Tale As Old As Time Beauty and the Beast Essay Example

Tale As Old As Time Beauty and the Beast Essay Beauty and the Beast reflects Romanticism and Gothicism in a perfect way. Lets start with the settings of the story.You have the beautiful land and village that Belle resides in and then there is the dark, ominous castle where the Beast lives. Belle’s village is quaint and pure with light and nature. There is singing and dancing with happiness and love. The castle before the dark supernatural curse is quite magnificent and fit for royalty. The castle during the curse is scary with dark turns and gargoyles. There is sadness and despair. The beautiful architecture of the castle keeps it romantic but the gothic nature of it with the drab, stormy colors has it remaining gloomy. Belle is the persecuted maiden of the story. She is beautiful and innocent. She is full of hope. Belle has this need to give love and affection where it is normally not given. She is the object of Gaston’s desires and the Beasts need for love and goodness. She is smart and well read. Belle is gentle and kind. Gaston is the tyrant, cruel and mean. He wants to hurt others to gain objects (Belle) for his own satisfaction. His need for power over her makes her a sort of damsel in distress. Gaston also gets the townspeople, the bandits, to gather together to kill the Beast. He has help from Monsieur D’Arque, the madman, to help him blackmail Belle into marrying him by taking her father away. Gaston also has everyone in the tavern to believe that Belles father is a madman himself. We will write a custom essay sample on Tale As Old As Time Beauty and the Beast specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Tale As Old As Time Beauty and the Beast specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Tale As Old As Time Beauty and the Beast specifically for you FOR ONLY $16.38 $13.9/page Hire Writer The Beast is the monster as well as the byronic hero. The Beast is awful. He doesnt know love or kindness. He doesnt understand how Belle can be so kind to him while he looks the way he does.He is stubborn and scary and makes him frightening.Until Belle shows him how to love and how to be kind does he start to change into the prince he always should have been. He was an outcast in the village and instead of letting it continue to anger him he rose to being the byronic hero by

Thomas Becket Essay

Thomas Becket Essay Thomas Becket Essay PFC Moses English 4 10/25/11 Thomas Becket Thomas Becket, more commonly called Thomas of London, was born about the year 1118 in London. His mother was a native of Caen. His father, who camefrom a family of small Norman landowners, had been a citizen of Rouen, but migrated to London before the birth of Thomas, and was once the Sheriff of London. He ended his life though in straitened circumstances. Thomas still received an excellent education. Becket's administrative skills, his charm, intelligence and diplomacy propelled him forward. At the age of ten he was put in a school in Surrey with the canons of Merton priory. later he spent some time in the schools of London, and finally studied theology at Paris. In 1142, a family friend broght Thomas under the notice of Archbishop Theobald to Rome. He also took him to the council of Reims (1148). It seems to have been at some time betweent these dates that he visitited Bologna and Auxerre, and began those studies in the canon law in which he earned a small d egree for. He never made himself an expert jurist. In 1151 he was sent to Rome by the archbishop with instructions to dissuade the Curia from giving approval to the coronation (crowning of a sovereign or a sovereign's consort) Stphen's eldest son Eustace. It is said the Thomas distinguished himself by the ability with which he executed his job. In 1154 he was promoted to be archdeacon of Canterbury, after first taking deacon's orders. In the following year, Henry II, at his recommendation, bestowed on him the important offic of chancellor. Now Thomas controlled the issue of royal writs and the distribution of ecclesiastical patronage, but he had personal fascination upon a prince who was inexperienced, and 13-14 years younger. He became Henry's close friend and was included in all affairs of state. It had been the hope of Theobald that Becket's influence would be exercised to support the privileges which the Church had took from Stephen, but the Chancellor agreed with the in terests of the Church to those of his new master. Under his administration the Church was severely taxed for the prosecution of Henry's foregn wars; and the chancellor became subject to the reproach "of pluging his sword into the bowles of his mother." It was Thomas who organized the Toulouse campaign of 1159; even in the field he made himself suspicious by commanding a company of knights, directing the work of destruction, and supervising the conduct of the war after the king had withdrawn his presence from the camp. When there was war with France upon the Norman border, the chancellor acted as Henry's representative; and on one occasion engage in single combat and unhorsed a French knight of very high prestige. Later it fell to his part to arrang eth terms of peace with france. He discharged the duties of an envoy with equal magnficence, with which he made the treaty of May 1160, which put an end to the war. In 1162 he was transferred to a new place of action. Henry put on him the see of canterbury, left empty by the death of Theobald. This casued some talk, since Becket, at the time when it was made, was still a simple deacon. Becket, however, disappointed all the expectations. He did not allow himself to be made the king's tool; nor did he attempt to protect the Church by humoring the king in ordinary matters. he devoted himself to ascetic practices, confined himself to the society of churchmen, and resigned the chancellorship. Now he was on the worst terms with the king before a year had gone by. they came into another conflict at the council of Woodstok on July 1163, wehn Becket successfully opposed the king's proposal that a land-tax, known as the sheriff's aid, wich formed part of that official's slary, should then forward be paid into the Exchequer. It was fortunate for Becket's reputation that Henry punished him for his change of front by a systematic persecution in the forms of law. The archbishop was then able

