Performance Appraisals Essay Example | Topics and Well Written Essays - 500 words

Execution Appraisals - Essay Example She calls attention to that numerous managersdo not give a lot of consideration to filling examination structures something that has some negative impact on the resolve of the representatives who work under them (Quast, 2013). Notwithstanding, she calls attention to the significance of administrators giving a lot of consideration to performanceappraisal on the grounds that it is a piece of their work. She proceeds andgive seven hints that can help chiefs in making performanceappraisal progressively important to their associations or gatherings. The primary tip is paying progressively mindful to the readiness procedure. Absence of legitimate readiness has regularly been highlighted as a significant supporter of fruitless presentation evaluation. Through readiness a supervisor can have the option to know the specific message that they need to convey to the workers. This implies execution examination ought not be taken care of like only a one hour thing. The second tip that a supervisor can get from this article is consistently make contemplations for the coordinations of the conversation. For example, a trough should hold execution evaluation set up that whatever is examined will stay private. A little meeting room will be exceptionally perfect for this reason. The third tip that Lisa givesis that administrators ought to consistently ensure that they open the conversations with the plan. This will help in comforting the workers. The four essential territories that an administrator should ensure that the exhibition examination spread include: the current execution of the organization; the past presentation of the organization; the objectives and goals of the organization; and the company’s advancement plans. The forward tip is to empower a two way conversation whereby all the members will be permitted to contribute. Getting the employees’ perspective will make it simpler for them to be incorporated to the accomplishment of the company’s objectives. The fifths tip urges supervisors to give acclaims at whatever point there is any important commitment by a worker (Murphy and

Business Essays

Business Essays Business Essay Business Essay Steve Jobs, the organizer of Apple, was approached to return as Chief Executive in 1997 when the business was making a misfortune. Job’s was selected to give a more clear vision to the business and to improve its benefit. How simple is it for a Chief Executive to change a battling business into an increasingly effective one? Legitimize your answer regarding Apple or potentially different associations you know. (40 imprints) Depends upon/focuses : How regarded the pioneer is: Steve Jobs went about as a motivation to numerous in the advanced world, one which snatched my advantage was from contender Bill Gates who expressed â€Å"Of all the pioneers in the business that Ive worked with, he indicated more motivation and he spared the organization. â€Å" Jobs is notable for being high on advancement and at first changing the innovative world from enormous work areas to retina show slim and convenient gadgets which we know today at the most minimal conceivable cost, which has at first lead to Apple’s total assets to raise to $567bn starting at 2013. The degree that Apple battled when Steve was terminated: Steve occupations was terminated in 1985 for a multi year time span, while looking into I found that during this period deals rose in Mac from $2m-$10m through till 1996, at that point with the re-recruiting of Steve Jobs came a bigger acceleration from $10m-$65m a figure based until 2006. This is a 650% expansion in deals (CHECK), which shows that Jobs himself through advancement and pristine plans focused on the assortment of crowds through new items, for example, online music e. g. Tunes open for download in April 23, 2003 leaving occupations to cite â€Å"It will stand out forever as a defining moment for the music industry† the individuals who figured theft would end the music business were refuted through a 10bn downloads from 2003-2009. Another case of Job’s achievement can be seen through the versatile music player-iPod, discha rged October 23, 2003 that enabled to make business progress and development where others attempted and fizzled. Job’s emphasis on an improved UI changed the manner in which everybody presently purchases and tunes in to music. It wasn’t until Apple’s iPod and iTunes Store removed that the chronicle business started grasping the advanced dispersion of its substance as a reasonable plan of action. Subsequently driving us to state he didn't motivate just those inside the innovative market, however a wide scope of partners. In any case, one can't completely legitimize that this achievement was from Steve alone, as the accomplishment with deals and total assets of the organization became through the ascent popular for such specialized products that had seen an ascent in the capacity of innovation and a fall in advertise value that at first lead to the merchandise being accessible to a mass crowds on a worldwide market. Accomplishment from one individual alone is easy to refute: Steve demonstrated extraordinary administration, control and the executives can prompt proficiency and profitability inside the business, however the manner in which all concur to deliver achievement relies upon an assortme nt of components which may incorporate