Measure 91
Is Measure 91 good for Oregonians? No! While many people agree with the principle of Measure 91, which would stop Oregonians from paying taxes on the money that is paid as federal tax, the financial impact of the measure and the uncertainty of it's intended effects could make this measure financial devastating to the people it intends to help. In order to be able to make an informed decisions on the measure, it is important that we, first, discover what the measure proposes to do, second, determine who the measure will benefit, and finally, what effect the measure will have on the lives of Oregonians.
So what does this measure propose to do? Under the current law, personal income tax payers may deduct up to $3,000 paid in federal income taxes from their state tax liability and corporations paying Oregon income tax get no deduction. However, if this measure were to pass, it would allow for full deduction of all federal income taxes paid by both individuals and corporations towards their Oregon income tax returns.
Who benefits from this measure? According to research done by the Oregonian, a family who makes $46,000 would actually end up paying $159 more money in taxes. However, a family that makes $100,000 would see a savings of $849 and a family making $250,000 would save over $4,700. So in effect, this measure will only help the rich, but also hurt the poor and middle class by actually making them pay more taxes.
Now that we know what the measure would do if passed, what affects would it actually have on Oregonians? According to the Oregon Legislative Fiscal Office , Measure 91, if passed would cut nearly $1 billion, or 25 percent, out of Oregon's 1999-2001 biennium budget and more than $1.66 billion, or 15 percent, from the 2001-2003 general fund. So, where does this money come from? $32.4 million from community colleges and $56.7 million from Oregon's Universities, which will cause tuition increases of 50-100%, larger classes, and fewer classes being offered. It will also cut $57.8 million from Corrections which would led to 1,987 corrections officers being fired, or 4,900 inmates being released, but this causes a bigger problem, under Measure 11, neither of these two can happen, so that money will have to come from another source. Oregon State Police would see a $12.6 million dollar cut, which would eliminate 350 of the 720 officers on the force.
Social Justice and Power between Isabella and Angelo in Measure for Measure William Shakespeare’s Measure for Measure immediately begins with a radical shift in power and its effect on punishment. The Duke appoints Angelo to take his place while he is “away;” under the impression that Angelo is unwaveringly honorable and just. Yet, immediately Angelo’s first decision as temporary Duke is to publically and shamefully arrest Claudio, and sentence him to death for impregnating his lover out of wedlock
Shakespeare's Measure for Measure From the beginning of the play the Duke shows his fascination with the art of disguise. He has Lord Angelo takes his place and he in turn becomes a friar in disguise. Throughout the play this notion of false identity and exchange of identity plays an important role for the Duke and also for the characters in the play. To understand why the Duke has this desire to disguise himself one can look at the beginning of the play in act 1 scene 3 where the Duke is at
realistic in the real world, in general, these are the ways in which a twenty-first century woman is perceived. In the time period Shakespeare was writing in the abilities and roles expected of women were very different. For women in Shakespeare's Measure for Measure, there are extremely limited roles women can fulfill and all of them centre around sexuality and serving men sexually. A woman is either chaste or unchaste, a wife or a whore, and there is very little differentiating the two. A wife is subservient
Shakespeare’s famous play Measure for Measure is usually put into the genre of a dark comedy. I’m not exactly sure if that best fits this particular Shakespearian writing or not, but I do know that there is more dark than there is comedy in it. The writing is set in Vienna, Italy around the time of the 17th-18th century. The Duke of Vienna has decided to leave on a trip, and he will place a successor, Lord Angelo, in his position while he is away. Little does anyone in the town know, but the
A Title to be Reckoned With: An analysis of “Measure for Measure.” Titles are a crucial part to any story. Shakespeare especially had an understanding of the importance of titles for certain texts. Some of Shakespeare’s titles that do not simply name the protagonist are “Measure for Measure,” “The Tempest,” “A Midsummer Night’s Dream,” and the “Twelfth Night.” Something to examine when reading Shakespeare is the title. If the title is not simply something like “Hamlet,” or “Romeo and Juliet,” then
