A Tale of Two Cities Essay: Vengeance and Blood :: Tale Two Cities Essays

Vengeance and Blood in A Tale of Two Cities In A Tale of Two Cities, Charles Dickens depicts how pointless the revolution becomes when the original goal of equality becomes lost when the anger, frustration, and desire for revenge of the third estate is finally discharged. The trial of Charles Darnay, the words and actions of Madame Defarge, and use of symbolism and foreshadowing show how anger drove the revolution to a state of pointlessness. One major reason the revolution became out of hand was due to unscrupulous people running the courts and the imprisonment of innocent people for no reason. Charles Darnay happens to be a character in dire trouble, when he finds himself being imprisoned and tried before an unjust tribunal. Darnay was a wealthy man who left France, but returned to help a former servant and " was accused by the public prosecutor as an emigrant, whose life was forfeit to the Republic, under the decree which banished all emigrants on pain of Death" (413). One way to impose revenge on the higher classes was to sentence them to death for little or no reason, which was the case with Darnay. At his second trial Darnay realized that " before the unjust Tribunal, there was little or no order of procedure, ensuring to any accused person any reasonable hearing. There could have been no such Revolution, if all laws, forms, and ceremonies, had no first been so monstrously abused, that the suicidal vengeance of the Revolution was to scatter them all to the winds" (457). The chaotic and murderous atmosphere within the courts reflected the frenzied state that lay outside of its dreaded doors. Another example of revenge can be seen in the character Madame Defarge. Madame Defarge represents the people in France who gave in to hate to satisfy the hurt and pain that had churned inside of them for so long, and is finally released in murder and acts of revenge. She was a woman without pity and virtue. For " it was nothing to her, that an innocent man was to die for the sins of his forefathers; she saw, not him, but them. It was nothing to her, that his wife was to be made a widow and his daughter an orphan; that was insufficient punishment, because they were her natural enemies and her prey, and as such had no right to live" ( 524). Many people showed this same type of vindictiveness, which created a curtain that blocked the original goal of the third estate. A Tale of Two Cities Essay: Vengeance and Blood :: Tale Two Cities Essays Vengeance and Blood in A Tale of Two Cities In A Tale of Two Cities, Charles Dickens depicts how pointless the revolution becomes when the original goal of equality becomes lost when the anger, frustration, and desire for revenge of the third estate is finally discharged. The trial of Charles Darnay, the words and actions of Madame Defarge, and use of symbolism and foreshadowing show how anger drove the revolution to a state of pointlessness. One major reason the revolution became out of hand was due to unscrupulous people running the courts and the imprisonment of innocent people for no reason. Charles Darnay happens to be a character in dire trouble, when he finds himself being imprisoned and tried before an unjust tribunal. Darnay was a wealthy man who left France, but returned to help a former servant and " was accused by the public prosecutor as an emigrant, whose life was forfeit to the Republic, under the decree which banished all emigrants on pain of Death" (413). One way to impose revenge on the higher classes was to sentence them to death for little or no reason, which was the case with Darnay. At his second trial Darnay realized that " before the unjust Tribunal, there was little or no order of procedure, ensuring to any accused person any reasonable hearing. There could have been no such Revolution, if all laws, forms, and ceremonies, had no first been so monstrously abused, that the suicidal vengeance of the Revolution was to scatter them all to the winds" (457). The chaotic and murderous atmosphere within the courts reflected the frenzied state that lay outside of its dreaded doors. Another example of revenge can be seen in the character Madame Defarge. Madame Defarge represents the people in France who gave in to hate to satisfy the hurt and pain that had churned inside of them for so long, and is finally released in murder and acts of revenge. She was a woman without pity and virtue. For " it was nothing to her, that an innocent man was to die for the sins of his forefathers; she saw, not him, but them. It was nothing to her, that his wife was to be made a widow and his daughter an orphan; that was insufficient punishment, because they were her natural enemies and her prey, and as such had no right to live" ( 524). Many people showed this same type of vindictiveness, which created a curtain that blocked the original goal of the third estate.

