Villanova Supplement Essay - Important Tips for Writing Excellent Essays

Villanova Supplement Essay - Important Tips for Writing Excellent EssaysYou can find Villanova Supplement Essay samples that may help you compose the essay effectively. These sample essays have proven to be very effective at preparing students for the real thing. They have helped students write better essays that are well-researched and more comprehensive than the average essay.The Villanova Supplement Essay requires the writer to use his or her own writing style and values, but still remains true to the basic expectations. All the examples in the supplements are written in a third person limited.Since they all follow the same literary standards, the essays will be in line with each other, creating a well-rounded text. For students who are aiming for an English degree or master's degree, this type of essay will be beneficial because it provides lots of information that can be used to establish the level of knowledge of the student.The first set of Villanova Supplement Essay samples i s what is called the Law of averages. The essay will be divided into sections that will focus on themes relating to the essay topic.These topics cover topics such as practicalities of the work, legal background, and societal implications. These supplements are divided into topics that cover how certain elements are done, how such elements are done and why, how they are collected and what are the objectives of collecting them, as well as the basics of collecting data. This sets the tone for the content of the essay.The second set of Villanova Supplement Essay samples is titled Law of averages (II). The supplement is divided into two parts that are often combined in order to help students compose a complete essay. The first part of the essay will be composed of a problem statement, and the second part is a conclusion.The first part is a supplement that covers issues such as society, education, environment, health, and societal aspects. The second part is a supplement that provides mor e information on the initial part. This combination can help make the essay more concise and flow better than individual parts would do.These two supplements are useful in establishing the information that is required in the essay. For students who are aiming for an English degree or master's degree, these supplements are useful because they provide lots of information that can be used to establish the level of knowledge of the student. All the examples in the supplements are written in a third person limited.