the way of life, assets, essential interest for the merchandise, which we know was high because of the key advertising strategies utilized, just as the low-cost focusing on more extensive fragmented crowds. Additionally, the activities of rivalry, for instance IMF who demonstrated extraordinary danger toward the start of Apple (stretch out with history)†More as of late we can see that Apple, Samsung rule the cell phone industry ( zdnet. com/apples-iphone-5-overwhelms samsung-as-top of the line cell phone in-q4-2012-7000011547/,) (reach out with this model. ) Experience of Steve occupations: ‘Think different’ †delivering new items frequently to invigorate fervor consequently request though in 2012 we saw a gigantic arrival of Mac merchandise, for example, the Ipad smaller than normal, retina show of all items and so on which some contend may have harmed the esteem of anticipating the new Mac items that permits them to place such significant expenses on. (Article/cites)

Twilight Essay Example

In what ways does the presentation of Polonius contribute to the play Hamlet? Essay

‘Hamlet’ By William Shakespeare Question: In what ways does the introduction of Polonius add to the play Hamlet? Answer: Polonius, advocate to the King, father of Ophelia and Laertes (and despite the fact that there is no proof, it is conceivable that he held a situation at court under Hamlet’s father, the old King), appears to have a nearby and created relationship with the Royal family and knows a great deal about the family ancestry and foundation in detail. With the crowd knowing this, Shakespeare can utilize Polonius as a weapon against Claudius so as to secure himself or to extort the King. He is a man who is trusted by Claudius, the King of Denmark who tells Laertes, Polonius’ child, that his dad is endlessly essential to Denmark, † The head isn't increasingly local to the heart, The hand is progressively instrumental to the mouth, Than is the honored position of Denmark to thy father. † (Act 1 Scene 2-Lines 47-49) Here, the crowd would most likely be twofold disapproved and somewhat befuddled. This is on the grounds that; this statement could have a two sided connotation. It may be the case that Claudius needs to dispose of Polonius yet finds difflculty in doing as such as he is a loyal worker towards himself, the King. Polonius could be a â€Å"instrumental† devise for Claudius for those crucial occasions. We before long discover that Polonius is an over-defensive dad who just needs to shield his youngsters from society and has a solid authority over his child and little girl. This is found out when Claudius calls to Laertes: â€Å"Have you your father’s leave? What says Polonius? † (Act 1 Scene 2-Line 57) More proof of Polonius’ parenthood is reflected in Act 1 Scene 3, when Laertes is conversing with Ophelia before he is going to leave for France. Polonius enters the scene offering address like guidance to Laertes about variables to participate in and factors not to take part in. † Be thou natural, yet in no way, shape or form obscene. † (Act 1 Scene 3-Line 61) He doesn't confide in his child, which is the reason Polonius approaches Reynaldo â€Å"to make ask of his conduct. † Not just this, yet he gives verbose encourage to Ophelia without thinking of her as emotions by playing with his words, and blaming Ophelia for not having the option to settle on her own reasonable choices. â€Å"You talk like a green girl† (Act 1 Scene 3-Line 101) Polonius’ playing with words doesn't stop here; he utilizes figures of speech to cause himself to appear to be astute, while the lord and sovereign are not dazzled by any stretch of the imagination. At the point when he understands that his ‘artificial intelligence’ isn't working, he concocts his â€Å"lovesick† plan (to keep an eye on Hamlet and use Ophelia). Polonius doesn't just ‘educate’ his kids for their own advantages yet in addition to further his potential benefit. He utilizes them, Ophelia specifically, to elevate his vocation prompting Claudius to be glad when it is uncovered that Ophelia is doing her father’s messy work for him without knowing, which uncovers the level of Polonius’ trickiness. Polonius’ work is his need (this is reflected when he utilizes Ophelia to keep up his head high before the King) and it is appeared in the play that he is fit for going to outrageous estimates just so as to fulfill all and to keep his head high. I think he needs very a lot to dazzle the lord and sovereign, which clarify his senseless â€Å"talking around and around. † For instance, when he says, â€Å"Give first induction to th’ambassadors; My news will be the organic product to that incredible gala. † (Act 2 Scene 2-Lines 51-52) Shakespeare utilizes a character like Polonius in this play to supplement the entire play. Polonius’ amusing jokes make the crowd giggle and adjust the play against the strained and significant scenes in the play, HAMLET † Do you see there cloud that’s nearly fit as a fiddle of a camel? † POLONIUS † By th’mass, and ’tis like a camel without a doubt. HAMLET † Methinks it resembles a weasel. POLONIUS † It is sponsored like a weasel. HAMLET † Or like a whale? POLONIUS † Very like a whale. (Act 3 Scene 2-Lines 339-344) In act 3 scene 2, when Polonius is advised to get Hamlet, Hamlet plays with his words towards Polonius and makes him state whatever he, Hamlet picks. Polonius is made to state that he sees fanciful shapes, which Hamlet recommends, are in the mists.

