Edgar Allan Poe The Raven Research Paper Example | Topics and Well Written Essays - 500 words

Edgar Allan Poe The Raven - Research Paper Example It was possible that Lenore was the deceased woman being referred to in the poem (Cummings , par 9). The poem tells of a bereaved man who is completely devastated by the lost his loved one, Lenore. Suddenly in his moment of sadness, a raven appears who keeps on repeating the word â€Å"nevermore†, as if telling the man that he will never see his beloved again, not even in heaven. As in most works of Poe, â€Å"The Raven† has a very melancholy tone which is emphasized by Poe’s use of words such as â€Å"weary†, â€Å"dreary†, â€Å"bleak†, â€Å"dying†, â€Å"sorrow†, â€Å"darkness†, â€Å"stillness†, â€Å"ebony† and â€Å"grave† (Cummings , par 7). He also uses internal and end rhymes and alliterations to enhance the theme of the poem. â€Å"The Raven† was first published on January 29, 1845 in the New York Evening Mirror (eNotes.com, Inc. , par 1). It is said that the sources of â€Å"The Raven† are Elizabeth Barrett Browning’s â€Å"Lady Geraldine’s 1843 Courtship†, Charles Dickens’ â€Å"Barnaby Rudge† and the two poems by Thomas Holly Chivers, â€Å"To Allegra Florence† and â€Å"Isadore† (eNotes.com, Inc. , par 1). Poe revealed in his â€Å"The Philosophy of Composition† that he wrote about death in â€Å"The Raven† after asking himself what it is among the universal understanding of mankind is the most melancholy (Poe , par 20). Furthermore, he also asked himself what it is that is most universally appreciable and his answer was â€Å"beauty† (Poe , par 13). Having these two topics in mind, he then thought of combining them and writing a poem about the death of a beautiful woman which he considered â€Å"the most poetical to pic in the world† (Poe , par 20). In terms of symbolism, Poe also considered using a parrot in the poem because it was capable of speech. However, he decided to use a raven instead since the theme of the poem is melancholy. A raven is known to be a bird which symbolizes ill omen; thus, Poe decided that it was more

Marketing - Marketing Metrics Essay Example | Topics and Well Written Essays - 2000 words

Marketing - Marketing Metrics - Essay Example The mere thought that the cruise ship market segment will become saturated is illogical. In the cruise ship’s French market segment industry indicates the government had taken the industry on board. Consequently, the United Kingdom government must follow the example of the French government, in terms of prioritizing the cruise ship industry (http://www.cybercruises.com/shiplist.htm). 2. Cruise Market Watch In terms of United States cruise ship travel (http://www.cruisemarketwatch.com/blog1/market/), there are statistical data indicating which sector leads. In terms of age, cruise ship customers belonging to the 40-49 years of age ranks no. 1 & 2 at 26 percent. Cruise ship customers belonging to the 60 and above years of age ranks no. 1& 2 at similar 26 percent. Lastly, the cruise ship customers belonging to the 50-59 years of age ranks no. 3, at 22 percent. The income data indicates a striking cruise ship company impression. First, cruise ship customers belonging to the $100,0 00 to $200,000 annual income ranks no. 1 at 39 percent. Second, cruise ship customers belonging to the $75,000 to $100,000 annual income ranks no. 2 at 19 percent. Third, cruise ship customers belonging to the $60,000 to $75,000 annual income ranks no. 3 at 16 percent. ... Further, the data indicates that there is a significant difference when the race criteria are used. The white gender represents 91 percent of the cruise ship customers. The Americans represent 3 percent of the cruise ship customer pie. Last, the other race profiles represent 6 percent of the cruise ship customer pie. In terms of employment status, there is a significant difference. The graduates comprised 75 percent of the cruise ship customer population. On the other hand, the undergraduates comprised 25 percent of the cruise ship customer population. The graduates include those with doctoral degrees. In terms of employment status, there is also a significant difference. Statistics indicate the full time workers represent 63 percent of the entire cruise ship population. On the other hand, only 20 percent of the entire cruise ship population had retired from work. 3. Drivers of the Cruise ship Business. There are many factors driving the cruise ship business to continue serving the n eeds of the current and prospective cruise ship customers, including customers of Cunard cruise ship lines. Customers. Cunard shipping lines is one of the oldest and finest cruise ship lines in the global, especially United Kingdom, cruise ship industry. The Cunard cruise ship lines offers cruise to major ports of the world. The ports include Mediterranean, Caribbean, Northern European, and other World cruise ship tours (Kotler, 2009). Carnival United Kingdom Chief executive David Dingle emphasized 2010 was the most successful year for the company, in terms of cruise ship financial performance. The company’s acquisition of several cruise ships bolstered its financial performance. The company acquired Caronia, QE2 and the brand new Queen Mary 2. The three cruise ships had different

Photography Essays Monstrous Imagery

Photography Essays Monstrous Imagery Chasing the Dragon: Capturing the Significance of the Monstrous Chapter One: What is a monster? There are perhaps two kinds of monster: the monster that sprung from our own hands and changed into something uncontrollable, and the monster that is experienced as alien, preternatural, generally an unfathomable creature, and frightening because of its mystery. It is impossible to decide which is more frightening, since both suggest an Other, something resistant to human power, and while the first kind draws attention to man’s mortal limits and potential for self-destruction, the second highlights the extent of human ignorance and insignificance in relation to external forces. Both kinds of monster, however, share an ability to induce extraordinary fear, and both have a solid foundation in mythology, since man has always feared what he could not explain and has translated his fears into metaphorical shapes of fearful creatures since time began. Both man-made and alien monsters, too, share a self-referential semiotic structure in literature, art, psychology and mythology. In t he history of the human subconscious, fears have always preceded monsters. Monsters are representative. They are representative of all the things we are unable to control, and the uncontrollable fear that is generated by these things. They are representative, then, on more than one level, as they are simultaneously our fear and the object of our fear. All (â€Å"bad†) monsters are synonymous with fear – our fearand as such the monstrosity we perceive in even â€Å"external† beasts like aliens, dragons, sea monsters and circus freaks, is something generated by us, the beholder. They are also representative of anything threatening, as Robert Thomas’ definition in â€Å"The Concept of Fear,† explains â€Å"not only what is likely to threaten life, injure our bodies, cause physical pain, which is seen as   ‘dangerous’ or ‘threatening.’ The monster retains an almost unique power to represent, subjectively, something different to whoever beholds it. But its representative power operates on a universal level too: in Judith Halberstam’s book Skin Shows (1995) she seems to suggest that the semiotics of a monster’s meaning should maintain a certain fluidity, as its interpretation is so unstable, and contingent upon social, political and religious climates. Halberstam expounds on the role of literary and cinematic texts in channelling our fear of monsters, since â€Å"the production of fear in a literary text (as opposed to a cinematic text) emanates from a vertiginous excess of meaning† While one might expect to find that cinema multiplies the possibilities for monstrosity, the nature of the visual always, in fact, operates a kind of self censorship, whereby our visual register reaches a limit of visibility surprisingly fast. It is our imaginations that make the invisible nature of monsters, the very essence of their unknown-ness, so enduringly frightening. As Paul Yoder eloquently expresses it, â€Å"What we cannot see frightens us most. Reason competes with   imagination to establish boundaries around the external stimuli and, thus,   clearly establishes a means of remaining separated from that which harms us.   But reason will ultimately prove ineffective without a frame of reference grounded in a context of physical reality to establish a solidified boundary between the real and the unreal, the natural and the supernatural. Without this definitive context, reason is unable to mark the separation between two modes of perception, so as an audience or a reader, we are forced to hesitate, resulting   in a moment of suspense, the first stage in   externalizing the feeling and producing an externally constructed emotion of   fear.† The monster walks the line between life and death, and the most terrifying monsters transform others into fearful beings too, removing their essence, or everything they cherished. Medusa, for example, had no natural animation herself, just wriggling snakes that performed a grotesque impersonation of the natural and winsome effects of wind through hair.   In some ways she epitomises monstrousness, as her fearful power was an extension of her fearful quality – her deathly stillness. Medusa, of course, used petrification to turn others to stone, and inadvertently brought about her own end through the reflection of her enemy’s shield. Thus Medusa is a warning to all monsters: eventually, the supernatural force of the deadly stillness will be turned onto itself by the superior power of animated defences of the natural. My aim in this study is to juxtapose the metaphorical â€Å"monsters† that have permeated our language and mythologies with the visual interpretations of the monstrous, as it has been translated into photography and the assumptions of pop culture. The ultimate goal in this study is to arrive at some definition of â€Å"monster† based on a societal interpretation of the outsider and examine how fear of the â€Å"Other† is internalized. It is the manner that we, as a society, perceive our â€Å"Other†, which will ultimately control the paths our visual representations of monsters take, as mythical archetypes within the horrors of our minds. Chapter Two: Creating and defining the monstrous: the codes of photography Monsters have long been obeisant to a certain visual code, albeit a very difficult one to define. Sometimes they are brightly coloured, sometimes scaled up or down, humanoid, hairy, toothy, slimey, legless, millipedal, whatever they look like, they look exaggerated, surprising, startling, unexpected. If we read about them, the mental image is a perplexingly blurry one; if we see them in horror movies, their most frightening moment is always just before they appear. Monsters vary so wildly in their representation because the visual properties of the monster are actually incidental to its fear-producing power. The monster can look like anything, the more surprising the better – a chair; a beachball; the Prime Minister because the fear is our fear, and the fear created the monster: it was there first, deep inside us. The visual arrangement of the monster is merely a trigger to that primal fear. It seems to me that the writer with the most monstrous pen is Herman Melville, and the photographer with the most monstrous eye is Ansel Adams. Both contrast light and dark incessantly: for Melville with his extraordinary white whale, pallor is something to be afraid or suspicious of, perhaps even suggesting the diabolical. Whiteness is both, â€Å"the most meaningful symbol of spiritual things, nay, the very veil of the Christian deity,† and â€Å"the intensifying agent in things the most appalling to mankind†. In a world controlled by Christian orthodoxy, the whiteness of purity, the shroud, and death, lead to life everlasting. On the sea, however, white represents a loss of hope, for it â€Å"shadows forth the heartless voids and immensities of the universe and thus stabs us from behind with the thought of annihilation.† A photograph remains an abstraction, even in its most primitive state as a sort of document or record and Adams’s skill lies in his ability to conceal his role as contriver, abstracter, imaginist, within the rhetorical apparatus of scientifically objective reality. He shuttles, perpetually, between the reality of texture and the affectation of emphasised texture; his is a statement about the difference between something existing and something being noticed, which partly accounts for his famous privileging of black and white. When unnecessary distractions arise from ranges of colours are removed, the impact of an image can be multiplied. In efforts to define- or perhaps contain it, the practice of photography has been laboriously distinguished from other visual forms and practices, particularly painting and film. Adams is interesting because he refuses the forces of classification, not static enough for photography, too theatrical and contrived for regular representational convention. In the article Looking at Photographs, Victor Burgin writes: â€Å"The signifying system of photography, like that of classical painting, at once depicted a scene and the gaze of the spectator, an object and a viewing subject. Whatever the object depicted, the manner of its depiction accords with laws of geometric projection which imply a unique point of view. It is the position of point-of-view, occupied in fact by the camera, which is bestowed upon the spectator.