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This web site review is on Shmoop and the Franklin Delanor Roosevelt’s first two terms, and his New Deal. After reading about the New Deal in Chapter 24 and my interest in the roaring 20’s, and my love of studying world war two, I had never really learned about the true tough times the United States had for over nine years. It gave me a deeper understanding of the great depression and FDR, before Pearl Harbor. Shmoop’s FDR New Deal section grabbed my attention right off the bat with its goofy yet informational YouTube clip about the New Deal. Over the duration of this class I have always been enamored by wars and fighting. However, I never really thought about how years leading up to war truly effect a nation. FDR and his New Deal put that into perspective for me by introducing the time period and the notion of the people. which put Roosevelt into office. From my time in high school when I learned the New Deal, I had the notion that it saved our nation. The overa rching question of this website was the New Deal a success or a failure? Overall, goal was to provide relief, reform and to recover the once booming nation. With that being said, Smhoop broke down scoring into the three R’s. To create relief FDR created millions of new jobs, bridges, dams, and highways we still use today, along with creating federally funded agencies to get the people back on their feet. The relief help families gave them a paycheck which allowed them to feed their family and kept families out ofShow MoreRelatedPresidential Greatness-Fdr4850 Words   |  20 Pageshave a long-term positive impact and change the course of American history. Franklin D. Roosevelt achieved presidential greatness because he led the United States out of the Great Depression and to victory in the Second World War. His transformational accomplishments during his four terms as president changed the course of American history because his comprehensive reform of the economic and banking systems revived the shattered economy and generated decades of prosperity. Also, his visionary

Michelangelo and the Buonnarroti Archives Essay Example For Students

Michelangelo and the Buonnarroti Archives Essay The Cavaliere Cosimo Buonnarroti was the lineal descendant of Buonnarroto Buonnarroti, the younger brother of Michelangelo, and the possessor of the house which had belonged to him in the Via Ghibellina at Florence. He died on the 12th of February, 1858, bequeathing his house and the Michelangelesque Museum contained in it to the city of Florence. In truth, the collection of memorials existing there might well be called a Museum. Not only was the mass of manuscripts extremely voluminous, but there were many works of art from the hand of the master, models especially, and first ideas for several of his larger works, especially one most interesting first sketch in wax of the David,† besides other relics, — his chair, his walking-stick, his writing-desk, and the like. The house and all its contents, as has been said, were left by the Cavaliere Cosimo, who had been Minister of Public Instruction under the last Grand Duke, to the city of Florence, to the exclusion of certain collateral relatives, who, it was known, would have dispersed and sold the collection. But in consequence of a curious circumstance the city did not enter into possession of the property under the will. The Tuscan law required (and the Italian law may still require, but there were differences in the legislation at that time); that the witnesses to the execution of a holograph will, such as that which the Cavaliere Buonnarroti made, should be in the same room with the testator at the time of his making the will in question. Now the Cavaliere Buonnarroti being very ill, and suffering much from the heat in the room in which he was dying, in which there were several persons, a portion of those present were requested to pass into an adjoining room, communicating with the sick-man’s room by large folding-doors, which were open. Several of those present did so, and the persons who subsequently signed the will as witnesses were among the number. Hence it was afterwards objected, on the behalf of those who were the heirsat-law, and would have inherited the Buonnarroti house and its contents but for the will, that the document was invalid on the ground which has been mentioned. The case was brought before the courts, and was given against the city, which, however, succeeded in compromising the matter by the payment of a large sura to the heirs-at-law. When the papers had become public property, the task of editing the letters was intrusted to the Cavaliere Gaetano Milanesi; the task of writing a new life based in part on the new materials was assigned to the Commendatore Aurelio Gotti, while Count Luigi Passerini, the librarian of the National Library, under- took to prepare a Michelangelesque bibliography, with an addition thereto of a list of all the engravers who have produced engravings from his works. Previously, however, it was arranged that an English translation of the â€Å" Life † should be executed by Mr. Cha rles Heath Wilson, a well-known artist and man of letters, long resident at Florence. Born in 1475, in the lovely district of the Casentino, the upper valley of the Arno, — that lush and green valley which Dante has described so well and so fondly, — where his father was serving