Measure for Measure by William Shakespeare The opening scenes of the play are called the EXPOSITION, where the dramatist introduces the most significant characters and themes, so that they can be developed and set up the plot. Describe the means by which Shakespeare had done this in the first act, and judge how successful (or not) he has been. The opening scenes of "Measure for Measure", introduce the most significant characters in the play and also tend to establish the relationships
In Measure for Measure, Shakespeare presents and considers the exercise of power and how it is used and misused in the corrupt, morally decaying society of Vienna. The authoritative figures in the play hold the power of the law, a choice between legalistic justice and mercy based on the “stricture statures” and “most biting” laws of Vienna. Women, facing a life of piety, prostitution or marriage, seek self fulfilling power through seduction and temptation of men. The power of unknowing, through disguise
Comparing the Duke and Angelo in Measure for Measure Angelo and the Duke are similar in the following respects: they both initially claim immunity to love and later come to be affected by it; to achieve ends they desire, both manipulate others into situations those others would not willingly choose to be in; both have sought to maintain a particular reputation; they both spend much of the play seeming other than what they appear; both think themselves to be other than what they are in the beginning;
The Good and Evil Angelo of Measure for Measure In Shakespeare's Measure for Measure, Angelo emerges as a double-sided character. Scholars have argued for centuries whether or not Angelo is a moral character or an evil character. Those scholars who support the notion of Angelo as moral often cite the following facts: the Duke obviously trusts Angelo, Angelo is disheartened enough by the end of the play to offer a sincere apology, and Angelo tries to resist the temptation that Isabella presents
Parallels Between The Prince and Measure for Measure The parallels between Machiavelli's Prince and Shakespeare's Measure for Measure are significant. The great majority of characters in Measure for Measure - the Duke, Angelo, Claudio, Pompey and even Isabella - display Machiavellian qualities. A comparison of key passages, both of The Prince and Measure for Measure, will establish this clearly. A study of kingship, arguably the entire premise for Measure for Measure, is immediately introduced
In Measure for Measure, William Shakespeare depicts conflict between the spirit, law, and flesh. He addresses the “complexity involved in balancing these elements” and demonstrates the necessity of a holistic balance between the flesh, the spirit, and the law in a healthy existence (Gless). When an over-reliance on rule-based laws or one’s relationship with their flesh is substituted for proper engagement with the soul, the balance of justice is skewed and individuals encounter their deepest flaws
Unity of Opposites in Measure for Measure Measure for Measure is an English play written by the famous playwright William Shakespeare (26 April 1564 (baptized) – 23 April 1616) in around 1603. The first publication of the play is originally in the First Folio of 1623 (where it was for the first time categorized as a comedy), while the play's first recorded performance was in the year 1604. Measure for Measure deals with many religious, political and humanistic issues, such as mercy, justice, and
Shakespeare's interpretation of women in Measure for Measure very much reflects society's opinion of women at the time, which was that men have more freedom and should be given more respect that women. The society of the time was a patriarchal one, where a male God was the ultimate leader, and below him came the king, then the nobles. However, although the society gave men more rights than women, Measure for Measure demonstrates that they also had more responsibilities. This is shown through the
heroines that Ruskin comments "Shakespeare has only heroines and no heroes." Truly, Shakespeare has not been able to depict a neat `hero' in the true sense of the word. Though Vincentio, Duke of Vienna, has been largely accepted as the hero of `Measure for Measure', not because he does any physical or intellectual heroics but because he towers above the rest of the rather mediocre characters. The man is not given to too much action; he is more prone to reflect and philosophize on things. The play appears
continuously aware of this power. A Duke is supposed to have a divine right from God, when the Duke disguises himself as a Friar, he also has the right of confession which he abuses when other characters confess to him. One of the themes of 'Measure of Measure' is the abuse of power which many characters do in different circumstances. The Duke however does appear weak and somewhat cowardly by leaving Angelo to reinforce all of the laws and to do the so-called dirty work, while the Duke goes into