Stereotyping in the Film the Birdcage (1996) free essay sample

With the exception of academics and serious students in film or cultural studies, most movie-goers regard the viewing of films (with the exception – sometimes – of documentaries) as simply an entertainment activity when, very often, central to the experience is the swallowing of messages that the creators of the film wish to advance. Since films are often very expensive to produce, the films that find financial backing must also meet with the approval of a society’s elite, moneyed class. It is most often the case, then, that subtle messages and affirmations about the political, social and personal norms the dominant class wishes to endorse and inculcate are embedded in films that reach a wide segment of the population. Richard Dyer, Professor of Film Studies at Kings College London, in his essay Stereotyping (1), argues that one of the most common methods by which the dominant economic class attempts to reinforce the worldview it wishes to have embraced by the people, is the employment of stereotypes, which are often one-dimensional, static characterizations of people in various social roles or members of classes of people. We will write a custom essay sample on Stereotyping in the Film the Birdcage (1996) or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page These stereotypes range from the flattering depiction of Hero or Faithful Servant, for example, to the cartoonish, demonic or depraved portraits of a â€Å"typical† member of a group of people whose behavior or values the dominant class finds antithetical to their interests. Dyer argues that learning to recognize the use of stereotypes in films is provides some self-defense against being oblivious to the attempt to influence one’s thinking and opinions. One such group which has long been the target of such propaganda via stereotyping in films is the homosexual community. It was with the rise of capitalism that homosexuality began to be seen as leading to lifestyles that were not conducive to the provision of good, stable, obedient workers. One of the most influential frameworks for analysis of human relations and the evolution of social norms and political structures from the late 19th century through the present has been Marxist analysis, based on the works of Karl Marx (1818-1883). Dyer employs Marxist analysis, with a nod to sociological terminology (role, individual, type, member) to illustrate that stereotyping in film can occur through the use of iconography â€Å"Iconography is a kind of short-hand—it places a character quickly and economically. P. 32), structurally (â€Å"†¦. by the function of the character in the film’s structure {whether these be static structures, such as the way the film’s world is shown to be organized, materially and ideologically, or dynamic ones, such as plot. P. 33}, and through typing – the opposite of individuation of characters, instead ascribing of attributes to a person based on the idea they are a certain â€Å"type,† and we can understand all we need to know about them by being familiar with that type. While we, generally, think of stereotyping in a negative light, one consideration clearly of great importance to Dyer is the idea that some aspect of typing –insofar as the typing reflects the positive attributes of gay people – should not be discarded entirely, since the recognition for the audience, of some level of commonality in the experience of being gay will serve to illuminate for viewers the struggles faced and the oppression experienced, hopefully leading to more support in the larger society for improved status and equal civil rights for gay people. In analyzing the use of stereotypes in The Birdcage (Mike Nichols, 1996), I will argue that, while the use of stereotypes by the filmmakers was clearly done with the intention of exposing the stupidity of so many of society’s prejudices, the film does not entirely succeed in leaving the audience with anything close to real motivation for re-thinking approval for the established social idea that gays are somehow â€Å"other† and, at best, sympathetic clowns. The audience simply gets its laughs and goes home. A remake of the French film La Cage aux Folles (Jean Poiret and Francis Veber, 1978), Birdcage is set in drag club called The Birdcage in South Beach, Florida. We learn very early in the movie that Armand Goldman, played by Robin Williams, owns the club and his partner, Albert, played by Nathan Lane, appears regularly as Starina, the shows star drag queen. The plot of the movie develops when Armand’s son Val becomes engaged to Barbara Keeley, the daughter of the hypocritical, ultraconservative Republican Ohio Senator Kevin Keeley, who is seeking re-election as the co-founder of the Coalition for Moral Order. In light of the engagement, the young couple decides that it is finally time for the two families to meet. However, Val requests that Armand and Albert must conceal their homosexuality for this meeting. Stereotyping is not just employed in presenting the characters in Birdcage; the sets also are highly stereotyped and function almost as additional characters. The film open s with the camera panning around from the outside the club, and the viewer gets a quick look at the outside environment. They see bright lights in the night, palm trees, and pedestrians milling about the streets or waiting in line, all in scantily clad outfits and bathing suits. Sequences similar to this occur numerous times throughout the movie when showing the outside environment. Whether they’re at the beach or in the streets, day or night, the surrounding people are dressed in skimpy clothing, small bikinis, or Speedos. This aspect of the environment is emphasized when the senator and his family are stuck in traffic right outside of the club, approximately seventy-five minutes into the film. While all the cars are stuck in traffic, people are chaotically climbing in and out of open-roofed cars or roller-skating by. Women and men in skimpy and brightly colored bikinis, thongs, and Speedos continuously pass the senator’s idled car while the family stares, aghast, and Mrs. Keely states, â€Å"This is less like Palm Beach than I imagined. † Despite the fact that