The Affect or Effect Conundrum and How to Solve It

The Affect or Effect Conundrum and How to Solve It Lets face itâ€"the English language has some confusing grammar rules. In fact, some words in the English language are so confusing that incorrect usage is more common than correct usageâ€"and affect vs. effect are two such words!A problem many people have with understanding the difference between affect and effect is that there is only one letter that distinguishes the two from each other. Beyond that, affect is defined as to have an effect on so their definitions are similar. Then, both words sound almost the same when spoken quickly, creating further confusion. So, lets take a look at these two words and discuss a failproof way to remember the difference between them.AffectAffect is a verb that means to have an effect on; make a difference to; touch the feelings of (someone); move emotionally. However, there is one instance in which affect is a nounâ€"when it refers to the way someone carries themselves or their outward demeanor. This usage of affect is uncommon, so it isnt a conte xt youll encounter often unless youre in certain fields, where someone might refer to the patients affect (in psychology), meaning their disposition and how they outwardly present themselves.Examples:The extra side dish doesnt affect the cost of the mealIt doesnt affect me to watch sad movies, so I usually only laugh at them.EffectEffect is almost always a noun and can mean: a change that is a result or consequence of an action or other cause; an impression produced in the mind of a person. Effect can also mean: the lighting, sound, or scenery used in a play, movie, or broadcast, as in movie special effects.Examples:The effect of that movie on the audience is undeniable.Those lights have a nice effect on the look of the painting.And since it seems to be impossible to have an easy time with these two words, there is also one instance in which effect is used as a verb. When you effect change, you bring about change, and youll see it almost always combined with change in this context.T he Raven EffectIf you want an easy mnemonic device to help with the affect vs. effect conundrum, you can think of the word RAVEN to Remember Affect is a Verb and Effect is a Noun. Just keep in mind that there are a few instances where this isnt always the case, but for most contexts and of the words, it is.Affect vs. Effect in a nutshell

The Affect or Effect Conundrum and How to Solve It

The Affect or Effect Conundrum and How to Solve It Lets face itâ€"the English language has some confusing grammar rules. In fact, some words in the English language are so confusing that incorrect usage is more common than correct usageâ€"and affect vs. effect are two such words!A problem many people have with understanding the difference between affect and effect is that there is only one letter that distinguishes the two from each other. Beyond that, affect is defined as to have an effect on so their definitions are similar. Then, both words sound almost the same when spoken quickly, creating further confusion. So, lets take a look at these two words and discuss a failproof way to remember the difference between them.AffectAffect is a verb that means to have an effect on; make a difference to; touch the feelings of (someone); move emotionally. However, there is one instance in which affect is a nounâ€"when it refers to the way someone carries themselves or their outward demeanor. This usage of affect is uncommon, so it isnt a conte xt youll encounter often unless youre in certain fields, where someone might refer to the patients affect (in psychology), meaning their disposition and how they outwardly present themselves.Examples:The extra side dish doesnt affect the cost of the mealIt doesnt affect me to watch sad movies, so I usually only laugh at them.EffectEffect is almost always a noun and can mean: a change that is a result or consequence of an action or other cause; an impression produced in the mind of a person. Effect can also mean: the lighting, sound, or scenery used in a play, movie, or broadcast, as in movie special effects.Examples:The effect of that movie on the audience is undeniable.Those lights have a nice effect on the look of the painting.And since it seems to be impossible to have an easy time with these two words, there is also one instance in which effect is used as a verb. When you effect change, you bring about change, and youll see it almost always combined with change in this context.T he Raven EffectIf you want an easy mnemonic device to help with the affect vs. effect conundrum, you can think of the word RAVEN to Remember Affect is a Verb and Effect is a Noun. Just keep in mind that there are a few instances where this isnt always the case, but for most contexts and of the words, it is.Affect vs. Effect in a nutshell

