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for each subject the difference between the total levels of emotion (positive and negative)

expressed in the enhancement and control conditions and the difference between the total levels

of emotion expressed in the suppression and control conditions. The enhancement and

suppression ability scores were then summed to create an overall flexibility score (i.e., higher

overall scores indicated greater ability to both enhance and suppress).

To examine the predicted relationships of enhancement and suppression ability to

improved long-term adjustment, we conducted a series of hierarchical regressions using T2

distress as the dependent variable. The first step in each analysis included distress at T1 as a

control for initial levels of distress. The T1 distress variable also controlled for the possibility

that deficits in cognitive resources and motivation among highly distressed individuals

influenced their performance in the expressive-regulation task. As an additional control for this

factor, the initial step in each analysis also included the number of problems completed during

the 10-min filler task (M = 35.39, SD = 8.04). This variable was mildly inversely correlated with

T1 distress (r = -.19, p < .05) and mildly positively correlated with expressive ability (r = .20, p

= .05). The regression analyses are summarized in Table 2.

The two-part Tamburlaine is based on the historical figure of Timur, a bloody conqueror of Asia, whose greed for power and extravagance culminates with his inevitable downfall. Tamburlaine deviates from the tragic norm in his depiction of the tragic hero; Tamburlaine is not humbled by his dramatic fall, and no moral lesson is learned and repentance achieved. Tamburlaine does not conform to the model of the tragic hero set out in Poetics. The tragic hero is fated to make a serious error which will cause his fall and tragic death, usually caused by hubris, or prideful arrogance, but he remains likeable to the audience for his inherent goodness. Tamburlaine, in contrast, is a character whose goodness is notably absent.


In contrast the Aristotlean model, in which the tragic hero is noble from birth, Tamburlaine is an obscure Scythian shepherd in the opening of part 1. He quickly ascends through his bravery and his eloquent speech, and his ferocity on the battlefield. Tamburlaine sees himself as the 'scourge of God' and even dreams of leading his armies in war against the divine army in heaven. In a scene in which Tamburlaine has defeated Cosroe, he responds to Cosroe's demands for the reasons behind his treachery.


Nature, that fram'd us of four elements


Warring within our breasts for regiment,


Doth teach us all to have aspiring minds:


Our souls, whose faculties can comprehend


The wondrous architecture of the world,


And measure every wandering planet's course,


Still climbing after knowledge infinite,


And always moving as the restless spheres,


Wills us to wear ourselves and never rest,


Until we reach the ripest fruit of all,