DNA is a double stranded molecule that stores the genetic code needed for the development function of all living things. It's sequence of nitrogenous bases (A,T,C,G) codes for proteins by determining the order of amino acids. DNA is essential as it provides the instructions for making proteins which control the cell function.
tRNA, transfer RNA, is a small molecule that helps decode the mRNA sequence during translation. Each tRNA carries a specific amino acid that has an anticodon that matches a complementary codon on the mRNA strand. This ensures that amino acids are added in the correct order to form a polypeptide, making tRNA essential for accurate protein synthesis.
mRNA, or messenger RNA, is a single stranded molecule that plays a key role in gene expression by carrying out the genetic code from the DNA in the nucleus to ribosomes in the cytoplasm. It's sequence of bases are read in codons, which determine the order of amino acids during translation to build a polypeptide. This makes mRNA essential for protein production, as it allows the information in DNA to be used to make proteins that carry out functions.
Protein synthesis is the process where cells build proteins based on the instructions encoded in DNA. It involves transcription, where mRNA is made complementary to the DNA template strand, and translation, where tRNA uses the mRNA to assemble amino acids into a polypeptide.
A genotype is the genetic information on the alleles present. The phenotype is the observable characteristics determined by the alleles and/or the environment. The environmental factors that can affect the phenotype come under the umbrella of abiotic, biotic and mutagen factors. Abiotic factors are non-living environmental factors such as temperature and UV rays that can influence an organisms phenotype. Biotic factors are the living components of an organisms survival, growth and reproduction. These include interactions with other living things such as competition, predation and disease. Mutagens are factors like viruses, chemicals and UV rays. Overall, these factors affect how an organisms genes are expressed, meaning that even with the same genetic make up, individuals may develop different traits depending on the environmental conditions they experience.
A metabolic pathway is a series of enzyme controlled reactions where the product of one chemical reaction is the reactant for the next. The enzymes are made during protein synthesis and the instructions to make a specific enzyme are on the DNA. There can be as little as 2 steps or hundreds of steps depending on how complex the process is. The basic formula is that gene 1 carries the instructions to make enzyme 1 which converts substrate A into an intermediate molecule. Gene 2 then carries the instructions to make enzyme 2 which converts the intermediate into the product (final molecule). If gene 1 has a mutation and enzyme 1 can't work, then substrate A cannot be converted into the intermediate molecule therefore, the product will not be produced. Substrate A will then accumulate. If gene 2 has a mutation and enzyme 2 can't work, the intermediate cannot be converted into the product. The intermediate with then accumulate. Any accumulation or product not being produced can have serious effects on the cell or organism especially is that product is essential for survival.
Transcription is the process where the DNA code for a gene is copied into a complementary strand of mRNA. It occurs in the nucleus. The enzyme RNA polymerase binds to the DNA at the start of the gene code and unwinds the double helix. It then uses one strand of the DNA, the template strand to assemble a complementary strand of mRNA, following base pair rules except T is replaced with U (A pairs with U instead of T and G pairs with C). Once the gene code has been copied, the mRNA strand detaches and leave the nucleus through a nuclear pore, carrying the genetic instruction to the ribosomes in the cytoplasm. The role of transcription is to produce mRNA that carries the code for the amino acids that code for proteins. Since DNA cannot leave the nucleus, transcription provides a working copy of the genetic code that can be translated, ensuring the correct protein is made.
Translation is the process where the code carried by mRNA is used to build a polypeptide, and it occurs at the ribosome in the cytoplasm. The mRNA binds to the ribosome, which reads its bases in groups of threes called codons. Each codon specifies a specific amino acid. tRNA molecules bring amino acids to the ribosomes, with each tRNA carrying an anticodon that is complementary to a mRNA codon. Base pairing between codons and anticodons ensures that the amino acids are joined in the correct sequence by peptide bonds. When a stop codon is reached, the chain detaches and folds into a functioning protein. The precise order of amino acids determines the proteins shape and function meaning translation is essential for linking the genetic code to the correct protein.
Практичне застосування асертивності виходить далеко за рамки простих прохань чи відмов; воно стосується вирішення конфліктів та здатності витримувати емоційний дискомфорт. Справжня асертивність вимагає мужності, оскільки вона часто передбачає конструктивну конфронтацію – ситуацію, якої пасивні люди намагаються уникнути за будь-яку ціну. На відміну від агресивного підходу, де мета – "перемогти" опонента, або пасивного, де мета – "втекти", асертивний підхід має на меті "вирішити" проблему, зберігши при цьому повагу до обох сторін. Це означає вміння активно слухати точку зору іншої людини, підтверджувати її почуття (що не означає погоджуватися з її позицією), а потім чітко і спокійно викладати свою власну позицію та шукати взаємовигідне рішення. Однією з найскладніших навичок у цьому процесі є вміння витримувати мовчання та спокійно реагувати на захисні реакції іншої людини (наприклад, гнів чи образу), не відступаючи від своєї позиції та не переходячи в агресію у відповідь. Це вимагає високого рівня емоційної регуляції та впевненості у своєму праві на власну думку.
Важливо також розуміти, що асертивність не є маніпуляцією. Мета асертивності – чесність і прозорість, тоді як мета маніпуляції – отримати бажане прихованими, непрямими методами, часто граючи на почутті провини чи страху іншої людини. Асертивність є культурно залежною; те, що вважається прийнятно асертивним в одній культурі (наприклад, пряма відмова), може сприйматися як грубість в іншій, більш колективістській культурі, де пріоритетом є гармонія в групі. Тому ефективна асертивність вимагає також соціального інтелекту та здатності адаптувати свій стиль комунікації до контексту, не втрачаючи при цьому своєї автентичності. В кінцевому підсумку, асертивність – це не одноразова техніка, а життєва філософія. Це заява про те, що ви поважаєте себе достатньо, щоб бути видимим і почутим, і водночас поважаєте інших достатньо, щоб надати їм таке ж право. Це безперервний процес навчання, який будує не лише здорові стосунки, але й, що найважливіше, міцну, здорову та чесну взаємодію із самим собою.
Асертивність — це фундаментальна комунікативна навичка та, водночас, життєва позиція, яка полягає у здатності людини чітко, впевнено та з повагою висловлювати свої думки, почуття, потреби та переконання, водночас не порушуючи права та гідність інших людей. Це здатність відстоювати себе та свої інтереси у прямий, але неагресивній формі. Асертивність часто описують як "золоту середину" на спектрі комунікативних стилів, що лежить між двома неконструктивними крайнощами: пасивністю та агресивністю. Пасивна поведінка характеризується уникненням конфліктів будь-якою ціною, нездатністю сказати "ні", придушенням власних потреб та почуттів заради задоволення інших. Це призводить до накопичення внутрішньої образи, тривоги та втрати самоповаги, оскільки людина постійно нехтує власними правами. З іншого боку, агресивна поведінка полягає у відстоюванні своїх прав шляхом домінування, залякування, приниження або ігнорування прав та почуттів інших. Хоча агресія може принести короткостроковий результат, вона неминуче руйнує стосунки та створює атмосферу ворожості. Асертивність же пропонує третій шлях: шлях взаємної поваги.