no indication is given that there is any special occasion being celebrated in South Beach, the carnival-like atmosphere and setting depicts the gay generated environment in a one-dimensional, stereotyped manner. While the sexual orientations of the pedestrians is not defined, these sequences are stereotypical cues that the sultry, brightly colored, free-wheeling Florida locale surrounding the drag club, an environment where all the citizens present themselves flamboyantly and provocatively through their dress is to be seen as the typical environment for such a club, a â€Å"gay paradise. † The home of Armand and Albert, located above The Birdcage, is abundantly decorated with stereotypically gay ornamentation. Every available surface is purposefully adorned with lit candles, decadent glass sculptures, flouncy lamps, poufed pillows and homoerotic artwork. The walls are either bright yellow or covered in obnoxious, loud, jungle-themed wallpaper. The significance of the iconographically gay character of the setting is emphasized when Val makes clear that the decor poses as big a pitfall for the senator’s visit, as does the presence of drag queen, Albert. Approximately thirty-six minutes into the film, Val insists that they redecorate prior to the Keeley’s arrival. Armand does not understand what is wrong with the decor, and Val points out to a nude sculpture of Neptune, a portrait of a man in drag without his wig, numerous primitive sculptures depicting exaggerated male erections. At first, an offended Armand replies â€Å"But this is art! † and casually turns the erect sculptures around to face the wall, but eventually, out of love for his son, he gives in and clears his home of the many â€Å"gay signaling† items he possesses, completely redesigning it into a setting similar to a Catholic monastery (Armand is Jewish. ). The most ridiculously, screamingly stereotyped character in Birdcage of Armand’s spouse, the drag queen star, Albert. It is no accident that the character, Albert, is the embodiment, not only of the drag queen type, but also of the worst stereotyped version of a woman: shrill, melodramatic, self-absorbed, vain, overly emotional, and prone to hysterics, suspicion and jealousy. The viewer is introduced to him five minutes into the film while he is in a fit of hysterics. Albert, suddenly devastated by the recognition that he is no longer young and beautiful, and convinced Armand is losing interest in him, is extremely upset and refuses to prepare for his nightly stage performance. The audience immediately sees that Albert is overreacting by the melodramatic way he behaves in this scene. As Armand attempts to enter the dressing room, Albert, who was previously hiding under some sheets, wailing and lamenting his sorrows to the couple’s housekeeper Agador, squeals and barricades the door because he doesn’t want Armand to see him in his â€Å"hideous, hideous, fat and hideous† state. Even in the chaos of Armand trying to break into the room, Albert’s shrieks are completely audible over the ruckus. Once Armand enters the room, Albert begins to make melodramatic claim after melodramatic claim: â€Å"I’m in such pain! It’ll never pass! I hate my life. † â€Å"Never mind about me feelings. † â€Å"Don’t use that tone to me†¦that sarcastic, contemptuous tone that means you know everything because you are a man, and I know nothing because I was a woman†, â€Å"I was adorable once, young and full of hope and now look at me! I’m this short, fat, insecure middle-aged little thing! † Such behavior and sentiments are typically attributed to the stereotypical, emotionally unstable and utterly dependent woman, Albert’s character embodies the classically drawn stereotype of a melodramatic, overly emotional, ridiculous gay man who might as well be considered a woman. While Albert’s raging hysterics, melodramatic behavior and â€Å"prissiness† was on full display in this particular scene, his diva-like self-absorption and hysterical reactions are carried throughout the entire film, with the exceptional surprise when he rises to the occasion and â€Å"saves the day,† later in the film Fifty minutes into the film, in an attempt to win the favor of Barbara’s parents, Armand tries to teach Albert how to portray himself as a straight man. This attempt, however, is completely unsuccessful. No matter how hard he tries, Albert cannot walk without swishing his hips while holding out the palms of his hands, his posture is too upright, and the register of his voice is too high. The fact that Albert is incapable of pretending not to be a flamboyant, over-the-top, and extremely feminine person tells the viewer that his â€Å"gay-ness† is what completely defines his entire personality and every aspect of his behavior, and further sets the stereotype in stone. Structurally, the characterization of the relationship between Armand and Albert is reduced by its definition as reflecting a cartoonish parody of the stereotypical traditionally defined roles played by â€Å"husband and wife. † While it is clear that the Albert has a more feminine personality than Armand, the film also depicts Albert as the â€Å"mother† and caretaker of the household. For example, twenty minutes into the film, Armand is silently reading the newspaper and drinking coffee in the kitchen, Albert is feverishly folding the laundry, babbling about matters such as how ratty Val’s shirt is and how he got a pork roast for dinner instead of fillet minion. This scene and many others show how this movie depicts the roles of a gay relationship as being identical to the stereotypical gender roles of a heterosexual couple. There is no question that the creators of this film intentionally employed thoroughly stereotyped characters. There is little to no individual character development whatsoever. However, since these stereotypes are so over-the-top and blatant, there must have been a conscious effort on the part of the filmmakers to feed into such stereotypes. This film is merely a lighthearted nod towards the ridiculous stereotypes that much of society today believes to be completely realistic depictions of homosexuals. Therefore, such obvious stereotyping does not outweigh the comedy or the quality of the film, but rather define it.