the office of podestA or chief magistrate of the little town of Caprese, the infant Michelangelo was carried, at the expiration of his father’s six months’ tenure of office, to Florence, and was placed with a wet-nurse, the wife of a stone-cutter in the village of Settigrano, amid the quarries on the hillside above the Arno valley, not far from Fiesole. The circumstance is not without interest. The woman from whose breast the infant Michelangelo was nourished was the wife, and doubtless the daughter, of a stone-cutter, in all probability the descendant of a long line of stone-cutters; for all the people at Settigrano are stone-cutters, and some of them were sculptors, equally calling themselves lapicida. For the hierarchy of art had not in those days shaped itself into any defined table of precedence; and it would have been difficult, if any one had dreamed of attempting it, to draw the line between the artist and the artisan. With what degree of mastery and deftness the fathers of her whose breast supplied the elements of growth to the great artist may have cut the Settigrano stone there is no saying, but that they were engaged in that art from time out of mind may be reckoned as certain; and physiological theorists may make a note of it. As usual, the tradesman-tather wanted to make a tradesman ot his lapicida-suckled boy, and as usual failed. Little Michelangelo would do nothing but draw and model Wiser than many another father suffering from the same misfortune, the elder Buonnarroti soon gave up the struggle, and placed the boy in the workshop of Domenico and David Ghirlandaio. At the age of fourteen he had already so distinguished himself that Lorenzo the Magnificent was attracted by his unmistakable genius, and made him a member of his family, where among other advantages he had that of the literary instruction of Politian. In 1496 (aged twenty-one) he goes to Rome at the invitation of the Cardinal St. Giorgio, and remains there nearly five years, executing a variety of statues and groups, and increasing daily in reputation. In 1501 (aged twenty-six) he returns to Florence at the request of his father, and we find cardinals and municipalities at once bidding for his services. But in 1504 he again goes to Rome on the invitation of Pope Julius II., becomes dissatisfied with that headstrong and masterful Pope’s caprices, returns to Florence, and refuses to obey the Pope’s summons to go back to Rome, but at length does so on the receipt of a new invitation in the year 1508 ; and in that same year,-the thirty-third of his age, begins the immortal works in the Sistine Chapel, which are completed in 1512. Pope Julius dies in 1513, and Michelangelo continues to labor, sometimes at Rome, sometimes at Carrara, and sometimes at Florence, chiefly for Pope Leo X., during the whole of his reign. And if the historians, who are continually claiming the toleration and indulgence of mankind for this Pope, and other â€Å"art-loving† popes and princes, on the score of their patronage and protection of artists, would make themselves a little better acquainted with that back-stairs view of such transactions, which are only to he come at in the records and familiar letters of the patronized , it is probable that the world would feel less enthusiasm of admiration for the â€Å" magnificent † popes and princes in question! In 1523 Clement VII. succeeded to the Papal throne, after the very short reign of Adrian VI., which divided that of Clement from that of his relative, Leo X. And Michelangelo continued to work for Pope Clement. In 1529, however, when Pope Clement, in disgraceful alliance with Charles V., is besieging his ancestral city, the great artist is found on the popular side, and is appointed by the city director of the fortifications. After the restoration of the Medici to Florence, Michelangelo is â€Å"pardoned† for Li3 patriotism and continues to work for the Pope. In October, 1534, Cardinal Alessandro Farnese succeeds Clement as Paul III., and he in his turn employs Michelangelo in the great works with which he hoped to associate his own name. Immediately on his accession the new Pontiff determined to employ the greatest artist of his day; but it was not till the September of the year 1534 that Michelangelo, now in his fifty-ninth year, and formally named chief architect, painter, and sculptor to the Apostolic palace, began the great fresco of the Last Judgment in the Sistine Chapel. It was during these same months, while the negotiations con- nected with his appointment to the above offices, and the prepara- tions for the execution of the great fresco were in progress, that one of the most interesting episodes in the life of Michelangelo took place. This was his acquaintanceship and friendship with Vittoria Colonna. She was then a widow, and had only been prevented from becoming a nun, in her despair at the untimely death of her husband, by the absolute prohibition of the Pope. She retired, however, to the nunnery of St. Silvestro in Capito, in Rome, and there, in the words of Mr. Heath Wilson, â€Å"in acts of devotion and of active charity, in study and the exercise of her highly poetical feeling, writing verses and religious hymns, she gradually recovered her serenity of mind, and resumed her intercourse with society. Amongst the men and women she attracted, endowed like herself with high qualities, was Michelangelo, who formed a friendship