Book “The Boy in the Striped Pyjamas”

John Boyne’s novel The Boy in the Striped Pyjama’s published in 2006 tells the story by using a nine year old boy as the narrator to show the world through his eyes. The Boy in the Striped Pyjamas is a powerful story because it is told from Bruno’s perspective. The novel is set in the years of World War 2 and the colorcast where many Jewish families live their lives in fear of the Hitler and the Germans. Boyne has used many different languages in the novel such as Tone, Literacy Devices and Characterization to show the different features and perspectives from Bruno.The way Boyne describes Shmuel makes the reader really feel remorseful for this boy and the way he is being treated by the soldiers. Boyne Cleverly uses imagery and symbolism to describe Shmuel from Bruno’s perspective. â€Å"His skin was almost the colour of grey, but not quite like any grey Bruno has ever seen before. He had very large eyes and they were the colour of caramel sweets. † (p. 106-107. ) Boyne has impressively used imagery to show and represent people through Bruno’s innocent and naive eyes and really encourages the reader to read on.In the novel the way Boyne uses characterization, helps to show the different characteristics of Bruno and how he represents other characters from his perspective. â€Å"Who’s the fury? † asked Bruno. â€Å"Your pronouncing it wrong† said father pronouncing it correctly. â€Å"The Fury† Bruno said again but failing. (p. 117). Boyne uses this, to describe to the reader that Bruno is a naive and innocent young boy. Boyne uses implied meanings as you may have realised Boyne never mention Hitler but rather says fury and makes the novel really impacts the reader. Boyne uses a lot of one in his novel to express the feelings been told through the story.By the way Boyne has represented the way the soldiers laughed and mocked the children makes the reader leave with a distaste of the soldiers and are remorseful for the children. †But then one of the soldiers lunged towards them and they separated and seemed to do what he wanted them to do all along, which was to stand in a single line. When they did, the soldiers all started to laugh and applaud them. † (p. 37). It shows that the soldiers were horrible people, they pushed and laughed at all the children in the concentration camp and didn’t care one bit if it hurt them.The feeling that you get when you read this book, it is sad and depressing, which can explain why it is a very powerful story. The Boy in the Striped Pyjamas heavily impacts the reader in every way, making the novel very powerful. Boyne uses a younger innocent and naive boy, like Bruno, to tell the story by the view of a young child. Boyne uses Bruno as a narrator to highlight the prejudice that causes adults to behave badly and unkindly towards others. Using a naive narrator it confronts the reader about their own beliefs and values. The wa y Boyne cleverly use tone, characterization and literacy devices impacts the story greatly.

