Best Babe Didrikson Zaharias Quotes

Babe Didrikson Zaharias was an outstanding athlete from her early years. She excelled in basketball, track and field, and golf. In track and field, she won medals or established world records in five different events. After winning two gold and one silver medal in the 1932 Olympics at Los Angeles, she played basketball, appeared at major league baseball exhibition games, and finally switched to golf. She married George Zaharias in 1938, and died of cancer in 1956. A favorite with the press, she often did not get along well with other athletes, who resented her aggressiveness and self-promotion. It has been argued that Babe Didrikson Zaharias was the greatest woman athlete ever. Quotations by Babe Didrikson Zaharias All of my life I have always had the urge to do things better than anybody else. You cant win them all—but you can try. I am out to beat everybody in sight, and that is just what Im going to do. You have to play by the rules of golf just as you have to live by the rules of life. Theres no other way. Study the rules so that you wont beat yourself by not knowing something. Before I was in my teens, I knew exactly what I wanted to be: I wanted to be the best athlete who ever lived. Luck? Sure. But only after long practice and only with the ability to think under pressure. The formula for success is simple: practice and concentration then more practice and more concentration. The more you practice, the better. But in any case, practice more than you play. Practice, which some regard as a chore, should be approached as just about the most pleasant recreation ever devised, besides being a necessary part of golf. Its not enough just to swing at the ball. Youve got to loosen your girdle and let er fly. Golf is a game of coordination, rhythm and grace; women have these to a high degree. Good golf is easier to play -- and far more pleasant -- than bad golf. I played with boys rather than girls. I preferred baseball, football, foot-racing and jumping with the boys, to hop-scotch and jacks and dolls, which were about the only things girls did. Get toughened up by playing boys games, but dont get tough. Winning has always meant much to me, but winning friends has meant the most. You know when theres a star, like in show business, the star has her name in lights on the marquee! Right? And the star gets the money because the people come to see the star, right? Well, Im the star, and all of you are in the chorus. As long as Im improving, I will go on, and besides, theres too much money in the business to quit. The Babe is here. Whos coming in second? Quotes About Babe Didrikson Zaharias On her gravestone:Â  Babe Didrikson Zaharias, 1911-1956, Worlds Greatest Woman Athlete Grantland Rice (Sportswriter) She is beyond all belief until you finally see her perform. Then you finally understand that you are looking at the most flawless section of muscle harmony, of complete mental and physical coordination, the world of sport has ever seen. Paul Gallico (in Sports Illustrated) It may be another 50 or 75 years before such a performer as Mildred Didrikson Zaharias again enters the lists. For even if some yet unborn games queen matches her talent, versatility, skill, patience and will to practice, along with her flaming competitive spirit, ... there still remains the little matter of courage and character, and in these departments the Babe must be listed with the champions of all times. Betty Dodd (Golfer and Companion of Babe Didrikson Zaharias) I had such admiration for this fabulous person. I never wanted to be away from her even when she was dying of cancer. I loved her. I wouldve done anything for her.

The Military Of The National Economy As Dubbed By The...

This would be connected to the notion of Milbus which came to mean the undue penetration of the military in the national economy as dubbed by the Pakistani military analyst Ayesha Siddiqa who explained, building on the theory by Alavi, that in societies that see the military as â€Å"moral† force in society, players would look to ally with them in the maintenance of business ties with the state, and because of their prestige there would little incentive from the government for oversight allowing the unchecked development of patronage networks (2007: 14-5). In the case of Syria, it was not surprising that one would see an expansion of milbus there given the level of prominence that the military had in the nation. During the 1970’s and 80’s Assad†¦show more content†¦It was during this time that more sophisticated weaponry were entering in to the Syrian defense arsenal such as towed artillery for example, saw an increase from about 24,000 units in 1982 to about 32,000 in 1986 (Ehteshami 1996: 55 table 2). It would be enough in theory to at least best Israel in the Golan Theater due to the sheer size of forces on the Golan front and partially retake the territory, but it would be hard for the country to hold on once Israel fully mobilizes (Drysdale and Hinnebusch 1991: 140). However, all that cost the regime money that it would not have and to top it off it did not have an industrial base suitable for a sustained war economy even though it has an industrial base for oil and cement, its priorities are more intoned with providing for a base of consumption and that of supplying Ba’athi public works projects (Perthes 2000: 162). So to compensate, Syria had to import its arms. During the 1980’s Syria spent huge amounts of money on arms imports, which at its height in 1985, imports were worth about $2,194 million roughly 15.6% of the GDP (Cordesman 2004: 209; Ehteshami 1996: 55). To guarantee those imports it would sign deals with friendly countries such as that of the