for her marked by the depth and grandeur of his character in its devotion and vitality; and returned by her with an admiration of his gifts and talents which was unbounded. In the relationship which subsisted between them it is pleasant to contemplate her appreciation of his genius and works, and the happiness which her gentle influence brought to the hitherto solitary self-tormentor, who saw too much of the sad side of nature, and whose undoubted trials were intensified by his constitutional melancholy. His life was now illumined by a pure ray, to which he turned with all the goodness and love which were in hisr nature hidden under its rugged exterior. The intercourse between Michelangelo and Vittoria Colonna forms a bright and beautiful episode in a life the history of which is so sombre as to be almost ceaselessly painful in its aspect, illustrated by his works, in which there is hardly a trace at any time of a smile suggestive of happiness or peace.† Vittoria Colonna has, in every generation since her own, been of lt to be a figure standing out from the sufficiently dark background of those times with a vividness of relief which makes her an object of special interest to us. And the incident of her friend- ship for Michelangelo is perhaps the most interesting episode in her career. There is no doubt that at one period of her life she was strongly attracted not so much perhaps by the doctrines as by the purity of life and moral excellence of the little knot of Italian men and women who, though they were for the most part not prepared to go the length of secession from the Church of Rome, were anxiously hoping for some change which should render the spirit prevailing in that church less grossly pagan, and less entirely divorced from all tendency to promote morality of life. And the testimony thus given to the characteristics of her mind is of much interest in connection with the marked influence which she and the great artist mutually exercised over each other. She was a poetess of no mean order, as the volume of her sonnets and canzoni, which have been frequently republished, testifies. The earlier portion of these works turns mainly on her passionate love for her husband, the Marchese di Pescara, and was chiefly composed during his absences from her, while figh ting the battles of Charles V. But the verses which belong to that latter period of her life, when she became acquainted with Michelangelo, are almost, if not quite, entirely religious in character. Michelangelo had also been, during the greater part of his life, a maker of verses; but the best and the most numerous of his productions in this kind belong to the time when Vittoria Colonna was exercising her influence over him. During the same period the scope and character of his verses undergoes a marked change. From being mainly love poetry of the old kind, filled with classical allusions, with far-fetched conceits, with intricate allegories, and indeed with anything save truth and genuine passion, after the manner of that time, they take a religious tone in unison and accordance with hers. Sometimes he addresses his verse to her, and puts on record the influence her character had exercised on him; as in the fifty-seventh sonnet, in which lie tells her that she has formed the poet as the sculptor forms the marble, shaping it to the expression of his own imaginings. A pretty little edition of Michelangelo’s poems was published in 1858 in the same volume with the life by Condivi, and a few of his letters. The poems occupy one hundred and eighty-two small pages. Here is the passage in which Condivi relates his affection for Vittoria Colonna. It is well worth quoting. â€Å" Specially he had a devoted affection for the Marchesa di Pescara, of whose divine mind he was enamored, being in return loved of her with an immense love. He treasures many of her letters , full of sweet and pure love, and such as might be expected to proceed from such a heart as hers. He also wrote to her very many sonnets full of ingenuity and sweet affection. She was wont to go often to Viterbo or else- where for amusement, and to pass the hot months away from Rome, whither she would often return for no other purpose than to see Michelangelo. And he requited her affection with so much love that I remember to have heard him say that he only regretted then, when he sto od by her side as she died, he had not kissed her on the forehead, as he had kissed her hand. I have seen him often altogether lost in the violence of his sorrow, and as one amazed at the thought of her death.† Michelangelo was not, one would have said at first sight, the sort of man to inspire so loving a regard in a still beautiful woman, whose birth and position in society and beauty had placed all the courtier world, among which she had lived, at her feet. He was not only a decidedly plain man, rugged, broken-nosed, harsh- featured, bony, and angular, but was, unlike many of the better- known artists of his day, singularly careless of his appearance, and always shabbily attired. Though ever largely generous to his lather as long as the old man lived, and to his ever-needy brothers afterwards, his own habits were penurious to excess; while his self-assertion towards the great and powerful, and his absolute refusal of the expected tribute of adulation in his conversation and dealings with them, rendered his path through life a rugged and