The Charm is Broken Sexual Desire and Transgression in Jane Austens Mansfield Park - Literature Essay Samples

In a letter to her brother dated 1814, Jane Austen boasted about a compliment she had received from a friend on her most recent work, Mansfield Park: Its the most sensible novel hes ever read (263). Austen prided herself on creating literature that depicted realistic characters and honest situations, but perhaps more importantly, she strove to create fiction that was moral and instructional as well as entertaining. So what does sensible say about the sexual? In Mansfield Park, the answer appears blaringly before us, as we repeatedly witness sexuality and desire represented in the darkest of terms, and often resulting in the most sinister of outcomes. Those who emit a sexual persona or awareness are to be seen as dangerous, and those whom possess sexual desire are inevitably the ones in danger, and are often punished for their untamed emotions and erratic behavior. The Bertrams and Fanny Price reside at Mansfield Park peacefully enough until their quiet, domestic world is turned upsi de down by outsiders, all of who, in their own ways, threaten to upset the lives of the inhabitants with a passion, desire, and sexuality that is new to them. In this essay, I would like to examine the relationships that arise from connections with these outsiders, what role sexuality and desire play in them, and what Austens treatment of them says about sexual transgression and desire in a larger sense as well. It seems only natural to begin with the two most prominent intruders in Mansfield Park, Henry and Mary Crawford. As jaded individuals accustomed to the fast-paced (and amoral) life of the city, Mary and Henry view Mansfield Park and its residents with a sort of novelty interest, regarding them almost as if theyre playthings set out for their amusement. Mary is remarkably pretty (35) and wins the Bertrams over with her lively dark eye, clear brown complexion, and general prettiness (37) and her brother, after just a few visits, is declared, most agreeable young man the siste rs had ever known (37). Henry (who I will discuss in greater length momentarily) sees Maria and Julia as conquests, women to be won over just for the sake of doing so. Mary, however, is sincere in her emotions toward Edmund (at least, as sincere as Mary Crawford could ever be), but the combination of Edmunds desire for her and her own seductive nature makes her a precarious character. Perhaps Marys biggest problem is that she is too knowledgeable for her own good. Her skepticism and cynical attitude often seem out of place at the naà ¯ve and sheltered Mansfield Park, particularly when compared to the ideological views of Edmund. Unlike Edmund, who is strikingly ignorant about the matter, Mary becomes preoccupied with understanding Fannys position in society, and subsequent availability, inquiring, pray, is she out, or is she not? (42). Later, she remarks to Edmund, unaware that he is soon to be ordained, upon the apathy she feels (and blindly assumes others feel, as well) about at tending church:Cannot you imagine with what unwilling feelings the former belles of the house of Rushworth did many a time repair to this chapel? The young Mrs. Eleanors and Mrs. Bridgets‹starched up into seeming piety, but with heads full of something very different‹especially if the poor chaplain were not worth looking at‹and, in those days, I fancy parsons were very inferior even to what they are now (78) These instances, both tinged with sexual overtones, demonstrate that Marys worldliness and sophistication are dangerous attributes, because they are not representative of good manners or refinement, but a thin veneer that, when peeled away, reveals narcissism, superficiality, and a lack of morals. Although never told in so many words, we have a tacit understanding that Marys knowledge extends past the limits of what a proper young woman out to know about‹including, of course, sex and desire. It is this combination of awareness and corruption that makes Mary Crawf ord so ominous, and consequently, means danger for Edmund. Edmunds reckless longing for Mary, while it does reveal a weakness on his part, also seems to serve as a reiteration of her menacing nature. Repeatedly we, along with Fanny, must suffer through Edmunds oblivious veneration of Mary, which quite clearly has sexual implications. After all, his attraction to her is initially, and primarily, a physical one: it is her countenance