Download Lexicon Ethics

Ethics is about making the best possible decisions concerning people, resources and the environment. Ethical choices diminish risk, advance positive results, increase trust, determine long term success and build reputations. Cocktail Daaru Desi Mp4 Video Download.

Download the latest RadLex ontology and review additional details, metrics, versions and projects that use RadLex. Checkout Lexicon For Ethics by Chronicle Publication.This book deals with the topics, terms and nomenclature used in the syllabic content of General Studies Paper IV. Case studies are provided at the end of each of chapter. These case studies will not only improve your understanding of the terminologies, but also will.

Leadership is absolutely dependent on ethical choices. PMI members have determined that honesty, responsibility, respect and fairness are the values that drive ethical conduct for the project management profession. PMI’s Code of Ethics and Professional Conduct applies those values to the real-life practice of project management, where the best outcome is the most ethical one. All PMI members, volunteers, certification holders and certification applicants must comply with the Code.

To distinguish more clearly we can take the old Arab fable of the frog and the scorpion, who met one day on the bank of the River Nile, which they both wanted to cross. The frog offered to ferry the scorpion over on his back provided the scorpion promised not to sting him. The scorpion agreed so long as the frog would promise not to drown him. The mutual promises exchanged, they crossed the river. On the far bank the scorpion stung the frog mortally. 'Why did you do that?' Croaked the frog, as it lay dying.

Replied the scorpion, 'We're both Arabs, aren't we?' If we substitute for a frog a 'Mr. Goodwill' or a 'Mr. Prudence,' and for the scorpion 'Mr. Treachery' or 'Mr.

Two-Face,' and make the river any river and substitute for 'We're both Arabs...' 'We're both men...' We turn the fable [which illustrates human tendencies by using animals as illustrative examples] into an allegory [a narrative in which each character and action has symbolic meaning]. On the other hand, if we turn the frog into a father and the scorpion into a son (boatman and passenger) and we have the son say 'We're both sons of God, aren't we?'

, then we have a parable (if a rather cynical one) about the wickedness of human nature and the sin of parricide. Contrast allegory with,, and, below, or click here to download a contrasting these terms. ALLIOSIS: While presenting a reader with only two alternatives may result in the known as false dichotomy or either/or fallacy, creating a parallel sentence using two alternatives in parallel structure can be an effective device rhetorically and artistically. Alliosis is the rhetorical use of any isocolon parallel sentence that presents two choices to the reader, e.g., 'You can eat well, or you can sleep well.' For more information, see. ALLITERATION: Repeating a consonant sound in close proximity to others, or beginning several words with the same vowel sound.

For instance, the phrase ' buckets of big blue berries' alliterates with the consonant b. Coleridge describes the sacred river Alph in Kubla Khan as ' Five miles meandering with a mazy motion,' which alliterates with the consonant m. The line ' apt alliteration's artful aid' alliterates with the vowel sound a. One of Dryden's couplets in Absalom and Achitophel reads, ' In pious times, ere priestcraft did begin, / Before polygamy was made a sin.' It alliterates with the letter p. Walt Whitman's 'Song of Myself' employs the technique: ' I lean and loaf at my ea se ob serving a spear of summer gra ss.' Most frequently, the alliteration involves the sounds at the beginning of words in close proximity to each other.

Alliteration is an example of a rhetorical. Alliteration in which the first letters of words are the same (as opposed to consonants alliterating in the middles or ends of words) is more specifically called, which is a bit of a misnomer since it doesn't actually involve rhyme in a technical sense. If alliteration also involves changes in the intervening vowels between repeated consonants, the technique is called. See also and. ALLITERATIVE PROSE: Many texts of Old English and Middle English prose use the same techniques as. 955-1010 CE) and Wulfstan (d.

1023) wrote many treatises using skillful alliteration. The Herefordshire texts known collectively as the 'The Katherine Group' ( Hali Meiohad, Sawles Warde, Seinte Katerine, Seinte Marherete, Seinte Iuliene) are some examples in Middle English. ALLITERATIVE REVIVAL: The general increase or surge in alliterative poetry composed in the second half of the 14th century in England. Alliteration had been the formalistic focus in Old English poetry, but after 1066 it began to be replaced by the new convention of rhyme, which southern courtly poets were using due to the influence of continental traditions in the Romance languages like Latin and French. Between 1066 and 1300, hardly any poetic manuscripts using the alliterative form survive.