A Study of Homoeroticism in Twelfth Night

Twelfth Night is a major site for homoerotic discourse in queer studies. However, the play is largely concerned with the idea of love, like many of Shakespeare's comedies. In order to investigate his subject further, Shakespeare periodically uses homoeroticism in order to represent various forms of relationships. The pairings of Olivia and Cesario/Viola, Antonio and Sebastian, and Orsino and Cesario/Viola, demonstrate that same-sex erotic attraction is a major theme in the play. Viola's secretive cross-dressing causes Olivia to believe that both of them are participating in normal, heterosexual interactions, while in reality they interact in a homoerotic fashion. These complex, homoerotic representations serve to dramatize the socially constructed basis for determination of sexuality according to one's gender identity. I intend to establish that in this play Shakespeare dramatically criticises the idealized norms of heterosexuality (required by his society) through focussing his narr ative on representations of homoerotic pairings and deconstructing dominant gender categories.What is the difference between a figurative and a literal analogy? Viola's transvestism spurs various relationships that fall within the bounds of homoeroticism. Through the secret of her disguise, her actions illustrate the flaws of socially constructed gender identities, defined by the socially perceived opposites of aggressive, â€Å"macho† masculinity, and silent, yet coquettish, femininity, checked by behaviour of males. Viola's success in perpetrating her secret transvestism indicates that the construction and performance of gender is not dependent on one's physical characteristics but on one's behaviour, as well as upon a set of observed and internalised mannerisms. Viola's representation of homoerotic interaction in Olivia's love for her, and in her own love in Orsino as Cesario, disrupts the traditional, feminist â€Å"us vs. them† principle, and demonstrates that constructed, socially acceptable gender identities of the feminine and masculine are attributes that can be found in either male or female. In the final scene of the play, when Viola's act is exposed – â€Å"If nothing lets to make us happy both / But this my masculine usurped attire, [†¦] That I am Viola† (V.i.249-253), Sebastian, Viola's twin brother, easily steps into the vacuum left by the revelation of Cesario's identity marrying Olivia as he states, â€Å"So comes it, lady, you have been mistook. / [†¦] You would have been contracted to a maid, / Nor are you therein, by my life, deceived. You are betrothed both to a maid and man† (V.i.259-63). The twins' interchangeable nature demonstrates to us that even the natural perspective of the world is not a gendered duality. The differently-gendered identical twins show a collapse of sexual difference as a natural process, indicating that nature never intended man to be constrained by gender binaries. Orsino proclaims â€Å"One face, one voice, one habit, and two persons, / A natural perspective, that is and is not!† (V.i.215-6), stat ing that nature is able to create two identical beings despite the natural sex difference between brother and sister, male and female. The same concept that allows a female Viola to be a male Cesario also allows male actors portraying female characters to seem authentic, despite their natural gender. Upon mistaking Sebastian for Cesario/Viola, Feste remarks: â€Å"Nothing that is so is so,† (IV.i.8), indicating that gender is not dependent solely on physical attributes. Feste later adds, â€Å"That that is, is† (IV.ii.15), commenting on his own dressing as a Parson while Feste is really a fool. This same phrase extends to comment on the fact that Viola is male so long as she portrays a male, that gender is dependant on society's perception and not on one's private parts. When Olivia queries Cesario for his identity, â€Å"What are you? What would you?† (I.v.207-208) and Cesario/Viola cryptically replies that what he is and would be is â€Å"as secret as maidenhead† (I.v.211)), Viola alludes to her true gender. However, in addition, she also hints at Sebastian's virginity that the latter admits to in the final act of the play, stating Olivia is â€Å"betrothed both to a maid and man† (V.i.263). When the effects of these statements at combined, it is interesting to observe that Cesario's response to Olivia's query refers to the maidenheads of Cesario, Viola, as well as the boy actor playing her! As Viola states later on: â€Å"I am all the daughters of my father's house, / And all the brothers too† (II.iv.120-1). Twelfth Night interrogates the exclusive nature of constructed gender categories and challenges the heterosexual hegemony by constructing representations of same-sex love. Viola's imitation of the male gender demonstrates to us that erotic attraction is neither inherently based in gender, nor a solely-heterosexual phenomenon – since Olivia becomes attracted to Viola (as Cesario), and Orsino to Cesario. In the play, homoeroticism does not follow gender stereotypes of the effeminate male or the masculine female, as in the case of Antonio's affection for Sebastian – despite Antonio's stereotypically-masculine identity, that Shakespeare shows to us when Antonio â€Å"took [†¦ Sebastian] from the breach of the sea.