Promote Products & services and undertake marketing activites Assignment

Promote Products & services and undertake marketing activites - Assignment Example Online Advertising iii. Mobile Advertising d. Conclusions Drawn i. Relationship between Ads and Student Admission in TAFE Institutes ii. Key Points of the Findings iii. Operational Issues 5. Recommendations for the TAFE institute Ads a. Steps to Solve Immediate Problems b. Critical Points to Be Addressed To Get Maximum Benefit c. Taking Advantage of Indentified Opportunities d. Decisions to be taken based on the conclusions in the findings 6. Conclusion 7. Bibliography 8. Appendix A Review on the Marketing Strategies of TAFE Institutions in Queensland Executive Summary The main objective of this report is to review how the three major Technical and Further Education (TAFE) institutes in Australia market themselves. The TAFE institutes play an important role in equipping the students with the job market skills. A major proportion of students who complete their high school land into such institutes directly as they will be able to attain part-time or full time jobs much earlier than th ey get the college degrees through these institutes. However, the marketing strategies of many such institutions are outdated. This report conducts an elaborate survey among the students who study in the three major Australian TAFE institutes, the Metropolitan South Institute of TAFE, Southbank Institute of Technology and Brisbane North Institute of TAFE. ... The third part presents the gathered results and discusses the current pros and cons of the TAFE marketing strategies. The fourth part presents productive recommendations to improve the reach of their TAFE institutes among the student community through various innovative marketing ideas. Introduction Background of the Study In Australia TAFE colleges award diploma's which are valued less than the Bachelor degree, but very useful in equipping students with industry related skills. Certain TAFE colleges in Victoria and Queensland are eligible to provide their own bachelor and post-graduate degrees ( Wheelahan, et al, 2009). These colleges offer a variety of vocational training in various fields like mechanics, engineering, finance and construction. Students looking for a quick employment and those who cannot afford university education find TAFE colleges quite useful. Students who finish year 12 examination attain a short term diploma course and secure a job. The diploma course is then used as a partial credit to enter Bachelor degree courses in the mainstream universities. The students, who come follow this path, easily earn while they learn and come out with substantial experience in their field when they complete their degree. This extra qualification helps them gain up to three times more salary than their fresher colleagues. TAFE colleges are usually widespread offering a variety of industry niche oriented training. But many students who complete year 12 look upon them as colleges used by students who get low grades and economically backward students. They are not well informed about the advantages of using the TAFE diploma's efficiently. Most of the youngsters who complete year

Research Essay Paper Example | Topics and Well Written Essays - 2500 words

Essay - Research Paper Example The onset of international business growth and ease of access to information worldwide because of the improvement of technology, state boundaries became less important because geographic and social boundaries changed and became accommodative. The new era of globalization, which became popular particularly in the 1970s brought changes, opportunities and new considerations and challenges because it created a free market in the world compared to when globalization was an unknown phenomenon. Globalization has facilitated the formation of a common market all over the world based on a liberal exchange of goods, services and money. Therefore, economic globalization refers to the increase of integration of markets across political boundaries. The oil industry captures the aspect of globalization through the growth of MNEs and a free international market for oil products (Golove, 1996:135). Globalization has affected the oil industry in a variety of ways. Oil-exporting states occupy an inconsistent position in the international system because of several aspects. First, in terms of economy, these states are highly globalized and are highly dependent on international trade, labor and finance. All these states are the source of a commodity that is significantly vital to all sections of the world making them influential states in the world. However, these states are not politically globalized because they are not likely to sign major treaties or join intergovernmental organizations. Most of them defy the global norms of human rights in search of cheap labor (Mitchell, Marcel & Mitchell, 2012:23). All over the world, economic globalization is related to political globalization because economic globalization only works through international trade, business, and finance and labor exchanges. Political globalization also ensures that economic globalization grows because it opens local