Biography of Noel Coward

Few writers have invested as much care into the personal image they publicly project as did Noel Coward. As a result, within popular culture the name â€Å"Coward† has become synonymous with a certain English style: the elegant silk dressing gown, the cigarette holder, charm, wit, clipped phrases, upper-class accents, and sex appeal. His plays reinforced this image, and Coward was not averse to audiences confusing him with his leading male heterosexual characters.Coward's homosexuality is now well understood, as is the fact that his public persona was a careful construction designed to hide his homosexuality from the general public. He was, for example, unimpressed with Oscar Wilde, calling him â€Å"a silly, conceited, inadequate creature . . . a dreadful self-deceiver† (The Noel Coward Diaries, 135). Although by the 1960s Coward was writing openly about the Homosexual Bill in Parliament in both his diaries and his play Shadows of the Evening, he failed to realize that his whole mannerism–the silk dressing gown, the cigarette holder, the raised eyebrow–was deeply artificial and camp.In addition to the creation of an immensely enjoyable persona, Coward's homosexuality may have also led him to the acidly witty exposure of society characteristic of so many of his plays and the comedy of manners ( Lahr). He well understood society's double standards and knew exactly how they might best be exposed through language. However, his success lay not with the epigrammatic phrase, but rather with the timing so that ordinary phrases become witty, hilarious, hysterical, or loaded with desperation. The recent revival of Coward in London, labeled by some critics as Coward for the nineties, attests to Coward's enduring qualities.To a certain extent he ignored modernism and sweeping changes in the theater, preferring instead to perfect the comedy of manners. Yet his sparse but witty dialogue that relies on situation and moment, his consciousness of la nguage as a weapon that can damage, and the gap between the grace of the language and what people actually do to one another ensure that Coward is more than merely an entertaining period comedy writer. Even Coward's birth date of 16 December 1899 seems suspiciously auspicious, falling at the end of an old century, and early on Coward appeared determined to embody the new century.He was born into a middle-class suburb in Teddington, Middlesex, and not into the world of cocktails and dressing gowns that his plays were to celebrate. His devoted mother Violet had married a piano salesman, Arthur, from a musical family, and she adored the theater and certainly passed that on to her son. With her encouragement, Noel took acting lessons at the age of ten in Miss Janet Thomas's Dancing Academy, and in September, 1911 he auditioned for his first part in The Goldfish.The year 1911 saw the beginning of his relationship with Charles Hawtrey, one of the great Edwardian actor-managers, when Noel first appeared in Hawtrey The Great Name. Hawtrey cast him in a series of plays: The Great Name, Where the Rainbow Ends, A Little Fowl Play, and The Saving Grace. Between 1911 and 1917 Coward appeared in a number of plays and quickly learned to appreciate the pleasure of an audience, which, he claimed, launched him on his writing career. He was finally drafted into the army in 1918, but his tubercular tendency and neurasthenia ended his army career after a few short months.Between 1918 and 1920 Coward survived by acting in a few small roles and writing stories for magazines and song lyrics. Early success came with I'll Leave It to You, a vehicle he wrote for himself and Esme Wynne-Tyson staged in Manchester and London. Critics agreed that a new talent had emerged. At the age of twenty-four, Coward confirmed this with The Vortex. Coward was hailed as a sensational talent. He shocked audiences with the subject matter of the play, but those who got beyond shock appreciated Coward's tal ent for writing. He seemed to epitomize the age's need to live life at a fast rate.His early success was confirmed with Hay Fever, produced in 1925, and Easy Virtue. Coward's finest play, Private Lives, written, like so many others, at high speed and as a vehicle for his dear friend Gertrude Lawrence, opened the 1930s. During this decade Coward wrote his finest work. In 1931 he wrote Cavalcade, in 1932, Design for Living, in 1935, ten one-act plays in Tonight at 8:30, and in 1939, This Happy Breed. During this decade he also acted as a somewhat unsuccessful spy and more successful patriot. In 1940 he toured Australia for the armed forces and in 1941 toured New Zealand.In that same year Blithe Spirit was produced, and he wrote the screenplay for In Which We Serve. During the early 1940s Coward enjoyed success with films. In 1943 he produced This Happy Breed; in 1944 he produced Blithe Spirit; also in 1944 he wrote the screenplay for Brief Encounter, based on Still Life, a play from t he ten in Tonight at 8:30, and the film was produced in 1945. With the end of the war Coward's popularity declined. His musical Pacific 1860 was not successful and was followed by the equally unsuccessful Peacein Our Time in Our Time, written in 1946 and produced in 1947.These failures continued through the 1950s with the musical Ace of Clubs in 1950 and the plays Relative Values in 1951 and Quadrille in 1952. In 1953 his career took a new shift when he performed as a cabaret entertainer at Cafe de Paris. In 1954 he wrote Nude with Violin and moved first to Bermuda and then in 1959 to Switzerland. During the late 1950s and 1960s Coward once more enjoyed success with a production of Waiting in the Wings in 1959, the musical Sail Away, and an attack on the new drama written by Coward himself in 1961 for The Sunday Times. In 1964 Hay Fever was revived and directed by Coward at the National Theatre.His last appearance on the West End stage came in 1966 with Suite in Three Keys. In 1970 Coward was knighted, and