Business Proposal Essay Example | Topics and Well Written Essays - 1000 words

Business Proposal - Essay Example (logo)+Next page-(Table of Contents) Cost summary-The cost of the project will be on a contractible basis that can be renewed every 6 months to ensure that we remain on our toes and meet your expectations. By offering you maximum cost affectivity we will save both time and money to ensure profitability and high visibility vis--vis the competition. Our fees collectible at the end of the six months will amount to Rs. 10,00,000 Lakhs Strengths-The proposed project will ensure smooth and consistent operations while offering Tesco a window to the unique culture of India. While the centralized studio offers all the expertise as well as sophisticated equipment; satellite studios will localize the sales pitch by catering to regional variations. By uploading design templates, the centralized studio will ensure packaging design excellence. Satellite studios will have easy access to the design templates by downloading them thus saving time and ensuring ease of operations. Satellite studios will adapt seasonal promotions to the local festivals like 'Pongal'in Tamilnadu, 'Diwali' in the north and 'Navratri' in the east- so that Tesco can tune profitably into the shopping season's of the country. To sum up this unique proposal will ensure the success of Tesco's retail project in a fast growing sector with endless opportunity for growth and expansion. The On-site design studio will eliminate needless delay and logistical problems while imposing quality control. Weaknesses-Tesco has failed to dominate the city center marketplace on home soil. Although it does have some prominent chain stores in cities, these are more an exception then the rule. In the location of Milton Keynes Sainsbury has the monopoly. This zeroes in on a significant weakness of Tesco's marketing

Journal Assignment Example | Topics and Well Written Essays - 250 words - 56

Journal - Assignment Example It is pointed out that the first Muslim college that was accredited might be biased with regard to Israel and the Jews. In this case the quality of education that it offers should be analyzed carefully. 3. The video articulates a peculiar statistics: more and more people claim that they do not belong to any religion. It is suggested that people decided to create their own interpretation of the world and live according to it. What is more important is that the contemporary society often sees religion as a certain attribute, but not a deep spiritual commitment. 4. This video points out that many people mix prejudice and patriotism. Thus, many know that America is currently engaged in armed conflicts with Islamic countries, but discriminating against Muslims in the United State should not be seen as a solution towards the problem. Moreover, the experiment showed that the majority of the people are indifferent towards discrimination and will not do anything about

Debate Paper on the Welfare Act Essay Example for Free

Debate Paper on the Welfare Act Essay In 1996, in order to fulfill his campaign promise to end welfare as we know it President Bill Clinton signed the Personal Responsibility and Work Opportunity Reconciliation Act (PRWORA), as a result both the fabric and management of the national welfare system were altered. With any policy change comes conflict in the form of opposing perspectives, and the two conflicting viewpoints that will be discussed for the basis of this paper were induced as a result of the enacted PRWORA. Michael Tanner, the first author to be discussed within this paper defended the belief that the alterations to welfare reform achieved desirable results. Author Stephen Pimpare, the voice of the opposition, blasts the PRWORA and its aftereffect. Michael Tanner discussed, how the Personal Responsibility and Work Opportunity Reconciliation Act (PRWORA) has been the catalyst for the decline of poverty in the United States. Tanner began his argument by accenting the opposition of many American liberals, that anticipated that the passage of this bill would bare cataclysmic results such as, forcing families into absolute poverty. Through the use of statistical data, Tanner discussed how a decade later, the results of the aforesaid bill have proven to be quite opposite of the conjecture. Comparatively, Stephen Pimpare sought to discuss, how the Personal Responsibility and Work Opportunity Reconciliation Act (PRWORA) has come to fail the recipients that it was originally intended to benefit. Pimpare admits that although, the number of welfare recipients were reduced, there has not been enough substantial evidence to indicate that this was, as a result of welfare reform. Instead, Pimpare believes that the decline in poverty was attributed to forces unrelated to the enactment of the PRWORA. Although, poverty declined in the mid-1990s, he affirms that it is on the rise once more and in large part due to welfare reform. Pimpare continues his argument by making the struggles of former welfare recipients a focal point. By encouraging employment among the poor, the PRWORA placed a work requirement, and a five year lifetime cap on cash assistance, which Pimpare believes has made the lives of those that left welfare, particularly single mothers, that much harder. He more or less explains that under the policies of the PRWORA the federal governments attempt at bringing an end to welfare meant giving states more control over program requirements; doing away with previous federal matching funds, and reducing the incentives for bringing in new welfare recipients. According to Pimpare, without these incentives and the increased authority given to states, many now delegate their allotments for the use of programs or budget deficits that are unrelated to the welfare expenses for which, the funding was initially intended, and the few states that do invest funds into welfare related programs do so by contracting private organizations. Each author agrees that there has been reductions in welfare rolls, but