English Literature Essays Beauty Truth Art

English Literature Essays Beauty Truth Art Beauty Truth Art In his famous apostrophe to the â€Å"Grecian Urn†, the immortal poet, John Keats, wrote: â€Å"Thou shalt remain, in midst of other woe Than ours, a friend to man, to whom thou say’st, â€Å"Beauty is truth, truth beauty,†Ã¢â‚¬â€that is all Ye know on earth, and all ye need to know.† This very famous statement on Beauty and Truth and their interchangeability poses a very important question in the postmodern era. Art and its convention of the ‘Beauty’/‘Beautiful’ has imperceptibly changed over the decades, from something that should reflect the Ideal (and in reality, twice removed from it, as per Plato), or in essence complete and offering pleasure to the senses to something, that expresses the unique consciousness/angst of the creator. Art has thus rediscovered its definition for beauty. If beauty is truth, then it may dare to be grotesque too, for truth may be harsh or horrific. Beauty does not suggest something beautiful in the actual sense of the term, but that, which comes closer to the true expressions of the self and the vision of a generation’s psyche, that is fragmented, kitsch-like, complex and beyond the metanarratives of a suffocating conformity. Beauty has evolved into a freedom for expression. Contemporary art, especially questions the paradigms of aesthetic values, with artists like Chapman Brothers or Justin Novak producing artwork that are clearly meant to provoke reactions and challenge notions of beauty, that had it’s roots in Kant’s â€Å"Critique of Judgment† (1790). It contemplated on the â€Å"pure† aesthetic experience of art consisting of a â€Å"disinterested† observer, pleasing for its own sake and beyond any utility or morality. Now, the very word ‘pleasing’ may have different boundaries and contemporary art is trying to escalate their claims. If Marcel Duchamp made a fountain out of a urinal in 1917, that hurtled the Dadaist movement and that later amplified into a surrealist tendency looking into primitive art for their subconscious inspiration, to reveal the mental process, then the essential motivation behind the whole thing was subversion. If primitivism was motivating a new dimension by which beauty of the mind was revealed, then Picasso completely subjectified art and personal experience into a fourth dimension and created a cubist movement to claim a break down of a canon that no longer held on to techniques, symbols and least of all universal criteria for judging anything. There are many socio-ideological forces behind the same and the destructive World Wars had many reasons to question the notions behind the traditional idea of Beauty, and it addressed the subjective, transcendental and alienated psyche of modern man. Metaphysical hopelessness gave way from absurdity to beauty, while the meaninglessness of this ‘Being’, made beauty seem more akin to grotesque, either by derision or by the light of their tragic truth. What makes the question more intriguing is that, whether contemporary art has found a better form of beauty (constructed to please and create a certain discursive paradigm) in the grotesque, since it frees us from any moral and political/ideological constraints? Can it be linked to greater dimensions of teleological magnitude, or should it be treated as an alternative method of understanding true aesthetic, if not the complete aspect of aesthetic itself? Is grotesque possible without the knowledge of Beauty itself? I shall attempt to answer the following questions that I raised, with a few examples. One must first understand the idea behind perception and the dialogical force that surrounds it. If the world is raised as an illusion in one’s mind then the mind has been symbolically trained to read it as a language. This matrix of complex spontaneity is ‘paradigmatically’ and ‘syntagmatically’ (Roman Jakobson, 1987) being challenged, when Grotesque plays the part of Beauty. The Dystopia arises out of a shattered archetype that must restructure itself to include elements of the grotesque within the beauty, and reach towards the same aesthetic experience: the sublime. But interestingly what produces sublime is shock. But one must not confuse this with the cathartic experience of the ‘Tragic’ pity and terror, but something quite opposite to an ideal communicative situation that all such art produces. Thus this element of mimesis and/or representation of the ideal have given way to an â€Å"infinite subjectivity† (Hegel, Lectures on Fine Art, given in the 1820s), or the abyss of the human mind and condition. But the self is â€Å"interpellated† as per Lacan and later Althusser too estimated the