† Even more emphatically than painting, photography maps an animated, infinitely subjective and ever changing world into a two dimensional, static image of a finite moment.   Classical and highly stylised black and white images, such as those that have made Adams most famous, take the abstraction one step further by removing all colour from our inescapably multicoloured world. What remains is one of two things which really amount to the same: an alien – monstrous landscape, or our own landscape from an Other’s point of view. The use of colour in photography has been shunned repeatedly by many purists working to a realist agenda. Compared to black and white it is considered more superficial, crassly realistic, mundane, less abstract, ultimately less artistic. Altering light and shade in the darkroom enables a degree of artistic dishonesty. The camera may not lie, but the photographer very frequently does, especially the photographer with an artistic agenda. Whenever he dodges shadow detail and fires up highlights, increasing contrast or altering tone, Adams exercises and demonstrates a contrivance that amounts to a sort of visual poetry. Adams is on record confessing to severe manipulationof Moonrise over Hernandez, but more significant still is probably his interest in striking, unusual, dehumanised scenes and subjects which lend themselves so well to monochrome representation. These subjects I would characterise as â€Å"monstrous†: their stillness the only feature protecting us from terror †“ the brink of fear kept just out of reach by the amazing stationary quality of the images. Monsters are frightening when they are animated, but this is also when they are at their weakest, as we have seen. Adams’ works have the frozen, petrified, feel of a final visual imprint of a paralysed, dying beast. The night scene is extraordinarily affecting, partly because, as a genre, it is most famous for high contrast monochrome. It is the only time in our world really does seem black and white, so the image is almost an accurate representation, but not quite. It is the slightly alienating quality of this image, the slight lack of fit between representation and mental expectation, which makes it so beautiful. Many of Adams’s images are arresting because they are tuned to the timing of our mental calculations: they are ready to predict and confound our expectations by subtle acts of artifice and they play constantly, and good-naturedly, on the moment of our realisation. The monochrome of Adams is not a symptom of self-aggrandising pride in his iconic â€Å"artist† status, but a device to play with emphasis and expectation, a way of forcing us to look at the world in different ways. The British scientist and psychology pioneer, Sir Francis Galton (1822-1911), was responsible for many studies we might now associate with â€Å"monstrous† photography in a different sense. Galton generated controversy in many ways even in his own time; as an early eugenicist he was the first to study the nature-nurture debate through the use of real pairs of twins. Galton’s Eugenics experiments in the 1870s had the ostensible aim of â€Å"improving† the human race by selecting individuals with desirable traits and encouraging them to breed, while simultaneously to check the birth-rate of the Unfit. Perhaps his most famous means of studying behavioural traits across different social demographics was photography. Galton aimed to surpass individual behavioural idiosyncrasies and arrive at generalisations about human behaviour, through a crudely arranging a number of photographs into a composite. His most famous study of this sort aspired to investigating criminal behaviour – and this was the study which most clearly demonstrated both a fear of and damaging assumptions made about Victorian society’s â€Å"Other†: the monstrous convict. Galton took a number of face-shots of men convicted of murder, manslaughter and other serious crimes, then carefully printed them all to the same dimensions. By photographing a number of them, then carefully aligning the images onto the same photographic plate, a composite photograph was assembled. Rather than Galtons enabling him to produce a clear image of a criminal face, Galton’s results produced pictures that of men with a generic kind of working class look. Galton’s â€Å"monster† seemed to be created from the false confidence of new technologies and that afforded by the new shamanism surrounding his â€Å"science†. His results seemed to show that any member of the lower classes was a potential criminal and advised that selective breeding could be used to replace the lower classes by those from superior stock. An extension of the same reasoning and method, and extraordinary bias towards the visual, could come to the conclusion that some racial groups were inherently superior to others, and indeed this was what happened, as Eugenics, while starting as an attempt to scientifically improve the human condition was of course later used to support Nazi policies of extermination of Jews, gypsies and others. Photography theory has traced something undeniably monstrous integral to the abstract, literary property of the photograph. After his father’s death, Paul Auster was compelled to sort through the house full of the objects left behind. Despite the fact that all his father’s artefacts, everything from an electric razor, to tools and cancelled cheques—bore a kind of ghostly trace of their owner, Auster prefers to focus on the photographs he finds stored in a cupboard in the bedroom. It is as if he hopes they might reveal some information about his father that unusually real, through their power to capture his image. Roland Barthes’s work Camera Lucida affords Auster’s grim quest with some context. After a determined effort to define photography â€Å"in itself,† the second half of his book sees Barthes turning to a kind of personal dialogue with a photograph of his recently deceased mother. While sorting a stack of photographs of his mother, Bar thes notices that â€Å"none of them seemed to me really ‘right’†that is, although he â€Å"recognized a region of her face, a certain relation of her nose and forehead, the movement of her arms, her hands† Barthes can’t â€Å"find† his mother’s essential â€Å"being† in any of her pictures. Barthes’s task then changes from sorting photos to â€Å"looking for the truth of the face I had loved† in the stack of images. There is something intrinsically alien about the meaning of photographs, and to this extent they are monsters to us, and our memories. Auster, too, seems to