thorny one. Clement VII., who knew the nature of the man well, used, when conferring with him, to open the conversation by commanding him to sit down and put on his hat, â€Å"for,† said Michelangelo Buonarroti Argumentative EssayThe remaining years of Michelangelo’s life were much harassed by the intrigues, calumnies, accusations, and opposition of those who were jealous of his supreme authority in the great work at the St Peter’s, of those who would fain have supplanted him, and of the deadly enemies he had made in numbers, by his uncom- promising opposition to all peculation, jobbery, and fraud in the carrying out of the work. Those who know Italy best can most adequately conceive the amount of deadly emnity thus generated. In other respects these last years seem to have been prosperous and tranquil enough. He was now rich ; he had the pleasure of accomplishing that great desire of an Italian heart, the placing his family and descendants in an eminent social position in their na- tive city ; he was surrounded by â€Å" that which should accompany old age, as honor, love, obedience, troops of friends †; and he had the satisfaction of holding his own, and triumphing over all the host of enemies, who would have ousted him from his position of authority. I cannot but think that Mr. Heath Wilson exaggerates a little in his representations of the great and abiding unhappiness of the great artist’s life. Everything did not go smoothly. Great people cheated him, little people maligned him; he was not at all times able to follow the dictates of his own genius, but was obliged to bow to the ignorant or unreasonable requisitions of cardinals, dukes, princes, and popes. But lie possessed his own soul, spoke his own mind, and thought his own thoughts to a degree that most unquestionably no other artist orman in his social position, or almost any other in that day, dreamed of venturing to do. And when the result of passing a long life in thus thinking his own thoughts and speaking his own mind, and that in the atmosphere of a papal court, was that â€Å" he bought the farm of Capiteto on the 27th of January, 1506; another farm called La Loggia on the 28th of May, 1512; another lot of land on the 20th of June following; a farm at Settignano in 1515 ; land in the city to build a mansion and studio on in 1517; the farm called Fitto on the 27th of October, 1519; and in 1520 additional land at Settignano, it seems hardly reasonable to deplore the misery and unhappiness of his life. It is true that the tone of a great portion of his letters is an unhappy and complaining one. But there is reason to fear that his temper was of the kind that is little calcula ted to secure happiness under any circumstances. He was honest, upright, bitter against meanness and wrong, and at bot- tom kind and generous. But he was harsh, masterful, overbearing, intolerant of opposition, and apparently little disposed to look on the bright side of things. In the February of 1564, his eighty-ninth year, Michelangelo felt that the summons which he had been for some time expecting was nigh at hand. He sent for his friend and brother painter Daniello de Volterra; and he on his way to him called on Ascanio Condivi, and asked him to go to his old friend and master, taking care that his visit should not seem to have been occasioned by any unusual motive. â€Å" Daniello, my friend, it is all over with me! I beg of you not to leave me! † said he as Daniello de Volterra entered his room. Michelangelo then asked him to write a letter for him to his nephew Lionardo; which he did, and Michelangelo signed it But Lionardo did not arrive in time to see his uncle. A slow fever, which the utmost efforts of his physici ans, Federigo Donato and Gherardo Fidellissimi, were unable to conquer, consumed him. It was on the 15th of February, 1564, when Daniello Ricciarelli, more commonly known by his soubriquet, Daniello de Volterra, visited him; and from that day he took to his bed. Up to that time, though very ill, he had persisted in sitting by the fireside in his arm-chair. He was then confined to his bed for three days only, and died on the 18th of February, 1564. Of course it has been impossible within the limit here available to attempt any filling up of the bare outline of the story of his life, which has been given in the preceding pages. Those who may feel an interest in the details of the life and the life-work of so great a man must seek them in the handsome volume of Mr. Heath Wil- son. But there is one other point, in respect of which Mr. Wilson’s book is an altogether new contribution to the history of the art of the Renaissance period, as illustrated by Michelangelo’s great work, the ornamentation of the Sistine Chapel. And of this portion of the author’s work I think the reader would wish to have some little account. Mr. Wilson is the first practical artist who has written on Michelangelo since inaccurate, gossiping, amusing Giorgio Vasari wrote his life, while the subject of it was still living. He took especial pains, and had very exceptional facilities for examin- ing the work itself, more especially the vau lt, and he spent some time in Rome expressly for this purpose. The great and wonderful work in the Sistine Chapel, the grandest achievement in fresco ever executed, was begun on the 10th of May, 1508, in the thirty-third year of the artist’s age. The equally wonderful if not equally admirable