Comparing Light and Growth in A Raisin in the Sun and Death of a Salesm

Light and Growth in A Raisin in the Sun and Death of a Salesman.      Ã‚  Ã‚  Ã‚   In A Raisin in the Sun by Lorraine Hansberry and Death of a Salesman by Arthur Miller, both authors use motifs of light and growth within their settings to convey messages about the intrinsic values and potentiality of their characters. A Raisin in the Sun begins with a faint little light, filtering through the kitchen window. It's not much of a light, but it is successfully kindled by Lena Younger to keep her little plant alive and to help sow the seed of human dignity in her children. In Death of a Salesman, the physical light is blocked by the encroaching concrete jungle of New York City and the spiritual light is extinguished by Willy Loman's misguided, illusionary values. Willy and his family are trapped in the tiny shadow cast by his giant illusions and nothing grows in their world.    The opening description of the setting in A Raisin in the Sun states, "The single window for these 'two' rooms is located in the kitchen area. The sole natural light the family may enjoy in the course of a day is only that which fights its way through this little window." This window provides a view to the outside world which Walter Younger seeks to tame. Walter looks out of this window as he smokes his cigarette and comments on the people "running and racing to work." Lena Younger has what is described as a "feeble little plant growing doggedly in a small pot on the windowsill." She worries that "if this little old plant don't get more sun than it's been getting it ain't never going to see spring again." ( Hansberry, 856 ) The light from the window feeds the dogged little plant which Lena says "expresses me." Although they live in a small, cramped apartment... ...erry is saying that to find the pot of gold which lies at the end of a rainbow, man needs food for the soul.       Works Cited and Consulted:    Draper, James P. Black Literature Criticisms. Detroit: Gale Research Incorporated, 1992.    Field, B.S.   "Death of a Salesman" Twentieth Century Literature.   January, 1972. 19-24.   Rpt. in World Literary Criticism.   Ed. Frank Magill.   "Arthur Miller" Detroit: Gale Research, 1992.   2366-2368.    Gunton, Sharon R. Motifs in A Raisin in the Sun. Detroit: Chelsea House Publishers, 1986.    Miller, Arthur. Death of a Salesman,The Heath Introduction to Drama, Fifth Edition. Lexington, Mass.: D.C. Heath and Company, 1996, pp. 731-808.    Hansberry, Lorraine. A Raisin in the Sun, The Heath Introduction to Drama, Fifth Edition. Lexington, Mass.: D.C. Heath and Company, 1996, pp. 841-914. Comparing Light and Growth in A Raisin in the Sun and Death of a Salesm Light and Growth in A Raisin in the Sun and Death of a Salesman.      Ã‚  Ã‚  Ã‚   In A Raisin in the Sun by Lorraine Hansberry and Death of a Salesman by Arthur Miller, both authors use motifs of light and growth within their settings to convey messages about the intrinsic values and potentiality of their characters. A Raisin in the Sun begins with a faint little light, filtering through the kitchen window. It's not much of a light, but it is successfully kindled by Lena Younger to keep her little plant alive and to help sow the seed of human dignity in her children. In Death of a Salesman, the physical light is blocked by the encroaching concrete jungle of New York City and the spiritual light is extinguished by Willy Loman's misguided, illusionary values. Willy and his family are trapped in the tiny shadow cast by his giant illusions and nothing grows in their world.    The opening description of the setting in A Raisin in the Sun states, "The single window for these 'two' rooms is located in the kitchen area. The sole natural light the family may enjoy in the course of a day is only that which fights its way through this little window." This window provides a view to the outside world which Walter Younger seeks to tame. Walter looks out of this window as he smokes his cigarette and comments on the people "running and racing to work." Lena Younger has what is described as a "feeble little plant growing doggedly in a small pot on the windowsill." She worries that "if this little old plant don't get more sun than it's been getting it ain't never going to see spring again." ( Hansberry, 856 ) The light from the window feeds the dogged little plant which Lena says "expresses me." Although they live in a small, cramped apartment... ...erry is saying that to find the pot of gold which lies at the end of a rainbow, man needs food for the soul.       Works Cited and Consulted:    Draper, James P. Black Literature Criticisms. Detroit: Gale Research Incorporated, 1992.    Field, B.S.   "Death of a Salesman" Twentieth Century Literature.   January, 1972. 19-24.   Rpt. in World Literary Criticism.   Ed. Frank Magill.   "Arthur Miller" Detroit: Gale Research, 1992.   2366-2368.    Gunton, Sharon R. Motifs in A Raisin in the Sun. Detroit: Chelsea House Publishers, 1986.    Miller, Arthur. Death of a Salesman,The Heath Introduction to Drama, Fifth Edition. Lexington, Mass.: D.C. Heath and Company, 1996, pp. 731-808.    Hansberry, Lorraine. A Raisin in the Sun, The Heath Introduction to Drama, Fifth Edition. Lexington, Mass.: D.C. Heath and Company, 1996, pp. 841-914.