There are two theories to explain this absence. Theory number one argues this absence is a quirk of textual history, and that individuals were still writing alliterative verse, but by coincidence none of the manuscripts survive to the modern period, or that the tradition survived in oral form only and was never written down. The second theory suggests that, after alliterative verse had been mostly abandoned, a surge of regionalism or nationalism encouraged northern poets to return to it during the mid- and late-1300s. In either case, during this time, Piers Plowman, Sir Gawain and the Green Knight and other important medieval poems were written using alliterative techniques. See, above, and, below.

ALLITERATIVE VERSE: A traditional form of Anglo-Saxon and Old Norse poetry in which each line has at least four stressed syllables, and those stresses fall on syllables in which three or four words alliterate (repeat the same consonant sound). Alliterative verse largely died out in English within a few centuries of the Norman Conquest. The Normans introduced continental conventions of poetry, including and octosyllabic couplets.

The last surge of alliterative poetry in the native English tradition is known as the during the Middle English period. ALLOMORPH: A different pronunciation of a morpheme. For instance, consider the -s plural morpheme.

The standard /s/ sound (as in ) becomes a /z/ sound in some allomorphs (such as.) However, the same grapheme is used to represent each sound. ALLOPHONE: A predictable change in the articulation of a phoneme. For example, the letter t in the word top is aspirated, but the letter t in stop is unaspirated. ALLUSION: A casual reference in literature to a person, place, event, or another passage of literature, often without explicit identification.

Allusions can originate in mythology, biblical references, historical events, legends, geography, or earlier literary works. Authors often use allusion to establish a tone, create an implied association, contrast two objects or people, make an unusual juxtaposition of references, or bring the reader into a world of experience outside the limitations of the story itself. Brock Biology Of Microorganisms 13th Edition Powerpoint. Authors assume that the readers will recognize the original sources and relate their meaning to the new context. For instance, if a teacher were to refer to his class as a horde of Mongols, the students will have no idea if they are being praised or vilified unless they know what the Mongol horde was and what activities it participated in historically. This historical allusion assumes a certain level of education or awareness in the audience, so it should normally be taken as a compliment rather than an insult or an attempt at obscurity. ALOFT, THE: Also called 'the above' and sometimes used interchangeably with 'the Heavens,' this term refers to the gallery on the upper level of the.

In Shakespeare's Globe theater, this area contained the lords' rooms, but the center of this location was also used by the actors for short scenes. On the other hand, in most indoor theaters like the Blackfriars Theater, musicians above the stage would perform in a curtained alcove here. ALPHABET POEM: An poem of thirteen lines in which each line consists of two words, each word beginning with sequential letters in the alphabetic pattern ABCDEF, etc. Deutsche noteas that many poets like Paul West take liberties such as using Greek or Russian letters and introducing -ex compounds.

Here is an example from West: Artichokes, Bubbly, Caviar, Dishes Epicures Favor, Gourmets Hail; Ices, Juicy Kickshaws, Luxurious Mousses, Nibblesome Octopus, Pheasant, Quiches, Sweets, Treats Utterly Vanquish Weightwatchers: Xenodochy's Yum-yum! In Deutsche 11) ALPHABETIC: The adjective alphabetic refers to any writing system in which each unit or letter represents a single sound in theory. English writing is theoretically alphabetic--but in actual point of fact is so riddled with exceptions and oddities that it hardly counts--as discussed. ALPHABETISM: A word formed from the initial letters of other words (or syllables) pronounced with the letters of the alphabet--such as the IRS, CIA, the VP, or VIP. See further discussion under.