be seeking â€Å"truth† in the photographs of his lost parent. He writes, â€Å"It seemed that they could tell me things I had never known before, reveal some previously hidden truth† Unlike Barthes, who is looking for something he knows about his mother but can’t find in her images, Auster hopes that his father’s photographs will betray some evidence of a private man, some part of his father that had been carefully concealed from the world. The â€Å"very essence† of photography, according to Barthes, is that it shows what has been. Chapter three: Reacting to monstrous imagery Many spaces are terrifying to us, and soon become populated by â€Å"monsters† of the cosmic psyche. The arctic wasteland is crawling with yetis, every dark corner has a ghost, and every desert is thick with monstrous mirages, terrifying to the extent that they represent a void, a nothingness, at best, the fear of the unknown. They are alien landscapes- mammals struggle to survive, and the plants we do find in deserts barely seem designed to aid our survival. There is a certain security about filling the void with sign-posts, even if, in the ultimate post-modern irony, those signs only point to themselves. In this sense the iconography of the desert shares a metaphorical shape with Barthes’ self-reflexive definition of photography; it is as if the horrors of the desert, the horrors of the self-created metaphor, and the fearful void constructed by the photograph that signifies nothing are all connected and perhaps even the same. Auge’s words explain the problem of imaging the desert, If a place can be defined as relational, historical and concerned with identity then a space which cannot be defined as relational, historical or concerned with identity is a non place. The spaces which negate are unbearable and must be somehow psychically redeemed. Laura Cinti attempts this by attaching hair to the spineless cactus, for the cactus itself has of course beco me yet another iconographic space of complicated nothingness. Cinti’s work, if it demonstrates or states anything, demonstrates or states the extent to which the desert symbolism has been anxiously harvested from the plant. What looks like nothingness is mere misunderstanding, and what looks like improvement and liberation is naà ¯ve, appalling, abuse. Yet we are all guilty of some of this. None of us can bear the silence of the desert or make sense of the mute perpendicular. Michael Fried’s work in Realism, Writing, Disfiguration makes much of the damaging and paradoxical symmetry that exists between the hand and the eye. That is, the way we see the world is affected by the way we recreate it, but the way we reproduce it damages the way we see it. The whole theory operates on a larger metaphor controlled by vertical/horizontal semiotics. The desert cactus image is always a vertical formation on a horizontal axis: the opposition of life and death is present visually and immediately. But the desert is unique, as a horizontal space. We would normally expect a great expanse of flat ground to be bursting with life and promise, to oppose and define the sky. The desert, however, rejects life. Those who think cacti ugly must perceive them as canker sores, signifiers only of scorched earth. The desert space is an inversion of all th at we, as animals, have come to associate with health   and life. The cacti in the vista, then, can be interpreted in two almost completely opposing ways. Either they are the anti-tree, the anti-life, or they are vegetation and water, albeit in a different form- and consequently just as alienated from the sandy plains as we are. Despite the obvious oppositions, the desert is more like the sea than it appears. While the water reflects light, the desert reflects heat- and the art historian Michael Fried cites reflections as the connection between the inner and the outer. To the extent that they are concerned with reflections, indoor and outdoor scenes are treated as having the same character and affect. I feel sure the notion can equally be applied to a pair of iconographically opposing images. Interior and exterior scenes are, to Fried, clear metaphors for the inside and outside of the body, so perhaps the â€Å"external† hostility of the desert might set alongside the â€Å"internal† of the humane well-vegetated landscape. Perhaps the images represent a horizontality that reflect along a flat axis. The reflection must always be slightly imperfect for the object to be seen at all- and it is interference on the vertical axis that disrupts the reflection and reveals the illusion. In the desert, th is interference is embodied by cacti, which are surely the most authentic part of the landscape. Conclusions We have seen how monsters can be created and destroyed, and discovered that it is more interesting to explore their legacy as metaphorical forces in our language and psyches. In closing, I would like to look briefly at the example of Narcissus, whose monstrous transformation into a flower is richly representative and relevant, and resonates with much of the discourse surrounding art and spectatorship today. Turning to ancient mythology, we often find a wealth of instances where change itself is the terrifying aspect of the monstrous. Ovid’s metamorphoses provide a catalogue of such stories, and, more interestingly, represent the different ways that the metaphors of monstrosity are used to generate fear and alienation. Narcissus and Echo is a particularly rich example, among several in Ovid’s Metamorphoses, of a beautiful youth who died as a result of spurning sex. In Ovids retelling of the myth, Narcissus is the son of Cephissus, the river god and the nymph Liriope. The seer Tiresias foretold that the child would live to an old age if it did not look at itself. While many nymphs and girls fell in love with him, he rejected them all. One such nymphs, Echo, became so distraught that she withdrew to a lonely spot and faded until all that was left was a plaintive whisper. Meanwhile the rejected girls’ prayers for vengeance reached the goddess Nemesis, who caused Narcissus to fall in love with his own reflection. He remained transfixed by his reflection until he died. It is possible that the connection between Echo and Narcissus was an invention of Ovid, since there do not seem to be any earlier instances of the Narcissus myth which incorporate Echo. This myth lends itself to extensive and adventurous literary interpretation. When Narcissus eliminated the distance between his image and its reflection by touching the water with his face, the distance disappeared and took the image with it, as the water rippled and broke the reflected into pieces. The desire, however, remained, not disappearing with any distance covered by his attempts to escape it, and his