World War I and The Treaty of Brest-Litovsk

World War I and The Treaty of Brest-Litovsk After a nearly a year of turmoil in Russia, the Bolsheviks ascended to power in November 1917 after the October Revolution (Russia still used the Julian calendar). As ending Russias involvement in World War I was a key tenet of the Bolshevik platform, new leader Vladimir Lenin immediately called for a three-month armistice. Though initially wary of dealing with the revolutionaries, the Central Powers (Germany, Austro-Hungarian Empire, Bulgaria, and the Ottoman Empire) finally agreed to a ceasefire in early December and made plans to meet with Lenins representatives later in the month. Initial Talks Joined by representatives from the Ottoman Empire, the Germans and Austrians arrived at Brest-Litovsk (present-day Brest, Belarus) and opened talks on December 22. Though the German delegation was led by Foreign Secretary Richard von KÃ ¼hlmann, it fell upon General Max Hoffmann- who was Chief of Staff of the German armies on the Eastern Front- to serve as their chief negotiator. The Austro-Hungarian Empire was represented by Foreign Minister Ottokar Czernin, while the Ottomans were overseen by Talat Pasha. The Bolshevik delegation was headed by Peoples Commissar for Foreign Affairs Leon Trotsky who was aided by Adolph Joffre. Initial Proposals Though in a weak position, the Bolsheviks stated that they desired peace without annexations or indemnities, meaning an end to the fighting without loss of land or reparations. This was rebuffed by the Germans whose troops occupied large swaths of Russian territory. In offering their proposal, the Germans demanded independence for Poland and Lithuania. As the Bolsheviks were unwilling to cede territory, the talks stalled. Believing that the Germans were eager to conclude a peace treaty to free troops for use on the Western Front before the Americans could arrive in large numbers, Trotsky dragged his feet, believing that moderate peace could be achieved. He also hoped that the Bolshevik revolution would spread to Germany negating the need to conclude a treaty. Trotskys delaying tactics only worked to anger the Germans and Austrians. Unwilling to sign harsh peace terms and not believing that he could delay further, he withdrew the Bolshevik delegation from the talks on February 10, 1918, declaring a unilateral end to hostilities. The German Response Reacting to Trotskys breaking off of the talks, the Germans and Austrians notified the Bolsheviks that they would resume hostilities after February 17 if the situation was not resolved. These threats were ignored by Lenins government. On February 18, German, Austrian, Ottoman, and Bulgarian troops began advancing and met little organized resistance. That evening, the Bolshevik government decided to accept the German terms. Contacting the Germans, they received no response for three days. During that time, troops from the Central Powers occupied the Baltic nations, Belarus, and most of Ukraine (Map). Responding on February 21, the Germans introduced harsher terms which briefly made Lenin debate continuing the fight. Recognizing that further resistance would be futile and with the German fleet moving towards Petrograd, the Bolsheviks voted to accept the terms two days later. Re-opening talks, the Bolsheviks signed the Treaty of Brest-Litovsk on March 3. It was ratified twelve days later. Though Lenins government had achieved its goal of exiting the conflict, it was forced to do so in brutally humiliating fashion and at great cost. Terms of the Treaty of Brest-Litovsk By the terms of the treaty, Russia ceded more than 290,000 square miles of land and around a quarter of its population. In addition, the lost territory contained approximately a quarter of the nations industry and 90 percent of its coal mines. This territory effectively contained the countries of Finland, Latvia, Lithuania, Estonia, and Belarus from which the Germans intended to form client states under the rule of various aristocrats. Also, all Turkish lands lost in the Russo-Turkish War of 1877-1878 were to be returned to the Ottoman Empire. Long-Term Effects of the Treaty The Treaty of Brest-Litovsk only remained in effect until that November. Though Germany had made massive territorial gains, it took a large amount of manpower to maintain the occupation. This detracted from the number of men available for duty on the Western Front. On November 5, Germany renounced the treaty due to a constant stream of revolutionary propaganda emanating from Russia. With the German acceptance of the armistice on November 11, the Bolsheviks quickly annulled the treaty. Though the independence of Poland and Finland was largely accepted, they remained angered by the loss of the Baltic states. While the fate of territory such as Poland was addressed at the Paris Peace Conference in 1919, other lands such as Ukraine and Belarus fell under Bolshevik control during the Russian Civil War. Over the next twenty years, the Soviet Union worked to regain the land lost by the treaty. This saw them fight Finland in the Winter War as well as conclude the Molotov-Ribbentrop Pact with Nazi Germany. By this agreement, they annexed the Baltic states and claimed the eastern part of Poland following the German invasion at the start of World War II. Selected Sources Avalon Project: Treaty of Brest-LitovskGuide to Russia: Treaty of Brest-LitovskFirst World War: Treaty of Brest-Litovsk