neither believe that this decline occurred for the same reasons. Michael Tanner asserts throughout his article that rolls declined in large part as a result of the PRWORA; giving only slight praise to economic growth. Tanner believes that this among other factors are an effective appraisal of the PRWORAs overall success. Although, Stephen Pimpare also acknowledges cuts in the rolls, he denies that the PRWORA was the influence. He credits the diminishment of the rolls to the decline of unemployment and higher wages. He affirms that if it had not been for the implementation of welfare reform, poverty would have been substantially lower then it was. An additional point, addressed by both authors, is how former welfare recipients have fared beyond their enrollment under the enacted PRWORA. Each side of the opposition maintains that the effects of the welfare reform have bared either negative or positive consequences. Tanner stated that although, many individuals who left welfare, as a result of the PRWORA, have only acquired full time, entry level positions, paying an average of $16,000 per year, it was progress and far better then where those individuals once were. He adds, that while these individuals take on menial employment, they are in turn, gaining valuable experience that will provide them with marketable skills for higher earnings in the future. In Pimpares article, he argues that the PRWORA has ultimately, had adverse effects on the lives of former recipients. He states that homelessness is at an all time high. According to Pimpare, more then half of former recipients remain in poverty, and around 60 percent were unemployed upon there completion of the welfare program. He adds, that poor women, a population that dominates the overall pool of welfare recipients, have become no more autonomous following the welfare reform, then they were previously. Historically, there have been generations of conflict concerning the welfare of the impoverished, and the overall tone of both articles are no exception. Each article, exemplified the current state of conflict. Within our course we have examined this shift of ideology, throughout various periods of time. Historical occurrences, from one era to the next have acted as the catalyst for the fluctuation of the perceived accountability for the poor. The view of personal versus social responsibility has shaped the response to social welfare policies. The retrenchment was a period marked by the relinquishment of responsibility to the individual, and the PRWORA was to be the means of supporting this return of autonomy to the poor. It has been sixteen years since the PRWORA took its place amongst government legislation, and the lives of its former recipients have shifted during this lapse in time, but has welfare reform changed their lives for better or for worse? Did the lunatic right accurately predict the welfare leavers destinies, or were the liberal prophets of doom correct? I strongly believe, that in order to form an educated rebuttal against the opposition, one should have a clear understanding of the vantage point that they wish to support, as well as, of the one that they wish to dismiss. After, thoroughly examining each viewpoint of the welfare reform quarrel, I believe that I am fully informed enough to take the side of most American liberals. Since, its enactment in 1996, the PRWORA has increased the power of the states, but has done very little to increase the livelihood of those who stood to benefit from it. I am sure in hindsight, the PRWORA seemed like a good idea, but it turned out to be fundamental flawed. Since its passage, single parents have been unable to adequately provide for their families. While, many former welfare recipients have managed to attain employment, a scant amount have actually evaded the reality of poverty. The rise in employment is parallel with the increased presence of single mothers, who have entered the labor force, which can clearly be attributed to welfare reform. The vast majority of former welfare recipients, who have entered the work force are only earning between $10,000 and $16,000 annually, this is substantially lower then the amount a family realistically requires to obtain lifes basic necessities. The impractical expectation of welfare reform were that these individuals would eventually climb the job ladder out of menial, entry level positions, but I am not so naive and simple-minded as to agree. History has offered insight into such situations, thus wages remain stagnant for less educated workers, and being employed does not automatically absolve a person from impoverishment. On a positive note, more monies have been earmarked for child care agendas, but difficulties still persist. Single parents continue to receive less support to work. Federal and state programs extend to few families that require child care. Head Start serves less than half of eligible children (Blank, Schulman, and Ewen 1999). The quality of child care is insufficient, as a result of low wages for child care workers. An additional problem is that, although former recipients have obtained employment, they have in turn, been left unable to afford healthcare. Many are not offered such benefits through their employers, and become excluded from government funded health coverage, due to there inability to adhere to the maximum wage requirements. While I am sure the debate over welfare reform will persist long after this assignment has been submitted, it is still worth mentioning how fundamentally backwards the passage of the PRWORA was. Although, it has succeeded in pushing individuals off of the rolls, it has failed to pull them out of poverty, and it is for this reason that I must assent with Pimpares argument. What quality of life do people have when they must survive on the bare minimum? I can make little sense of a government that would allow its citizens to continue living in poverty. The PRWORA does not offer the opportunity for betterment and empowerment, it guarantees a life of struggle.