that is so attractive (56). Later, at the end of a conversation with her, Edmund watches Mary walk away, in ecstasy of admiration of all her many virtues (101). This passion clearly has negative connotations and consequences. Because of Marys charm, or more accurately, because of Edmunds bewitched state, he frequently forgets himself, his family, and his duty. Edmunds lack of composure is most apparent in the strain that it puts on his relationship with Fanny. In Jane Austen and the War of Ideas, Marilyn Butler states, Edmund, who has always been consider ate of Fanny, is now seduced by his physical delight in Mary in forgetting her (223). Once Edmund realizes Marys callous and manipulative disposition, he alludes to his awareness as if he had has been released from a sirens spell: the charm is broken. My eyes are opened (412).While Mary Crawford is both tempting and threatening to Edmund, Henry Crawford is equally, perhaps even more so, a danger to Julia, Maria, and later to Fanny. We quickly learn from Mary that Henrys favorite hobby is wooing women he has no sincere interest in: he is the most horrible flirt that can be imagined. If your Miss Bertrams do not like to have their hearts broke, let them avoid Henry (36). Tragically enough, however, both Julia and Maria are soon taken in by his charismatic persona and sex appeal, and, for the first time in their lives, the sisters find themselves at odds with one another. From the beginning of the novel, we are informed of Julia and Marias vanity and weakness of character, which inevit ably foreshadow the disastrous events to come. Maria, so surrounded by admirers, must be difficult in her choice (33) accepts a marriage proposal from the foolish but wealthy Mr. Rushworth who endures humiliation and disgrace because he allows his eyes instead of his brain to guide him in his decision: he was from the first struck with the beauty of Miss Bertram (32). This act alone makes us skeptical of Maria, but Austen pushes us to become even more incredulous as we see her shamelessly unable to restrain herself from returning Henry Crawfords flirtations, despite her engagement and her sisters obvious interest in him. Maria lacks sexual self-discipline because Henry is irresistible, but also because she is used to and enjoys being flattered and admired.In one of Austens more symbolic moments, we see a grim prediction of Marias transgressive nature and inevitable ruin. During an outing at Rushworths estate, a fraction of the party find themselves trapped in a garden that has a lo cked gate, and are instructed to wait while Rushworth goes to fetch the key. Maria, however, lacks the patience for this, and attempts to squeeze through the gate in order to go off alone with Henry. When Fanny begs her to wait until the gate is properly unlocked, Maria says, Prohibited! Nonsense! I certainly can get out that way, and I will! (88). This attitude seems to encapsulate Marias life philosophy: she has little, if any, conscious of right or wrong, and does not seem to feel that it is any concern to her. This selfishness and immorality inevitably lead Maria to public a sexual scandal and public dishonor. When she tires of her husband, whom she married for money and not love, she is easily won over again by Henrys advances. Lionel Trilling duly notes in Mansfield Park that it is this relationship with Maria in which Henrys sexual charisma catches up with him: he becomesŠthe prey to his own charm, and in his cold flirtation with Maria Bertram he is trapped by his imper sonation of passion‹his role requires that he carry Maria off from a dull marriage to a life of boring concupiscence. (133). Both are weak characters, and allow their depravity to take whatever forms it might‹in this case, their downfall is desire that goes so unchecked that it unavoidably turns into acting outside of social norms. Marias lust for Henry, and Henrys disingenuous return of her affections lead to elopement, a shocked and hurt family, and a divorce for Maria. Julias constant attempts to catch up to (and outdo) Maria (she quickly scrambles over the fence when she discovers that Maria and Henry have gone off alone together) are often ignored by Henry and thwarted by the somber realization that her sister is the preferred one. Although Julia ends up eloping with Yates (who appears, like Rushworth, to be a rather simple and ridiculous man), and this exploit is obviously deemed sexually transgressive by society, it doesnt seem that Julias act was the result of anythi ng related to sex or desire, but rather, the reaction of a girl who has been overlooked and craves attention. We cannot help feeling a certain sympathy for