impossibility of a single position from where one can judge, since the self was preconditioned with a lot of â€Å"logocentricism† (Derrida), which are again socio-culturally specific as per Barthes. Thus there is a complete inquiry into art through the artists’ personality or self (or selves). Justin Novak’s â€Å"disfigurine† often conforming to the bourgeoisie values, distort them to such an ironic extent that one cannot miss the counter realism that it offers. Often it serves to offer no alternative reality, but just launches one amidst a grotesque re-examination of old values and with its attendant disillusionment. Once the silent barrier between class and gender is dismantled, the escape is into nothingness – the sublime height of vast unending problems, and this underscores the definite presence and the horrors of undying conformism. If truth is beauty, then Novak’s artworks reveal the finer sides of it by shattering the comfortable and compartmentalized thought processes with which one can objectify art from a safe distance. The grotesque closeness of these truths, give beauty to the mind by releasing it from the shackles of confinement and overpowering illusions. Truth is not universal, but a power to accept the inextricable complexity of human behaviour, mind and his/her interrelationship with their social, cultural and historical environment. With Novak’s work one is left to ponder these very questions. Is Grotesque a rebellion? Or is it an inextricable element of beauty? Grayson Perry’s ceramic works portray this polemic, further, by making them superficially beautiful (as beauty has been notoriously claimed to have been) and underneath it remains the darker motives of an artist who tries to wrest with disturbing truths (or shall one call them home truths, with a larger social back drop to them) that question issues of public/private dialectic. His works that deserve mention here are, â€Å"Coming Out Dress 2000†, â€Å"We’ve Found the Body of your Child 2000†or the â€Å"Boring Cool People 1999† (reminds one of Eliot’s famous lines from The Love Song of J. Alfred Prufrock â€Å"In the room the women come and go, Talking of Michaelangelo†). Not only does he deal with issues like cross-dressing, child abuse and social sterility (about spiritually hollow â€Å"cool† fashionistas or the demanding violence of the utilitarian age), but also, he plays with this abnormal interrelation between beauty and grotesque. He raises questions about taste and the sublime. In short he subverts the notion of beauty with beauty that is skin deep! Grotesque thus becomes Beauty that is kin deep in this works! Reality is a diabolical faà §ade and Perry questions whether hegemony denotes or connotes the medium of taste in art. Thus equating expression with grotesque beauty beyond the limited categories of high or low taste, his avant-garde expressionism becomes a solitary modicum of aesthetic experience, which is new and which is whole (if whole comprises of an aesthetic stance that offers no definite and certain understanding of art’s end but generates a range of teasing/shocking possibilities of that, which is an illusion in itself: Bourgeois ideology). Figure 1: Coming Out Dress, 2000. He poses as Claire, his feminine alter ego. All his works deal with these two sides to his sexuality quite deeply, especially in ‘Transvestite Brides of Christ 2000’ and ‘Contained Anger1999’, respectively, that questions the significance of male-role models. But what is interesting is that Perry is experimenting with representation, rather then pottery, and that is why his artwork combines issues of an innocent observer or rather tries to destroy the comfortable distance with which an observer may guard their subjective spaces. Transvestite to transgression, the Chapman Brothers question the inevitability or orthodox value of canonical (classical) artworks. This travesty or mockery of canonical lofty seriousness is reflected in their works, through devises of defaced and tortured figures, which for them amount to the complete picture of Beauty (of an era that is grotesque, in it’s realization of a past, present and future that cannot bear to sift through the beastly side of socio-cultural conditions, anymore or unlike the others). This becomes a subject behind their sculptures that bursts with mockery, tragedy exploding with grotesque farce. They usher in a new experiment with taste, bad taste and the notions of good taste. Art moves into the realms of public or mass ‘low’ category, which becomes an essential democratic medium for evoking or carrying forward a provocation to rouse the sense of that horrifying answerless void. With the Chapman brothers there is a