there followed in 1972 a revue in London named Cowardy Custard and Oh! Coward in Toronto, which reached Broadway in 1973. Coward died of a heart attack in 1973 at his retreat in Jamaica. This play, dealing with a mother's affair with a young man the same age as her son, and a son addicted to drugs, launched Coward's career. Both characters long to be adored, and both promise to change at the end of the play and give up their respective vices.Although the Lord Chamberlain almost refused the play a license, Coward managed to obtain one by persuading the Lord Chamberlain that the play was really a moral tract. Agate noted that Coward lifted the play from disagreeable to â€Å"philosophic comment,† but complained that â€Å"the third act is too long† (Mander and Mitchenson, 69). Hastings commented firmly that this was a â€Å"dustbin of a play† (Morley 83). Nevertheless, most critics praised the play, especially those in America such as the reviewers for the New York World, the New York Post, and the New York Tribune, who called it â€Å"the season's best new play† (Cole 47).Later critics such as Lahr (18-26) and Gray (34-41) still praised the play for the literary leap Coward exhibited. The 1952 revival was set in the 1920s and received mixed praise: the London Daily Mail complained about its â€Å"frantic piano-playing at every crisis† but noted that â€Å"the wit still sparkles and that final hysterical scene between the son and the mother with a lover of just his own age has lost little of its old dramatic sting† (Mander and Mitchenson 21-22). Coward's finest play, Private Lives, claims no political message, and each element is fully resolved in this beautifully symmetrical play.Amanda and Elyot have each remarried and meet on their honeymoons with their exceedingly dull spouses. Elyot and Amanda appear in turn on their Riviera balconies, each having a similar conversation with their new spouse s. The play begins by contrasting balanced scenes in which Amanda and Elyot discover that the only way to communicate with their new spouses is through language, but they are unable to do so. Thus, when Elyot attempts to probe Sibyl's mind and discover her future plans, she responds: â€Å"I haven't the faintest idea what you're talking about.† She functions on the simplest level of language as talk, of words having a precise and limited meaning. Similarly, Amanda finds Victor equally limited. When she articulates her belief that communication depends on â€Å"a combination of circumstances† and takes place â€Å"if all the various cosmic thingummys fuse at the same moment, and the right spark is struck,† Victor can only reply that she is not nearly as complex as she thinks she is. For Elyot and Amanda, language communicates all too well on a literal level, but their feelings do not align with the words or with each other's words.They use the language of the com monplace as a weapon. In one of their most memorable scenes, they display their sophisticated barbs when Amanda asks, â€Å"Whose yacht is that? † and Elyot replies â€Å"The Duke of Westminster's, I expect. It always is. † Amanda, opening herself for the next retort, exclaims, â€Å"I wish I were on it,† to which Elyot replies, â€Å"I wish you were too. † None of these lines is especially witty alone, but given their context and the timing, they are funny and sad.This couple cannot live apart, and yet as act 2 reveals, neither can they live together. Indeed, in the second act language becomes too effective a weapon, so that periodically Amanda and Elyot must resort to a technique to literally stop communicating. When language threatens to communicate their old jealousies and recriminations too starkly, they resort to using the word â€Å"sollocks†; the device fails and language refuses to submit to such control. When Amanda and Elyot refrain from relying on language, they can communicate.Thus, if they divert themselves with word games such as deciding whether it is a â€Å"covey of Bisons, or even a school of Bisons,† or perhaps â€Å"the Royal London school of Bisons,† they succeed. But when they try to discuss something meaningful, such as their five years apart and the question of other lovers, they find language powerful and disturbing. Amanda says that she would not expect Elyot to have been more or less celibate than she was in their five years apart, but he cannot separate the words from the meaning they imply.He cannot bear the thought that she was not celibate, and in the ensuing argument he concludes, â€Å"We should have said sollocks ages ago. † They should have ceased conversation because language is too destructive. What makes Coward very much a twentieth-century writer is his refusal to restore harmony to this chaos. We must accept that Amanda and Elyot cannot live together without fighti ng and there will be no happy ending because their attempts to control language are futile.Moreover, this futility infects Victor and Sibyl so that their previous united front disintegrates, and as they echo the arguments of Amanda and Elyot, Amanda and Elyot sneak out to fight another day. Coward's couples find that language communicates only too well so that they can neither live together nor apart, and in this, Coward embodies the awful dilemma of the human condition. Contemporary scholarship should continue to explore Coward to dispel the notion that he is just a period writer. Works Cited Cole Stephen. Noel Coward: A Bio-Bibliography.Westport, CT: Greenwood Press, 1993. Coward, Noel. Private Lives, Bitter Sweet, The Marquise, Post Mortem. London: Methuen, 1979. Gray, Frances. Noel Coward. Basingstoke, Hampshire: Macmillan, 1987. Lahr, John. Coward the Playwright. London: Methuen, 1982. Mander Raymond, and Joe Mitchenson. Theatrical Companion to Coward. London: Rockliff, 1957. M orley Sheridan. A Talent to Amuse: A Biography of Noel Coward. Boston: Little, Brown, 1985. Payn, Graham and Morley, Sheridan. The Noel Coward Diaries. Ed. Boston: Little, Brown, 1982.

