Marketing Essay Example | Topics and Well Written Essays - 1250 words - 3

Marketing - Essay Example This is achieved through transforming the physical features and insubstantial insights of a marketing offering in relation to the rivalry. It is vital to note that position is not determined by the appearance of the product or the sustenance that it pursues to stimulate. However, it is instead the insight or appearance that takes a distinct location in the mindset of the consumer; furthermore, positioning is a communication, comprising the establishment of a market mix, which creates the natural flow of information from market segmentation through target marketing. It is a form of developing a competitive position for an international brand and consequently improving its desirability. Positioning is mainly concerned with what an organization does to the prospective consumer and how the consumer perceives the organization. Effective positioning is a vital element in international brand strategy because a position arouses an image of the product concerned in the minds of the client (Sc hultz 2007, p. 23). It projects the idea that differentiates the brand from the competition and projects it as a product that can meet the needs and desires of international customer, whereby, an effective positioning offers a competitive edge to a brand that is trying to display its desirability to the target market. Effective positioning is a vital element in international brand strategy because it promises the benefit the clients will get and develops the expectation that it has the solution to the problem of the consumer. The solution is always different from and better than the solution provided by the competitors. Positioning is thus, an incorporating notion. It acts as an umbrella that incorporates all things in international branding. When effectively targeted, single-minded, positioning affects everything that a brand does or stands for; it is not reinforced by advertising only, but by the wholeness of its promotional efforts (Smith, Gopalakrishna and Chatterjee 2006, 560). However, in case the expectations that are developed by the brand strategy are not met, the effectiveness or the reliability of these benefits may weaken speedily. Therefore, with these demonstrations, it shows that positioning is a vital element in international brand strategy. An Integrated Marketing Communications Campaign for an International Brand The advancement of marketing for an international brand has moved beyond traditional marketing to include consumer driven, interactive and social marketing. Colgate Company is one of the multinational companies have realized the significant need for integrated marketing communicating (IMC) campaign in order to enable their Colgate Dental Cream brand to thrive in the global market effectively; hence achieving a competitive advantage. The increased competition in the global market have enabled Colgate Company to employ IMC approach; thus this approach is ushering in a new technology era where marketers blend communication messages acro ss the media channels in order to communicate about brand experience. The Colgate Dental Cream, which is the leading toothpaste are designed in a manner that raises awareness; thus ultimately surges their sales, leading to great returns and income for the organization. Therefore, as a part of successful IMC for Colgate Dental Cream brand, Colgate Company utilizes social media, Internet, public relation and advertising through other media such as Televisions, radios and others in a cohesive manner to share the message about the availability of this brand in the market. For an effective campaign of Colgate Dental Cream brand using IMC, various methods or elements are employed in the entire process. For instance, integrated market

Women in Psychology Essay Example for Free

Women in Psychology Essay Modern Psychology has been formed mainly by men during the 19th and 20th century, men like Wilhelm Wundt, Henri Bergson, and Sigmund Freud, major philosophers of the era include Franz Gall, Francis Galton, and William James. During these times women were not taken seriously in psychology; it took strong, pioneering women, such as Margaret Floy Washburn, Karen Horney, Mary Calkins, and Mary Cover Jones to bridge the gap in this male- dominated field of science. Mary Cover Jones looked at what others had studied, and rethought how to make the science better; she is known as the â€Å"Mother of Behavior Therapy† (Nevid Pastva, 2011, p. ), and contributions to psychology. Mary Cover Jones background Mary Cover was born in Johnstown Pennsylvania, in 1897. Always wanting knowledge she attended Vassar College, graduating in 1919. Mary took every psychology course offered with the exception of one. Mary Floy Washburn’s senior seminar in psychology do to Washburn disallowing Mary because of a middle of the road grade received in a laboratory course her sophomore year (Mary Cover Jones (1897-1987), n. d. ). After graduating from Vassar, Mary Cover began her