difficulty with his passion for himself was not solved. The story is compelling to artists because it is about the power of sight, its dangers and its rewards. For Narcissus, salvation is possible as extension of distance, not as elimination of it. If he can cease to see his own image he will be saved but is precisely the need to see his face that is compelling and destroying him. As Angel Angelov writes, â€Å"Narcissus’ face is a metonymy of integrity, enraptured by its reflected self. The general paradox upon which the story is built comprises various details – in this case, the simultaneity of shapelessness and fixed contour – Narcissus’ image on the water surface was cut like chiseled Paros marble. Certainly, we can think about Alexandrinian influence (getting petrified because of amazement) but also about the Roman practice of sculpting, creating firm outlines. However, the presence in a definite social environment considered eternal, is a characteristic that is contrary to the out-social transience of Narcissus’ reflection.† In Narcissus: the mirror of the text. Philip Hardie explores various ideas around Narcissus as a post-modern signifier. The surface of water, that fragile barrier, becomes a Lacanian mirror and operates as an interface between Self and Other, dividing reality and illusion, as Narcissus, just like the reader, confronts an image that can never be real, but representative only of the viewer’s unfulfilled desire. Hardie argues that the story of Narcissus and Echo is Ovid’s cautionary treatise on the dangerously deluding, deceptively subjective property of sight and sound. Narcissus as Lucretian fool and Lucretian lover will be the victim of simulacral delusions, a frustrated lover situated ironically in a bountiful, pastoral landscape filled with false promise; inappropriately wistful even after his acknowledgement that the Other can only ever be a hollow reflection of the Self. According to this reading, all hope of something extraneous to the self, something objective, to love and life, is prohibited by this tale’s morality. The story is essentially tragic and ontologically didactic: indeed Ovid’s Theban histories are infused with the theme of empty signifiers and the dangers of useless introspection. Indeed the story’s equation of the bewitching power of sight with the sight of oneself has inspired recent writers to construct a kind of literary psychosis to describe the subjective subject, â€Å"The eye would be about the I, the subject, part of a monocular system perpetuating an illusion of wholeness, an Imaginary dyad, a tradition of the eye/I that would move through Kant, Husserl, and Merleau-Ponty, while the ear would be aligned with the other, with a fragmentary existence cut across by the Symbolic, by having subjectivity determined by and through an other,† It has been said that the product of every metamorphosis is an absent presence, and nowhere is this more apparent than in the Narcissus/Echo episode, a story irresistible to artists transfixed with the metaphysical paradoxes and word games. One artist well known for his precocious interest in semiotics was Nicholas Poussin. Poussin’s Echo and Narcissus depicts, unusually, a trio of figures in a triangular formation. Narcissus lies prone across the base, limp but muscular, his face a mask of sadness, his eyes empty. Echo behind him resembles a Greek statue, History, perhaps, again posing strangely in a balleric semaphor of sorrow. In fact, for all the story’s appeal Echo and Narcissus poses an obvious challenge to artists: Echo is said to have wasted away until only her voice was left. But a voice is rather difficult to represent in painting. From the outset, then, the story demands that mimetic pictorial realism must be suspended. The story gives artists like Poussin free license to create symbolic, literary pieces, with figures whose bodies are sculpted and whose faces are masks. We have seen how the image lends itself to ontological paradoxes, and it could be argued that the putti, the third figure in th is image, is a kind of representation of the artist’s presence inside his own artificial world. The putti carries a flaming torch, and stands next to a spear, clear indicators, Michael Fried would argue, of the artist’s palette and paintbrush. The art historian Michael Fried’s writing synchronises very well with the Echo and Narcissus myth, as it could well be characterized as the doomed ambition to structure impossible desire. Poussin’s works present a displaced metaphor for the mental and physical effort of painting. Thus Fried’s theory takes the anti-mimetic definition of realism one step further- although painting does not have to relate to what it depicts, it will resist immediacy, but relate in specific indirect ways to the person who depicts it. For Poussin, the impossible, yet desired, merger is one of inscriber and inscribed; for Ovid it is one of reader and listener. An erotics of the word and image is then as inevitable as one of ear and eye, and we find the transformation that characterizes the monster has as much to do with desire as it has to do with fear. This notion is borne out by Kristeva’s definition of the abject. The Concise Oxford Dictionary defines abject as Brought low, miserable; craven, degraded, despicable, self abasing, describing abjection as a state of misery or degradation, definitions which can be understood more fully through their expression: religious hatred, incest, womens bodies, human sacrifice, bodily waste, death, cannibalism, murder, decay, and perversion are aspects of humanity that society considers abject. As Barbara Creed sees it, â€Å"The place of the abject is where meaning collapses, the place where I am not. The abject threatens life, it must be radically excluded from the place of the living subject, propelled away from the body and deposited on the other side of an imaginary border which separates the self from that which threatens the self.† Hence the abject is something we deliberately exclude to preserve our illusion of a meaningful world. In Powers Of Horror:An Essay On Abjection, Kristeva identifies that we first experience abjection at the point of separation from the mother. This idea is drawn from Lacans psychoanalytical theory as she identifies abjection as symptomatic of a revolt against that which gave us our own existence. As Samantha Pentony explains it, â€Å"At this point the child enters the symbolic realm, or law of the father. Thus, when we as adults confront the abject we simultaneously fear and identify with it. It provokes us into recalling a state of being prior to signification (or the law of the father) where we feel a sense of helplessness. The self is threatened by something that is not part of us in terms of identity and non-identity, human and non-human.