В основі асертивності лежить глибоке переконання у власній самоцінності та у цінності іншої людини. Асертивна людина визнає, що вона має право на власні думки (навіть якщо вони відрізняються від думок більшості), право на свої почуття (і на їх вираження), право на встановлення власних пріоритетів та право говорити "ні" без почуття провини. Ключовим інструментом асертивної комунікації є використання "Я-повідомлень" замість "Ти-повідомлень". Наприклад, замість того, щоб сказати "Ти ніколи мене не слухаєш!" (агресивне звинувачення), асертивна людина скаже: "Коли мене перебивають, я відчуваю розчарування, тому що мені важливо поділитися своєю думкою". Таке формулювання не атакує співрозмовника, а натомість чітко описує ситуацію, ваші почуття та ваші потреби, залишаючи простір для конструктивного діалогу. Асертивність також включає вміння приймати та надавати зворотний зв'язок (як позитивний, так і критичний) у спосіб, що не ранить, а допомагає розвитку.
Розвиток асертивності — це процес, який вимагає свідомості та практики. Він починається з самоусвідомлення: необхідно навчитися розпізнавати власні потреби, емоції та кордони. Багато людей, схильних до пасивності, настільки звикли ігнорувати свої потреби, що їм спершу потрібно заново з ними "познайомитися". Наступний крок – це практика встановлення кордонів. Це може бути щось просте, як-от ввічлива, але тверда відмова на прохання, яке ви не можете або не хочете виконувати, без довгих виправдань. Важливо розуміти, що асертивність не гарантує, що ви завжди будете отримувати те, що хочете. Інші люди все ще мають право сказати вам "ні". Однак асертивність гарантує, що ви будете почутими, що ваші потреби будуть заявлені, і що ви збережете самоповагу незалежно від результату. Переваги асертивності величезні: вона знижує рівень стресу (оскільки ви не накопичуєте образи), покращує якість стосунків (оскільки вони стають більш чесними та прозорими) і значно підвищує впевненість у собі та загальне задоволення життям.
Насилля, з точки зору соціальних наук та психології, є набагато ширшим поняттям, ніж просто фізична агресія. Всесвітня організація охорони здоров'я визначає насилля як навмисне застосування фізичної сили чи влади, погрози або фактичне, яке спрямоване проти себе, проти іншої особи, групи осіб чи спільноти, і яке або призводить, або має високу ймовірність призвести до тілесних ушкоджень, смерті, психологічної травми, вад розвитку або депривації. Це визначення є ключовим, оскільки воно включає не лише очевидні фізичні дії, але й погрози та застосування влади, що призводить до шкоди. Таким чином, насилля поділяється на різні форми: фізичне (побиття, використання зброї), психологічне або емоційне (залякування, приниження, маніпуляції, ізоляція), сексуальне (будь-який сексуальний акт без згоди) та економічне (контроль над фінансами, заборона працювати, позбавлення ресурсів). Розуміння цих форм є критично важливим, оскільки психологічне та економічне насилля може бути таким же руйнівним, як і фізичне, хоча його наслідки часто є менш видимими для оточуючих і складнішими для доведення.
Психологічні та соціологічні теорії намагаються пояснити коріння насилля, і більшість сходиться на тому, що це складний біопсихосоціальний феномен. Не існує єдиного "гену насилля". Натомість, це результат взаємодії багатьох факторів. Біологічні фактори можуть включати особливості функціонування мозку (наприклад, активність мигдалеподібного тіла, що відповідає за страх і агресію, та недостатній контроль з боку префронтальної кори), а також вплив гормонів. Психологічні фактори включають особистісну історію, особливо досвід, отриманий у дитинстві. Теорія соціального навчання, розроблена Альбертом Бандурою, переконливо демонструє, що агресивна поведінка часто є набутою. Діти, які спостерігають за насиллям у родині або в медіа, можуть засвоювати його як прийнятний спосіб вирішення конфліктів. Соціальні фактори, такі як бідність, безробіття, соціальна нерівність та доступність зброї, створюють середовище, в якому насилля стає більш імовірним. Таким чином, насилля – це не просто індивідуальний вибір, а часто симптом глибших суспільних проблем.
Одним з найбільш руйнівних аспектів насилля є його здатність до самовідтворення, відома як "цикл насилля" або мі поколіннєва передача травми. Дослідження чітко показують, що діти, які стали свідками або жертвами насилля в сім'ї, мають значно вищий ризик стати або жертвами, або кривдниками у дорослому житті. Це відбувається не тому, що вони "погані" люди, а через засвоєні моделі поведінки, нездатність по-іншому регулювати емоції та вирішувати конфлікти, а також через глибоку психологічну травматизацію. Насилля порушує базове відчуття безпеки та довіри до світу. Наслідки для жертв є довготривалими і можуть включати посттравматичний стресовий розлад (ПТСР), депресію, тривожні розлади та проблеми з формуванням здорових стосунків. На societalьному рівні, насилля створює культуру страху, руйнує соціальний капітал і вимагає величезних ресурсів для ліквідації наслідків, замість того, щоб ці ресурси спрямовувалися на розвиток.
Окрім прямого міжособистісного насилля, існує менш очевидна, але не менш руйнівна форма – структурне насилля. Цей термін, введений соціологом Йоханом Ґалтунґом, описує спосіб, у який соціальні структури, інститути та політики завдають шкоди певним групам людей, позбавляючи їх базових потреб та можливостей. Структурне насилля є непрямим; у нього немає одного конкретного кривдника, оскільки воно вбудоване в саму "тканину" суспільства. Прикладами можуть бути системи, що увічнюють бідність, нерівний доступ до якісної освіти та охорони здоров'я, дискримінаційні закони або економічна політика, яка систематично ставить у невигідне становище певні класи чи расові групи. Результатом структурного насилля є скорочення тривалості життя, вищий рівень захворюваності та обмежені життєві шанси. Це насилля є "тихим" і часто нормалізованим, але його наслідки є абсолютно реальними і вимірюваними. Визнання цієї форми насилля є ключовим для побудови справді справедливого та мирного суспільства.
a quick brown fox jumps over the lazy dog. a quick brown fox jumps over the lazy dog. a quick brown fox jumps over the lazy dog. a quick brown fox jumps over the lazy dog. a quick brown fox jumps over the lazy dog.
Offer: An offer needs specificity of terms and specificity of intent. All the offeree should have to do is accept. Failure to meet this criteria means there is not an offer but rather preliminary negotiations.
R2d24: Offer Defined: An offer is the manifestation of willingness to enter into a bargain, so made as to justify another person in understanding that his assent to that bargain is invited and will conclude it.
R2d26: Preliminary Negotiations: A manifestation of willingness to enter into a bargain is not an offer if the person to whom it is addressed knows or has reason to know that the person making it does not intend to conclude a bargain until he has made a further manifestation of assent.
Offers can be terminated for four reasons: (1) death of offeror, (2) revocation of the offer, (3) Rejection via counter offer, (4) Time Lapsed.
R2d41: Lapse of Time: (1) An offeree's power of acceptance is terminated at the time specified in the offer, or, if no time is specified, at the end of a reasonable time. (2) What is a reasonable time is a question of fact, depending on all the circumstances existing when the offer and attempted acceptance are made. (3) Unless otherwise indicated by the language or the circumstances, and subject to the rule stated in [R2C § 49], an offer sent by mail is seasonably accepted if an acceptance is mailed at any time before midnight on the day on which the offer is received.
R2d38: Rejection: (1) An offeree's power of acceptance is terminated by his rejection of the offer, unless the offeror has manifested a contrary intention. (2) A manifestation of intention not to accept an offer is a rejection unless the offeree manifests an intention to take it under further advisement.
R2d: Counter-Offers: (1) A counter-offer is an offer made by an offeree to his offeror relating to the same matter as the original offer and proposing a substituted bargain differing from that proposed by the original offer. (2) An offeree's power of acceptance is terminated by his making of a counter-offer, unless the offeror has manifested a contrary intention or unless the counter-offer manifests a contrary intention of the offeree.
