College Life Essay Example for Free

College Life Essay College life is stress free; whoever said anything about it being difficult is ludacris. Being in college is so nice. There is work but there isn’t as much work as in high school. The assignments aren’t due for credit or points in our final grade. We do assignments for fun. It’s no big deal if we don’t do our homework, cramming the material the night before always works, that’s how high school was. The rest of the time we don’t have class we hang out with friends and talk until the day ends. There are so many things to do on campus such as joining clubs, going downtown, going shopping, or walking around campus with friends; there is no time for homework. There is only time for exploring and having fun in college. That’s what the college life is all about having fun and socializing to our hearts content at parties, during class, after classes and on the weekends. All of the socializing outside of school leads you to do well in college. Testing your boundaries and finding out what you truly love to do. Classes are there to keep you on track and help you appreciate what you’re doing outside of school. School is there to help you realize what you want to do in the future, whether it is your new hobby or your career. College is all about finding yourself. You can always make up the schoolwork anytime, but the main focus that schools want you to do is to have fun while being able to balance assignments and school. They are preparing you for your exciting future in the real world. The real world and the world of college are different but pretty much the same, there are the same workloads and most definitely the same enjoyment in the things you do at work and in college. College work is harder since you have to worry about making connections in college and keeping them strong because those relationships are those that you’re going to treasure most. No one talks about high school memories, everyone talks about college memories. That’s why having the most fun those college years and caring less about school is the way to go for the best college memories and experiences you may ever have, in your entire life. Life is going to be boring without those college years of fun, going in to the working world with more experiences  from college gives you a head up in the game, called the real world. Although you think its bad for you now, but wait until you get to tell everyone about your experiences in college during those job interviews. They will be excited to hire you right off the bat knowing that you are ready for the real world. Ready to work now that you have experience in experiencing the world to its fullest, and being able to share those experiences and relating them to people and their situations. My modest proposal is to enjoy yourself in college, don’t worry too much about the grades. Be in college for the education but don’t forget to go wild when having fun during those college years. You never know when you’re going to be able to experience them again in the real world.

The History of the Darling Theatre Company :: London Theatres Acting Drama Essays

The History of the Darling Theatre Company This theatre company came into being in 1979 when a famous old London theatre went bankrupt and the owners of the building attempted to sell it to property developers. George Darling, a well known stage actor, launched a campaign to save the theatre and, with the help of many famous friends in the acting world, created strong public support for retaining the building as a theatre. However no existing theatre company was in a position to take over the building and the owners suggested to George Darling that he use his connections to set up his own company. After a vigorous fund-raising campaign enough money was collected to save the theatre and set up the Darling Theatre Company. The actors and actresses who had helped in the campaign agreed to appear in Darling productions for a fraction of their normal fees – but were interested only in appearing in theatre classics rather than commercial productions so the policy of the company from the beginning was to stage classics for short runs of three to six weeks so that there would be ten or so new productions each year. In order to keep costs down the company had as few full-time staff as possible, hiring directors, designers, technical crews and actors for each production only, and, by subsidising less popular plays with successful runs, often of Chekhov (‘He’s the Monet of theatre,’ George would say, ‘ everybody loves him’) managed to break even for the first few years. However in the mid-eighties the company hit a bad patch and George was obliged to find extra funding to survive. When his application for an Arts Council subsidy was rejected he turned to sponsorship and discovered that he was good at persuading wealthy companies to back his productions. The key to this, he realised early on, was providing company executives with access to famous actors and actresses and while there were protests at these ‘extra performances’ George was usually successful in arguing that the company could not survive otherwise. BACKGROUND TO THE COMPUTER SYSTEM Throughout its twenty-five years the company’s administrative procedures were primitive and chaotic. George was interested only in the artistic side of the company and had little or no concern for practicalities but his personal charm was so great that staff were prepared to put up with the constant problems caused by poorly-defined procedures and non-existent communication. Then in the new century George’s health began to fail and he was frequently not around to resolve mix-ups and disputes. In addition the regulations governing theatres and public performances and the hiring of part-time workers

Frankenstein: a Psychological Analysis Essay

What truly makes Mary Shelley’s Frankenstein an entertaining novel, in my opinion, is the mental development of each of the characters throughout the story. The best way to display such psychological progress is to compare events and thoughts from the book to Sigmund Freud’s theories on the conscience. Freud’s â€Å"id† is shown through primitive actions of certain characters; those that involve little judgment and rely on instincts rather than informed decisions. The â€Å"ego† can be observed through basic thoughts and decisions that are made without the influence of conscience. The â€Å"super-ego† is, in fact, conscious thought itself, often characterized by the guilt or other feelings that come as a result of the â€Å"id† and â€Å"ego†. As you will see, Freudian theory has an important place in the literary masterpiece that is Frankenstein. While the idea of the â€Å"id† is probably the least prevalent of the three in Frankenstein, it still plays a major role in shaping the characters, most specifically, Frankenstein’s monster. Id† is most commonly applied to instinctual actions and those taken simply out of a need for survival and instant gratification. The monster finds himself satisfying his â€Å"id† when teaching himself the basic means of living and human action. These skills give him what he needs to live and obtain his necessities, but contribute nothing to his ultimate consciousness. Much as the â€Å"id† is associated with primitive inhuman desires, Frankenstein’s monster takes on a bestial and primitive image. Next among the three parts of Freud’s psychic apparatus is â€Å"ego†. â€Å"Ego† is applied to the organized and realistic part of a character’s mentality and, unlike the â€Å"id†, requires judgment and next-level thinking. Victor Frankenstein’s willing development into a scientifically learned being and then his venture into creating life from inanimate body parts accurately shows the more advanced, yet still somewhat surface, thought process of an â€Å"ego†-influenced being. Additionally, it is Frankenstein’s â€Å"ego† that distances him from his family and friends. At this point he has the capacity to make decisions and act on them, but not consider or feel what might come out of them. Victor Frankenstein’s â€Å"ego† soon turns into â€Å"super-ego† as the consequences of his actions become visible. The â€Å"super-ego† plays the moral role of the three, allowing for emotional comprehension of the events that unfold. Guilt seems to be a common thread between the â€Å"super-egos† of Frankenstein and his monster. Victor is overwhelmed with guilt upon realizing that his creation is responsible for the deaths of his brother, father, friend, and wife. He even seeks a temporary release from the guilt in isolation and appreciation of nature. The monster finds himself in a very similar situation, facing the guilt of actually killing the ones that Frankenstein loved, and thus reducing his creator’s life to one without substance or anything to be emotionally attached to. Obviously, the mental punishment of guilt plays a large role in forming the â€Å"super-egos† of both protagonist and antagonist. Freud’s theories on the subconscious and conscience set the foundation for Shelley’s novel. His â€Å"id† characterizes the monster’s initial struggle for survival in an unfamiliar world. His â€Å"ego† is played out by Frankenstein’s obsession with biological sciences and later creation of a monster. His â€Å"super-ego† encompasses the basic actions taken in the previous two, but also adds an ethical and emotionally conscious element to the consequences. It is apparent that Sigmund Freud’s structural model of the psyche almost perfectly outlines the basic psychological activities in and between the characters of Frankenstein.

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