work, the great fresco of the Last Judgment, painted on the western wall of the chapel, was begun (according to the generally received account, which, however, Mr- Wilson thinks is somewhat too early) in 1534, twenty-six years subsequently to the finishing of the vault, and was finished in the sixty-sixth year of the artist’s age. The work undertaken by Michelangelo — to paint in fresco the entirety of the vault of the Sistine Chapel — involved the covering with designs and with color more than ten thousand square feet of surface, and the artist’s first care was to find some persons capable of acting as his assistants. The plan followed was first to design and draw to scale the plan for the ornamentation of the whole; then to .prepare the cartoons, or working drawings, for his assistants to work after. â€Å" A modern master,† says Mr. Wilson, â€Å" would in the same position also provide colored studies for the guidance of his assistants. This does not appear to have been common among the great masters of the sixteenth century. No such colored sketches remain, although cartoons have been preserved. Michelangelo pro- vided sketches executed in chalk showing the chiaroscuro, and full- sized outlines for transfer to the vault; and he must have trusted to verbal instructions for thec olor, and to his own example. He had also to prepare and lay off the general plan of the architectural division of the vault in conformity with his design ; this framework must have been designed and drawn to scale, and marked off upon the vault before the painting could be commenced. The completed work shows how great was the pains which was taken, how accurate the calculations and measurements must have been, before the scheme was matured. The more the vault and its paintings are studied, the more the real marvels of their history will be appre- ciated and distinguished from the paltry legends of the biographers.† All Michelangelo’s plans, as regarded the securing of assistance failed. It was very soon found that the persons engaged were in- capable of working with Michelangelo, or of transferring to the plaster designs conceived in a style wholly new to them, and far in advance of the art of the time. They had to be paid for their journey from Florence to Rome, for they were all Floren- tines, and for the time they had lost, and be dismissed. â€Å" He then girded himself for his great task,† says Mr. Wilson ; it was in an exceptional sense only that it has been said that he painted alone and unaided. It cannot be true; for in fresco painting on such a scale solitary work is a practical impossibility.† Further on he remarks that the stories that he ground his own colors,† and prepared the lime to paint on, though so often repeated, are manifestly absurd. He required hundredweights of color and lime! How could he possibly prepare the quantity required alone and unaid ed ? . . . . But while the great artist’s proceedings and reputation have been veiled under idle tales by his first biographers, since so frequently repeated, his greatest work is also veiled by the barbarous neglect and maltreatment to which it has been exposed, and it is now seen from the floor of the chapel so imperfectly that his purposes in the design and execution of it cannot be properly appreciated. This is possible only by close examination of the frescos from a position as elevated as the scaffold erected by Michelangelo. Under very favorable circumstances such an ex- amination has been made of a portion of the vault ; and the interest which this great work of genius has ex- cited for centuries, and now excites perhaps more than ever, may, it is hoped, be an excuse for giving the results of the examination with some minuteness of detail.† â€Å" The entire composition contains three hundred and forty-three figures, varying in their proportions, infinite in invention, full of life and of movement. The vault is alive with figures of mighty beings, the offspring of the exhaustless and noble inspiration of Michelangelo A careful examination of the frescos shows that Michelangelo adhered throughout to his sketch. Unhappily it is lost ;*but it is easy to see that it sprang from his brain complete in every part. . It is not to be understood that in his first sketch he drew every figure and group as we now’ see them painted. But every part of his subject was present to his mind; he indicated hi s general idea; placed groups and figures where he intended them to be in his finished work; shadowred forth tho entire composition; and from that first creation he never swerved.† The â€Å" figures in the uppermost part of the vault measure from ten to twelve feet in height, with certain exceptions. The Prophets and Sibyls would be nearly eighteen feet, if erect; and tho ancestors of our Lord in the lunettes are colossal. . It would appear, from his sketches of draped figures, as well as from the finished paintings, that he provided costumes for his models. There are many slight details and accidents of fold which must have been imitated from the reality. . Artists most frequently trans- ferred the outline of the cartoon to the wet and yielding surface of the plaster by placing the former upon the latter, and then firmly passing over its lines with a point or stylus, which indented the plaster through the paper. Michelangelo prepared the process which is called pouncing. This can be seen in his frescos. The