† Kristeva definition of the abject aligns it to what I have described as the â€Å"Other†,   The abject has only one quality of the object and that is being opposed to I. There will always be a connection between the abject and the subject: they define one another. When we find ourselves flailing in the world of the abject, we lose our sense of subjectivity, our imaginary borders disintegrate, and the abject becomes a real threat because there is no alterior – no sense of reality or self – to neutralise the threat or remind us of its illusory nature. So Kristevas theory of abjection is concerned with those suspended realms, changing forms, states of transition or transformation, â€Å"The abject is located in a liminal state that is on the margins of two positions. This state is particularly interesting to Kristeva because of the link between psychoanalysis and the subconscious mind.† Like Narcissus facing his reflection, or Medusa facing hers, we are attracted and repelled simultaneously by the abject. It induces nausea in our bodies and fear in our hearts. For Kristeva, these feelings arise from memories, specifically the first memory of separation from our mother. There is a thrill about horror and the macabre, and monsters represent ourselves in a state of change – when Kristeva describes one aspect of the abject as jouissance she suggests that through exciting in the abject, One thus understands why so many victims of the abject are its fascinated victims if not its submissive and willing ones. And furthermore, The abject is perverse because it neither gives up nor assumes a prohibition, a rule, or law; but turns them aside, misleads, corrupts; uses them, takes advantage of them, the better to deny them,† The abject, then, the monstrous, is metaphorically powerful as a force of manipulation, even more sinister in its unknowable nature, because we suspect it is up to no good. Yet for all its subversion, perversion and fear, we are excited by the abject, drawn to the monstrous, and we always will be because it comes from inside us. Bibliography Angelov, Angel Images Transformation/Disappearance online here: http://www3.unibo.it/parol/articles/angelov.htmThe Original/The Print/The Copy: Installations Of Nadezhda Lyahova Auge, Marc, â€Å"From Places to Non-Places† in Non-places: Introduction to an Anthropology of Supermodernity UK: Verso Books, 1995. Auster, The Invention of Solitude, UK: Faber and Faber Ltd, 1989. Bann, Stephen (ed) Frankenstein, Creation and Monstrosity US:Reaktion Books Ltd, 1994. Barthes, Camera LucidaReflections on Photography UK: Vintage (Vintage Classics), 1993. Creed, Barbara The Monstrous-feminine: Film, Feminism, Psychoanalysis (Popular Fiction S.) UK: Routledge,an imprint of Taylor Francis Books Ltd, 1993. Creed, B. Horror And The Monstrous Feminine : An Imaginary Abjection . London Routledge, 1993. Halberstam, Judith. Skin Shows. Durham: Duke UP, 1995. Hardie, Philip Ovids Poetics of Illusion Cambridge:   Cambridge University Press, 2002.   Pp. viii, 365 Hargreaves and Hamilton The Beautiful and t

Prozac (Selective Serotonin Reuptake Inhibitors) :: Health Medicine Research Essays

Prozac (Selective Serotonin Reuptake Inhibitors) Selective Serotonin Reuptake Inhibitors have been approved for use in the treatment of a wide area of psychological disorders, including major depression, obsessive-compulsive disorder, bulimia nervosa, panic disorder, social phobia, post traumatic stress disorder, and premenstrual dysphoric disorder. They are also said to be effective in treating dysthymia and chronic depression. (Tollefson and Rosenbaum, 2001) The manufacturer of Prozac, Eli Lilly advertises that this drug is particularly effective in treating clinical depression, obsessive compulsive disorder, bulimia and panic disorder. The manufacturer argues that, "While Prozac cannot be said to 'cure' depression, it does help control symptoms of depression, allowing many people with depression to feel better and return to normal functioning." (Eli Lilly, www.prozac.com) The diminished side effects of Prozac and its overall effectiveness in treating depression, OCD, bulimia and panic disorder has made it the drug of choice for over two decades. More than this, many psychiatrists have attributed to the drug some amazing transformative properties above and beyond that of just diminishing the negative symptoms associated with depression. As one physician put it, "Prozac seemed to give social confidence to the habitually timid, to make the sensitive brash, to lend the introvert the social skills of a salesman." (Kramer, Peter, D., p. xvii, 1993) Indeed, he argued that Prozac made patients 'better than well' and actually served to transform personality. "The transformative powers of the medicine went beyond treating illness to changing personality, it entered into our struggle to understand the self." (Kramer, Peter, D., p. xviii, 1993) Prozac's approval for use for patients under the age of 18 has also been a particular selling point for Eli Lilly. As recently as summer 2004, NPR reported that the Journal of the American Medical Association showed that "Prozac, in combination with cognitive behavioral therapy, is highly effective for treating depression in teens. But the study also showed a small increase in 'harm-related behaviors,' including suicide attempts, among teens on Prozac." (Baron, National Public Radio, 2004, www.npr.org) Other doctors have been more cautious about the behavioral change benefits of Prozac. They warn that Prozac has produced some very serious side effects leading to several lawsuits against Eli Lilly. "These side effects include akathisia (a condition in which a person feels compelled to move about), permanent neurological damage, and suicidal obsession and acts of violence." (Null

Review and Critical Thinking Essay