† Antonio's love for Sebastian is portrayed, when Antonio states, â€Å"If you will not murder me for my love, let me by your servant† (II.i.33-4) and, later: I have many enemies in Orsino's court, [†¦] But come what may, I do adore thee so That danger shall seem sport, and I will go. (II.i.51-4) Both Antonio and Sebastian are swordsmen, possessors of a very â€Å"masculine† skill, and yet both engage in homoerotic relations. It is interesting to note that, despite the fact that Sebastian is more resistant and feminine in comparison to Antonio – as he wishes to avoid causing harm, utilizing only his dagger's hilt, despite Sir Andrew striking him and paying the pestering Feste to leave Sebastian alone, instead of striking him, in the first scene of act four (lines 17-25) – Sebastian is the one who succumbs to the social constructions of masculinity and heterosexuality when he marries Olivia in the final act of the play. Meanwhile, the â€Å"macho† Antonio remains homosexual, as seen in his silence at Sebastian's wedding, which speaks louder than any vocal protest. Such relationship dynamics in the play disrupt the social notion, prevalent in Shakespeare's (and even current) time – that the heterosexual man is supposed to be a â€Å"macho† figure and homosexual man is meant to be effeminate. Similarly, Viola's feminine quality in playing Cesario inspires love in Olivia rather than the aggressive â€Å"male† traits of Orsino. Viola becomes a â€Å"better† man when she deviates from the behavioural script set out in Orsino's Petrarchan sonnet – a male form that silences the woman as an unattainable distanced goddess. The Petrarchan sonnet form, although addressed to females, was commonly read by males, used to solidify elite homosocial bonds (Marotti 396-428) as well as to promote a social discourse designed by and for men (Vickers 96). Viola's deviation from this male form creates a new female (perhaps lesbian) poetic within the pastoral setting that she constructs in her response to Olivia's refusal to love Or sino: Make me a willow cabin at your gate And call upon my soul within the house; Write loyal cantons of contemned love And sing them loud even in the dead of night; Hallow your name to the reverberate hills, And make the babbling gossip of the air Cry out â€Å"Olivia!† (I.v.263-8) Thus, Viola (as Cesario) creates a space for Olivia's reply, whereas Orsino's script (â€Å"Lady, you are the cruel'st she alive / If you will lead these graces to the grave / And leave the world no copy† (I.v.236-8) prevents response, thus portraying Olivia as an object incapable of response. Olivia anticipates her own objectification, interjecting to say: Oh, sir, I will not be so hardhearted. I will give out divers schedules of my beauty. It shall be inventoried, and every particle and utensil labelled to my will: as, item, two lips, indifferent red; item, two grey eyes with lids to them; item, one neck, one chin, and so forth. (I.v.239-44) She understands the ways in which she is reducible to an item, whose qualities consist of a checklist of characteristics, which, in turn, identify her as an unattainable, silent object of beauty. In contrast to such a mode of communication, Viola's encouragement for response causes Olivia to present her ring to Cesario/Viola. While attempting to win Olivia's heart, Cesario deviates from socially constructed male behaviour; ironically, this results in Olivia pursuing Cesario – in a masculine action. This scenario undermines the construction of categorical sex via the success of Cesario by acting as a female. Similarly, the portrayal of a supposedly heterosexual relationship, that puts the female in the place of power, counters the social norm that places the male at the helm of a relationship. One finds a similar situation in the fourth scene of the second act, where Orsino remarks that in love, a woman does not suffer so much as a man (93-118), to which Viola (as Cesario) vehemently responds, telling Orsino of her love for him indirectly: In faith, they are as true of heart as we. My father had a daughter loved a man [†¦] She never told her love, But let concealment, like a worm i'th'bud, Feed on her damask cheek. She pined in thought, And with a green and yellow melancholy; She sat like Patience on a monument, Smiling at grief. Was not this love indeed? We men say more, swear more, but indeed Our shows are more than will; for still we prove Much in our vows, but little in our love. (II.iv.105-118). Viola aggressively and