L course Essay Example | Topics and Well Written Essays - 750 words

L course - Essay Example They can get access to important numbers such as the ID numbers and other personal information such as the product preferences of customers. This may end up causing significant losses to the companies as well as to customers. This applies to banks too whereby hackers have had access to information in several banks causing significant losses. Another modern way to attack individual privacy is using surveillance cameras and traffic cameras. This is usually meant to be a step by the government towards ensuring people’s security but instead end up being interference to privacy since these cameras can monitor the movement of people from place to place. CCTV cameras as well are used to enhance surveillance. These have software that even recognizes faces and can even records sounds. In addition, wiretaps which are used the US government to identify a group of individuals who were suspected to be associated to terrorists. Corporation has also been viewed as spying on people, from their strategy of obtaining targeted people’s information from others. The corporations have achieved this by using club cards, rebates and raffles, which may even be sold to other parties. Use of customer lists have also led to the attack towards privacy, whereby one corporation may sell customer names and identities from their customer lists to other corporation thus the information of the customers extending to these other corporations, who thereafter start contacting these customers. Radio frequency identification devices (RFIDs) have also been seen as a way of attacking people’s privacy. They are microchips with antennas in bar codes of products, for the purpose of tracking the products’ use. They track the period that products stay in the stores, the movement to customer houses and finally their disposal. This way, the companies are seen as being spies on people who buy their products. Surrendering

What impact does emotional intelligence have upon communication in Essay

What impact does emotional intelligence have upon communication in social work organisations - Essay Example Emotional intelligence enables an individual to be emotionally competent, which is essential for efficient social interaction and communication. Emotions are essential in communication, conveying information of what people are thinking, their intentions, and in facilitating social encounters (Kelter and Haidt, 2001). Caregivers must develop the art, listening openly and sending convincing responses. This entails recognizing emotional signals and clues and understanding their meaning and context. Social workers must listen with the aim of developing a mutual understanding with the client and should be ready to welcome the sharing of information fully with the client. A person with positive emotional health is highly social (Argyle and Lu, 1990) whereas a person with negative emotional health is antisocial and keeps other people at bay (Furr and Funder, 1998). Positive emotions in service provision have a desirable effect independent of interpersonal relationships that result in greater work output, persistence, and enhanced cognitive abilities. A caregiver with positive emotions is able to influence social care users in a more positive way, which can enable them make positive changes in their lives. Positive emotionality enables social-work care givers respond to aggressive behaviours directed to wards them in a calm, non aggressive and even polite manner. This requires a very high degree of emotional restraint and care givers who are not emotionally mature or who have no experience will respond aggressively breaking and blocking the communication channels with their clients. Negative emotions are counterproductive and lead to poor interpersonal relationships, lack of job focus, and society to have very negative perception of caregivers and welfare programs. Optimistic social workers are able to make cognitive evaluation of a situation, make adaptive coping strategies to deal with stressful situations and