The cinema of shane meadows

The cinema of shane meadows Over the last ten years Shane Meadows has helped to create a realistic portrayal of Working classed Britain. Director of films such as; Twenty four seven, A Room for Romeo Brass, Dead mans Shoes and This is England, Shane Meadows has helped to bring and to create social realist films for a new generation. His films stand side by side with more mainstream titles such as Brassed off, The Full Monty and Billy Elliot, each helping to bring the working classes and the social issues which they have faced to the forefront of National British cinema. What this essay intends to do is to explore Shane Meadows work as a director of British films, looking directly at how the past reflects the aesthetics and conventions within his films, how his cinema embodies the spirit of working classed identity and the social issues that are touched upon within his work and also why Meadows has become a popular film maker in contemporary Britain. The essay will look at three of Meadows films in particular; TwentyFourSeven, A Room for Romeo Brass and This is England, and will analyse the relationship that each film has with one another and why he has constructed an autobiographical take upon each of these films. Shane Meadows born in 1972 in Uttoxeter, Staffordshire, grew up within a working classed community. Meadows teenaged years were in a time which saw great political change for many people in the 1980s, with the working classes seeing only negative outcome to a new British government. Industrial areas, most notably within the North of England, saw the threat of unemployment around every corner and the very essence of working classed life was destroyed by Thatchers government, in her quest for a post industrial, classless society. Meadows experiences as a youth and the political and social changes that took place within the 1980s have been established throughout Meadows works. I think my 1980s is a richer time to draw on than any other.† Meadows has said when questioned on the reasons why his own childhood experiences are prominently featured in many of his films. As a British Realist film maker, Shane Meadows has distinctly borrowed from recognisable techniques and traditions from movements of the past. His notable influences are in the New wave cinema of film makers such as Karl Reisz, Lindsay Anderson and Tony Richardson from the 1960s and Mike Leigh and Ken Loach who have contributed to socio-realist cinema throughout the 1980s up until present day. What this has meant for Meadows is that his films are able to create a recognisable identity for a nation that people can be able to associate with. By creating a bond to the cinema of New wave and Realist cinema, Meadows is able to critique our nation through the use of a popular and recognisable aesthetic which is associated with many British dramas. The British New Wave cinema was the first step into creating a realist aesthetic in British narrative films. Through the inspiration of Documentary and the Italian neo-realist films that had come before, its film makers such as Karl Reisz and Lindsay Anderson were able to create a cinema which focused upon the intent of bringing social issues to the screen through realistic interpretations. Before they contributed to narrative cinema, Anderson and Reisz focused their talents upon Documentary, in which they created a movement, known at the time as the Free Cinema movement. Their approach was opposed to the traditional expository mode which British documentary film maker John Grierson produced within his production company; GPO pictures. Griersons documentaries sought to tackle the social problems of the working class misrepresented in British cinema, by siding with them. The voice of god narration and selective viewpoint was avoided within the Free Cinema movement, providing a poetic approach that stripped their documentaries of voice-overs and the right wing political stand point of the Grierson styled documentary, became left wing, criticising the British political system by focusing on the real working class, although, from a distance. I want to make people ordinary people, not just top people feel their dignity and their importance.† Lindsay Anderson said of his commitment to presenting the working class within his works. Although Griersons approach was highly criticised by the filmmakers of the free cinema movement, it was from Grierson himself who said that documentary was The Creative treatment of actuality.† This broadly used term could simply be interpreted as the way the film maker is able to create a display of artistic elements, from the construction of real people with real problems in real settings. Implicit in the Free cinema formulation were two related conceptions of freedom: on the one hand, a freedom from commercial constraint and, on the other, a freedom to give vent to a personal or unusual, point of view of vision.