graduate work at Columbia University and received her Master’s degree in the summer of 1920. While attending Columbia she met and married Harold Jones a fellow graduate and who the Harold E. Jones Children Study Center at Berkley University is named after. In 1923 Mary Cover Jones was appointed Associate in Psychological Research at the Institute of Education Research, Columbia University College Teachers College (Mary Cover Jones (1897-1987), n. d. ). Here is where she started her most famous study of Peter and his fear of furry animals. Peter and the rabbit In 1920, Mary Cover Jones attended a lecture given by John B. Watson on a child named â€Å"Albert† who was conditioned to be afraid of anything with fur due to scaring â€Å"Albert† with loud sounds whenever the infant reached for a white rat. While listing to the charismatic Watson, Mary wondered if Watson’s learning approach could be used to remove children fears (Nevid Pastva, 2011, p. 1). In 1924 Mary was introduced to Peter, a three-year-old that had a natural fear of furry animals. Adapting from Dr. Watson’s study Mary observed Peter at play in his crib, introduced a white rabbit and noticed Peter cry and flail until the rabbit was removed. Throughout her study Mary tried to introduce things Peter liked along with the rabbit to see if she could condition Peter into embracing the rabbit instead of afraid. With the other stimuli, (food) being added as the rabbit was introduced into Peter’s â€Å"space† Mary was able to bring the rabbit closer and closer until the rabbit sat on Peters lap as he ate. This counterconditioning of Peters fear not only removed his fear of Rabbits but also other fears such as, cotton, a fur coat, and Feathers (Nevid Pastva, 2011, p. 1). Contributions to psychology Peter may have been what Mary Cover Jones was most famous for, but she did much more for psychology among those are on how early and late maturation in adolescence effect personality, personality antecedents of drinking problems (Logan, 1980, 103). Mary was instrumental in her husband, Harold E.  Jones, establishment of the institute for Child Welfare at the University of California, Berkley. Mary became involved with the Oakland Growth Study where she followed a group of 200 fifth and sixth grade students from puberty to adolescences. Several follow-up studies have been done on these children as they entered adulthood. Mary Cover jones became a full professor in 1959 and in 1960 she served as president of the Division of Developmental Psychology of the American Psychological Association. That same year her husband passed away of a heart attack (Rutherford, n. . ). Conclusion Mary Cover Jones’ study of Peter challenged the predominate belief at the time that treatment of the underlying psychological conflicts rather than overt behavior is necessary to accomplish change. Her work proved that behavior can be changed through therapy and regardless of where a fear roots stem from, positive results can be achieved. Mary Cover Jones lived to be 91, and according to her sister her last words were â€Å"I am still learning about what is important in life† (Rutherford, n. d. ).

Music theory

Music theory ABSTRACT MUSIC THEORY:- Music theory is the field of study that deals with how music works. It examines the language and notation of music. It identifies patterns that govern composers techniques. In a grand sense, music theory distills and analyzes the parameters or elements of music – rhythm, harmony (harmonic function), melody, structure, form, and texture. Broadly, music theory may include any statement, belief, or conception of or about music. People who study these properties are known as music theorists. Some have applied acoustics, human physiology, and psychology to the explanation of how and why music is perceived. The Four elements of music:- Melody Harmony Rhythm Dynamics AESTHETICS:- Aesthetics (also spelled esthetics or esthetics) is a branch of philosophy dealing with the nature of beauty, art, and taste, and with the creation and appreciation of beauty. It is more scientifically defined as the study of sensory or sensori-emotional values, sometimes called judgments of sentiment and taste. More broadly, scholars in the field define aesthetics as critical reflection on art, culture and nature. Aesthetics is a subdiscipline of axiology, a branch of philosophy, and is closely associated with the philosophy of art. Aesthetics studies new ways of seeing and of perceiving the world. AESTHETICS OF MUSIC:- Traditionally, the aesthetics of music or musical aesthetics concentrated on the quality and study of the beauty and enjoyment (plaisir and jouissance) of music. Aesthetics is a sub-discipline of philosophy. However, many musicians, music critics, and other non-philosophers have contributed to the aesthetics of music. In recent decades philosophers have tended to emphasize issues besides beauty and enjoyment. It is often thought that music has the ability to affect our emotions, intellect, and psychology; lyrics can assuage our loneliness