Forensic science is the application of science toward the criminal justice system. 2. What three tasks or abilities does a forensic scientist have? Forensic scientists collect and analyze the evidence, give an expert testimony, and train other law enforcement individuals on how to record and collect evidence. 3. What criteria might be used to establish someone as an expert witness? In order for someone to be considered an expert witness, courts take into consideration the persons education degrees, the number of experience that the person has in this certain field, any professional organizations that the person is either a member of or if their the leader in any organizations, and if that person has publishes any books or anything they have authored. What are two of the ways that a forensic pathologist might use to help determine the time of death? One way that a forensic pathologist might use to help determine the time of death would be with Rigor Mortis and Liver Mortis conditions. When the muscles of the body relax and become rigid, it’s called Rigor Mortis, and this happens twenty-four hours after the time of death and then goes away after about thirty-six hours. Liver Mortis happens soon after death too. This condition in the body happens as the blood stops pumping through the body and settles in the lowest parts of the body toward the ground. Another condition that can determine the time of death is Algor Mortis. Algor Mortis is the gradual cooling of the body after death. Forensic pathologists would consider factors as in where the body is, the air temperature, and the size of the body to determine the temperature to determine the time of death. 5. What does a forensic anthropologist do? Forensic anthropologists have a lot of jobs. They help identify the victims of disasters, help determine whether bones and skeletal remains are from a long ago burial or whether they are from a more recent death. They also examine the bones, this helps determine the cause of death, sex, race, and age of the time of death, and in some cases where the victim was from prior to the death. Forensic anthropologists may help with facial reconstructions, which can help identify who the person is that the bones belong to. Critical Thinking Questions 1. Why do you think it is so important to use proper methods when collecting evidence from a crime scene? I think it is so important to use proper methods when collecting evidence from a crime scene because if it’s not recorded or taken care of properly, it could get mixed up with other evidence, and then you have to start at the beginning with everything. The evidence could be a link to the death, or how that person died in the case. Also if the evidence is not collected properly, then it is difficult to interpret and understand the data. 2. Why do you think forensic science has been increasingly used by the criminal justice system? The criminal justice system has increasingly been in need of forensic science because something as small as a hair follicle or a few drops of blood could help solve a part of a case. Through forensic science, the criminal justice system can tell the time of death or what was used to kill that person. They also could help to serve in court as an expert witness. 3. Which of the forensic scientist’s responsibilities do you think would be the most challenging? Why? I think the most challenging forensic scientist’s responsibilities would be analyzing the evidence. The tough part is making sure you’re getting the correct test results and the correct data. That would be really bad if you started to give out false information and then put the wrong guy in jail. 4. Which of the following forensic scientist’s responsibilities do you think would be the most interesting? Why? I think the most interesting responsibilities of a forensic scientist would be giving an expert testimony in court. When you explain your findings and information about the evidence to the jury and courthouse, you can see the criminals face when they get charged for their crime. Basically, you’re helping out the world but explaining why this criminal is bad, and you’re taking him away to say everyone else from danger. 5. Which of the specialty areas do you think you would most like to work in? Why? The specialty area I would most like to work in would be forensic pathology. They study unexplained and violent deaths of the victim. I have always been the girl who loves to find out things, no matter how gross they get. I used to dissect frogs in middle school, and that stuff didn’t scare me like the other girls and boys in the class. I feel that finding out how someone died would be a miracle to their  family as well.

Overdraft

An overdraft is when one has overdrawn at the bank. Meaning there is a negative balance due to spending more than the money that is in the bank. Bank overdraft is a temporary facility whereby a bank customer can withdraw more money than what is actually available in his/her account. Obviously the money doesn’t belong to them but belongs to the bank, so this money will need to be paid back. Normally, paying back is automatically done when money goes into the person’s account.However, a small amount of interest based on the amount overdrawn and the length of time overdrawn is charged, a bank overdraft is also a type of loan which can be used if required to provide additional working capital for a short period of time when there is a cash deficit. An overdraft is particularly useful when one has regular sales and purchases coming out of the account which could result in bad cash flow situations. The best thing to do is to avoid overdrafts entirely.Do this by creating a bud get, keeping an extra cash cushion in your account, managing your checkbook and checking your balance before making a purchase or writing a cheque. The advantage of a bank overdraft is that it is there when you need. It allows you to make essential payments whilst chasing up for your own payments, and helps to maintain cash flow. You only need to borrow what you need at the time. Overdrafts are also easy and quick to arrange, providing a good cash flow backup with the minimum of fuss.The disadvantages of a bank overdrafts is that it carries an interest and fees which is often at much higher rates than loans. This makes them very expensive for long term borrowing. You also face large charges if you go over the agreed overdraft limit. Unless specified in the terms and conditions, the bank can recall the entire overdraft at any time. This may happen if you fail to make other payments, or if you have broken terms and conditions; though sometimes the banks simply change their policies.Ov erdrafts may need to be secured against your business assets, which put them at risk if you cannot meet repayments. Unlike  loans  you can only get an overdraft from the bank where you maintain your current account. In order to get an overdraft elsewhere you need to transfer your  business bank account. Situation: Mr. T applied for an overdraft facility with collateral. He mortgaged his house in order to get an overdraft facility of RM200,000 with an interest of BLR-2. 2% with HSBC Bank (BLR-Base lending rate).RM200,000 is deposited into his account upon the completion of security documentation. Interest is only payable for the amount of money utilized and he is given a tenor of 10 years to repay back. If he does not utilize the RM 200,000, he need not pay any interest to the bank for that month. The bank only calculates interest for the utilized amount only on a daily basis. However, if he doesn’t utilize any money, the bank may impose a service charge. This type of ov erdraft facility is best for businessman.