† The importance of the realist aesthetic within the Free cinema documentaries and the New wave narrative film was to make it clear that the artist was at the centre of the work. This did not necessarily mean that he was involved within the film itself, but the style of the film, ideologies and messages were that the film maker was trying to get across. The other importance was the ability to create the feeling of something new, to transform the real from Meer observation but to create a poetry which was able to work upon more than one level, and it was through the representation of a group of outsiders (the working class) that the film makers were able to do this. Films such as The Loneliness of the Long distance runner, A taste of Honey, A Sporting Life and Saturday Night, Sunday Morning, shifted the emphasis from middle class idealistic families, to a focus upon the youth living and working within industrial cities, situated in the Northern areas of England. The late 1950s/early 1960s became the first time since the Second World War that workers started to benefit from decent salaries and some, an almost disposable income. The youth in particular were able to separate themselves from their work lives and the authority figures that held a grasp over them, enabling them to spend their wages on the consummation of the latest in fashionable products. This is also true of New Wave films, which focused less on the importance of work within the lives of the characters but on their leisurely activities. The decline in the working class traditions and the rise of the working classed youth became notable. They were becoming defined not by what they produce but of what they consume and this was an indicator of the times. When looking at Saturday night Sunday morning by Karl Reisz, the main protagonist, Arthur Seaton (Albert Finney) may work within the confines of a factory, but when his working is shown, it is briefly and only to underline the important images or to support the leisurely aspect of his life. E.G. when he is finishing work. By wasting his money upon a sex, drugs and almost rock and roll lifestyle he is separating himself from the authority figures that keep him in his place during his working hours. Its not a unity of a working class that can be seen within this film or many of the New wave films of the 1960s, it is very much about issues of one person in particular, in the case of Saturday night, Sunday Morning, it is Arthur. Writer John Hill stated that Despite the ostensive commitment to represent the working class, the British New Wave, through their adoption of conventional narrativity and realism, tend to have the opposing effect, that is, the creation of an accentuated individualism.† The emphasis on the individual in this working class aesthetic of the New wave films may come down to the absence of work as a dominant presence. Instead it seems that the importance of working class life, as a youth, is separating themselves from the authority figures and dominant forces of work and instead making leisure and the way in which the characters separate themselves from work in their free time. In Meadows work, there is a felt presence of the New wave films throughout his work The focus upon just one main protagonist and their personal struggle rather than the united struggle of the working class is that it is extremely difficult to represent political problems within narrative film, without a need to create a bond to the personal effects that the political has upon the working class within realist cinema. But what exactly did the filmmakers do to try and create a believable and purposeful reality, and at once avoid the idealistic and theatrical approach that the Traditional Hollywood films employed? The main focus of reality in these New Wave films is by Meadows first feature film TwentyFourSeven was released in 1997. A resurgence in British Realism lead to a shift in focus for many of the films released within the 1990s. Whereas the films of the New Wave in the 60s, focused upon the employed youths personal struggle with working classed life and the hedonistic, anti-establishment attitude they portrayed in their leisurely pursuits and the 80s saw reactions against the Thatchers governments destruction of traditional working classed values and perceptions, the 90s took upon a different perspective, with Britain very much a post industrial nation, class now determined not what they made and who they were as a unified work force, but instead was now determined by what they consumed. This perspective now shifted upon the youth of today, from pre pubescent Children to teenagers growing up on rough, poverty stricken council estates. Unemployment has left the youth in the same position and status. Samantha Lay stated that Dramas focus more tightly on family relationships and partnerships. Poverty, unemployment and social exclusion are not the driving forces of their narratives, but are merely signalled as contributory factors to family strife, so that it is the working class family that has failed, not the state or capitalist society.