Soft Drinks Sales New Strategies

Sales of soft drinks declined in the US in 2006 for the first time in more than two decades. Many beverages manufacturers became successful in the past and they are still at the top, but they can lose their power unless they do something to reverse the trend. In this article we’ll try to find new ways to help soft drinks manufacturers to face their biggest challenge of the century. To begin with, it would be a good idea to follow a stretching marketing strategy by producing a new line of soft drinks which would have been positioned as healthy and not fattening. Many companies introduced new products of the same line less fattening such as Fanta Zero or Pepsi Light, but consumers identify the brands of these products with fat and unhealthy drinks. However, if these manufacturers created new brands with names like Bio or Nature, a specific market segment would be directly targeted and sales would stop their decline. In addition, soft drinks companies could follow a different promotion strategy so that their products would look more fashionable and more modern. By doing this, companies would compensate their sales decrease in one segment by increasing their market share in another one. New consumers would be the ones who drink something while they are in bars or discos and new competitors would be alcohol drinks companies. This promotion strategy could consist of advertisements which relate soft drinks with nightlife with new slogans like â€Å"Welcome to the Coke side of night†. Furthermore, product placement in James Bond movies would be a great idea. If Bond changed its Martini for a coke many people would start to see soft drinks with different eyes. To conclude, we should remember that classic soft drinks market is still profitable and new strategies should try to avoid damaging classic products image. Also it’s necessary to point out that soft drink manufacturers will never be as powerful as they were before as long as consumers are demanding everyday more sophisticated and concrete products.

How to Conjugate the Verb Entrare in Italian

Entrare has several definitions, including: To enterTo go inTo become a member (of)To fit What to Know About â€Å"Entrare† It’s a regular first-conjugation verb, so it follows the typical -are verb ending pattern.It’s an intransitive verb, which does not take a direct object.The infinito is â€Å"entrare†.The participio passato is â€Å"entrato†.The gerund form is â€Å"entrando†.The past gerund form is â€Å"essendo entrato†. Indicativo/Indicative Il presente io entro noi entriamo tu entri voi entrate lui, lei, Lei entra essi, Loro entrano Ad Esempio A partire da ora, lei entra a far parte della nostra famiglia. Starting from now, she’s a member of our family. Il passato prossimo io sono entrato/a noi siamo entrati/e tu sei entrato/a voi siete entrati/e lui, lei, Lei à ¨ entrato/a essi, Loro sono entrati/e Ad Esempio È appena entrato in casa. He just went into his house. L’imperfetto io entravo noi entravamo tu entravi voi entravate lui, lei, Lei entrava essi, Loro entravano Ad Esempio La grammatica russa non mi entrava in testa. Russian grammar didn’t go into my head (didn’t understand it). Il trapassato prossimo io ero entrato/a noi eravamo entrati/e tu eri entrato/a voi eravate entrati/e lui, lei, Lei era entrato/a essi, Loro erano entrati/e Ad Esempio Eravamo entrati nel bosco intorno alle sette di sera. We had entered the forest at around seven in the evening. Il passato remoto io entrai noi entrammo tu entrasti voi entraste lui, lei, Lei entrà ² essi, Loro entrarono Ad Esempio L’Italia entrà ² in guerra nel 1940.  Italy entered in war in 1940. Il trapassato remoto io fui entrato/a noi fummo entrati/e tu fosti entrato/a voi foste entrati/e lui, lei, Lei fu entrato/a essi, Loro furono entrati/e Tip: This tense is rarely used, so don’t worry too much about mastering it. You’ll find it in very sophisticated writing. Il futuro semplice io entrerà ² noi entreremo tu entrerai voi entrerete lui, lei, Lei entrerà   essi, Loro entreranno Ad Esempio Quando avrà ² diciotto anni, entrerà ² nell’esercito. When I’m 18 years old, I will enter the army. Il futuro anteriore io sarà ² entrato/a noi saremo entrati/e tu sarai entrato/a voi sarete entrati/e lui, lei, Lei sarà   entrato/a essi, Loro saranno entrati/e Ad Esempio Saranno già   entrati al cinema. They must have entered the movie theater already. Congiuntivo/Subjunctive Il presente che io entri che noi entriamo che tu entri che voi entriate che lui, lei, Lei entri che essi, Loro entrino Ad Esempio Penso che entri dall’altra parte dell’edificio. I think you enter on the other side of the building. Il passato io sia entrato/a noi siamo entrati/e tu sia entrato/a voi siate entrati/e lui, lei, Lei sia entrato/a essi, Loro siano entrati/e Ad Esempio Crediamo che siano entrati dalla finestra. We believe they got in through the window. L’imperfetto io entrassi noi entrassimo tu entrassi voi entraste lui, lei, Lei entrasse essi, Loro entrassero Ad Esempio Speravamo che lei entrasse nella nostra famiglia, ma lei e mio fratello si sono lasciati. We hoped that she would become a part of our family, but her and my brother broke up. Il trapassato prossimo io fossi entrato/a noi fossimo entrati/e tu fossi entrato/a voi foste entrati/e lui, lei, Lei fosse entrato/a essi, Loro fossero entrati/e Ad Esempio Pensavo fosse entrato un topo in cucina. I thought a mouse had gotten into the kitchen. Condizionale/Conditional Il presente io entrerei noi entreremmo tu entreresti voi entrereste lui, lei, Lei entrerebbe essi, Loro entrerebbero Ad Esempio Non entrerei in quell’edificio, à ¨ inquietante. I wouldn’t go into that building, it’s creepy. Il passato io sarei entrato/a noi saremmo entrati/e tu saresti entrato/a voi sareste entrati/e lui, lei, Lei sarebbe entrato/a essi, Loro sarebbero entrati/e Ad Esempio Pensi che un ladro sarebbe entrato nel mio negozio? Ne dubito. Do you think a thief  would have broken into my store? I doubt it.