passionately describes her patience though a story, taking on the role of the man: she controls the discourse as she impersonates herself, and objectifies herself as allegorical â€Å"Patience on a monument† (II.iv.14), in a verbal tour de force. Paradoxically, Viola affirms her patience and feminine character by means of being masculine (according to the gender paradigms Orsino proposes). Viola strongly explains the patience and gentility of a woman, as a disguised woman, thus deconstructing the categories of sex in general, and those of femininity as â€Å"patience† and masculinity as â€Å"aggression,† in specific. As well, Viola challenges the patriarchal social order of her society by demonstrating how she, a transvestite, is capable of deconstructing gender categories. Further, the very fact that the action in the plot – the wooing of Olivia, unbeknownst to Sebastian, and the wooing of Orsino – is mostly attributed to Viola through her planning and action demonstrates the female in power instead of a male. This fact, combined with the inaction of the male characters in the play, destabilizes another traditional notion of gender identity: the female as the prized possession and the male as its conqueror. The final act of the play exposes the failure of the dominant, heterosexual regime to fully regulate its own narrative ideals, since, in order to achieve a â€Å"happy,† heterosexual ending, which befits a traditional comedy, a series of improbable plot turns must take place. This structural necessity indicates to us that Shakespeare is ambivalently invested in the heterosexual standards that he imposes upon his play. The unlikelihood of various irrational plot turns, and easily interchangeable affections, necessary to end the play with these successful, formed relationships shows the failure of imposing heterosexual ideals in society. Despite the absurd twists in the play, there remains some untouched deconstruction of gender as well as some latent homoeroticism in the play. In line 263 of the first scene of act five, Sebastian says that he is both man and maid, in reference to his virginity, but also in reference to his character traits being both male and female. This admission destabilizes the configuration of gender by attributing Sebastian with both male and female physical attributes, albeit figuratively. This also maintains a measure of homoeroticism in Sebastian's character. Further, Orsino comments that Viola is both man and maid as well – in that Olivia will remain a man so long as she dresses in man's garb: Cesario, come– For so you shall be, while you are man; But when in other habits you are seen, Orsino's mistress and his fancy's queen. (V.i.385-388) This remark concludes that identity, gender, and its foundations are simply as interchangeable as clothing, and gender depends on the character's actions and not their physical attributes. Ultimately, the ending of Twelfth Night is not entirely ideal, since many characters – Viola, Sebastian and Olivia – are not completely happy, having succumbed to the pressures of heterosexual conformity. The true homosexual union of male and female character pairs challenges the heterosexual dominance over homosexual interaction. Viola may have won Orsino; she may even marry Orsino, but she is not completely happy since Orsino mere moments ago was willing to destroy their friendship for Olivia's sake (â€Å"Farewell, and take her, but direct thy feet / Where thou and I henceforth may never meet† (V.i.166-7)). Likewise, Sebastian, although happy with Olivia, seems happier when he sees Antonio once again at the end of the play, and exclaims in a romantic manner upon seeing him, saying, â€Å"Antonio, O my dear Antonio! / How have the hours racked and tortured me / Since I have lost thee!† Finally, while Olivia is set to wed Sebastian, she seems more jubilant with regard to having Viola as a sister, â€Å"A sister! You are she† (V.i.327), thus expressing her deeper interest in Viola rather than Sebastian. Since Shakespeare's society chose to regulate the sexual and gendered expression of its people, Shakespeare comments on the â€Å"ideal† norms of heterosexuality in Twelfth Night, demonstrating, through carefully constructed contradictions, that gender is a mere social construction. That in actuality there are no boundaries to behaviour and that there is no such thing as â€Å"homoeroticism† or â€Å"hetero-eroticism† but only Eros, regulated by attraction, love and relationship. True homosexual union of male and female character pairs in this play (as both actors are male), challenges the heterosexual dominance over homosexual interaction. Having done so, Shakespeare, due to societal prejudice, reverts to heterosexual discourse, acknowledging that despite the truth of sex and gender, one must abide, for practical reasons, by the demands of social majority.

The Jews are perceived as the “chosen people” of an...