cartoons were nailed to the wall during the process. The nail-holes are observable in the fresco of the Last Judgment; and in that of Ezekiel, in one of the pendentives of the ceiling, an original nail still remains in its place close to this figure. Michelangelo’s motive for avoiding the more usual method of pressing in the out- line with the stylus through the paper is quite evident. He dis- liked the disturbance of the surface which it involves, which was inconsistent with his ideas of refinement of execution. But he did not therefore altogether reject the use of his instrument. When the outline was pounced, he appears to have passed round it with a point as sharp as a penknife, so fine is the cut, and it is easily distinguished from the line passed through the paper; for, besides its sharpness, the instrument has frequently broken out a morsel of lime, where the hand has stoppe d. He did not draw in the features in this manner, but marked in the muscles in the beautiful figure of Adam, and possibly in others. Evidently he varied his practice, sometimes using it, sometimes omitting it Drapery he generally marked in with the point in very rapid sweeps, and sometimes adhered to these lines, at others not . So far as could be observed, the group of children on the piers have been painted without any outline at all; a single guiding perpen- dicular line ruled between them on the wet plaster sufficed to enable him to paint them at once in their places without other preparation. The architecture is outlined with the stylus, and the lines are often carried over part of the figures. This is common in old frescos. It shows that subject and background were painted simultaneously; and this is very evident in Michelangelo’s work; for he often cut the plaster away from his finished day’s painting at some distance from the outline of the figure. Thus he avoided hardness of contour. The lesson is an important one, especially to modern fresco painters.

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Essay Topics About Middle East Politics

Essay Topics About Middle East PoliticsArgumentative essay topics about Middle East politics are ideal for students who wish to delve into the 'Middle East' and all that are associated with it. The Middle East is the largest region in the world, encompassing most of Africa, the Mediterranean, India, China, Russia, and Western Europe, to name a few. It is home to one of the most dynamic cultures in the world, home to some of the most complicated and convoluted politics, and home to one of the most violent conflicts on earth.Argumentative essay topics about Middle East politics will explore the complexities of the region, and the key personalities that lead each country in the region. A student studying Middle East politics should look at the culture, history, and politics of the region, as well as the geopolitical issues that arise from the complex regional situation. These topics can be best explored by reading the works of a Middle East expert such as Alfred McCoy, Max Boot, or Kenn eth Waltz.A student interested in Argumentative Essay Topics about Middle East Politics should not just read books written by Middle East experts. There are many sources online that you can utilize to find the information you need to write your essay. You can also use the Internet to do research and get ideas to write your essay. The Internet can be a valuable tool for students to gather information about Middle East politics, because the Internet provides access to all areas of knowledge, not just the Middle East.The Internet also offers a wide variety of Middle East resources that are useful for this purpose. You can find sites that provide insight into the regional political situation, historical context, and current day issues, as well as a variety of regional maps and other resources that are not easily found anywhere else. Online resources such as these can also be valuable in getting ideas for your essay topic.An ArgumentativeEssay Topic about Middle East Politics that concen trates on current events is a very important part of any college curriculum. Students in the college are expected to consider current events in their study of world politics, and learning about current events in the Middle East helps prepare them for international affairs. Some argumentative essay topics that you might want to include in your course of study are - the region's border dispute with Syria, Iran's role in Iraq, Israel's response to the Palestinian issue, and the instability in Iraq. Other topics to consider include the Arab Spring, the plight of refugees, or regional power play among regional players.Students who are interested in Argumentative Essay Topics about Middle East Politics should make sure that they discuss the Middle East as an academic subject, rather than just a literature or entertainment genre. At the same time, students should also consider the process of writing a Middle East essay. If you wish to create an interesting essay, you may want to consider u sing the following guide:By following these tips, you will be on your way to creating Argumentative Essay Topics about Middle East Politics that will help your college education. Even if you do not complete your degree, writing an essay about Middle East politics is a rewarding endeavor, as it allows you to understand the culture, history, and politics of the region.