or incite our passions. For this reason, the philosopher Plato proposed that music is a dangerous entertainment that should be closely regulated by the state. It is commonly believed that human responses to music are culturally influenced. For example, musical passages in Beethoven that sounded highly dissonant to his contemporaries do not sound dissonant to listeners today. As such, musics aesthetic appeal seems highly dependent upon the culture in which it is practiced. However, there is a physical background which defines sound being proper or improper. Proper sound is perceived as gentle sound while improper sound is more or less considered nice sounding depending on what the listener is used to listen to. Harry Partch and some other musicologists like for instance Kyle Gann therefore have studied and tried to popularize microtonal music and the usage of alternate musical scales. Also many modern composers like Lamonte Young, Rhys Chatham and Glenn Branca paid much attention to a scale called just intonation. Some of the aesthetic elements expressed in music include lyricism, harmony, hypnotism, emotiveness, temporal dynamics, resonance, playfulness, and color (see also musical development). However, there has been a strong tendency in the aesthetics of music to emphasize musical structure as the most important (or even only) aesthetic element that is important in the experience of music. RHYTHM:- Rhythm is the heartbeat of music. As music passes in time, it is divided into perceptible sections, and each section subdivided further. Rhythm is the arrangement of sounds and silences in time. Meter animates time in regular pulse groupings, called measures or bars. The time signature or meter signature specifies how many beats are in a measure, and which value of written note is counted and felt as a single beat. Through increased stress and attack (and subtle variations in duration), particular tones may be accented. There are conventions in most musical traditions for a regular and hierarchical accentuation of beats to reinforce the meter. Syncopated rhythms are rhythms that accent unexpected parts of the beat. Playing simultaneous rhythms in more than one time signature is called polymeter. See also polyrhythm. Rhythm is, by its simplest definition, musical time. The origin of the word is Greek, meaning flow. Rhythm is indeed the embodiment of timely flow. As meter regulates and pulsates a poem, rhythm organizes music in much the same way. The regular pulsations of the music are called the beat. Stronger beats are referred to as accented beats. Measures of music divide a piece into time-counted segments. Strong beats occur in patterns. For instance, in 4/4 time, the conductor would beat a strong beat on the first beat of every measure and another accented beat although not as strong on the third count of the measure. Because the conductors arms move downward on strong beats, especially those that begin a measure, accented beats are also referred to as downbeats. In recent years, rhythm and meter have become an important area of research among music scholars. Recent work in these areas includes books by Bengt-Olov Palmqvist, Fred Lerdahl and Ray Jackendoff, Jonathan Kramer, Christopher Hasty, William Rothstein, and Joel Lester. Rhythm either means tempo literally, or its percussion within tempo. Like instead of just 1-2-3-4-1-2-3-4-1-2-3-4. you might Get a groove like: 1-+-+-2-+-+-3-+-+-4-+-+-1-+-2-+-. Rhythm is the variation of the length and accentuation of a series of sounds or other events. RHYTHM IN LINGUISTICS:- The study of rhythm, stress, and pitch in speech is called prosody; it is a topic in linguistics. Narmour (1980, p.147–53) describes three categories of prosodic rules which create rhythmic successions which are additive (same duration repeated), cumulative (short-long), or countercumulative (long-short). Cumulation is associated with closure or relaxation, countercumulation with openness or tension, while additive rhythms are open-ended and repetitive. Richard Middleton points out this method cannot account for syncopation and suggests the concept of transformation. A rhythmic unit is a durational pattern which occupies a period of time equivalent to a pulse or pulses on an underlying metric level, as opposed to a rhythmic gesture which does not (DeLone et al. (Eds.), 1975 ORIGINS OF HUMAN APPERCIATION OF RHYTHM:- In his series How Music Works, Howard Goodall presents theories that rhythm recalls how we walk and the heartbeat we heard in the womb. More likely is that a simple pulse or di-dah beat recalls the footsteps of another person. Our sympathetic urge to dance is designed to boost our energy levels in order to cope with someone, or some animal chasing us – a fight or flight response. From a less darwinist perspective, perceiving rhythm is the ability to master the otherwise invisible dimension, time. Rhythm is possibly also rooted in courtship ritual. Neurologist Oliver Sacks posits that human affinity for rhythm is fundamental, so much that a persons