The Jews are perceived as the â€Å"chosen people† of an omnipotent and omnibenevolent God. However, the Shoah has posed as a challenge to the belief in the God of tradition who intervenes in history. It is questioned by Rubenstein, ‘how can Jews believe in an omnipotent, beneficent God after Auschwitz?. Therefore, maintaining belief in an all loving and all powerful God after the Holocaust has unsurprisingly been difficult for some Jews. Jewish scripture reveals how God intervened in the history to save his people from tragedy and to punish for sin. For example, the destruction of the temple in 70CE and God’s intervention to save his people as told in Exodus 14, where God selects Moses to lead his chosen people out of slavery in Egypt.†¦show more content†¦This essay will highlight the challenge the Holocaust inflicted upon Jewish thinkers and will illustrate the affect the catastrophe had upon belief in the God of tradition. Attempting to reconcile the existence of God with the occurrence of the Shoah is not an easy task, as why would an all loving God allow 2/3rds of his people to be murdered for being Jewish? However, Ignaz Maybaum’s response to God’s role during the Holocaust coincides with the traditional understanding of a God who intervenes in history. Previously serving as a liberal rabbi, Maybaum affirms the continuity of the covenant between God and Israel and maintains the belief that God intervenes in the history of his chosen people. Within ‘The Face of God after Auschwitz’, Maybaum affirms that the Holocaust was a deliberate intervention of God, but he rejects the concept that the Shoah was punishment for sin. Here we can see how Maybaum maintains the traditional belief in a God who intervenes in history, but modifies the traditional concept of God intervening to punish for sin. Maybaum states that the Jews were murdered during the Holocaust for the sins of mankind, which echoes the parable of the suffering servant as told in Isaiah 52:13. Whilst this is not the common understanding of God’s role inShow MoreRelatedBeyond the Problem of Evil Essay6495 Words   |  26 PagesProblem of Evil Introduction: The problem of evil is, in my opinion, the best point of departure for a fruitful dialogue between Christianity, traditionally conceived, and those strands of modern philosophy which have been perceived--indeed, have sometimes perceived themselves--as a threat to that tradition. As such, I will attempt first, to outline the problem of evil in the starkest terms possible, presenting Augustines approach to its solution followed by a critical analysis; second, to

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The University New Haven Teachers Institute - 1344 Words

I am presently employed by Yale University in the Yale-New Haven Teachers Institute ®. We are a small, unique department with our own endowment that functions under the Provost s office. We are almost like a virtual operation because we have little or no formal structure when compared to other departments in the University. We have a small staff of individuals who have a specific job/role in the Institute. We have a Director, an Associate Director, a Web Designer, a Database Developer, an Administrator, an IT Manager, and a Senior Administrative Assistant. The Yale-New Haven Teachers Institute ® is an educational partnership between Yale University and the New Haven Public Schools designed to strengthen teaching and learning in local†¦show more content†¦Following the approach developed in New Haven and implemented in other communities, the Initiative is timely because of the emphasis that public policy makers and educators continue to place on the fundamental necessity of effective teaching for student learning, the precept on which Teachers Institutes are founded. I described the function of our department in great detail to clearly depict how our department is focused more on goal setting than outcomes. We generally know what the outcomes will be because we provide professional development for public school teachers based on a seasonal cycle of completion. For me, it is a matter of working independently toward meeting set objectives in a timely fashion. For the past seven years, I have been the Senior Administrative Assistant for our department. The Associate Director is my direct supervisor. I collaborated with her on a daily basis for four years in our New Haven office. Three years ago, due to family obligations, she moved to Pennsylvania. This changed the whole dynamic of the office environment. We were uncertain what to anticipate – dreading the outcome. At first, it seemed like a very strange setup, but the transition from direct co ntact each day to receiving assignments via email, and the occasional phone call has, surprisingly, been quite smooth. Currently, my supervisor is only on ground

Biggest Problem Facing Our Generation Free Essays