† British Realist films focus upon the effect that politics have had upon the class system, specifically the working class whos inevitable decline since the 1950s has lead to an alienation of masculine identity and the emphasis as class as a unification. Meadows films are about the alienation of family life and the journey of finding a place to really belong. The perspective of a child or in the case of Twenty Four Seven; Young Adults, gives Meadow a chance to see the Working Class from a different perspective. What Meadows films do which many mainstream British films do not do is to question the stereotypical view of the average British person, by keeping to a low budget, Meadows keeps the focus upon the identities within his own regional upbringing. Unemployment plays a big role within the films of the British realist aesthetic that were made within the 1980s up until our contemporary time. Children and the youth are not affected in the same in which the adults are but their perspective is of the upmost importance. The period aspect to this is England, Twenty Four Seven and A Room for Romeo Brass gives you an aspect of political change. Within the 90s and the 2000s working class focused films created a way of escaping from the reality of the situation. Characters were able to find success from the economic situations that have dragged them down, most notably through entertainment. This can be seen within films such as Billy Elliot, Brassed off, The Full Monty and to an extent Trainspotting. Each of these films proved popular to the British movie going audience and tried showing how the working class could develop and escape from the working class life that had been dragging them down. Meadows approach, although not entirely pessimistic is about the positive which comes out of the negative situations, or the defeat of people. Unstable protagonists at the start of each three films, struggle with the uneven situations that their parents are entangled within, often dragging the children down with them. It is this alienation from family life which causes distress and change from these characters. Their questionable actions often ending in violence leads to the chance meetings in which potential father figures, genuinely interested in the emotional and physical state of the these characters help the characters from emotional unrest. In This is England, Shauns violent playground fight is caused from the mention of his Dads death. His walk home from school leads to the meeting of a Skinhead gang, most notably Woody who notes Shauns unhappy presence. His happy go lucky attitude and genuine care for Shaun makes him feel wanted in a place where hes alienated not only from family life but from being part of a sub culture which will accept him for who he is, which is evident from the mocking attitude of some of Woodys friends who are not as caring as Woodys father attitude to the situation is. In A Room for Romeo Brass, the fight between Romeo and the two boys leads to the rescue from Morell who is alerted from nearby. Again, the importance of chance turns a violent hateful act, into one with positive outcomes, in which children/teenagers are brought into the world of the adult. The Subculture is what draws the children into an adults world. Leisure drives them from the woes of family life and from the authority figures which are bringing them down. The masculine father figures within Meadows films help to refocus the output of the violence of the youth that they have taken under their wing. The troubled teenagers caught in violent episodes, find new ways in which to focus their negative energies. This frustration for life in post industrial estates, in which domestic problems of parents causes great angst often leads to violence. By refocusing these ill thoughts and actions through healthy attitudes, the Father figure is able to guide the youth away from everything that is holding them back. Woodys optimistic and peaceful father figure for fatherless tearaway Shaun in This is England, enables his alienation from a social perspective to be reinstated into a group in which he belongs. The anger and frustration of these Skinhead youths does not lead to the targeting of people, but of decrepit, rundown buildings on council estates.