sense of rhythm cannot be lost in the way that music and language can (e.g. by stroke). In addition, he states that chimpanzees and other animals show no similar appreciation for rhythm. RYHTM NOTATION AND THE ORAL TRADITION:- Worldwide there are many different approaches to passing on rhythmic phrases and patterns, as they exist in traditional music, from generation to generation. African music In the Griot tradition of Africa everything related to music has been passed on orally. Babatunde Olatunji (1927–2003), a Nigerian drummer who lived and worked in the United States, developed a simple series of spoken sounds for teaching the rhythms of the hand drum. He used six vocal sounds: Goon Doon Go Do Pa Ta. There are three basic sounds on the drum, but each can be played with either the left or the right hand. This simple system is now used worldwide, particularly by Djembe players. Indian music Indian music has also been passed on orally. Tabla players would learn to speak complex rhythm patterns and phrases before attempting to play them. Sheila Chandra, an English pop singer of Indian descent, made performances based around her singing these patterns. In Indian Classical music, the Tala of a composition is the rhythmic pattern over which the whole piece is structured. Western music Standard music notation contains all rhythmic information and is adapted specifically for drums and percussion instruments. The drums are generally used to keep other instruments in time. They do this by supplying beats/strikes in time at a certain pace, i.e. 70 beats per minute (bpm). In Rock music, a drum beat is used to keep a bass/guitar line in time. TYPES In Western music, rhythms are usually arranged with respect to a time signature, partially signifying a meter. The speed of the underlying pulse is sometimes called the beat. The tempo is a measure of how quickly the pulse repeats. The tempo is usually measured in beats per minute (bpm); 60 bpm means a speed of one beat per second. The length of the meter, or metric unit (usually corresponding with measure length), is usually grouped into either two or three beats, being called duple meter and triple meter, respectively. If each beat is divided by two or four, it is simple meter, if by three (or six) compound meter. According to Pierre Boulez, beat structures beyond four are simply not natural. His reference is to western European music. Syncopated rhythms are rhythms that accent parts of the beat not already stressed by counting. Playing simultaneous rhythms in more than one time signature is called polymeter. See also polyrhythm. In recent years, rhythm and meter have become an important area of research among music scholars. Recent work in these areas includes books by Maury Yeston, Fred Lerdahl and Ray Jackendoff, Jonathan Kramer, Christopher Hasty, William Rothstein, and Joel Lester. Syncopated rhythms are rhythms that accent parts of the beat not already stressed by counting. Playing simultaneous rhythms in more than one time signature is called polymeter. See also polyrhythm. In recent years, rhythm and meter have become an important area of research among music scholars. Recent work in these areas includes books by Maury Yeston, Fred Lerdahl and Ray Jackendoff, Jonathan Kramer, Christopher Hasty, William Rothstein, and Joel Lester. Some genres of music make different use of rhythm than others. Most Western music is based on subdivision, while non-Western music uses more additive rhythm. African music makes heavy use of polyrhythms, and Indian music uses complex cycles such as 7 and 13, while Balinese music often uses complex interlocking rhythms. By comparison, a lot of Western classical music is fairly rhythmically (or metrically) simple; it stays in a simple meter such as 4/4 or 3/4 and makes little use of syncopation. Clave is a common underlying rhythm in African, Cuban music, and Brazilian music. In the 20th century, composers like Igor Stravinsky, Bela Bartok, Philip Glass, and Steve Reich wrote more rhythmically complex music using odd meters, and techniques such as phasing and additive rhythm. At the same time, modernists such as Olivier Messiaen and his pupils used increased complexity to disrupt the sense of a regular beat, leading eventually to the widespread use of irrational rhythms in New Complexity. This use may be explained by a comment of John Cages where he notes that regular rhythms cause sounds to be heard as a group rather than individually; the irregular rhythms highlight the rapidly changing pitch relationships that would otherwise be subsumed into irrelevant rhythmic groupings (Sandow 2004, p.257). LaMonte Young also wrote music in which the sense of a regular beat is absent because the music consists only of long sustained tones (drones). In the 1930s, Henry Cowell wrote music involving multiple simultaneous periodic rhythms and collaborated with Là ©on T hà ©rà ©min to invent the Rhythmicon, the first electronic rhythm machine, in order to perform them. Similarly, Conlon Nancarrow wrote for the player piano.