The biggest problem facing our generation is fixing the mistakes that our fearless leaders have made. George W. Bush had made many mistakes while in office from 2001 to 2009. We will write a custom essay sample on Biggest Problem Facing Our Generation or any similar topic only for you Order Now One of the most controversial issues that he had completed related to the signing of a report endorsing outsourcing with thousands of American workers having their jobs shipped overseas. He may have had good intentions, but all that was lost after the signing of this bill that took 2. 6 million jobs away from the people of the United States. Due to this decision, numerous companies were shipped overseas since the labor costs are lower and emission standards don’t exist. Another notorious decision relates to the invasion of Iraq. After September 11, 2001, Bush became convinced that Saddam Hussein was seeking nuclear weapons and represented a mortal threat to the west. However, he chose to ignore conflicting evidence and undermined not only his presidency, but the reputation of US intelligence agencies and his country. Another mistake that occurred just weeks prior to the 9/11 attacks notified the people of his loss of dedication to the country. Bush received a memorandum, called the pre-9/11 memo, from the CIA entitled,†Bin Laden Determined to Strike in US. † Although, he did not respond to the threat since he was on a family vacation, which will forever blight his legacy. The results of these mistakes are still dwelling over the United States. Yet, our generation is only able to learn from the mistakes and ensure that they are not repeated. How to cite Biggest Problem Facing Our Generation, Papers

Interface Usability of a Flower Shop App

Question: Discuss about the Interface Usability of a Flower Shop App. Answer: Overview of the Project The flower shop named Flowerish has planned to develop a mobile app. The shop sells flowers, bouquets and related services to the individual and corporate customers. Even though the shop has a website but it does not help in increasing the volume of the business. Therefore it decided to develop a mobile app and launch it in the market to attract the new customers and increase the volume of the business by competing with the rivals in the market. The mobile app that is intended to develop for the flower shop Flowerish will help the shop to have its online presence to a higher level. By introducing this new app, the shop tries to fill the gap between the modern day customer demands and the supply from the shops (Dunford et al., 2014). As the ubiquity of the smart devices or say smart phones are getting increased day by day, therefore the development and the introduction of the mobile app is going to help both the shop by increasing the amount of revenue from the business (de Andrade et al., 2015). Moreover, the customers can order and get their flower just by booking it on the app on real time basis. Vision The website of the shop does not provide any information about products or services from the flower shop. Therefore, by introducing the app for its business the vision of the flower shop is to provide information about the availability of the flowers in the different occasions like the mothers day, fathers day, valentines day etc . According to a survey it is estimated that, the number of smart phone users in Australia in 2017 will be almost 19.4 million (Xanthopoulos Xinogalos, 2013). Therefore the app will help the shop to have a successful penetration in the niche markets. Outcomes The outcome of this project is an app that will display and provide information about the bestselling flowers and services from the shop. The interface of the app will help the customer to choose the flowers from a wide variety. Moreover, the flowers that are not in the stocks are going to be placed in the special order category. At the same time the staffs will be notified by the app whenever a booking is done so that the products can be packaged and delivered on time (de Andrade et al., 2015). These features are going to help the shop in competing with the rivals in the business. Scope The project scope includes the development of the app according to the client (in this case the Flowerish). The scope of the project includes the configuration and development of the mobile app. Moreover to manage the content and features, publishing of the content on the app is also include (Xanthopoulos Xinogalos, 2013). In addition to that, the scope also can be extended to include the other beneficial areas like the use of the new marketing methods by using the social networking platforms (Abel et al., 2013). The financial impact of this project will be a little overhead for the flower shop. The reason behind the overhead is the fees of the consultants, the cost related to designing questionnaires and accreditation certificates for the app. The scope of the project does not include the day to day maintenance of the app. Customization of the existing specifications or services to meet the shops business needs is also excluded from the scope of this project. Objectives of Development The objective of the app development project is to provide an app to Flowerish. This app will help Flowerish to increase its business. The expected objectives of the project includes the following, a) To encourage the flower shop to reduce the operational and advertising cost and improve the business performance (Joorabchi, Mesbah Kruchten, 2013). b) To effectively manage the inventory management system of the shop. Moreover, it