Romeo and Juliet Coursework Assignment Essay Example For Students

Romeo and Juliet Coursework Assignment Essay Romeo and Juliet Coursework Assignment: Choose one scene and show how you would design and direct it in order to create a particular interpretation of the script. A directors role in producing a play is much more than telling the actors where to stand or what to say. It is to enable the actors to make a particular interpretation of the text clear to the audience. To do this a director has a number of dramatic tools at his or her disposal, such as the actors body language, facial expressions, the position of actors in relation to each other, the way they actually deliver the lines. All of these convey emotions and meanings beyond the words on the page. They bring the words on the page alive to the audience. Similarly, a director can use set design, lighting and costume to signify a range of ideas and emotions which lie beneath the written language. I have chosen to direct Act 3 Scene 1 as this is arguably the most important scene in the play. In this scene we lose two major characters, when Tybalt slays Mercutio and Romeo kills Tybalt. We also become aware of the contrast between light and dark as the mood of the plays shifts to become much more serious and brooding. I want to set the play in its original setting, sixteenth century Verona, because some aspects of the scene would be more controversial or dangerous in that context. For instance, when Tybalt and Mercutio are exchanging insults, Tybalt accuses Mercutio of consorting with Romeo. In the time when Shakespeare wrote this play, homosexuality was still very forbidden and secret, compared to present times. A sophisticated modern audience would be able to recognise the seriousness of such an insult and realise the potential danger of this exchange between these two men. This, then, introduces a certain tension to the play. Much can be conveyed to an audience through the use of body language and the positioning of the actors, or proxemics of the play. At the beginning of the scene, when the Capulets confront Mercutio and the Montagues, I want the Montagues to be looking very nervous, and avoiding eye contact with the Capulets, because last time they met there had been a violent skirmish and they had been threatened with their lives. When Tybalt confronts Mercutio, Tybalt will appear to be very aggressive but will stay close to his friends and hell be constantly glancing at them. The fact that he stays close to his peers, and needs to see their reactions, will let the audience understand that Tybalt is a lot less confident than he pretends to be, and that he needs the reassurance of his companions. Throughout the encounter Shakespeare gives Mercutio lines which appear to be very casual: By my heel, I care not I want him to exaggerate these in a very patronising way, to give people the idea that he feels completely secure in his political immunity from the gang wars, because of his connections with the Prince of Verona. When Tybalt is challenging Romeo to a duel and Romeo is backing down, I will direct the actor playing Romeo to stay very close to the ground, perhaps kneeling, in order to reduce himself in front of Tybalt as much as he can. This will show the audience how much he wants to avoid a confrontation, because his marriage to Juliet means that Tybalt is now his cousin and honour demands that he cant harm him. The actor playing Tybalt should show him almost enjoying this sense of superiority. He should be deliberately broadening his chest and standing tall to show how he feels powerful, very much like a modern school bully. .u491e9229248ca9e75dff5c7ef37fa1c4 , .u491e9229248ca9e75dff5c7ef37fa1c4 .postImageUrl , .u491e9229248ca9e75dff5c7ef37fa1c4 .centered-text-area { min-height: 80px; position: relative; } .u491e9229248ca9e75dff5c7ef37fa1c4 , .u491e9229248ca9e75dff5c7ef37fa1c4:hover , .u491e9229248ca9e75dff5c7ef37fa1c4:visited , .u491e9229248ca9e75dff5c7ef37fa1c4:active { border:0!important; } .u491e9229248ca9e75dff5c7ef37fa1c4 .clearfix:after { content: ""; display: table; clear: both; } .u491e9229248ca9e75dff5c7ef37fa1c4 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u491e9229248ca9e75dff5c7ef37fa1c4:active , .u491e9229248ca9e75dff5c7ef37fa1c4:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u491e9229248ca9e75dff5c7ef37fa1c4 .centered-text-area { width: 100%; position: relative ; } .u491e9229248ca9e75dff5c7ef37fa1c4 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u491e9229248ca9e75dff5c7ef37fa1c4 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u491e9229248ca9e75dff5c7ef37fa1c4 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u491e9229248ca9e75dff5c7ef37fa1c4:hover .ctaButton { background-color: #34495E!important; } .u491e9229248ca9e75dff5c7ef37fa1c4 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u491e9229248ca9e75dff5c7ef37fa1c4 .u491e9229248ca9e75dff5c7ef37fa1c4-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u491e9229248ca9e75dff5c7ef37fa1c4:after { content: ""; display: block; clear: both; } READ: Police Inspector EssayTo create a contrasting effect, when Tybalt is confronting Mercutio, Mercutio will stay seated. Ironically, this will show the audience how secure Mercutio feels. In Shakespearean times, honour was a hugely important part of any high status gentlemans life and to deliberately stay lower than an adversary during a confrontation would be almost like conceding, or withdrawing, from a fight. However, by remaining seated Mercutio is actually signalling the opposite, that he feels secure and doesnt really feel in any danger. At the beginning of the scene when Mercutio says And but one word with one of us? Couple it with something, make it a word and a blow Hell be speaking in a very flippant voice, patronising Tybalt and deliberately trying to antagonise him, like the scene in Taxi Driver when Robert de Niro repeatedly says to his reflection You talking to me? This will show the audience that Mercutio is trying to encourage a fight and will make him appear slightly more like Tybalt in the sense that he likes to stir things up. Right at the beginning of the scene when Benvolio is warning him that they should leave, Mercutio teases him, thou wilt quarrel with a man for cracking nuts, having no other reason but because thou hast hazel eyes He should say this quite quickly but