A Simple Guide to Writing an Essay Topic for the TOEFL Exam

A Simple Guide to Writing an Essay Topic for the TOEFL ExamYou can write an essay topic for the TOEFL exam. The format is very simple. If you are familiar with the exam, it should be simple for you to do. The following tip is designed to help you to write a topic that will keep you out of trouble on the test.The format is pretty simple to understand, but there are several other tips you must follow in order to prepare your essay topics for the TOEFL. If you have never taken the TOEFL before, you might need to take some practice tests to make sure you know what to do. After you pass the test, you will find out what you must do differently from what you did.To get good scores on the TOEFL exam, you should decide on the questions that you want to answer and write the answers yourself. There are no marks or symbols for an essay on the TOEFL. If you are unsure what the correct answer is, it is best to write it down and put it in your own words. Many people write notes and fill in the blan ks themselves. This can give you extra practice and allow you to improve your skills even more.It is also important to write the essay on your topic so that you will be writing about the topic, not your topic. If you are writing about a topic that is outside of your area of expertise, you will not have a clear understanding of how to answer the questions on the TOEFL. For example, if you are writing about writing reviews of dog training, you would not know how to answer the question about 'Is Dog Training a Good Way to Handle Your Dog?'You should always look for mistakes that you may make in certain essays. Do not just answer the questions with an opinion. You should carefully explain why you think it is a good idea. This will allow you to get good grades, since your views are not necessarily the same as the opinions of the other students who took the test.In order to prepare your TOEFL topic, you should read a lot of materials about the TOEFL exam. The material you will need to do this for your essay is Essay Topic Best Practices. This will help you select a topic that will make it easy for you to figure out the directions to write the essay.You should take practice exams and practice essays as well. Since it is difficult to get good scores on the TOEFL, you should not give up after one try.Writing a topic for the TOEFL is a great reward for doing all of the hard work you have done in preparing for the test. Having a high score on the TOEFL can make you feel proud of yourself, so take your time and ensure that you write the best possible essay for the TOEFL.