ALTAIC (from the Altai mountains): A non-Indo-European language family including Turkish, Tungusic, and Mongolian. ALTER EGO: A literary character or narrator who is a thinly disguised representation of the author, poet, or playwright creating a work. Some scholars suggest that J. Alfred Prufrock is an alter ego for T. S. Eliot in 'The Love Song of J. Alfred Prufrock,' or that the wizard Prospero giving up his magic in The Tempest is an alter ego of Shakespeare saying farewell to the magic of the stage. Contrast with. ALTHING: The closest approximation the Icelandic Vikings had to a government/court system/police--a gathering of representatives from the local to decide on policy, hear complaints, settle disputes, and proclaim incorrigible individuals as (see below). The thing was a gathering for each local community in Iceland, but the althing was a gathering for the entire island's male population.

ALVEOLAR: This adjective refers to any sound made by the tongue's approaching the gum ridge. Examples include the sounds /n/, /l/, /z/ and /s/. ALVEOPALATAL: This adjective refers to any sound made by the tongue's approaching the gum ridge and the hard palate. Examples include the consonant sounds found in the beginning of the words Jill, Chill, and shall and the beginning and ending sounds of the word rouge. AMALGAMATED COMPOUND: A word originally formed from a compound, but whose form is no longer clearly connected to its origin, such as the word not--originally compounded from Anglo-Saxon na-wiht ('no whit').

AMANUENSIS (from Latin, ab manus, 'by hand', plural amanuenses): A servant, slave, secretary, or who takes dictation for an author who speaks aloud. Many works of literature--especially from Roman and medieval times--result from the labor of such a scribe. For instance, the illiterate Margery Kempe had two friars who served as amanuenses to write down her Book of Margery Kempe.

Many Roman poets kept slaves who worked as their personal amanuenses, such as Cicero's slave Tyro, and so on. AMBAGE (back formation from ambi + agere, 'to drive both ways', pronounced in a manner that loosely rhymes with 'damage'): or designed with an eye toward deceiving or confusing the audience. In the plural, several such instances are ambages. See discussion under. AMBIANCE: Loosely the term is equivalent to atmosphere or mood, but more specifically, ambiance is the atmosphere or mood of a particular setting or location.

Ambiance is particularly vital to gothic literature and to the horror story, and to many young college students' dates. AMBIGUITY: In common conversation, ambiguity is a negative term applied to a vague or equivocal expression when precision would be more useful. Sometimes, however, intentional ambiguity in literature can be a powerful device, leaving something undetermined in order to open up multiple possible meanings. When we refer to literary ambiguity, we refer to any wording, action, or symbol that can be read in divergent ways. As William Empson put it, ambiguity is 'any verbal nuance, however slight, which gives room for alternative reactions to the same piece of language' (qtd.

In Deutsch 11). AMELIORATION (from Latin, melior, 'better'): A semantic change in which a word gains increasingly favorable connotation. For instance, the Middle English word knight used to mean 'servant' (as German Knecht still does). The word grew through amelioration to mean 'a servant of the king' and later 'a minor nobleman.' Similar amelioration affected the Anglo-Saxon word eorl, which becomes Modern English earl. The opposite term,, is a semantic change in which a word gains increasingly negative connotations. AMERICAN DREAM: A theme in American literature, film, and art that expresses optimistic desires for self-improvement, freedom, and self-sufficiency.

Harry Shaw notes that the term can have no clear and fixed expression because 'it means whatever its user has in mind a particular time' (12). In general, it connotes 'life, liberty, and the pursuit of happiness' in Thomas Jefferson's phrasing. One expression of this is the materialistic 'rags-to-riches' motif of many nineteenth-century novels. Here, through hard work, cleverness, and honesty, a young pauper rises in socio-economic status until he is a powerful and successful man. An example here would be the stories by Horatio Alger.

Other expressions of this theme focus on more abstract qualities like freedom or self-determination. Many critics have argued that this dream is in many ways a myth in the twentieth- and twenty-first centuries, given America's frequent discriminatory treatment of immigrants and its continuing economic trends in which an ever smaller number of wealthy people accrue an ever larger percentage of material wealth with each generation, i.e., 'the rich get richer and the poor get babies.' Other events, such as the loss of the American frontier, segregation and exclusion of minorities, McCarthyism in the 1950s, unpopular wars in Vietnam in the 1960s, and gradual ecological devastation over the last hundred years, together have inspired literary works that criticize or question the American Dream--often seeing it as ultimately selfish or destructive on one or more levels. Examples of these writing would be Miller's Death of A Salesman, Ellison's Invisible Man, and Steinbeck's The Grapes of Wrath. AMERICAN ENGLISH: The English language as it developed in North America, especially in terms of its diction and the spelling and grammatical differences that distinguish it from British English. AMERICANISM: An expression that is characteristic of the U.S.A.