desegregation historiography Essay -- essays research papers fc

Equality and equal opportunity are two terms that have changed or have been redefined over the last 100 years in America. The fathers of our constitution wanted to establish justice and secure liberty for the people of the United States. They wrote about freedom and equality for men, but historically it has not been practiced. In the twentieth century large steps have been made to make the United States practice the ideals declared in the Constitution and Bill of Rights. The major changes following Rosa Park’s refusal to give up her bus seat to a young white man and the Brown v. Board of Education trial in 1954. These Supreme Court rulings altered American society and began the desegregation and integration movements. In the 1950’s many writers took interest in writing about segregation, desegregation, integration and black history in general. Many historians write about segregation still existing today and the problems in which integration never had the chance to corr ect. Many works about desegregation were written in the years to follow, was it a good idea and would it last? Murray Friedman, Roger Meltzer and Charles Miller put a collection of essays together in the mid 70’s discussing integration and the many different views pertaining to desegregation in its first fifteen years. Major changes have taken place in American lives that have not been fully absorbed in our thinking that cause confusion and bitterness. The authors agree that the original goal of civil rights forces was the dismantling of school systems segregated under law, despite the strong resistance, was successful in some places. Pennsylvania is one state that issued programs to integrate schools that were successful. Another topic addressed in New Perspectives on School Integration is the study of ethnic groups in schools. At the time programs only study the present or dominant ethnic group at a specific school. It changes from school to school rather than teaching ethnicitie s of many different American groups. The goal in teaching American ethnic culture should include a wide range of content. If schools were to teach all ethnicities to every child, no matter their race, it would benefit and prepare students whom will be entering an integrated society instead of a desegregated society. Desegregation effects on the achievements of black and white students show improvement. James Coleman ... ...States was founded on principles of equality, liberty and the right to exercise them freely. In the Constitution the ideals of the American Creed have thus become the highest law of the land. Kozol also describes the American Dilemma and brings it to life for his readers. The values of the American Creed have historically not extended on a equal basis. The fallacy lies in the ideals of American foundations, if Americans would live up to the lofty ideals, then the race problem in the United States would disappear. Segregating still does exist today and will keep living until we are able to go into cities and change their education program and make funding and instruction equal. Bibliography Friedman, M., R. Meltzer, C. Miller. New Perspectives on School Integration. Philadelphia: Fortress Press, 1979 Harris, Ian M. Criteria for Evaluating School Desegregation in Milwaukee. The Journal of Negro Education, Vol.52, No.4 (Autumn, 1983), 423-435. Kozol, Jonathan. Savage Inequalities: Children in America’s Schools. New York, New York: Crown Publishers Inc., 1992. Samuels, Albert L., Black Colleges and the Challenge to Desegregation. Lawrence, Kansas: University Press of Kansas, 2004.

Lab Report: The Conservation of Mass and Energy Essay

Introduction You will be exploring three scenarios and conducting observations on the physical and chemical changes in matter. You will also investigate the input and output of energy during physical and chemical changes. Objective To demonstrate the differences between physical and chemical changes while observing the laws of conservation of matter and energy. Problem How can matter and energy be described in a variety of systems? Materials Although you will not use any materials in this video lab observation, note the materials and safety precautions used to complete the demonstrations. Procedures Note: Read all the instructions for this lab before you begin working! Pre-reading the procedures will give you a mental picture of what you will be doing and a better understanding of the process. Three demonstrations will be presented. You must observe and analyze these as part of the lab. The titles of the demonstrations are as follows: â€Å"The Iced Tea Debate† â€Å"The Salty Soup† â€Å"The Fire Bug† Use the DATA chart provided for recording observations based on the three demonstrations you will watch. Watch each part of the experimental demonstration and make predictions about what will happen in each scenario. Record your predictions and observations in the DATA AND OBSERVATIONS section of your laboratory report form. Data and Observations Take time to record your predictions about each scenario when prompted. Then, record your detailed observations and draw some brief conclusions in the table below. Data Chart Scientific Method The Iced Tea Debate The Salty Soup The Fire Bug Predictions—What do you think will happen? Observations—What did you see happening in each demonstration? Conclusion—What was demonstrated here? Analysis Use your data table above to identify the physical and chemical changes observed in the demonstrations as follows: Complete Data Chart above filling in Scientific Methods for each demonstration. Use the drop-down menu options to record any physical and/or chemical changes observed. Once you completed the data chart, complete pre-made paragraphs below by writing an analysis that includes details on how the Law of Conservation of Matter and the Law of Conservation of Energy are supported by the experimental demonstrations. Use the following reflection questions to guide you in writing the analysis: Was matter or energy lost or destroyed in any of the scenarios? Did your predictions match the second portion of the demonstrations? What phase changes did you observe? What kinds of energy were input and output in each of the scenarios? Paragraph 1 – How the Law of Conservation of Matter is supported by the experimental demonstrations:       Paragraph 2 – How the Law of Conservation of Energy is supported by the experimental demonstrations:       Fourth Scenario Describe a fourth scenario in which either the â€Å"Law of Conservation of Matter† or the â€Å"Law of Conservation of Energy† could be observed. Using as many sentences as needed, describe how an experiment could be set up to further explore your recorded observation. The goal is to show understanding of the concepts in the lesson.