Steinbecks The Grapes of Wrath vs. Sinclair’s The Jungle Essay

Steinbeck's The Grapes of Wrath vs. Sinclair’s The Jungle The global appeal of the so-called American dream of happiness and success has drawn many people to the â€Å"promised land† for hundreds of years. Although the American government preached equality for all on paper, it was driven primarily by money. Both Upton Sinclair and John Steinbeck recognized this and used literature to convey the flaws of capitalism. Sinclair’s The Jungle satirized America’s wage slavery at the turn of the century and forty years later, Steinbeck’s novel The Grapes of Wrath criticized the commercialism of American farming. These two books, often viewed as propagandistic, employ similar persuasive strategies: strong imagery, heavy symbolism, biting irony, and a proposal to correct the situation. Despite these parallels, however, the authentic diction and syntax of Steinbeck’s writing deviates from the inconsistent style of Sinclair. After considering how each author manipulates various stylistic elements, The Grapes of Wrath proves to be a more cogent tract. The most obvious rhetorical device in The Jungle is its powerful imagery. Sinclair offers repulsive anecdotes of work in the packinghouses. His description of the killing beds in winter vividly lingers in the mind of the reader. During winter, Sinclair says, the vicious cold of the beds caused the men to â€Å"tie up their feet in newspapers and old sacks.† By the end of the day, the frozen blood of slaughtered cattle soaked through their improvised boots so that â€Å"a man would be walking on great lumps the size of the feet of an elephant.† Sinclair also claims that when workers fell into the open vats on the floor in â€Å"tank rooms full of steam,† their absence passed unnoticed, often â€Å"over... ...beck describes them. Because the family concentrated on farming instead of schooling, their country phrases are fitting. Steinbeck’s convincing portrayal of Dust Bowl migrants grabs the reader’s emotions, producing a compelling argument. Overall, The Grapes of Wrath proves to be a more effective novel that The Jungle. Although The Jungle shares some of the same rhetorical devices, its unrealistic dialogue and long-winded sentences detract from its potency. Steinbeck and Sinclair both successfully use imagery, symbolism, and irony to persuade their audience. In both books, various symbols emphasize the deceptive nature of the American dream, and irony mercilessly illuminates the unjust aspects of capitalism. Ultimately, however, because The Grapes of Wrath is so genuine, Steinbeck proposes a solution for crooked capitalism more successfully than Sinclair.

Why We Should Stick To Qwerty :: essays research papers

Why We Should Stick To Qwerty Computer Science 10 The Qwerty keyboard - named Qwerty because the letters q, w, e, r, t, y are arranged next to each other - has been the universal standard since the beginning of the 1890s. Since then, there have been many proposals by other keyboard makers to market products that would enable users to type faster. Other proposals put the most frequently used letters - dhiatensor - in the middle row.i Although these keyboards enable users to type far faster than the qwerty keyboard, they are rarely sold. There are several reasons for this. First, there is no need for the regular users to type any faster than at the current speed. Second, for the people whose job require fast typing, the new keyboards can lead to bigger health problems that develop from continuous typing. Third, and most importantly, standardization has led the qwerty keyboards to firmly hold the position as the keyboard. There are major differences between the two types of keyboard users; the regular users and the other typists. The regular users are people who uses the keyboard for word processing, e-mailing, and internet; there is not much of a need for them to type extremely fast. They do not type mechanically but rather based on their thought, and thinking takes time. In other words, faster keyboards are irrelevant for them because they are not continuously typing. They need to think what they are going to write, one sentence one after another. On the other hand, the typists whose job is simply to type, do so continuously. They also happen to be the major victims of repetitive Strain Injury (RSI) which is in large part caused by continuously stroking the keyboards. In an article about RSI, Huff explains the changes that the companies are undergoing to become more productive: Many work practices are changing with automation to increase productivity. These include fewer staff, heavier workloads, more task specialization, faster pacing of work, fewer rest breaks, more overtime, more shift work and nonstandard hours, and more piece work and bonus systems. These work practices can entail very prolonged rapid or forceful repetitive motions leading to fatigue and overuse of muscles.ii Because RSI is a major problem to the typists, it would be a suicidal move for them to adopt faster typable keyboards. More of them will develop RSI. As for the companies that hire these typists, not only will the frequency of RSI development increase, the amount of money that the companies have to compensate to the employees who develop RSI will also increase.