R2d42: Revocation by Communication From Offeror Received by Offeree: An offeree's power of acceptance is terminated when the offeree receives from the offeror a manifestation of an intention not to enter into the proposed contract.
R2d43: Indirect Communication of Revocation: An offeree's power of acceptance is terminated when the offeror takes definite action inconsistent with an intention to enter into the proposed contract and the offeree acquires reliable information to that effect.
R2d46: Revocation of General Offer: Where an offer is made by advertisement in a newspaper or other general notification to the public or to a number of persons whose identity is unknown to the offeror, the offeree's power of acceptance is terminated when a notice of termination is given publicity by advertisement or other general notification equal to that given to the offer and no better means of notification is reasonably available.
Option contracts cannot be revoked or terminated by rejection or counter-offer. It lapses according to the terms of the option contract.
R2d32: Invitation of Promise or Performance: In case of doubt an offer is interpreted as inviting the offeree to accept either by promising to perform what the offer requests or by rendering the performance, as the offeree chooses.
R2d62: Effect of Performance by Offeree Where Offer Invites Either Performance or Promise: (1) Where an offer invites an offeree to choose between acceptance by promise and acceptance by performance, the tender or beginning of the invited performance or a tender of a beginning of it is an acceptance by performance. (2) Such an acceptance operates as a promise to render complete performance.
R2d50: Acceptance of Offer Defined; Acceptance by Performance; Acceptance by Promise: (1) Acceptance of an offer is a manifestation of assent to the terms thereof made by the offeree in a manner invited or required by the offer. (2) Acceptance by performance requires that at least part of what the offer requests be performed or tendered and includes acceptance by a performance which operates as a return promise. (3) Acceptance by a promise requires that the offeree complete every act essential to the making of the promise.
R2d69: Acceptance by Silence or Exercise of Dominion: (1) Where an offeree fails to reply to an offer, his silence and inaction operate as an acceptance in the following cases only: (a) Where an offeree takes the benefit of offered services with reasonable opportunity to reject them and reason to know that they were offered with the expectation of compensation. (b) Where the offeror has stated or given the offeree reason to understand that assent may be manifested by silence or inaction, and the offeree in remaining silent and inactive intends to accept the offer. (c) Where because of previous dealings or otherwise, it is reasonable that the offeree should notify the offeror if he does not intend to accept. (2) An offeree who does any act inconsistent with the offeror's ownership of offered property is bound in accordance with the offered terms unless they are manifestly unreasonable. But if the act is wrongful as against the offeror it is an acceptance only if ratified by him.
R2d54: Acceptance by Performance; Necessity of Notification to Offeror: (1) Where an offer invites an offeree to accept by rendering a performance, no notification is necessary to make such an acceptance effective unless the offer requests such a notification. (2) If an offeree who accepts by rendering a performance has reason to know that the offeror has no adequate means of learning of the performance with reasonable promptness and certainty, the contractual duty of the offeror is discharged unless (a) the offeree exercises reasonable diligence to notify the offeror of acceptance, or (b) the offeror learns of the performance within a reasonable time, or (c) the offer indicates that notification of acceptance is not required.
R2d56: Acceptance by Promise; Necessity of Notification to Offeror: Except as stated in [R2C § 69] or where the offer manifests a contrary intention, it is essential to an acceptance by promise either that the offeree exercise reasonable diligence to notify the offeror of acceptance or that the offeror receive the acceptance seasonably.
R2d60: Acceptance of Offer Which States Place, Time, or Manner of Acceptance: If an offer prescribes the place, time or manner of acceptance its terms in this respect must be complied with in order to create a contract. If an offer merely suggests a permitted place, time or manner of acceptance, another method of acceptance is not precluded.
Mailbox Rule: Acceptance in a manner invited by an offer is valid as soon as it is put out of the offeree's possession as long as it is properly addressed and the proper precautions are taken, without regard to whether it ever reaches the offeror.
Restatement Second of Contracts §63: Time When Acceptance Takes Effect: Unless the offer provides otherwise, (a) an acceptance made in a manner and by a medium invited by an offer is operative and completes the manifestation of mutual assent as soon as put out of the offeree's possession, without regard to whether it ever reaches the offeror; but (b) an acceptance under an option contract is not operative until received by the offeror.
Restatement Second of Contracts §66: Acceptance Must be Properly Dispatched: An acceptance sent by mail or otherwise from a distance is not operative when dispatched, unless it is properly addressed and such other precautions taken as are ordinarily observed to insure safe transmission of similar messages.
Rejection by mail does not terminate the power of acceptance until it is received however. Restatement Second of Contracts §40: Time When Rejection or Counter-Offer Terminates the Power of Acceptance: Rejection or counter-offer by mail or telegram does not terminate the power of acceptance until received by the offeror, but limits the power so that a letter or telegram of acceptance started after the sending of an otherwise effective rejection or counter-offer is only a counter-offer unless the acceptance is received by the offeror before he receives the rejection or counter-offer.
Consideration: Consideration is a bargained-for exchange of a promise for a performance or a promise for a promise.
Consideration requires each person's promise or performance to induce the other's.
There is no requirement for the adequacy of the values exchanged, as long as it is more than a mere pretense of bargain.
Gratuitous promises, including conditional gifts are not enforceable.
Motive is not considered as long as the exchange was bargained for.
Illusory promises and alternative promises are not enforceable.
R2d77: Illusory and Alternative Promises: A promise or apparent promise is not consideration if by its terms the promisor or purported promisor reserves a choice of alternative performances unless (a) each of the alternative performances would have been consideration if it alone had been bargained for; or (b) one of the alternative performances would have been consideration and there is or appears to the parties to be a substantial possibility that before the promisor exercises his choice events may eliminate the alternatives which would not have been consideration.
R2d71: Requirement of Exchange: (1) to constitute consideration, a performance or a return promise must be bargained for. (2) A performance or return promise is bargained for if it is sought by the promisor in exchange for his promise and is given by the promisee in exchange for that promise. (3) the performance may consist of: (a) an act other than a promise, or (b) a forbearance, or (c) the creation, modification, or destruction of a legal relation. (4) the performance or return promise may be given to the promisor or to some other person. It may be given by the promisee or by some other person.
Promissory Estoppel, R2d90: (1) A promise which the promisor should reasonably expect to induce action or forbearance on the part of the promisee or a third person and which does induce such action or forbearance is binding if injustice can be avoided only by enforcement of the promise. The remedy granted for breach may be limited as justice requires. (2) A charitable subscription or a marriage settlement is binding under Subsection (1) without proof that the promise induced action or forbearance.
Reliance, also known as promissory estoppel, requires doing something to one's own detriment due to someone else's promise. Such reliance must be reasonable.
Promissory Restitution: R2d86: Promise for Benefit Received: (1) A promise made in recognition of a benefit previously received by the promisor from the promisee is binding to the extent necessary to prevent injustice. (2) A promise is not binding under Subsection (1): (a) if the promisee conferred the benefit as a gift or for other reasons the promisor has not been unjustly enriched; or (b) to the extent that its value is disproportionate to the benefit.
Restitution must be for a material benefit, not merely a sentimental one.
Restitution is an obligation imposed by law on ground of justice and equity. Its purpose is to prevent unjust enrichment. Unlike express contracts or contracts implied in fact, restitution does not rest upon the assent of the contracting parties. Restitution is also known as "quantum meruit," "quasi-contract," and "implied in law contract."
Officious Intermeddler Doctrine: The "officious intermeddler doctrine" holds that where a person performs labor for another without the latter's request or implied consent, however beneficial such labor may be, he cannot recover therefor. An exception is that of emergency aid, where the service is needed to prevent the others' bodily harm and the helper is a doctor and therefore doesn't give the implication of gratuitousness.