The Past is a foreign country Essays

The Past is a foreign country Essays The Past is a foreign country Paper The Past is a foreign country Paper The Past is a foreign country: they do things differently there. Referring to L. P. Hartleys novel The Go-Between and Philip Larkins poetry anthology The Whitsun Weddings, explore the significance of the past. Whats gone and whats past help, should be past grief. L. P. Hartleys novel and Larkins poetry demonstrate the lack of reality in this philosophy, a point that Shakespeare clearly implies with the use of the auxiliary verb should. Although a foreign country our capacity of memory allows us to continue living in that strange land making the events that occurred there very much present grief. The devastating history of The Go-Between epitomises the power that the past has to dictate our lives. That one summer in adolescence can affect the next fifty years of a mans life illustrates the influence that the past has on the present. Similarly, the poetry of Philip Larkin portrays how alive and existing the past is, in memorabilia, in our children, in artifacts and in ourselves. A post mortem of Leo Colstons metaphorical death, the novel The Go-Between, tells the account of how a boy was prematurely forced into adulthood, an adulthood never lived out. The events that occurred at the age of twelve crippled Leo to such an extent that even in his sixties he has not recovered; he is dried up, the husk of a man. One summer in his youth holds more significance for him than any other time, it is the only time in his life that Leo lived but also the time at which he gave up on his existence and died. The Leo Colston of pre-1900 remained at Brandham Hall, where they do things differently, and it is only at the age of sixty-four when he returns in person that he is able and dares to start living once more. After opening Pandoras box, his diary from that eventful year, he decides to confront the past. Despite Leos advance in age he still possesses childhood nostalgia contained in a box, which like him is battered, all these years later. He stored away memorabilia from his early days, evidence that he had not recovered from what happened in the past. In this searching exploration of the nature of memory as termed by Douglas Brooks-Davies, we are shown the ability that the faculty has, as well as memorabilia, to contain the past. Colston was unable to throw away his physical memories just as much as he was unable to rid them from his mind; he did not have closure on the events that took place in Norfolk, it was unfinished business. The prologue of this bildungsroman sees Leo Colston unable to resist the enervating power of his boyhood diary, and so he once again opens the door to his disturbing past. Both the prologue and epilogue of the novel are evidence of the great significance the author places on the past, shown in the pathetic life he has created for green Leo Colston, a now cindery creature, a dull dog. Many factors contributed to the breakdown of the young go-between, not solely the revelation of the sexual act. The twelve-year-old Leo Colston was emotionally immature. He knew nothing of the facts of life and believed that by being a go-between he was a messenger of the gods so high were the Maudsleys in his esteem. Therefore when plunged into water too deep for him, acting as the lynch-pin of the whole business, he was destined to get hurt. After weeks of manipulation by his adored Maid Marian, amounting to psychological child abuse on her part, he was then sadistically forced by a hysterical Mrs. Maudsley to witness the two bodies moving like one. Leos downfall had almost reached its peak. The climax arrived however with the news that Ted Burgess had gone home and shot himself, releasing the metaphorical trigger that was to kill Leo the schoolboy and force him into an unpleasant adult world. The Diary for the year 1900 is a snapshot of naivety, as regards to both Leo and society, echoing the line from Philip Larkins poem MCMXIV: Never such innocence again. Both Leo and England were ignorant of the capabilities of man. Later England was to be disillusioned by the atrocities of two world wars and on a personal scale Leo was to lose his faith in the morality of man. It could be argued that had this novel not been set at the turn of the twentieth century but one hundred years later at the turn of the millennium, Leo Colston would not have suffered a nervous breakdown. Due to advancements in technology there would have been no need for a messenger to aid a secret love affair. The romance between Marian Maudsley, aristocrat and the farmer Ted Burgess