Massage Therapy Business Plan free essay sample

Most likely, the Company will hire a qualified business broker to sell the business on behalf of Massage Therapist, Inc. We will write a custom essay sample on Massage Therapy Business Plan or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Based on historical numbers,the business could fetch a sales premium of up to 4 times earnings. Mr. Doe would need to find a massage therapist practitioner to take over the practice. This transition period could take up to one year’s time. 3. 0 Massage Therapy Services and Products Below is a description of the massage therapy services and products offered by the Massage Therapist. 3. 1 Massage Therapy The primary source of revenue for the business will be the sale of massage therapy services rendered to Mr. Doe’s patients. Mr. Doe will perform all types of massage therapy including deep tissue massage, general massage, specific muscle massage, and other services that relate to his practice. In time, the business may hire additional massage therapists that will be able to provide services to clients of Massage Therapist, Inc. This will greatly increase the gross billings of the business. 3. 2 Sales of Herbal and Eastern Medicine Products To a limited extent, the business will carry a small inventory of herbal medicines and Eastern medical products that will be used in conjunction with the treatments rendered by Mr. Doe. Management expects that this aspect of the business will generate approximately 10% of the business’s aggregate revenues while producing contribution margins of 70%. In this section of the business plan, you should further describe the products and services that you intend to offer to your customers. If you need to add more product categories, please consult the instructions that were included in the BizPlanDB. com zip file. 4. 0 Strategic and Market Analysis 4. 1 Economic Outlook This section of the analysis will detail the economic climate, the massage therapy industry, the customer profile, and the competition that the business will face as it progresses through its business operations. Currently, the economic market condition in the United States is in recession. This slowdown in the economy has also greatly impacted real estate sales, which has halted to historical lows. Many economists expect that this recession will continue for a significant period of time, at which point the economy will begin a prolonged recovery period. However, businesses, such as massage therapy practices, tend to operate with substantial economic stability as many people consider these treatments to be essential to their well being. 4. 2 Industry Analysis Within the United States, there are approximately 10,000 businesses that specialize in providing massage therapy to the general public. Each year, these businesses aggregately generate $2. 7 billion of revenues while providing jobs to more than 31,000 people. Over the past five years, annual payrolls have exceeded $900 million. This is a mature industry, and the anticipated future growth rate of the industry is expected to equal that of the general economy. However, some economists have predicted that the industry will grow faster than the general economy as the Baby Boomer generation begins to demand more massage therapy services. 4. 3 Customer Profile The Massage Therapist’s average client will be a middle to upper middle class man or woman living in the Company’s target market. Common traits among clients will include: †¢ Annual household income exceeding $50,000 †¢ Lives or works no more than 15 miles from the Company’s location. †¢ Will spend $20 (via co-pays) or $150 per visit to the Massage Therapist. In this section of the analysis, you should describe the type of customer you are seeking to acquire. These traits include income size, type of business/occupation; how far away from your business is to your customer, and what the customer is looking for. In this section, you can also put demographic information about your target market including population size, income demographics, level of education, etc. 4. 4 Competition This is one of the sections of the business plan that you must write completely on your own. The key to writing a strong competitive analysis is that you do your research on the local competition. Find out who your competitors are by searching online directories and searching in your local Yellow Pages. If there are a number of competitors in the same industry (meaning that it is not feasible to describe each one) then showcase the number of businesses that compete with you, and why your business will provide customers with service/products that are of better quality or less expensive than your competition. 5. 0 Marketing Plan Massage Therapist, Inc. intends to maintain an extensive marketing campaign that will ensure maximum visibility for the business in its targeted market. Below is an overview of the marketing strategies and objectives of the Massage Therapist. 5. 1 Marketing Objectives †¢ Develop an online presence by developing a website and placing the Company’s name and contact information with online directories. †¢ Implement a local campaign with the Company’s targeted market via the use of flyers, local newspaper advertisements, and word of mouth. Establish relationships with referring physicians within the targeted market. 5. 2 Marketing Strategies Mr. Doe intends on using a number of marketing strategies that will allow the Massage Therapist to easily target men and women within the target market. These strategies include traditional print advertisements and ads placed on search engines on the Internet. Below is a description of how the business intends to market its services to the general public. The business will also use an internet based strategy. This is very important as many people seeking local services, such as massage therapists, now the Internet to conduct their preliminary searches. Mr. Doe will register the Massage Therapist with online portals so that potential customers can easily reach the business. The Company will also develop its own online website showcasing Mr. Doe’s expertise, services rendered, location/contact information, and preliminary pricing information. Finally, Massage Therapist, Inc. will work closely with referring physicians and allied health professionals that will provide the Company with its initial customer base. In this section, you should expand on how you intend to implement your marketing. List publications, local newspapers, radio, and other outlets that you will use to promote your business. Discuss how much money you intend to spending on marketing. 5. 3 Pricing In this section, describe the pricing of your services and products. You should provide as much information as possible about your pricing as possible in this section. However, if you have hundreds of items, condense your product list categorically. This section of the business plan should not span more than 1 page. 6. 0 Organizational Plan and Personnel Summary 6. 1 Corporate Organization [pic] 6. 2 Organizational Budget |Personnel Plan Yearly |   |   |   | |Year |1 |2 |3 | |Mr.