Restatement Third of Restitution 1: Restitution and Unjust Enrichment: A person who is unjustly enriched at the expense of another is subject to liability in restitution.
Restatement Third of Restitution 2: Limiting Principles: (1) The fact that a recipient has obtained a benefit without paying for it does not of itself establish that the recipient has been unjustly enriched. (2) A valid contract defines the obligations of the parties as to matters within its scope, displacing to that extent any inquiry into unjust enrichment. (3) There is no liability in restitution for an unrequested benefit voluntarily conferred, unless the circumstances of the transaction justify the claimant's intervention in the absence of contract. (4) Liability in restitution may not subject an innocent recipient to a forced exchange: in other words, an obligation to pay for a benefit that the recipient should have been free to refuse.
UCC 2-314: Implied Warranty of Merchantability: (1) Unless excluded or modified (UCC 2-316), a warranty that the goods shall be merchantable is implied in a contract for their sale if the seller is a merchant with respect to goods of that kind. Under this section the serving for value of food or drink to be consumed either on the premises or elsewhere is a sale. (2) Goods to be merchantable must be at least such as (a) pass without objection in the trade under the contract description; and (b) in the case of fungible goods, are of fair average quality within the description; and (c) are fit for the ordinary purposes for which such goods are used; and (d) run, within the variations permitted by the agreement, of even kind, quality and quantity within each unit and among all units involved; and (e) are adequately contained, packaged, and labeled as the agreement may require; and (f) conform to the promise or affirmations of fact made on the container or label if any. (g) Unless excluded or modified (UCC 2-316) other implied warranties may arise from course of dealing or usage of trade.
UCC 2-315: Implied Warranty of Fitness for a Particular Purpose: Where the seller at the time of contracting has reason to know any particular purpose for which the goods are required and that the buyer is relying on the seller's skill or judgment to select or furnish suitable goods, there is unless excluded or modified under the next section an implied warranty that the goods shall be fit for such purpose.
When boilerplate terms conflict, UCC 2-207 governs their resolution.
UCC 2-207: Additional Terms in Acceptance or Confirmation: (1) A definite and seasonable expression of acceptance or a written confirmation which is sent within a reasonable time operates as an acceptance even though it states terms additional to or different from those offered or agreed upon, unless acceptance is expressly made conditional on assent to the additional or different terms. (2) The additional terms are to be construed as proposals for addition to the contract. Between merchants such terms become part of the contract unless: (a) the offer expressly limits acceptance to the terms of the offer; (b) they materially alter it; or (c) notification of objection to them has already been given or is given within a reasonable time after notice of them is received. (3) Conduct by both parties which recognizes the existence of a contract is sufficient to establish a contract for sale although the writings of the parties do not otherwise establish a contract. In such case the terms of the particular contract consist of those terms on which the writings of the parties agree, together with any supplementary terms incorporated under any other provisions of this Act.
R2d20: Effect of Misunderstanding: (1) There is no manifestation of mutual assent to an exchange if the parties attach materially different meanings to their manifestations and (a) neither party knows or has reason to know the meaning attached by the other; or (b) each party knows or each party has reason to know the meaning attached by the other. (2) The manifestations of the parties are operative in accordance with the meaning attached to them by one of the parties if (a) that party does not know of any different meaning attached by the other, and the other knows the meaning attached by the first party; or (b) that party has no reason to know of any different meaning attached by the other, and the other has reason to know the meaning attached by the first party.
R2d21: If both parties manifest assent to a contract, that contract is binding even if they intend to prepare and adopt a written memorial thereof (write it more formally later).
R2d27: Existence of Contract Where Written Memorial is Contemplated: Manifestations of assent that are in themselves sufficient to conclude a contract will not be prevented from so operating by the fact that the parties also manifest an intention to prepare and adopt a written memorial thereof; but the circumstances may show that the agreements are preliminary negotiations.
A defense to mutual assent is mistake. R2d151: Mistake Defined: A mistake is a belief that is not in accord with the facts.
R2d152: When Mistake of Both Parties Makes a Contract Voidable: (1) Where a mistake of both parties at the time a contract was made as to a basic assumption on which the contract was made has a material effect on the agreed exchange of performances, the contract is voidable by the adversely affected party unless he bears the risk of the mistake under the rule stated in R2C § 154. (2) In determining whether the mistake has a material effect on the agreed exchange of performances, account is taken of any relief by way of reformation, restitution, or otherwise.
R2d153: When Mistake of One Party Makes a Contract Voidable: Where a mistake of one party at the time a contract was made as to a basic assumption on which he made the contract has a material effect on the agreed exchange of performances that is adverse to him, the contract is voidable by him if he does not bear the risk of the mistake under the rule stated in R2C § 154, and (a) the effect of the mistake is such that enforcement of the contract would be unconscionable, or (b) the other party had reason to know of the mistake or his fault caused the mistake.
R2d154: When a Party Bears the Risk of a Mistake: A party bears the risk of a mistake when (a) the risk is allocated to him by agreement of the parties, or (b) he is aware, at the time the contract is made, that he has only limited knowledge with respect to the facts to which the mistake relates but treats his limited knowledge as sufficient, or (c) the risk is allocated to him by the court on the ground that it is reasonable in the circumstances to do so.
R2d157: Effect of Fault of Party Seeking Relief: A mistaken party's fault in failing to know or discover the facts before making the contract does not bar him from avoidance or reformation under the rules stated in this Chapter, unless his fault amounts to a failure to act in good faith and in accordance with reasonable standards of fair dealing.
R2d159: Misrepresentation Defined: A misrepresentation is an assertion that is not in accord with the facts.
R2d160: When Action is Equivalent to an Assertion (Concealment): Action intended or known to be likely to prevent another from learning a fact is equivalent to an assertion that the fact does not exist.
R2d161: When Non-Disclosure is Equivalent to an Assertion: A person's non-disclosure of a fact known to him is equivalent to an assertion that the fact does not exist in the following cases only: (a) where he knows that disclosure of the fact is necessary to prevent some previous assertion from being a misrepresentation or from being fraudulent or material. (b) where he knows that disclosure of the fact would correct a mistake of the other party as to a basic assumption on which that party is making the contract and if non-disclosure of the fact amounts to a failure to act in good faith and in accordance with reasonable standards of fair dealing. (c) where he knows that disclosure of the fact would correct a mistake of the other party as to the contents or effect of a writing, evidencing or embodying an agreement in whole or in part. (d) where the other person is entitled to know the fact because of a relation of trust and confidence between them.
R2d162: When a Misrepresentation is Fraudulent or Material: (1) A misrepresentation is fraudulent if the maker intends his assertion to induce a party to manifest his assent and the maker (a) knows or believes that the assertion is not in accord with the facts, or (b) does not have the confidence that he states or implies in the truth of the assertion, or (c) knows that he does not have the basis that he states or implies for the assertion. (2) A misrepresentation is material if it would be likely to induce a reasonable person to manifest his assent, or if the maker knows that it would be likely to induce the recipient to do so.
R2d163: When a Misrepresentation Prevents Formation of a Contract: If a misrepresentation as to the character or essential terms of a proposed contract induces conduct that appears to be a manifestation of assent by one who neither knows nor has reasonable opportunity to know of the character or essential terms of the proposed contract, his conduct is not effective as a manifestation of assent.
R2d164: When a Misrepresentation Makes a Contract Voidable: (1) If a party's manifestation of assent is induced by either a fraudulent or a material misrepresentation by the other party upon which the recipient is justified in relying, the contract is voidable by the recipient. (2) If a party's manifestation of assent is induced by either a fraudulent or a material misrepresentation by one who is not a party to the transaction upon which the recipient is justified in relying, the contract is voidable by the recipient, unless the other party to the transaction in good faith and without reason to know of the misrepresentation either gives value or relies materially on the transaction.