Racial Profiling Is The Root Of Dysfunction - 1513 Words

Racial Profiling is the Root of Dysfunction in Society The fear of the other races creates the false sense for the need for racial profiling, which causes dysfunction in society. We naturally fear danger and our fear one event creates causes a lasting impression about the people of color (POC) to make oneself feel safer. Due to the fact that most people of high power are white men, they typically are protected from discrimination with their supremacy and social position. However, POC do not have such privilege, and are typically subjected to discrimination. The fear that follows tragic events, fear of danger, and fear of losing power one may have creates the need to racially profile the POC, which leads to the corruption and dysfunction of society. After tragedy, one will naturally want to protect themselves, to try to avoid such happenings again. However, when paranoia are takes racial profiling too far, we end up denying rights and being unjust in the unneeded hope to protect thems elves. In World War II, we sent over 100,000 Japanese to detention centers after the tragedy of Pearl Harbor in fear that the Japanese would turn against America. The US government, â€Å"asserted the Japanese-Americans and other Japanese immigrants represented a threat to national security, since the U.S. was at war with Japan,† (â€Å"The Use of Profiling† Issues and Controversies). In the panicked attempt to avoid another attack by Japan, the people of America had rushed to protect themselves,Show MoreRelatedClosed-Circuit-Television and Surveillance2313 Words   |  10 Pageswestern world, surveillance is emerging as an instrumental means of sovereign control. Surveillance-centered sates use the power to acquire material of specific individuals, extensive analysis of situations, groups and people, as well as inhibiting dysfunction. Surveillance is also used by companies and or stores to deny theft. Regardless the specifications of surveillance, all practices use t he same modes of inquiry, supervision, regulation, and organization. The progression of technology and governmentRead MoreStephen P. Robbins Timothy A. Judge (2011) Organizational Behaviour 15th Edition New Jersey: Prentice Hall393164 Words   |  1573 PagesCultures 604 Point/Counterpoint Responsible Managers Relieve Stress on Their Employees 607 Questions for Review 608 Experiential Exercise Power and the Changing Environment 608 Ethical Dilemma Changes at WPAC 609 Case Incident 1 Starbucks Returns to Its Roots 610 Case Incident 2 The Rise of Extreme Jobs 610 Appendix A Research in Organizational Behavior 616 623 Comprehensive Cases Indexes Glindex 637 663 About the Authors Stephen P. Robbins Education Ph.D. University of Arizona ProfessionalRead MoreStrategic Marketing Management337596 Words   |  1351 Pagesmove away from the position in which marketing and strategic management have, for many commentators, become synonymous. Instead of a myopic preoccupation with market share, competitor activity and so on, marketing should, he claims, return to its roots of a true customer focus. A broadly similar line of argument has been pursued by Christopher et al. (1991), who highlight the fundamental importance of marketing relationships rather than one-off transactions. The fourth, final and most radical position

Financial Crisis Of 2007-2008 What Regulatory Change Is...

In the wake of the Financial Crisis of 2007-2008, what regulatory change is advisable? Wenna Yang Mount Holyoke College The 2008 financial crisis should not be the last one readers will experience, but this paper would like to present a picture of how it unfolded and where went wrong, so that hopefully we can learn from it. This paper will address some post-crisis regulations and why regulators responded this way. It concludes that the key is to carry out reforms addressing the moral hazard issue deeply in our current financial system. Why can’t existent policies and regulations prevent next financial crisis from happening? To answer this question let’s first briefly review how the 2008 financial crisis unfolded. The†¦show more content†¦Now not only middle class could afford larger houses, but thanks to Fannie Mae and Freddie Mac, 69% of Americans had home by 2006. This is exciting if the story stops just here. Unfortunately it didn’t. Banks and Government Sponsored Enterprises spotted a money machine for themselves—securitizing these mortgages. They went ahead to purchase these mortgages, package them and then resell them to Structured Investment Vehicles (SIVs). SIVs, using mortgages as collateral, made products named Collateralized Debt Obligations, and CDO squares. They then sliced CDOs into credit tranches based on the level of credit risk. By doing so, SIVs and GSEs successfully transfer the credit risks to capital market investors, which would later be considered too big to fail and let the tax payers bear the consequences of the these people’s gambling. I’ll elaborate later why a ban on securitizing would not solve the problem mainly because as long as the gamblers can pass on risks to next person, they don’t bear the risks themselves. They would be motivated to lever and make risky investment for prof its no matter in the form of securitizing or others. Housing prices stopped rising in 2007. One of the ramifications was that those who rely on re-financing to pay off their previous loans were not able to re-finance any more. People started to default. This entailed big uncertainty the financial market mainly because it became an impossible task to