would probably not have needed to be a secret at all due to the lack of such a segregated class system in todays society, and also due to the much improved status of women who are now far more liberated as regards sexual relationships and marriage. It is also improbable that an adolescent approaching thirteen in todays society could be as nai ve as Leo concerning the facts of life. The past therefore also has significance in terms of context and as the setting for L. P. Hartleys novel. In The Go-Between L. P. Hartley accurately recaptures the mood of the late Victorian period, through his novel the reader is allowed to witness not only Leos past but also the age in which Leslie Poles Hartley lived. The novel contains many similarities to the authors life and to a certain extent is autobiographical. Lord David Cecil praised Hartleys ability as a historical and social commentator believing him to be One of the most distinguished of modern novelists (And) a sharp-eyed chronicler of the social scene. The Epilogue of the novel shows most effectively the relationship between the past and present. When Leo Colston returns to the village near Norwich where the frightful trouble occurred, it is to a landscape as foreign to him then as when he first arrived there as a pubescent schoolboy. Whilst Leo has lived a monotonous existence for fifty years the most changeful half a century in history has taken place in the world around him. Yet other things remained unaltered. Marian Maudsley still has the power to bewitch Leo, to emotionally blackmail him, to make him carry out a final errand of love. Despite himself Leo is compelled to enter the world of Brandham Hall once more to deliver Marians words to her grandson, Ted Burgess grandson, the character of Edward symbolising the legacy we create in our children. As long as people continue to procreate they will never truly die, but live on through their offspring. Although his farmer friend had taken his own life all those years ago, Leo sees Ted Burgess once more in the face of his grandchild. On seeing the Hall, Leo allows himself to start recollecting fully the time he spent there. As he revisits the foreign country of his past he allows himself to stop being a stranger there and to understand that past land and the events that took place there. Also a foreigner in the world of emotion his entire adult life, Leo Colston will be no longer as he attempts to lay his ghosts to rest. In his anthology The Whitsun Weddings Philip Larkin explores the concept of past and its different aspects. With Afternoons he examines the passing of time; generations growing old without hardly noticing, then looking back at their pasts, their youths, from the hollows of afternoons. Mr. Bleaney was a person of the past and yet his personality lives on through the tales of his landlady and the stamp of bleakness that he left on the hired box. Yet it is in poems such as Love Songs in Age where Larkin truly observes the role that the past plays in our everyday lives, the ability nostalgic souvenirs have to comfort and move us as well as to disappoint. As in The Go-Between a tatty keepsake is the key to unlocking the past, again memories both fond and painful. The tone of the first verse is very matter of fact, simply informing the reader of how a widow accidentally stumbles upon some old, uncared for songbooks. Although unloved she could not face throwing them away as they took so little space. The simplicity of the language used complements the everyday value of the subject matter whilst at the same time informing the reader of the domestic situation of the lady in question. The repetition of One emphasises the lack of importance that the items held for the widow, but almost as though they knew of their own significance they had waited. Now however, in the autumn of her life they awaken nostalgic recollections as she vividly remembers the unfailing sense of being young and in love. The second stanza of the poem creates an optimistic mood, an illusion of sentimental love that makes her feel youthful once more like a spring-woken tree. Yet in the closing stanza Larkins underlying theme of cynicism emerges as the widow realises that the ideal of love portrayed in the song words is merely an illusion. Alliteration emphasises the lack of truth in the promise love makes to solve, satisfy and set unchangeably in order. In confronting this painful reminder from the past the widow also has to face the reality of the present, the two are entwined. The sentimental illusion of romance aimed too high and could not fulfil its promises; It had not done so then, and could not do so now.