R2d167: When a Misrepresentation Is an Inducing Cause: A misrepresentation induces a party's manifestation of assent if it substantially contributes to his decision to manifest his assent.
R2d168: Reliance on Assertions of Opinion: (1) An assertion is one of opinion if it expresses only a belief, without certainty, as to the existence of a fact or expresses only a judgment as to quality, value, authenticity, or similar matters. (2) If it is reasonable to do so, the recipient of an assertion of a person's opinion as to facts not disclosed and not otherwise known to the recipient may properly interpret it as an assertion (a) that the facts known to that person are not incompatible with his opinion, or (b) that he knows facts sufficient to justify him in forming it.
R2d169: When Reliance on an Assertion of Opinion is Not Justified: To the extent that an assertion is one of opinion only, the recipient is not justified in relying on it unless the recipient (a) stands in such a relation of trust and confidence to the person whose opinion is asserted that the recipient is reasonable in relying on it, or (b) reasonably believes that, as compared with himself, the person whose opinion is asserted has special skill, judgment or objectivity with respect to the subject matter, or (c) is for some other special reason particularly susceptible to a misrepresentation of the type involved.
R2d172: When Fault Makes Reliance Unjustified: A recipient's fault in not knowing or discovering the facts before making the contract does not make his reliance unjustified unless it amounts to a failure to act in good faith and in accordance with reasonable standards of fair dealing.
R2d174: When Duress by Physical Compulsion Prevents Formation of a Contract: If conduct that appears to be a manifestation of assent by a party who does not intend to engage in that conduct is physically compelled by duress, the conduct is not effective as a manifestation of assent.
R2d175: When Duress by Threat Makes a Contract Voidable: (1) If a party's manifestation of assent is induced by an improper threat by the other party that leaves the victim no reasonable alternative, the contract is voidable by the victim.
If a party's manifestation of assent is induced by one who is not a party to the transaction, the contract is voidable by the victim unless the other party to the transaction in good faith and without reason to know of the duress either gives value or relies materially on the transaction.
R2d176: When a Threat is Improper: (1) A threat is improper if (a) what is threatened is a crime or a tort, or the threat itself would be a crime or a tort if it resulted in obtaining property, (b) what is threatened is a criminal prosecution, (c) what is threatened is the use of civil process and the threat is made in bad faith, or (d) the threat is a breach of the duty of good faith and fair dealing under a contract with the recipient. (2) A threat is improper if the resulting exchange is not on fair terms, and (a) the threatened act would harm the recipient and would not significantly benefit the party making the threat, (b) the effectiveness of the threat in inducing the manifestation of assent is significantly increased by prior unfair dealing by the party making the threat, or (c) what is threatened is otherwise a use of power for illegitimate ends.
R2d177: When Undue Influence Makes a Contract Voidable: (1) Undue influence is unfair persuasion of a party who is under the domination of the person exercising the persuasion or who by virtue of the relation between them is justified in assuming that that person will not act in a manner inconsistent with his welfare. (2) If a party's manifestation of assent is induced by undue influence by the other party, the contract is voidable by the victim. (3) If a party's manifestation of assent is induced by one who is not a party to the transaction, the contract is voidable by the victim unless the other party to the transaction in good faith and without reason to know of the undue influence either gives value or relies materially on the transaction.
Unconscionability must be assessed at the time the contract is made. Must have procedural unconscionability and substantive unconscionability. Majority rule is that the two elements need not have equal effect but work together, creating a "sliding scale" of unconscionability.
Procedural unconscionability is unfairness in the formation of the contract because of unequal bargaining power.
Substantive unconscionability is indicated by excessively disproportionate terms that "shock the conscience."
R2d208: Restitution Where Party Withdraws or Situation is Contrary to Public Interest: If a contract or term thereof is unconscionable at the time the contract is made a court may refuse to enforce the contract, or may enforce the remainder of the contract without the unconscionable term, or may so limit the application of any unconscionable term as to avoid any unconscionable result.
UCC 2-302: Unconscionable Contract or Clause: (1) If the court as a matter of law finds the contract or any clause of the contract to have been unconscionable at the time it was made the court may refuse to enforce the contract, or it may enforce the remainder of the contract without the unconscionable clause, or it may so limit the application of any unconscionable clause as to avoid any unconscionable result. (2) When it is claimed or appears to the court that the contract or any clause thereof may be unconscionable the parties shall be afforded a reasonable opportunity to present evidence as to its commercial setting, purpose and effect to aid the court in making the determination.
R2d211(3): Standardized Agreements: Where the other party has reason to believe that the party manifesting such assent would not do so if he knew that the writing contained a particular term, the term is not part of the agreement.]
R2d12: Capacity to Contract: (1) No one can be bound by contract who has not legal capacity to incur at least voidable contractual duties. Capacity to contract may be partial and its existence in respect of a particular transaction may depend upon the nature of the transaction or upon other circumstances. (2) A natural person who manifests assent to a transaction has full legal capacity to incur contractual duties thereby unless he is (a) under guardianship, or (b) an infant, or (c) mentally ill or defective, or (d) intoxicated.
R2d14: Infants: Unless a statute provides otherwise, a natural person has the capacity to incur only voidable contractual duties until the beginning of the day before the person's eighteenth birthday.
R2d15: Inacpacity Mental Illness or Defect: (1) A person incurs only voidable contractual duties by entering into a transaction if by reason of mental illness or defect (a) he is unable to understand in a reasonable manner the nature and consequences of the transaction, or (b) he is unable to act in a reasonable manner in relation to the transaction and the other party has reason to know of his condition. (2) Where the contract is made on fair terms and the other party is without knowledge of the mental illness or defect, the power of avoidance under Subsection (1) terminates to the extent that the contract has been so performed in whole or in part or the circumstances have so changed that avoidance would be unjust. In such a case a court may grant relief as justice requires.
R2d16: Intoxicated Persons: A person incurs only voidable contractual duties by entering into a transaction if the other party has reason to know that by reason of intoxication (a) he is unable to understand in a reasonable manner the nature and consequences of the transaction, or (b) he is unable to act in a reasonable manner in relation to the transaction.
R2d178: When a Term is Unenforceable on Grounds of Public Policy: (1) A promise or other term of an agreement is unenforceable on grounds of public policy if legislation provides that it is unenforceable or the interest in its enforcement is clearly outweighed in the circumstances by a public policy against the enforcement of such terms. (2) In weighing the interest in the enforcement of a term, account is taken of (a) the parties' justified expectations,(b) any forfeiture that would result if enforcement were denied, and (c) any special public interest in the enforcement of the particular term. (3) In weighing a public policy against enforcement of a term, account is taken of (a) the strength of that policy as manifested by legislation or judicial decisions, (b) the likelihood that a refusal to enforce the term will further that policy, (c) the seriousness of any misconduct involved and the extent to which it was deliberate, and (d) the directness of the connection between that misconduct and the term.
R2d198: Restitution in Favor of Party Who is Excusably Ignorant or Is Not Equally in the Wrong: A party has a claim in restitution for performance that he has rendered under or in return for a promise that is unenforceable on grounds of public policy if (a) he was excusably ignorant of the facts or of legislation of a minor character, in the absence of which the promise would be enforceable, or (b) he was not equally in the wrong with the promisor.