sadist tone attached to their insult or reiteration of Goya’s influence especially in their recreation of his â€Å"Disasters of War†, which inflict bold horror. But the grandeur of that horror is reduced to a trivial and yet a sardonic sensation taste comes off them. They twist the sensation of violence into an aesthetic ground and arouse a variety of physical and mental demands for perceiving Beauty amidst such a squandering grotesqueness. Beauty here lies in the release from holding back appreciation, awe and complete shock. Violence does not stand-alone and nor does any other human emotion. â€Å"Sex, 2003† is thus desire, decay, diabolical, deliberate, freedom or defeat. Purity is not that far from its pornographic mockery of it and they are interrelated in their apparent verisimilitude. A true representation of kitsch art, their works like Fuckface and Zygotic Acceleration, roused shock as they attempted to portray the sexualisation of children due to the media and increased gender awareness. These treatments nevertheless push questions about morality that grotesque beauty actually challenges. Thus morality and beauty in its aesthetic straight forwardedness seem to flatten out newer boundaries of experiences, which the Chapman brothers challenge through their craftsmanship. Traditional Sculpture, especially in the hands of the Chapman Brothers and Justin Novak or Grayson Perry are objects of anti-canonical parody, grotesque imitations or thought-provoking reverse-discourses. All these postmodern artists are challenging aesthetic experience. All these artworks succumb to one the power of the grotesque that sublimates beauty with its truth, and they make us realize that truth is not about a fixed standard, but accepting the actual absence of it. What makes contemporary art more beastly in its beauty is the power to derive happiness (or sado-masochist satisfaction) out of this grotesqueness. The grotesque shocks but this is a pleasure in itself, because it is the very representation of the consciousness. Theatre and artwork met with experimentalism in the stage by Artaud, who made audience a spectator to cruelty that is harsh, exceptionally brutal and yet beautiful. By shattering estrangement and by creating something that allows no ‘objectivity’ (in the likes of Kant or Brecht) Artaud demands a complete involvement of the senses. Moreover, this is where art threatens to change the soul of the perceiver by its dominating beauty, which horrifies the perceiver with its verity and unique angst. Wittgenstein’s concept of seeing-as, allows contemporary art to shun master narratives completely and standout on their own purely as visual sensations. From British Avant-Garde art that confuses common and the uncommon (like use of mannequin by Chapman Brothers or genitals replaced by the faces in their remake of Goya’s Disasters of Wars series). Grotesquerie is about questioning the status quo, about unflinching self-criticism and about embracing outsiders. From Simon Carroll deconstructing the chronology of ceramic vases with his pastiches like â€Å"Thrown Square Pot2005†, engages the observers mind with complex questions that he poses through the irregular construction of his surfaces. The artists seem to dwell on the apparent hyperreality of contemporary situation, where art has become a vastly reproduced object – fractured beyond identity. Formlessness becomes the beauty without symmetry and deliberate cruelty an aesthetic grotesqueness. Thus the gap between what is apparent and what may actually exists gives the artists ample space to bridge this defined categories with crushing forces of expressions that though grotesque to the shocked senses is ultimately beautiful by virtue of its truth. Works Cited Eliot, T. S â€Å"The Love Song of J. Alfred Prufrock†. Eliot, Thomas Stearns. Prufrock and Other Observations. London: The Egoist, Ltd, 1917; Bartleby.com, 1996. www.bartleby.com/198/. [30.01.2007]. ON-LINE ED.: Published May 1996 by Bartleby.com; Copyright Bartleby.com, Inc. (Terms of Use). Hegel, Lectures on Fine Art, (edited by Hotho) â€Å"Aesthetics: Lectures on Fine Art,† Vol. 1.translated by T. M. Knox, 1973. < http://www.marxists.org/reference/archive/hegel/works/ae/contents.htm > 30.01.2007. Jakobson, Roman. â€Å"Language in Literature†. Ed. Krystyna Pomorska and Stephen Rudy. Cambridge, MA: Belknap, 1987 Kant, Immanuel: The Critique of Judgement (1790), translated by Meredith, J. Adelaide: ebooks, 2004 Keats, John. Poetical Works. London: Macmillan, 1884; Bartleby.com, 1999http://www.bartleby.com/126/41.html. [29.01.2007]; Online-Ed: First published February 1993; published July 1999 by Bartleby.com; Copyright Bartleby.com, Inc.