is expected that the successful completion and implementation of the project at the clients end will increase the business of the flower shop by 50%. Output The output of the project will be very beneficial for the flower shop as well as its customers. For the shop a) Flowerish will have a better online presence at the same time it can attract the potential customers who are using the smart phones (Abel et al., 2013). Unlike its website, the app will be updated and maintained periodically and on a regular basis. b) The features of the app will help the shop to enter a successful niche market. c) Customers can view, buy, comment and provide review on the products that are available on the shops app. d) The customers can chat with each other about the products (Magrath McCormick, 2015). Moreover by using the loyalty scheme the customer can have cheaper deals on the flowers by using the app. Target The target customers are mainly the tech-savvy people who use their smart phones or devices to do online shopping or transactions. In addition to that the older and disabled people who cannot travel to the shops can also book the products using the app. In addition to that, the target of the shop can be given by entering into a niche market by providing the discounted rates on the flowers, bouquets and services (Joorabchi, Mesbah Kruchten, 2013). At the same time the app will have a notification system that is going to notify the staffs of the shop whenever order is booked. Success Criteria The success criteria for the app development project depends on the user involvement in the development, clear and specified requirements from the client side (In this case the flower shop), proper planning of the development procedure. The users of the app must be satisfied with the design development methodology of the mobile app (Magrath McCormick, 2015). Moreover the, completion of the small milestones in the in the whole process, clear vision with objectives and the hardworking staffs are the main criterias for the successful completion of the app development project (Joorabchi, Mesbah Kruchten, 2013). Since the app is developed for a flower shop, that is going to help it to increase its business, therefore its important for the developers to clearly understand the client requirements to avoid any conflict at any phase of the development. On the other hand the hardworking staffs are helpful for the flower shop to increase the effectiveness of the app. Key Assumptions The new app of the flower shop system assumes that the individual is using the smart device or a smart phone running the Android OS version 4.4 or greater. The hardware specifications of the device should meet or exceed than the LG G5 model. Moreover, the appropriate extension needs to be installed in the device. The extensions like the Text to Speech and Speech to Text should be loaded on the smart phones (Heitktter, Hanschke Majchrzak, 2012). In addition to that, it is to be ensured that all the participants should abide by the guidelines according to the project development plan. The project development plan may change as per the new informations and issues are identified by the flower shop (Marcano Belisario et al., 2015). The failure in detecting the changes and drafting the deliverables according to the schedule will result in the project delays. References Abel, O., Shatunov, A., Jones, A. R., Andersen, P. M., Powell, J. F., Al-Chalabi, A. (2013). Development of a smartphone app for a genetics website: the amyotrophic lateral sclerosis online genetics database (ALSoD).JMIR mHealth and uHealth,1(2). de Andrade, P. R., Albuquerque, A. B., Frota, O. F., Silveira, R. V., da Silva, F. A. (2015). Cross platform app: a comparative study.arXiv preprint arXiv:1503.03511. Dunford, E., Trevena, H., Goodsell, C., Ng, K. H., Webster, J., Millis, A., ... Neal, B. (2014). FoodSwitch: a mobile phone app to enable consumers to make healthier food choices and crowdsourcing of national food composition data.JMIR mHealth and uHealth,2(3), e37. Heitktter, H., Hanschke, S., Majchrzak, T. A. (2012, April). Evaluating cross-platform development approaches for mobile applications. InInternational Conference on Web Information Systems and Technologies(pp. 120-138). Springer Berlin Heidelberg. Joorabchi, M. E., Mesbah, A., Kruchten, P. (2013, October). Real challenges in mobile app development. In2013 ACM/IEEE International Symposium on Empirical Software Engineering and Measurement(pp. 15-24). IEEE. Luterbach, K. J., Hubbell, K. R. (2015). Capitalizing on App Development Tools and Technologies.TechTrends,59(4), 62-70. Magrath, V., McCormick, H. (2013). Marketing design elements of mobile fashion retail apps.Journal of Fashion Marketing and Management: An International Journal,17(1), 115-134. Marcano Belisario, J. S., Jamsek, J., Huckvale, K., O'Donoghue, J., Morrison, C. P., Car, J. (2015). Comparison of self administered survey questionnaire responses collected using mobile apps versus other methods.The Cochrane Library. Xanthopoulos, S., Xinogalos, S. (2013, September). A comparative analysis of cross-platform development approaches for mobile applications. InProceedings of the 6th Balkan Conference in Informatics(pp. 213-220). ACM.