Julia when we are told that her family has an easier time forgiving her than her sister: Julia escaped better than MariaŠto a favorable difference of disposition of circumstanceŠher beauty and requirements had held but a second place. She had always used to think of herself a little inferior to Maria (422).No one but Fanny seems to notice Henrys indiscretions towards Julia and Maria (Edmund might, but his impression of Henry is quite obviously influenced by Mary). Consequently, when he turns his interest toward her, she resists wholeheartedly, and unlike her cousins, who were quickly charmed into thinking him attractive, still continued to think Mr. Crawford very plain (42). Henry, unused to such reluctance, only becomes more intrigued by and passionate about Fanny. He declares to his sister that, it would be something to be loved by such a girl, to excite the first ardors of her young, unsophisticated mind! Fannys inexperience is alluring (and most likely, fascinating from Henrys jaded viewpoint) because it means that she is untainted‹virginal in every conceivable way. Naturally, Henry appears to be a shady figure because of his indiscretions with Maria and Julia, but his corruption seems to soar to a new level altogether as he actively pursues the disinclined Fanny. Although the climax of his pursuit would most obviously be the marriage proposal, the pinnacle of his flirtations toward her are revealed during the necklace incident. Fanny unwittingly accepts a necklace from Mary to wear to the ball, without having any idea that it was a gift from Henry. Once Fanny becomes aware of who truly gave her the necklace, she feels awkward and violated, having let a piece of jewelry from an unwanted admirer sit around her neck all evening without having any idea of the more scheming and sexual intention s for which it stood. The production of the play, Lovers Vows, is perhaps the sole episode in the book that is most abundant with sexual desire and transgression. While their father is away, Tom, Maria, Julia, at the suggestion of Yates and the delighted approval of the Crawfords, decide to put on a play to pass the time. They begin with elaborate plans for a building a stage, which turn out to be excessive in both cost and production, and then proceed to disrupt the house, both literally by rearranging the furniture and taking over the billiards room, and also figuratively by engaging in an activity of which they know Sir Thomas would not approve. The play accentuates the sexual tensions and desires that have surfaced earlier in the novel by allowing, as Butler says: a license for what would normally be entirely improper. Their scenes together permit physical contact between the sexes (as when Henry holds Marias hand) and a bold freedom of speech altogether outside the constraint imposed by social norms. (232)Although Edmund protests against the play in the beginning, his resistance gradually fades in order to take place alongside Mary in the production. Fanny bitterly cites Edmunds lapse of good judgment as all Miss Crawfords doing. She had seen her influence in every speech, and it was miserable (140). Austen again peaks our suspicion about Mary Crawford when we hear of her intention to rehearse it (the scene) with Edmund‹by ourselves‹against the evening (149). The notion of the rather worldly and aggressive Mary Crawford rehearsing a romantic scene alone with her love interest seems far from innocent. Other characters reveal their sexually charged agendas during the rehearsals as well. Henry Crawford snubs Julia, and consequently, strengthens his flirtation with her sister, by proposing the part she wanted to play go to Maria. Maria, instead of declining to participate on account of her engagement, sees nothing wrong with accepting the part offer ed to her. Julia, hurt and perhaps, desperate to be noticed and flattered, flirts with Yates. Fanny, the sole member of their party who staunchly refuses to condone the play or participate in it, notices that, during rehearsal, Maria acts too well (147), implying that the emotions that directed toward Henrys character are most likely more than just acting. Fanny also notes that Mr. Crawford was considerably the best actor of all (147), allowing Austen to suggest that Henry too effortlessly takes on whatever role is required of him for us to have faith in the possibility that he may evolve into something more than the glib showman he appears to be. Thus, the play is dangerous because it allows sexuality to be acted out, desire to be demonstrated, in a public arena. Furthermore, it brings out the more conniving attitudes and selfish natures of the individuals involved. We are to