Discuss the different types of love Essay Example for Free

Discuss the different types of love Essay In Act 3, Shakespeare portraits love in different characters point of views, also showing the different ways love can be expressed in. Orlando and Silvius both express their love openly, not fear of embarrassments. Touchstones love is very realistic; Phoebes way of express is very childish; and Rosalinds words are very self-contradicting. Touchstones point of view of a wife is a tool that can be replaced or thrown away at any time. Just from the excuse he gave from not having a proper wedding for he is not like to marry me well and, not being well married, it will be a good excuse for me hereafter to leave my wife, it can show that he doesnt really value this marriage and is already thinking about divorcing before they are even married. Also from the reason he gave about the marriage is just by so much is a horn more precious than to want, we can tell how he sees Audrey as a person. Audrey in Touchstones eyes can be seen as an object or just a releasing of sexual needs, he is not respecting her in any point. As a professional jester, people usually imagine them as very nai ve and stupid, but in a contrast to Orlando from a noble family, he acts more mature and is more realistic. By using big difference in status, Shakespeare shows that the way of thinking is actually not affected by the status and job of that person. Different from Orlando, Silvius pursues Phoebe day and night, and begs that she would accept him, while Orlando is just expressing his love without even the courage to go see Rosalind face to face. But the love between Silvius and Phoebe is one sided. We can tell this after Silvius said she is like the common executioner, whose heart thaccustomd sight of death makes hard begging her to go easy on him, but just in return receives Phoebes mocking. She mocks him about his hyperbolic language and says now show the wound mine eye hath made in thee. During the whole scene, she only said Siliviuss name once, showing that she does not even spare him a glance. Not only is their love one sided, Phoebe acts really irritated and is very cruel with the words she chose to use. Like if mine eyes can wound, now let them kill thee, suggests that she would rather kill him than to give him a little of her love. Although she says cruel things, but she never kicked Silvius or physically hurt him. She also never said anything like stay away, I think is because she likes to feeling of being popular, and the amount of attention Silvius is giving her. I think she mistook that every man is like Silvius, only crying for her love, and falling before her knees, thats why she acts like a queen. This shows that Phoebe actually has very little contacts with people outside even the others in the forest. Phoebe actually is very inexperienced with love. Although she didnt say openly, but saying I had rather hear you chide than this man woo to a man which she has just saw reveals her affections. Shakespeare here uses dramatic irony, because Phoebe doesnt know that Ganymede is actually a women in disguised. And denying her own love is just like the actions of a child towards his or her first love, so I think she is very inexperienced in love. The love Orlando holds for Rosalind is very inconsiderate. As Rosalind says, he haunts the forest that abuses out young plants with carving Rosalind on their bards; hangs odes upon hawthorns and elegies on brambles; all, forsooth, defying the name of Rosalind. He doesnt care how much trouble he is causing to the forest and other people that lives in the forest, just for the sake of his quotidian of love. He didnt care about Rosalinds feelings whose name is written by him all over the forest, which makes her widely known, just for the sake of his love. Orlando is very childish, naive, and venire. He wants the whole world to believe that he is in love with Rosalind, even the Ganymede for which he has only seen. He said, fair youth, I would I could make thee believe I love and I swear to thee, youth, by the white hand of Rosalind, I am that unfortunate he. From his urgent tone, we can tell that how much a strangers word weighs on his heart, in order for him to swear. White using to describe a persons skin can mean that he or she is ill, but I think Orlando mean no harm, but this is just the word he can find to describe Rosalind. So, again, we can see the big difference in education between Rosalind and Orlando. He said the verses above right after Rosalind (now as Ganymede) said he doesnt look like he is in love, so he reacted greatly from just a strangers words. Just from one side of the story, without questioning the truth, Orlando accepted the help of a stranger, without even knowing that person. If it was a trap, Orlando would be dead by now, so he is very nai ve. As a woman, Rosalind loves Orlando by heart. By the way she questions Celia about Orlando, answer me in one word shows that Rosalind is very urgent about everything that is about Orlando. Although she loves him, she doesnt show it very much, denying the love rule in Shakespeares plays, which when characters fall in love hard and fast, they would be desperate and reacts greatly. Rosalinds love is very self-contradicting. She says love is merely a madness when she also, is madly in love. She says as if she was very experienced with love, but actually she doesnt hold much experience than Orlando does. These contradictions only happen when she is dress as a man, showing the difference in gender can bring much difference in the way of talking and gestures. Rosalind is a very ironic character. She comments on love from two different points of views when she is having two different identities. She uses her identities to her greatest benefits, but in return receives a self-contradictory image about love. It is because in Shakespeares period, all actors were men. Imagine a man playing a woman who plays a man in order to win a mans love, the neat borders of gender becomes hopelessly muddled. I think Rosalinds Ganymede identity is use to show that men is actually not much better than women, because the things men can do, women can also do if they want. Shakespeare displays love in many different angles, showing to the audience that love cannot be too realistic like Touchstone, but cannot be too imaginative like Orlando; love is a poison that can bring suffer like Silvius and Phoebe, but can also bring sweetness. The love in As You Like It is far to unrealistic that they are not likely to happen, but this is just a hyperbolic play, suggesting that it might occur in another form. Like Rosalinds identities, love need to strike a balance; otherwise they would create problems for others and themselves.