in a light hearted manner, to let the audience know that it is simply friendly teasing and not serious. I would want the actor to draw attention to the pun on nuts by adopting a knowing facial expression. The proxemics of a performance, in other words the positioning and movement of the actors on the stage, can show how an actor is feeling, particularly his or her attitude towards another character. It can also reveal how people can do things at a sub-conscious level. As I have said earlier I want the audience to see Tybalt staying very close to his peers when he is talking to Mercutio. This will show them his true insecurity and his need for the reassurance of his friends: the implication being that this is the behaviour of a bully. On the other hand I want Mercutio to move around very quickly. When he is saying: Could you not take some occasion Without giving? I want him to be running around the stage in a very outrageous manner, maybe even spinning around. This could show the audience one of two things: either that he is very confident and just want to annoy Tybalt, or, preferably, that he is not at ease with the situation and does not want to make himself vulnerable by standing in one place. This is not necessarily what Shakespeare might originally have intended, but it is the directors role to depict the script according to his, or her, interpretation, and that is what I am doing here. During this scene I would want the stage to be divided into three groupings of characters. On one side I want the Capulets to be standing in a scattered formation. This will show the audience that they are not particularly close emotionally and that they feel confident and superior. On the other side of the stage will be the Montagues. They will be clumped together, almost like a herd, to show that they feel more secure when they are physically close together and also to show that they are adopting a very defensive formation and that they do not really want to fight. Between the two families will be Mercutio. This positioning will show that he does not really have a side but is simply adopting the opinion of the Montagues for the sake of a fight. We would probably see similar behaviour from aggressive young men on a Saturday night after the pubs have closed in the centre of Leicester. .u025643811014a37fc04325d31bd680a0 , .u025643811014a37fc04325d31bd680a0 .postImageUrl , .u025643811014a37fc04325d31bd680a0 .centered-text-area { min-height: 80px; position: relative; } .u025643811014a37fc04325d31bd680a0 , .u025643811014a37fc04325d31bd680a0:hover , .u025643811014a37fc04325d31bd680a0:visited , .u025643811014a37fc04325d31bd680a0:active { border:0!important; } .u025643811014a37fc04325d31bd680a0 .clearfix:after { content: ""; display: table; clear: both; } .u025643811014a37fc04325d31bd680a0 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u025643811014a37fc04325d31bd680a0:active , .u025643811014a37fc04325d31bd680a0:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u025643811014a37fc04325d31bd680a0 .centered-text-area { width: 100%; position: relative ; } .u025643811014a37fc04325d31bd680a0 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u025643811014a37fc04325d31bd680a0 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u025643811014a37fc04325d31bd680a0 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u025643811014a37fc04325d31bd680a0:hover .ctaButton { background-color: #34495E!important; } .u025643811014a37fc04325d31bd680a0 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u025643811014a37fc04325d31bd680a0 .u025643811014a37fc04325d31bd680a0-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u025643811014a37fc04325d31bd680a0:after { content: ""; display: block; clear: both; } READ: The Carceral Foucault's Discipline and Punish EssayFinally, a director has at his or her disposal the design of the production, the costumes, the set design, the make up and the lighting, all of which are powerful signifiers of meaning which can highlight aspects of a characters personality and enhance the mood of the scene. In most versions of Romeo and Juliet the Capulets and the Montagues are given differently themed costumes. In the Baz Lurhman film, for example, the Capulets wear black leather and the Montagues wear bright, flowery shirts. This serves to symbolise the contrasting ideas of light and darkness. In my version I want both families to wear similar clothes. This will show the audience that in fact the warring families share more similarities than differences. They are both characterised by obstinacy, an exaggerated sense of honour and a desire to protect their family name. I want the set to be extremely simple so that the main focus of the play is on the characters and Shakespeares language. I want the lighting to mirror the moods of light and dark. For example when Mercutio and Benvolio are talking I want the lighting to be very bright, and focused on Mercutio, to reflect the lightness of his mood. However, when Tybalt is confronting Romeo I want the light to slowly get darker in order to change the mood. When Mercutio is killed the light will suddenly change to blood red, to signify death and passion. In Shakespearian times, frequently, when a character was killed they would stagger off stage to die, however in order to emphasise the horrific nature of the murder I want the audience to see Mercutio die, just before the light is totally eclipsed. There are many elements in the play which still speak to a modern audience. The war between two rich Italian families is a reflection of present day family wars with the Italian Mafia; both are driven by honour and love of their family name. In addition, the play reflects other oppositions: black versus white, Palestinian versus Israeli, Protestant versus Catholic. The theme of young love is both timeless and universal, appealing to audiences across the world, as can be seen by the popularity of the Baz Lurhman film and the fact that the play continues to be performed three hundred years after it was written. This essay explores my interpretation of this scene. If I was a director at the Royal Shakespeare Company, I might direct Romeo and Juliet half a dozen times during my career. The fact that the play stands up to so many possible subtle interpretations confirms the greatness of Shakespeares writing and the creative ingenuity of stage direction.