be wary of those who are so oblivious that they regard the play as nothing more than a harmless pastime ( such as Yates and the Crawfords), and feel concern for those (such as Edmund) who are persuaded to take part in it against their better judgment. It is only Fanny who realizes that the play is inappropriate, and remains firmly against for the duration of the rehearsals. This emphasizes Fannys level-headedness, her self-righteousness, modesty, and perhaps even prudishness. But does Fannys condemnation of the play seem to be a condemnation of sexuality and passion? Although we are aware of her unwavering desire for Edmund throughout the novel (most commonly expressed through modest blushes and an intense jealousy toward Mary), it would never occur to anyone reading Mansfield Park to suspect Fanny Price of possessing sexual desire or impure thoughts. Butler compares her feelings to Edmund to her emotions toward William, saying that they have a childish quality (248). Given Fannys naivety and the nature of her earnest yet unassuming devotion, this description seems quite accurate. Nina Auerbach is even more daring in her speculation of Edmund and Fannys relationship, likening Fanny (perhaps, a bit brutally) to Frankensteins monster, and calling her a charmless heroine who was not made to be loved (64). In Jane Austens Dangerous Charm Auerbach contends that Fanny does not aim as high as love or romance, but her goal is merely for equal companionship. This notion does seem to be supported by the text: Fanny does not appear to be concerned with love or desire, but sameness: she dislikes Mary because she threatens to create the danger of dissimiliarity (57) between Edmund and herself, and later rejects Henry on the grounds that we are so totally unlike (314).Incest has been a much-debated topic in critical discourse concerning Fanny and Edmunds relationship. This notion of a brother/sister marriage is not entirely shocking in the context of other relationships in Austens novels: Emma, after all, marries her brother, Mr. Knightley, who is twenty years her senior and ha s watched her grow up right in front of his eyes. Mansfield Park, however, is the only novel of Austens novels that directly and consciously addresses this social taboo. When Sir Thomas expresses hesitation toward Fannys presence at Mansfield Park because he fears the possibility of one of his sons falling in love with her, Mrs. Norris argues, Šdo you not know that of all things upon earth that is the least likely to happen; brought up, as they would be, always together like brothers and sisters: It is morally impossible. (4)Not only is the union possible, but by the end of Mansfield Park, it seems the only plausible solution. After the tumultuous experience Edmund has with Mary, a quiet marriage with Fanny naturally sounds attractive. Furthermore, there is no one left for Edmund but Fanny: immediately before we are told of their marriage in the last chapter, the previous one ends by stating, Fannys friendship was all that he (Edmund) had to cling to (417). In Jane Austen and the Fiction of Culture, Richard Handler and Daniel Segal accurately note that, neither the social rules defining a desirable marriage nor even the most uniformly held social rules defining a possible marriage control human interactions. (42)Although both Edmund and Fanny end up getting what they want (Edmund a wife, and Fanny, Edmund), and we can envision a happy marriage for them, it is not one of passion or sex or anything that would require more than a PG rating. In Mansfield Park, sexual desire often results in the loss of control, impaired judgment, and thoughts and actions that are guided by emotions rather than logic or rationality. We are told what is immoral and what not to do (play sexual games, flirt insincerely, lose oneself in passion or lust, etc.) but we are not given proper examples of how to conduct ourselves. Instead, Austen leaves us, rather uneasily, stranded between the platonic relationship of Fanny and Edmund, and the debauched affairs of the other characters, wi shing for some sort of happy medium. Bibliography: Auerbach, Nina. Jane Austens Dangerous Charm. Mansfield Park and Persuasion. Judy Simons, ed. New York: Macmillan, 1997. Butler, Marilyn. Jane Austen and the War of Ideas. Oxford: Clarendon Press, 1975. Handler, Richard and Daniel Sega. Jane Austen and the Fiction of Culture. Tucson: University of Arizona Press, 1990. Le Faye, Deirdre, ed. Jane Austens letters, 3rd. ed. Oxford: Oxford University Press, 1995.Trilling, Lionel. Mansfield Park. Jane Austen: A Collection of Critical Essays. Ian Watt, ed. Englewood Cliffs, New Jersey: Prentice Hall, 1963.