Do Video Games Create Violence - 1760 Words

The global issue that will be discussed will be is â€Å"Do video games create violence in society.† Video games are a significant part of many young people’s lives. With an exceptional number of people in the status quo playing video games, it has raised the question whether or not video games do in fact incite violence within societies or is it just a coincidence? Throughout this paper, we will explore possible factors that contribute to whether video games do or do not create violence in society. We will explore this issue through different perspectives to get an overall view on the issue to find a solution. Legally speaking, video games have been limited to those of certain age groups depending on the age of the consumer. Ratings from E to†¦show more content†¦Several states, including California, Georgia, Illinois, Louisiana, Maryland, Michigan, Minnesota, Oklahoma, and Washington, have passed laws regulating the sale of violent or sexually explicit video games (Barrett, 2008). This shows that states are trying to prevent youngsters from buying rated M games. But attempts to stop it completely show that it could not do so because of a few reasons which include: unnecessarily impeded a parent s rights to make decisions about his or her child, was unenforceable, and also was not inclusive enough (Rowland, 2001). Also, stated, is that there was no evidence to pass legislation regarding ‘violent’ video games because no evidence presented violent behavior in children. The lack of direct evidence that connected â€Å"point and shoot† video games to violent behavior (Rowland, 2001). Also sales of video games compared to youth violence (serious violent crime) shows that while the sales of violent video games has gone up, youth violence has gone down (Adam Thierer, 2009). Relating social media and violence created by video games can be shown as a way to let out stress or to communicate with the community about what games a re trending or not. 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Many people are debating whether or not Violent Video Games cause kids to be aggressive and violent. While others, like myself agree violent video games aren’t the problem of violence, real-life violence is. And therefore, you should to why, because Violent Video games allow kids especially boys to let out anger and relax themselves from emotions. It also helps entertain kids. And creates less real-world aggression. Kids already know the difference between virtual and reality by

We Have a Dream to Change the World free essay sample

Although I was taught that these women were a huge importance to the community, in Africa, men are still considered dominant. Women are inadequately served when it comes to education, health and even legal rights. One of the main reasons why these countries are still struggling economically is due to the lack of importance on educating women. These women have the power to create great change for these third world countries, so in order to reduce gender inequality and build the soci-economic status of these third world countries; we must promote the evolution of women empowerment. Education for girls, mostly in third world countries, has been extremely hard to access. A conference known as the Beijing conference held in 1995 had a strong concern for the female child. They took statistics from 1990 where 130 million children worldwide had no access to primary education, 81 million of which were girls. An even higher number of girls had no access to secondary education. We will write a custom essay sample on We Have a Dream to Change the World or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page The UN then realized that they needed to one; â€Å"increase girls’ access to both primary and secondary education,† two; â€Å"alter representations of women and girls in the curriculum† and three; â€Å"increase the number of female teachers worldwide† (United Nations). By realizing this, they have also unknowingly brought up the realization that gender equality and economic development go hand-in-hand. In the poorest countries only 5. 4% of adult women have some sort of secondary education compared to 14. 6% of adult males, where as the richer countries 50. 8% of women and 57. % of males. When we compare the poorer countries to the richer countries with how many women have secondary education, we can be inclined to think that these countries are more developed because of the high percentage of educated women. Blocking these women from participation in educational activities can adversely affect the whole society and country, in a negative way. Health ca re for women in third world countries is even harder to come by. I learned that female circumcision, which is the cutting off of the clitoris, in Africa is mandatory, even though illegal. Female circumcision was created by men and is still practiced today with razors, knives, glass and even sharp rocks. They do it in unsanitary places, like behind bushes so the police do not catch them. The reason why women are forced into doing this is so that sex no longer pleasurable, so in return the women will not cheat on their husbands. The lack of training in these surgeries, the use of unsterile and unsuitable equipment, and the fact that the girl may struggle during surgery, all suggest that it is difficult to be precise and safe in an excision, which can then cause birth complications and other infections. But because this ritual is illegal, when these infections happen it is unlikely the women will be allowed to visit a hospital to receive treatment and medicine. Thus resulting in the dominance of male’s thoughts over females. Legal rights for women in Africa almost do not even exist. Forced/arranged marriages are a huge part of African culture. If a man finds a specific woman attractive or is aware that her family is wealthy, he will proceed to tell his parents who will than plan it with the families or guardians of the woman concerned. In arranged marriages women are treated as things or possessions. They are traded for money, food, animals and even property. Females do not have a say when it comes to arranged marriages, they are forced to marry for the well being of the family, instead of for love. Most women in Africa are not even allowed to get jobs to help out with the families’ income. They are forced to take care of the children, walk around 4 kilometers to the nearest water source, cook, clean etc. Although females do most of the work for the family, they are still considered inferior to males. Education, health and legal rights are things that women do not have much access to in Africa. Women have been discriminated against and thought less of by men for centuries. They are being denied the right to education at a time when these women have the potential to transform their lives and the world around them, so in order for third world countries to rise economically gender inequality must diminish.