Power of Women in the Epic of Gilgamesh

Anthony Sales Ierfino The Power of Women Imagine a woman so beautiful she had the power to tame wild beasts with one look at her voluptuous body. In â€Å"The Epic of Gilgamesh†, Gilgamesh’s temple priestess has the power to do just that, she tames Enkidu. Ishtar, when denied by Gilgamesh, threatens to â€Å"let the dead go up and eat the living† (10). In this epic, women represent great power, wisdom and finally temptation and evil. In the epic, the woman symbolizes different things.One of these is how woman use the power of love (sex) and temptation to attain a certain goal or task. When the trapper’s son tells his father of Enkidu, his first and immediate instinct is to send for Gilgamesh’s temple priestess, Shamhat, so she can seduce him and â€Å"have her take off her robe and expose her sex† (3). Upon seeing Shamhat’s voluptuous body, Enkidu loses all his wild and animalistic instincts. He then makes love to her for six days and seven nights, as â€Å"she was not restrained, but took his energy† (4).Having had sex with the harlot, Enkidu is humanized and in turn is rejected by the animals he grew up with. Shamhat not only proves that sex and temptation are powerful tools (or weapons), but that the woman is even more powerful because she holds such â€Å"powers† (sex and temptation). Not only Are women powerful, but in the Epic, they are portrayed as evil. Ishtar, goddess of love and war, is portrayed as a selfish and uses her power of seduction for evil.Princess Ishtar asks Gilgamesh to marry her, telling Gilgamesh â€Å"Be you my husband, and I will be your wife†¦Ã¢â‚¬  (8). Gilgamesh replies by not only insulting the princess but by recounting her past lovers and how she has loved them only to turn on them, â€Å" You loved the colorful ‘little Sheperd’ [Tammuz] bird and then hit him, breaking his wing, so now he stands in the forest crying ‘My Wing’! † (9). He then, ends his reply by saying she loves him now, but she will only turn on him.Ishtar, embarrassed and deeply angered, goes up to the heavens going to her father Anu asking for him to let her unleash the Bull of Heaven so he go down and kill Gilgamesh. When Anu simply states that Gilgamesh did nothing wrong, Ishtar threatens that if she does not get what she wants she will â€Å"knock down the Gates of the Netherworld†¦and will let the dead go up to eat the living! † (10). Despite a warning from her father that no crops will grow for 7 years Ishtar is undeterred. This shows how, Ishtar, is selfish uses her power of seduction on Gilgamesh.But when rejected, she is blinded by her fury and willing to do anything to get revenge even if it means the deaths of innocent men. It is clear that women are portrayed in a certain way in the Epic of Gilgamesh. This is due to the position they held the social hierarchy of the day. They were portrayed as beings with the power of seduction whether they had good intentions or evil intentions were completely up to them. This is why they were treated as mere objects that must be controlled by man.The temple priestess, for example, held much power, she was the representative of God on earth, not only this but it is she who ensures there will be a good crop, whether or not the king will be successful in battle. In this instance the Temple Preistess, Shamhat, sent by Gilgamesh to tame and eliminate the threat that is Enkidu. Secondly how Ishtar, after attempts to seduce Gilgamesh and fails, blinded by rage and selfishness, wreaks havoc on the innocent people of Uruk as she attempts to get revenge on Gilgamesh.

Peer Mentor

In this quarter, being a peer mentor has a great impact to me, especially with the fact that the minute that I got is all international student from another country, like China, Korea, and Vietnam. At first I think mentoring people in the age range between 16 until 17 will be a really hard and tough Job, because people at that age tends to think that they know everything and usually refuse to receive a commentary or advisory from another people.They tend to do whatever they want without thinking about the consequences and sometimes very hard to approach because they think hey know everything best for them and keep everything themselves. In fact all my minute are easily approachable and very fun to have chat with. At the first meeting most of them are a little bit shy to ask or to talk about their personal problem, but as time goes on they become really talkative and tell me everything that they think I would like to know, for example their grades, their living situation, etc.They sha re everything without I have to ask or insist them to tell me about something, which I think is very good and far beyond my expectation. As a peer mentor, I learn a lot about my minute culture and their characteristic. Furthermore, I learn how to be responsible for them and try to be a good role model for them, by being active in class and do all the homework far before its due.In conclusion, being a peer mentor this quarter Is really fun for me and have a lot of positive effects towards me, I know more people, learn how to communicate with people which Is not from my home country, learn how to approach people, and learn how to manage my time, which I think Is very Important for me, especially to be a person which is not only excel In grade but also have a good relationship and willing to serve and help other people.