R2d199: Restitution Where Party Withdraws or Situation is Contrary to Public Interest: A party has a claim in restitution for performance that he has rendered under or in return for a promise that is unenforceable on grounds of public policy if he did not engage in serious misconduct and (a) he withdraws from the transaction before the improper purpose has been achieved, or (b) allowance of the claim would put an end to a continuing situation that is contrary to the public interest.
The cool evening air drifted softly across the field, carrying the faint smell of rain. In the distance, crickets chirped, and the moon rose bright and steady, lighting the quiet night with a gentle silver glow.
The warm morning light spilled gently through the curtains, waking the quiet room. Outside, the trees swayed slowly in the soft breeze, and a bird began to sing, marking the calm start of another peaceful day.
asdfghjkl; qwertyuiop vbnm; planetary vibrate joyful harmony playful vibrant keyboard valley motion flavor journey rainbow verify brave noble; well this is it everyone; garden planet simple mirror printer travel number laptop jumper driver passion started formed joined bright do your test with bravery and sheer will; blame is very flammable and quantum of plaques are minerals for the weak and meek so be gentle without various answers and beyond reasonable doubt; do not eat whoppers or beef burgers all the time; they are not healthy for you; instead must take vegetables and vitamins for healthier life; remember to train your typing skill; you may be wrong but venom will always be better than spiderman and ultron; voltron and mayhem bust the number open just like villain and brandon; ben and pen are your friends in need during earthquake at the quarry; may god bless you and guide in your study; my important vial is ready for those in jail due to bohemian vanity and blame from others;
pas le temps de oui je crois que le temps de pertinent est reprendre
oui je crois que que que que que oui oui oui oui oui oui
Introduction:
My group’s chosen stimulus was the quote “never let the truth get in the way of a good story” by Mark Twain and our chosen practitioner was “Frantic Assembly”. For our piece our aim was to educate the audience to the inhumane treatment of women within mental asylums in the 19th century, as well as show how many of the more disturbing parts of history are often forgotten or deliberately left out. As an acting candidate I played the characters of Grace Marks, the Nurse and was also a member of the ensemble.
Section 1:
Throughout the performance I played Grace Marks, a real historical figure who was extremely misunderstood and who had been confined to an asylum after being wrongfully accused of murder. The role of my character was to help the audience understand that not everyone deserved to be treated the way they were. My intention was for the audience to connect emotionally with my character and to recognise the cruelty and injustice she endured both inside and outside the asylum.
Through my performance, I wanted to highlight her vulnerability and show how society’s harsh judgement contributed to her suffering. In order to achieve this and to ensure that the audience connected with my character I used controlled facial expressions, starting with a tense and downcast look to convey fear and vulnerability which later progressed to looking more angry as she reflected on the injustice of her treatment. Vocally, I began with a quiet, trembling tone to show her nervousness and fragility, allowing my voice to become shakier and more strained to convey her emotional suffering. My vocal choices, including variations in tone and pacing, highlighted the character’s awareness and emotional intensity, allowed the audience to fully grasp her frustration and the injustice she faced. Furthermore, in terms of physicality I adopted a closed, hunched posture and small, hesitant movements to emphasise her isolation, using sudden bursts of energy only when her emotions overwhelmed her. This posture also reflected her background as a servant who was used to being looked down upon and lacked confidence.
I developed this interpretation during my character research, particularly through reading Alias Grace by Margaret Atwood, a novel that blends fact and fiction to explore Grace Marks’ story. The book helped me understand her as a complex and misunderstood individual rather than simply a victim. Which influenced my performance by encouraging me to show both her vulnerability and strength through controlled movement, restrained emotion, and moments of stillness that reflected her inner conflict. In addition to this my character served as a contrast to the other 3 main characters of the play as she still maintained enough of her sanity and composure to appear enraged and understand the gravity of her situation. Additionally, while the other mental patients’ scenes were presented as flashbacks, my scenes involved direct address to the audience, which allowed me to communicate her mistreatment more personally and engage the audience emotionally.
As well as playing the role of Grace Marks I also acted as the Nurse in select scenes. The Nurse was a sadistic character whose purpose within the performance was to call attention to the cruelty that mental asylum patients faced at the hands of the nurses. Whilst playing this character my objective was for the audience to be simultaneously shocked and horrified at the Nurse’s dreadful treatment of those who she was supposed to be helping. When playing the Nurse I successfully communicated her menacing nature by keeping a closed-off, dominant body language and used sharp, angular gestures and excessive eye contact. Additionally, I used a dominant, bossy, and directive tone of voice that implied that I was in control and did not value input from others and I ensured that I had raised volume to express intimidation. In terms of my expressions I decided to furrow my eyebrows to ensure that they were drawn together and lowered, creating an intense, angry, stern look and I kept a rigid back with perfect posture.
Section 2
A successful moment in my piece was the opening scene where I effectively demonstrated the nervous, intense emotions of my character with the repetition of the exclamation “I didn’t do it”. On this line I emphasised “didn’t” which intensifies the statement and made my character’s denial more forceful and made sure that my diction was precise so that the audience could clearly understand my lines.. This scene began with all 4 main characters standing on a bare stage together with a glaring, bright white spotlight on the characters. Here we utilised the Frantic Assembly technique of choral repetition/ensemble work, which is where a group repeats the same lines or actions together, often overlapping, to create rhythm, tension, or a collective emotional effect. However, we slightly modified this by having the different characters repeat different lines and gestures which related to their situation and why they were imprisoned within the asylum.
I felt this moment worked particularly well because the overlapping dialogue and movements heightened the intensity of the scene, engaged the audience and made the varying emotions clear. To distinguish my character and highlight her fragile emotional state I projected my voice loudly whilst keeping a stressed, desperate tone and a fast pace and strained it in order to communicate how she had to constantly defend herself and was fearful. Additionally, I allowed my voice to trail off at moments to convey exhaustion and hopelessness. To show my character’s despairing state I slumped my shoulders and collapsed my chest inwards to reveal how she was carrying a significant emotional burden. My gesture was presenting my hands as if to show that they were clean of blood whilst also mimicking getting handcuffed. I felt that this was successful because it gave the effect that I was defending myself to the audience whilst simultaneously defending myself to the law. My facial expression was one of desperation and I also furrowed my eyebrows and squinted my eyes to express my fear and nervous state. This showed my character as wretched and revealed how she was scared of what would happen once she was in the asylum. This was efficacious because it implied to the audience that there were many rumours and stories about the cruelty and disturbing nature of the asylum. Furthermore, I kept my voice at a slow tempo and a slightly higher pitch so that it was clear that my character was distressed but my words were still clear despite the chaotic overlapping of statements.
Although, a moment which I felt could have gone better was a scene where we used the Frantic Assembly technique of Round-By-Throughs. In this scene the character of Nelly Bly, the journalist, was reading out a journal entry which she had written describing the asylum and whenever she mentioned a character they would rise from where they were sitting and would do a round-by-through with her. Even though the scene was successful in showing how time was passing in the asylum and contributed to our artistic aim of highlighting the disturbing treatment of women within an asylum, I felt I could have done better in this scene. In the scene I was soft and gentle with my movements to show how I was not like everyone expected me to be, however I feel like this could have been more successful if I had shown closer proxemics to Nelly and had held eye contact with her. I think that the eye contact would have been greatly effective because it would have created more connection between the two characters as they both have their sanity more intact than the other characters and have a shared aim of escaping the mental asylum. Moreover, I neglected to consider my gait which could have been improved if I had walked quietly and in a straight line so as not to disturb anyone or risk unnecessary punishment whilst having a fearful expression on my face . This would have been more effective as it would have communicated to the audience how much fear had been instilled into the patients that they are even afraid to walk too loudly as they are afraid of disturbing the nurses. Additionally I think that the use of different levels would have elevated the performance showing that all of the different characters had different experiences and different stories.