Macbeth And Metaphysics Essays - Characters In Macbeth,

Macbeth And Metaphysics The Three witches in the tragedy Macbeth are introduced right at the beginning of the play. They tell Macbeth three prophesies, he will be Thane of Cawdor, Thane of Glams and King. These prophesies introduce him to ideas of greatness. Macbeth will eventually follow through on killing king Duncan. This brings into the play, idea of fate and the role with which it has in the play. The witches could foretell the future, they can add temptation, and influence Macbeth, but they can not control his destiny. Macbeth creates his own anguish when he is driven by his own sense of guilt. This causes him to become insecure as to the reasons for his actions which in turn causes him to commit more murders. The witches offer great temptation, but it is in the end, each individuals' decision to fall for the appeal, or to be strong enough to resist their captivation. The witches are only responsible for the introduction of these ideas and for further forming ideas in Macbeth head, but they are not responsible for his actions throughout the play. Lady Macbeth is shown early in the play as an ambitious woman with a single purpose. She can manipulate Macbeth easily. This is shown in the line "That I may pour my spirits in thine ear". (I,V, 26) Before the speech that Lady Macbeth gives in act one scene five, Macbeth is resolved not to go through with the killing of the king. However, Lady Macbeth says that it would be on his manliness and his bravery if he didn't. This then convinces Macbeth to commit regicide. Although Macbeth has the final say in whether or not to go through with the initial killing, he loves his wife and wants to make her happy. She is the dominating individual in the relationship which is shown in her soliloquy, "This have I thought good to deliver thee, my dearest partner of greatness, that thou mightst not lose dues by rejoicing by being ignorant of what greatness is promised the. Lay it to thy heart, and Farewell."(I, V, 7-10) Once Macbeth kills for the first time, he has no choice but to continue to cover up his wrong doings, or risk loosing everything he has worked so hard for. In the end, it all comes to Macbeth himself. Everyone is responsible for his own destiny. This is an essential theme in this tragedy. Macbeth, chooses to gamble with his soul and when he does this, it is only him who chooses to lose it. He is responsible for anything he does and must take total accountability for his actions. Macbeth is the one who made the final decision to carry out his actions. He made these final decisions and continued with the killings to cover that of King Duncan. The killing of Duncan starts an unstoppable chain of events in the play that ends with the murder of Macbeth and the suicide of Lady Macbeth. In the beginning, Macbeth had all of the qualities of an honorable gentleman who could become anything. This is all shattered when his spirit overrides his sense of honorability. Although Macbeth is warned as to the validity of the witches prophesies, he is tempted and refuses to listen to reason from Banquo. When the second set of prophesies Macbeth receives begin to show their faults Macbeth blames the witches for deceiving him with half truths. While the witches are not totally responsible for the actions of Macbeth, they are responsible for introducing the ideas to Macbeth which in turn fired up Macbeth's ambition and led to a disastrous and unnecessary chain of events.