Or one which first developed in America. AMESLAN: American Sign Language--a language composed of hand-signs for the deaf. AMPHIBRACH: In classical poetry, a three-syllable poetic consisting of a light stress, heavy stress, and a light stress--short on both ends. Amphibrachs are quite rare in English, but they can be found in special circumstances, especially when the poet manipulates the caesura to create an unusual effect.

An example of an English word forming an amphibrach is crustacean. An amphibrach is the reverse-form of an. AMPHIMACER: A three-syllable consisting of a heavy, light, and heavy stress. Poetry written in amphimacers is called cretic meter. Amphimacer is rarely used in English poetry, but it is quite common in Greek.

An example of an English phrase forming an amphimacer is deaf-and-dumb. An amphimacer is the reverse-form of an. AMPHISBAENIC RHYME: A poetic structure invented by Edmund Wilson in which final words in strategic lines do not rhyme in the traditional sense, but rather reverse their order of consonants and vowels to appear backwards. For example, Wilson writes: But tonight I come lone and be lated-- Foreseeing in every detail, And resolved for a day to side step My friends and their guests and their pets. The colored sections above have the amphisbaenic features. AMPHITHEATER: An open-air theater, especially the unroofed public playhouses in the suburbs of London. Shakespeare's Globe and the Rose are two examples.

ANACHRONISM: Placing an event, person, item, or verbal expression in the wrong historical period. In Shakespeare's Julius Caesar, Shakespeare writes the following lines. Here, even as Mark Antony claims he is not present to win the listener's favor with fine words, he uses fine words to convince them.

Contrast with and, below. APORIA (Greek: 'impassable path'): The deliberate act of talking about how one is unable to talk about something. For instance, 'I can't tell you how often writers use aporia.' The term dubitatio refers to a subtype of aporia in which a speaker or writer pauses and deliberately reveals his doubt or uncertainty (genuine or feigned) about an issue.

The aporia in the case of dubitatio is both that pause and the act of intentionally discussing that ambiguous reaction. This rhetorical ploy can make the audience feel sympathy for the speaker's dilemma, or it can help characterize the speaker as one who is open-minded and sincerely struggling with the same issues the audience faces. More recently, literary deconstructionists like Jacques Derrida have high-jacked or modified the rhetorical term aporia, and they use it to suggest a 'gap' or a lacuna that exists between what the text attempts to say and what it is forced to mean due to the constraints of language. Aporia is an example of a rhetorical. See also, above.

Contrast with, below. APOSIOPESIS: Breaking off as if unable to continue, stopping suddenly in the midst of a sentence, or leaving a statement unfinished at a dramatic moment. Sometimes the interruption is an artificial choice the author makes for a dramatic effect. For instance, Steele writes, 'The fire surrounds them while -- I cannot go on.' He leaves the horrific outcome of the conflagration to the readers' imaginations. On the other hand, Hotspur's dying breath provides a literary instance in which the speaker is physically unable to continue, leaving another to complete the thought.

Hotspur: O, I could prophesy, But that the earthy and cold hand of death Lies on my tongue. No, Percy, thou art dust, And food for -- Prince Hal: For worms, brave Percy. ( 1 Henry IV, 5.4) Aposiopesis is a wonderful and flexible technique for showing a character's overcharged emotions. Hamlet makes use of aposiopesis to illustrate his grief and shock at his mother's behavior after the king's death. One example is when he can't finish his comparison between his mother and Niobe: 'Like Niobe, all tears--why, she, even she-- / O God!

A beast that wants discourse of reason / Would have mourned longer.' Shakespeare again makes use of the technique when King Lear rages against his evil daughters. Shakespeare makes him so upset he can't even think of a proper punishment for them as the old king breaks down in blustering tears.