Another aspect of the performance which was successful was my characterisation. I received feedback from the audience that throughout the piece my characterisation was great both whilst I was speaking and needed in a scene and whilst I was sat on the side. A specific instance of this was during a scene where the characters were seated performing actions which communicated their daily lives in the asylum. Despite the fact that there were no lines in this scene I made sure that the audience could easily interpret my character. My characterisation was that my character was furious at the injustice which she faced so I kept an angry facial expression. However she was also vulnerable and struggled from being so isolated from the outside world and so I kept a hunched posture revealing how she was scared of all of the hysteria and antics going on around her.
Section 3
As previously stated my group’s chosen stimulus was “Never let the truth get in the way of a good story” by Mark Twain. This stimulus encouraged us to think about how the uglier truth can often get covered up and how many more horrible parts of history are not often public knowledge. Thus, the stimulus inspired us to make a piece which explored the subject of Victorian mental asylums and specifically how many women were confined to them for groundless reasons for example; being intelligent, overly sexual behaviour, disagreement with husbands, novel reading and many more reasons. In particular we focused on the stories of four real women in history who were unjustly imprisoned and used the Frantic Assembly techniques such as Select Deletes in order to do so. This is because I felt that it would be best to communicate the high emotions of such poignant stories through physical theatre and that it would be best to support our piece which was a serious drama.
One specific moment where physical theatre was essential to our performance was a flashback scene where the character of Rose Williams was reflecting on her time
Another instance of Frantic Assembly use was a scene which used frantic assembly techniques to communicate the atmosphere and environment of the mental asylum effectively. In this scene we aimed to both educate the audience on mental asylums and the harsh treatment but also provoke shock and horror about how patients would be treated. Within this scene we used the Frantic Assembly technique select delete to highlight the harsh nature and strict rules of the mental asylum by using a series of gestures which imitated actions you would use to wash or dry your hands I thought that this would be effective because it showed to the audience the sterile nature of the asylum. As well as this as nurses we all entered the stage staggered and began to tell the rules of the asylum. On my line “Patients are strictly prohibited from conversing within the washhouse. Failure to comply will result in six lashes” I kept a rigid straight back and perfect posture whilst speaking with a clipped monotonous voice.I also projected my voice loudly ensuring that it sounded like a strong command. This revealed how the nurse was a strict, sadistic character who liked to keep dominance over the patients. Moreover, overlapping lines create a sense of chaos and tension which was perfect to show how the patients were overwhelmed by the sheer number of rules and punishments. This scene lined up with our intention for the piece as it communicated to the audience both the cruel character of the nurses and simultaneously demonstrated the strict rules of the mental asylum and how patients would be treated despicably for little to no reason at all. This scene ended up being extremely successful as I received feedback from several people in the audience that they were unaware that patients would have been subject to such strict rules in the asylum.
Introduction:
My group’s chosen stimulus was the quote “never let the truth get in the way of a good story” by Mark Twain and our chosen practitioner was “Frantic Assembly”. For our piece our aim was to educate the audience to the inhumane treatment of women within mental asylums in the 19th century, as well as show how many of the more disturbing parts of history are often forgotten or deliberately left out. As an acting candidate I played the characters of Grace Marks, the Nurse and was also a member of the ensemble.
Section 1:
Throughout the performance I played Grace Marks, a real historical figure who was extremely misunderstood and who had been confined to an asylum after being wrongfully accused of murder. The role of my character was to help the audience understand that not everyone deserved to be treated the way they were. My intention was for the audience to connect emotionally with my character and to recognise the cruelty and injustice she endured both inside and outside the asylum.
Through my performance, I wanted to highlight her vulnerability and show how society’s harsh judgement contributed to her suffering. In order to achieve this and to ensure that the audience connected with my character I used controlled facial expressions, starting with a tense and downcast look to convey fear and vulnerability which later progressed to looking more angry as she reflected on the injustice of her treatment. Vocally, I began with a quiet, trembling tone to show her nervousness and fragility, allowing my voice to become shakier and more strained to convey her emotional suffering. My vocal choices, including variations in tone and pacing, highlighted the character’s awareness and emotional intensity, allowed the audience to fully grasp her frustration and the injustice she faced. Furthermore, in terms of physicality I adopted a closed, hunched posture and small, hesitant movements to emphasise her isolation, using sudden bursts of energy only when her emotions overwhelmed her. This posture also reflected her background as a servant who was used to being looked down upon and lacked confidence.
I developed this interpretation during my character research, particularly through reading Alias Grace by Margaret Atwood, a novel that blends fact and fiction to explore Grace Marks’ story. The book helped me understand her as a complex and misunderstood individual rather than simply a victim. Which influenced my performance by encouraging me to show both her vulnerability and strength through controlled movement, restrained emotion, and moments of stillness that reflected her inner conflict. In addition to this my character served as a contrast to the other 3 main characters of the play as she still maintained enough of her sanity and composure to appear enraged and understand the gravity of her situation. Additionally, while the other mental patients’ scenes were presented as flashbacks, my scenes involved direct address to the audience, which allowed me to communicate her mistreatment more personally and engage the audience emotionally.
As well as playing the role of Grace Marks I also acted as the Nurse in select scenes. The Nurse was a sadistic character whose purpose within the performance was to call attention to the cruelty that mental asylum patients faced at the hands of the nurses. Whilst playing this character my objective was for the audience to be simultaneously shocked and horrified at the Nurse’s dreadful treatment of those who she was supposed to be helping. When playing the Nurse I successfully communicated her menacing nature by keeping a closed-off, dominant body language and used sharp, angular gestures and excessive eye contact. Additionally, I used a dominant, bossy, and directive tone of voice that implied that I was in control and did not value input from others and I ensured that I had raised volume to express intimidation. In terms of my expressions I decided to furrow my eyebrows to ensure that they were drawn together and lowered, creating an intense, angry, stern look and I kept a rigid back with perfect posture.
Section 2
A successful moment in my piece was the opening scene where I effectively demonstrated the nervous, intense emotions of my character with the repetition of the exclamation “I didn’t do it”. On this line I emphasised “didn’t” which intensifies the statement and made my character’s denial more forceful and made sure that my diction was precise so that the audience could clearly understand my lines.. This scene began with all 4 main characters standing on a bare stage together with a glaring, bright white spotlight on the characters. Here we utilised the Frantic Assembly technique of choral repetition/ensemble work, which is where a group repeats the same lines or actions together, often overlapping, to create rhythm, tension, or a collective emotional effect. However, we slightly modified this by having the different characters repeat different lines and gestures which related to their situation and why they were imprisoned within the asylum.
I felt this moment worked particularly well because the overlapping dialogue and movements heightened the intensity of the scene, engaged the audience and made the varying emotions clear. To distinguish my character and highlight her fragile emotional state I projected my voice loudly whilst keeping a stressed, desperate tone and a fast pace and strained it in order to communicate how she had to constantly defend herself and was fearful. Additionally, I allowed my voice to trail off at moments to convey exhaustion and hopelessness. To show my character’s despairing state I slumped my shoulders and collapsed my chest inwards to reveal how she was carrying a significant emotional burden. My gesture was presenting my hands as if to show that they were clean of blood whilst also mimicking getting handcuffed. I felt that this was successful because it gave the effect that I was defending myself to the audience whilst simultaneously defending myself to the law. My facial expression was one of desperation and I also furrowed my eyebrows and squinted my eyes to express my fear and nervous state. This showed my character as wretched and revealed how she was scared of what would happen once she was in the asylum. This was efficacious because it implied to the audience that there were many rumours and stories about the cruelty and disturbing nature of the asylum. Furthermore, I kept my voice at a slow tempo and a slightly higher pitch so that it was clear that my character was distressed but my words were still clear despite the chaotic overlapping of statements.