Analysis of Emily Brontes Wuthering Heights :: Wuthering Heights Essays

Analysis of Wuthering Heights  Ã‚   â€Å"Wuthering Heights is a strange, inartistic story†(Atlas, WH p. 299).   â€Å"Wuthering Heights is a strange sort of book† (Douglas, WH p.301).   â€Å"This is a strange book† (Examiner, WH p.302).   â€Å"His work [Wuthering Heights] is strangely original† (Britannia, WH p.305).   These brief quotes show that early critics of Emily Bronte’s first edition of Wuthering Heights, found the novel baffling in its meaning - they each agreed separately, that no moral existed within the story therefore it was deemed to have no real literary value.  Ã‚   The original critical reviews had very little in the way of praise for the unknown author or the novel.   The critics begrudgingly acknowledged elements of Wuthering Heights that could be considered strengths – such as, â€Å"rugged power† and â€Å"unconscious strength† (Atlas, WH p.299), â€Å"purposeless power† (Douglas, WH p.301), â€Å"evidences of considera ble power† (Examiner), â€Å"power and originality† (Britannia, WH p.305).   Strange and Powerful are two recurring critical interpretations of the novel.  Ã‚   The critics did not attempt to provide in depth analysis of the work, simply because they felt that the meaning or moral of the story was either entirely absent or seriously confused.      The authorship of Wuthering Heights was an element of much discussion by critics.   They believed the work to be the efforts of an inexperienced and unpracticed writer.   The critical reviews, in my opinion, would have expressed even harsher judgments had it been commonly known that the author was in fact a young woman.   â€Å"In Wuthering Heights, the reader is shocked, disgusted, almost sickened by details of cruelty, inhumanity, and the most diabolical hate and vengeance†¦Ã¢â‚¬ (Douglas, WH p. 302).   Had this particular critic been aware of the author’s true identity, his barely concealed dislike for the work would have had no constraint. Charlotte Bronte assumed the role of intermediary between her late sister and the perplexed and hostile readers of Wuthering Heights (Sale and Dunn, WH p. 267). Charlotte attempted to provide Emily’s readers with a more complete perspective of her sister and her works.   She selectively included biographical information and critical commentary into the revised 1850 edition of Wuthering Heights, which gave the reader a fuller appreciation of the works of Emily Bronte.   Charlotte championed the efforts of her younger sister and believed that Emily’s inexperience and unpracticed hand were her only shortcomings.   Charlotte explains much of Emily’s character to the readers through the disclosure of biographical information.