Solving the Puzzle of Jack the Ripper

In August 1888, the dwellers of London’s East End arose from sleep to find their lives a little darker than before. Mary Ann Nichols, a prostitute, had been viciously murdered, nearly decapitated by two cuts to the throat, her abdomen displaying multiple cuts (Begg 46). Over the next three years, ten other women would be murdered in the Whitechapel area. While there is no definitive proof linking these murders to one killer, analysis reveals that six of them display similarly rare crime characteristics: mutilation of genitalia, prostitute victims, and posing of bodies (Keppel, et al. 8-9).Five are commonly attributed to Jack the Ripper (1-2). Though they may not have been well known in life, these women—Mary Ann Nichols, Annie Chapman, Elizabeth Stride, Catharine Eddowes, and Mary Jane Kelly—would be discussed for the next hundred years. What is it about these cases that have captured the curiosity of so many people for so long? Crime historian Donald Rumbelow an swers: â€Å"What fascinates people is not the murders themselves. It’s the puzzle. Who? Who did it? Why weren’t they caught? It’s that puzzle that teases everybody† (â€Å"Jack†). During the past century, more than two hundred suspects have been offered as solutions to the puzzle. These individuals come from various professions, ethnic races, social strata, and economic standings. In police correspondence, Chief Constable Sir Melville Macnaghten appears to list three suspects by name, M. J. Druitt, Kosminski, and Michael Ostrog, saying that any of them are â€Å"more likely than Cutbush to be the killer† (Ryder). After analyzing this memorandum, investigative journalist Paul Begg suggests that these names were arbitrarily selected just to show that Cutbush was not a likely suspect (171). This is simply one example of confusion surrounding the identity of the killer. The most likely suspects include Walter Richard Sickert, a Danish artist; Severin Klosowski (also known as George Chapman), a Polish immigrant; and Francis Tumblety, an American quack doctor. It has also been proposed that the speed with which the murders were committed combined with the subsequent evasion of police suggest that more than one person might have been involved. Forensic psychiatrist David Abrahamsen asserts that Prince Albert Victor Edward and James Kenneth Stephen committed the crimes together (104). Keppel’s study of serial killers reveals that the Ripper murders were committed by someone with a high need to exert control over his victims. This was displayed â€Å"through the use of a knife to penetrate the victims’ bodies and desecrate their sexual regions† (18) along with â€Å"posing and mutilation [of the bodies] †¦ leaving them on display in sexually degrading positions with the wounds exposed† (19). In light of this study, Jack the Ripper must exhibit the characteristics of a need to dominate, aggression towards women, and picquerism, which is defined as â€Å"gaining sexual satisfaction from stabbing or blood letting† (Schroeder). Walter Sickert is one suspect who fits this description. In a recent book, popular fiction crime novelist Patricia Cornwell makes a case for Walter Sickert as Jack the Ripper. He was an actor â€Å"gifted at disguise,† a painter, and a writer with a â€Å"penchant for changing his name† (3). Cornwell suggests that Sickert had some sort of abnormal formation of his genitalia, not only leaving him â€Å"incapable of an erection† but also rendering him without â€Å"enough of a penis left for penetration† (5). She claims that Sickert developed an egotistical self-concept and a meanness towards women, qualities which, combined with a seeming inability to feel, above average intelligence, and a penchant to manipulate others, make Sickert a likely suspect (50-2). Cornwell’s study of Sickert’s artwork reveals â€Å"morbidity, violence and a hatred of women† (12). She contends that some of the depictions are all too similar to actual Jack the Ripper murder scenes. Her analysis of letters Jack the Ripper supposedly sent to police and the media also lead her to the conclusion that Sickert is the likely killer. She states that â€Å"handwriting quirks and the position of the Ripper’s hand when he wrote his taunting, violent letters lurk in other Ripper writings that are disguised. These same quirks †¦ lurk in Sickert’s erratic handwriting as well† (14). She even asserts that there is physical evidence linking Sickert to the Jack the Ripper letters. DNA evidence found on the adhesive stamp of a Ripper letter match that on two letters known to be written by Walter Sickert and on items owned by Sickert (13). For Cornwell, this evidence was so conclusive that she had no choice but to write her book (9-10). A second theory points to Severin Klosowski, also known as George Chapman. Severin Klosowski was a polish immigrant and a carpenter by trade. Christopher Morley describes him as having dark hair and blue eyes with a long chin and mouth, characteristics consistent with descriptions of Jack the Ripper. Having immigrated to England in 1887, Klosowski was in London during the time of the murders. Morley also states that Klosowski had some training as a junior surgeon while in Poland. Morley recounts an incident involving Klosowski attempting to kill his wife, Lucy. Interrupted in the act by a customer, Lucy noticed â€Å"a handle protruding from under the pillow and discovered a sharp and formidable knife. † Klosowski was reported to have said to her later on â€Å"that he had intended to cut her head off. † Klosowski’s similarity in appearance to the Ripper, previous attempt to murder, and residence in Whitechapel convinced Chief Inspector Frederick George Aberline that he was Jack the Ripper. A third theory identifies Francis Tumblety, an Irish American quack doctor, as Jack the Ripper. Tumblety lived in London when the murders were committed (â€Å"Jack†). Morley states that he was a strong suspect and under police watch because a shirt covered with blood was found in his home. British author Stewart Evans recounts: â€Å"He was arrested after the Miller’s Court murder, at which time, of course, the murders ceased. He escaped from England in early December 1888 and got back to America and was never arrested by Scotland Yard, despite the fact that they sent a team of detectives to America to try and catch him† (â€Å"Jack†). Morley describes Tumblety as a homosexual whose â€Å"feelings towards women were remarkable and bitter in the extreme. According to Morley, Tumblety gave â€Å"an all male dinner party, lecturing his guests on the evils of women, and proudly displayed his extensive collection of female body parts, which he kept in glass jars. † Further adding to his qualifications as the killer, Evans asserts that â€Å"Tumblety used many aliases† (â€Å"Jack†), a quality suitable to a killer who would give himself a name. Like Evans, others have found it too coincidental for the murders to have ceased right after Tumblety’s arrest for homosexual acts and his subsequent escape to America. Abrahamsen offers a twist in considering the identity of Jack the Ripper by asking how one man can take enough time to strangle and mutilate a woman’s body without being spotted by anyone (94). He suggests that in the murder of Elizabeth Stride, the signature slashings were interrupted, necessitating an accomplice to warn the killer of approaching policemen (89). Abrahamsen also points out differences among witness descriptions of the suspected killer, which he interprets as evidence of not one but two killers (90). He suggests James Kenneth Stephen (J. K. ) and Prince Albert Victor Edward (Prince Eddy) as joint killers. Abrahamsen suggests that Prince Eddy’s absent, womanizing father combined with his overly involved mother created a situation in which he was emotionally stunted (142-4). Prince Eddy also displayed homosexual tendencies which were ripe for exploitation (152). Being â€Å"emotionally and sexually immature †¦ he would have been curious about sex, but could not transfer his feelings into normal sexual desire for a woman† (152). Abrahamsen suggests that J. K. , who was hired to be Prince Eddy’s tutor, assumed a dominant role in their homosexual love relationship (152). J. K is described by Abrahamsen as having all the qualities necessary to be Jack the Ripper: â€Å"rigid [and] inflexible† (113), physically fit (121), â€Å"emasculated by the rejection of his mother† (120), adept at the use of language (118), viewing â€Å"women as evil† (120), possessing â€Å"striking looks and intellectual brilliance† (124). Abrahamsen suggests that the killings began as a result of J. K. eeling that his sway over Prince Eddy was decreasing and thus creating a situation that would â€Å"link Eddy to him permanently† (170). After a century has passed, the evidence and facts of the Jack the Ripper murders are increasingly more difficult to piece together. Though modern investigative techniques, such as the DNA evidence from Cornwell and Keppel’s profiling, have offered new clues, questions remain. Perhaps the only statement that can be made with any certainty is that after one hundred years, the serial killer named Jack the Ripper is certainly in his own grave somewhere and unable to kill or terrorize ever again.