Although, a moment which I felt could have gone better was a scene where we used the Frantic Assembly technique of Round-By-Throughs. In this scene the character of Nelly Bly, the journalist, was reading out a journal entry which she had written describing the asylum and whenever she mentioned a character they would rise from where they were sitting and would do a round-by-through with her. Even though the scene was successful in showing how time was passing in the asylum and contributed to our artistic aim of highlighting the disturbing treatment of women within an asylum, I felt I could have done better in this scene. In the scene I was soft and gentle with my movements to show how I was not like everyone expected me to be, however I feel like this could have been more successful if I had shown closer proxemics to Nelly and had held eye contact with her. I think that the eye contact would have been greatly effective because it would have created more connection between the two characters as they both have their sanity more intact than the other characters and have a shared aim of escaping the mental asylum. Moreover, I neglected to consider my gait which could have been improved if I had walked quietly and in a straight line so as not to disturb anyone or risk unnecessary punishment whilst having a fearful expression on my face . This would have been more effective as it would have communicated to the audience how much fear had been instilled into the patients that they are even afraid to walk too loudly as they are afraid of disturbing the nurses. Additionally I think that the use of different levels would have elevated the performance showing that all of the different characters had different experiences and different stories.
Another aspect of the performance which was successful was my characterisation. I received feedback from the audience that throughout the piece my characterisation was great both whilst I was speaking and needed in a scene and whilst I was sat on the side. A specific instance of this was during a scene where the characters were seated performing actions which communicated their daily lives in the asylum. Despite the fact that there were no lines in this scene I made sure that the audience could easily interpret my character. My characterisation was that my character was furious at the injustice which she faced so I kept an angry facial expression. However she was also vulnerable and struggled from being so isolated from the outside world and so I kept a hunched posture revealing how she was scared of all of the hysteria and antics going on around her.
Section 3
As previously stated my group’s chosen stimulus was “Never let the truth get in the way of a good story” by Mark Twain. This stimulus encouraged us to think about how the uglier truth can often get covered up and how many more horrible parts of history are not often public knowledge. Thus, the stimulus inspired us to make a piece which explored the subject of Victorian mental asylums and specifically how many women were confined to them for groundless reasons for example; being intelligent, overly sexual behaviour, disagreement with husbands, novel reading and many more reasons. In particular we focused on the stories of four real women in history who were unjustly imprisoned and used the Frantic Assembly techniques such as Select Deletes in order to do so. This is because I felt that it would be best to communicate the high emotions of such poignant stories through physical theatre and that it would be best to support our piece which was a serious drama.
One specific moment where physical theatre was essential to our performance was a flashback scene where the character of Rose Williams was reflecting on her time
Another instance of Frantic Assembly use was a scene which used frantic assembly techniques to communicate the atmosphere and environment of the mental asylum effectively. In this scene we aimed to both educate the audience on mental asylums and the harsh treatment but also provoke shock and horror about how patients would be treated. Within this scene we used the Frantic Assembly technique select delete to highlight the harsh nature and strict rules of the mental asylum by using a series of gestures which imitated actions you would use to wash or dry your hands I thought that this would be effective because it showed to the audience the sterile nature of the asylum. As well as this as nurses we all entered the stage staggered and began to tell the rules of the asylum. On my line “Patients are strictly prohibited from conversing within the washhouse. Failure to comply will result in six lashes” I kept a rigid straight back and perfect posture whilst speaking with a clipped monotonous voice.I also projected my voice loudly ensuring that it sounded like a strong command. This revealed how the nurse was a strict, sadistic character who liked to keep dominance over the patients. Moreover, overlapping lines create a sense of chaos and tension which was perfect to show how the patients were overwhelmed by the sheer number of rules and punishments. This scene lined up with our intention for the piece as it communicated to the audience both the cruel character of the nurses and simultaneously demonstrated the strict rules of the mental asylum and how patients would be treated despicably for little to no reason at all. This scene ended up being extremely successful as I received feedback from several people in the audience that they were unaware that patients would have been subject to such strict rules in the asylum.
world. people Oscar known "The Dorian "The Importance Earnest".
The environment in which a child grows up plays a vital role in shaping their character and future. In today’s fast-changing world, many people believe that life in a big city offers more opportunities for children to learn and succeed. However, I think the countryside provides a more nurturing environment that supports healthy growth and emotional balance.
First and foremost, the countryside provides children with direct exposure to nature and unstructured outdoor play. They can run freely, explore forests, and breathe clean air, which helps them stay physically active and mentally relaxed. Unlike the hectic pace of city life, rural areas provide serene surroundings that reduce stress and foster emotional stability. This peaceful environment supports healthy growth and a balanced lifestyle.
Moreover, countryside life teaches accountability and teamwork. Many children help with farming or caring for animals, which builds discipline and empathy. These experiences prepare them for real-life challenges and help them understand the value of diligence. As they grow, they become considerate and cooperative individuals who contribute positively to their communities.
In conclusion, while cities may offer more activities and services, the countryside provides deeper life experiences. It helps children cultivate strong values and a harmonious mindset. For these reasons, I believe that growing up in the countryside is better for children’s overall development.
ইসরায়েলের সঙ্গে টাটার সম্পর্ক শূন্য থেকে হয়নি। এটি ভারতের পররাষ্ট্র এবং প্রতিরক্ষা নীতির করপোরেট রূপান্তরের প্রতিফলন। ১৯৯০-এর দশক থেকে, বিশেষ করে নরেন্দ্র মোদির আমলে, ভারত নীরব কূটনীতি থেকে বের হয়ে এসে ইসরায়েলের সঙ্গে পূর্ণাঙ্গ কৌশলগত জোট গড়ে তুলেছে। আজ ভারত ইসরায়েলি অস্ত্রের সবচেয়ে বড় ক্রেতা—ইসরায়েলের প্রতিরক্ষা রপ্তানির ৪০–৪৫ শতাংশ ভারতের কাছে যায়।
ভারত–ইসরায়েলের যৌথ প্রকল্পগুলোর মধ্যে রয়েছে বারাক-৮ ক্ষেপণাস্ত্র প্রকল্প, যা আংশিকভাবে টাটার কারখানায় সংযোজিত; ভারত ইসরায়েল থেকে ড্রোন ও অ্যান্টি ট্যাংক ক্ষেপণাস্ত্র, যেসব অস্ত্র কেনে যা ফিলিস্তিনিদের বিরুদ্ধে ব্যবহৃত হয়। ভারতের কাশ্মীরে ব্যবহৃত অনেক নজরদারি ব্যবস্থাও এই সামরিক নেটওয়ার্কের অংশ। এভাবে একটি দখলদার শক্তি অপর দখলদার শক্তির সঙ্গে যুক্ত হয়। এ প্রক্রিয়ায় হিন্দুত্ব ও জায়নিজম মতাদর্শগতভাবে মিলে যায়।
উভয়ই ‘নিরাপত্তা’ ও ‘সন্ত্রাসবিরোধী’ বক্তব্যকে আগ্রাসন ও দখলদারির যুক্তি হিসেবে ব্যবহার করে। উভয়েই নজরদারি ও জাতিগত নিয়ন্ত্রণকে স্বাভাবিকীকরণ করে। সুতরাং টাটার এই সম্পর্ক শুধু বাণিজ্য নয়—এটি করপোরেট পুঁজি, রাষ্ট্রীয় শক্তি ও মতাদর্শের সম্মিলিত প্রকল্প।
