525 to 700 fewer strategic nuclear warheads by 2016 when presently, by 2012, they are 2200