Intelligence Testing Essays - Intelligence Tests, Intelligence

Intelligence Testing In reviewing the text, I found the definition of intelligence testing to be very simple; testing used to measure intelligence. Two definitions found on an Internet site at dictionary.com are: (a) A standardized test used to establish an intelligence level rating by measuring a subject's ability to form concepts, solve problems, acquire information, reason, and perform other intellectual operations. (b) A psychometric test of intelligence; "they used to think that intelligence is what an intelligence test tests. In defining intelligence, there has always been the question of whether intelligence is measured as one phenomenon or if it has many variables that are combined. For example, is it how smart a person is? Or is it a mixture of survival, mathematical, social and other abilities. There are many debates regarding weather measuring intelligence is determined from test scores and results or if it is measured by the person ability to process and problem solve. Uses of Intelligence Testing In an educational setting, intelligence and achievement tests are administered routinely to assess individual accomplishment. They are used to improve instruction and curriculum planning. High schools use these test to assist in the students future educational planning. Elementary schools utilize screening and testing procedures to help determine readiness for reading and writing placement. Intelligence can be measured, though imperfectly, by intelligence tests, among them the Standford-Binat Intelligence and the Wechsler scales. These tests are intended to determine an individual's intelligence quotient (IQ). Intelligence tests usually provide an estimate of global cognitive functioning as well as information about functioning within more specific domains. Compared to measures of virtually all other human traits, intelligence test scores are quite stable. However, the degree of stability increases with age such that early childhood and preschool measures of intellectual function are far less predictive of later functioning than assessments taken during middle childhood. Furthermore, despite their relative stability, intelligence test scores may change as a function of important environmental factors. Therefore, intelligence test scores are descriptive of a child's functioning at that point in time. This could change with alterations in the child's psychiatric status, environmental conditions, or educational program. Components of a good intelligence test are (a) Validity; does the test really measure intelligence and not something else? (b) Reliability; does the test produce consistent measurements? (c) Norms; are the participants being fairly compared? Components that make an intelligence test flawed are (a) Poor validity; many intelligence tests are sensitive to social factors in addition to intelligence. (b) Poor norms; being compared to people who are different. (c) Inappropriate application; test measures something that has nothing to do with the participants school or job. Theories of Process Psychometric Model Psychometric approach is defined as psychology that deals with the design, administration, and interpretation of quantitative tests for the measurement of psychological variables such as intelligence, aptitude, and personality traits. The psychometric model is a theoretical perspective that quantifies individual differences in test scores to establish a rank order of abilities. There are various psychometric approaches to intelligence. The following paragraphs describe three different theorists and their psychometric model. Charles Spearman`s believed that intelligence is a combination of two parts. According to his two-factor theory of intelligence, the performance of any intellectual act requires some combination of g, (general intelligence factor) which is available to the same individual to the same degree for all intellectual acts. (Specific factors) or s is specific to that act and varies in strength from one act to another. S is specific knowledge such as verbal reasoning or spatial problem solving. Spearman equated g with mental energy. If one knows how a person performs on one task that is highly saturated with g, one can safely predict a similar level of performance for another highly g saturated task. Prediction of performance on tasks with high s factors is less accurate. Thus, the most important information to have about a person's intellectual ability is an estimate of their g or mental energy (Plucker 1989). Thurstone's theory is based on seven primary mental abilities. In the area of intelligence, his theory maintains that intelligence is made up of several primary mental abilities rather than just the g and s factors. He was among the first to propose and demonstrate that there are numerous ways in which a person can be intelligent. Thurstone's Multiple-factors theory identified these seven primary mental abilities: Verbal Comprehension Word Fluency Number Facility Spatial Visualization Associative Memory Perceptual Speed Reasoning Thurstone's theory has been used to construct intelligence tests that yield a profile of the individual's performance on each of the ability tests,