Mozarts use of themes and motifs in the key of C Major

Mozarts use of themes and motifs in the key of C Major Free Online Research Papers Mozart’s String Quartet #19, K. 465, Piano Concerto # 21, K. 467, and his Symphony #41, K. 551, are all in the pleasant key of C major. K. 465 was written in 1785 and is the last quartet in a set of six quartets dedicated to Haydn. K. 467 was also written in 1785 and is Mozart’s last piano concerto. K. 551, the Jupiter Symphony, was finished in 1788, and is the last symphony Mozart wrote. Although these three works are in the same key and were written in close proximity to each other, they have very different and distinctive motifs and themes. Mozart’s String Quartet #19 (K. 465) was finished on January 14th, 1785 as the last in a set of six quartets dedicated to Joseph Haydn. This set of six quartets was inspired by Haydn’s Opus 33, which Haydn completed just before visiting Vienna in 1781. Mozart’s six became known as the ‘Haydn Quartets’ (Pauly 90). K. 465 is commonly referred to as the ‘dissonant quartet’ (Pauly 168). Mozart started writing the Haydn Quartets in 1782, one year after Haydn’s Opus 33. This was a very busy but productive time in his life. In the three years it took him to write the set he wrote a multitude of other works, married Constanze Weber, and had two children with his new wife, of which only one survived. After hearing these quartets, Haydn stated to Mozart’s father: â€Å"Before God, as an honest man, I tell you that your son is the greatest composer known to me in person or by name. He has taste, and, what is more, the greatest knowledge of composition.† It is because of this statement that Mozart dedicated these quartets to his â€Å"most dear friend,† Haydn. (Anonymous 705). The Haydn Quartets were Mozart’s first mature quartets, noted by the new style of writing he had developed. For the first time, Mozart uses counterpoint as means for intensification in the music. These quartets also show his like of dissonant and chromatic lines. This is very clearly stated in the first eight bars of the first movement of K. 465 (example 1) (Anonymous 705). This is the first and only time that Mozart wrote a slow introduction in a string quartet, which is probably why it is such a memorable piece. The main theme is stated in measures 23-30 by the first violin (example 2), and is repeated throughout the piece in various textures. Mozart’s Piano Concerto #21 (K. 467) was finished on March 9th, 1785, two months after he finished the Haydn Quartets. This time in his life was â€Å"the peak of his reputation as a composer and pianist.† At the time this work was finished, Mozart was having financial difficulties, even though most of his music was either published, in print, or in manuscript copies. (Anonymous 708) The history of this work is much the same as the history of K. 465 because they were finished within two months of each other. The first phrase, a short march-like motif, is repeated throughout the piece. It is used as a main melody, as well as a bass and background figure, and is repeated, to some degree, in all instruments. This motif is illustrated in example 3, measures 1-7 of this piece. This is the start of the piece, a very quiet, happy motif from the strings before the rest of the orchestra comes in. A few measures later, in mm. 12-19 (example 4), this motif is being used as a counterpoint figure in the violas and cellos to the melody line in the violins. The first measure of the motif is bounced between the low strings and the violins in mm. 148-152 (example 5), transposing each time, and seeming to keep the listener on edge because the phrase is not completed. Mozart’s last symphony, Symphony #41 (K. 551), was finished August 10th, 1788, the third symphony finished in less than two months. At this time, Mozart was having financial troubles as well as psychological issues. In regards to the financial troubles, Mozart asked his friend, Michael Puchberg for loans, but he never sought medical advice for his psychological problems, which included mourning over his six-month old daughter, Theresia, his worsening health, and the depression he was suffering from (Anonymous 710; â€Å"Wolfgang Amadeus Mozart†). K. 551 is more commonly know as The Jupiter Symphony; this title was not coined by Mozart, but by Johann Peter Salomon, for unknown reasons (Symphony No. 41 (Mozart)). In 1786, Mozart’s health took a turn for the worse, and played public concerts less frequently, which meant less income. Because of this, he and his family moved from Vienna to Alsergrund in 1788. Less than six months before the move, Mozart’s wife Constanze gave him a daughter, Theresia, whom he loved very much, but she died after the move to Alsergrund, devastating her father. (Anonymous 710). The first movement of this concerto changes styles quite often: â€Å"Within a short space of time the opening of the C major concerto, K. 467, migrates through march, cantabile style, and counterpoint.† (Irving 120). This is not strange to Mozart, and the piece flows freely throughout the styles. The opening of the first movement of this symphony is grand, and very memorable, but it is not thematic material, it is used to draw the listener in, and the first theme is stated later. A second theme is stated in the violins in measures 101-105 (example 6), and then goes right into a development of that same theme. Measures 81-83 (example 7) is foreshadowing measures 269-274 (example 8), which seems like a short break from the constantly moving violins. Also, this break is in a minor key, as opposed to C Major around it. Mozart uses a lot of dotted quarter note and eighth note rhythms, almost giving the piece a jazzy feel. This is shown in measures 277-279 (example 9). Although K. 465, K. 467, and K. 551 are all in C Major, they have very different themes and motifs. Mozart is known to write interesting and complex motifs in his minor keys, while the simple themes in these C Major works are bright and playful. The themes stated here are both simple and complex, some sounding more complex, while easy to play, and some sounding light and airy, while difficult to play. In the opening to K. 465 (ex. 1), the cello beats constant eighth note pedal tones, and seems as if it will be used as more of an accompaniment instrument throughout the piece. On the other hand, in the opening of K. 467 (ex. 3), the cello is treated as an equal to the other string instruments, making it seem as if it would be used as more of a counterpoint instrument instead of being used for accompanying chords. In the examples we have for K. 551, the cello seems to be mostly used for accompanying chords, and an occasional break into small counterpoint gestures (ex. 6). Although these pieces were only finished within two months of each other, K. 465 and K. 467 are quite different. Other than the fact that they are both in C major and are completely different types of works, they possess different qualities. K. 465 is a very dissonant quartet written with quite a bit or counterpoint throughout. K. 467 is an enjoyable piano concerto with complex parts to offset the light and airy textures. K. 551 was finished more than three years after K. 465 and K. 467, and there are many factors that changed his writing in those three years. In 1786, Mozart’s health worsened, and the number of public concerts he participated in were lower, therefore producing less income for him and his family. In December of 1787, his wife gave him a beautiful daughter, Theresia (Anonymous 710). Because of his declining health, and the sub-par amount of money Mozart was making, he and his family moved to a suburb of Vienna called Alsergrund to cut costs. However, this ended up not having any effect on the income. Only a couple months after moving, Mozart’s six month old daughter, Theresia died from unknown causes, devastating her mother and father. It seems as if Mozart was suffering from depression at the time he wrote this symphony, probably because of the death of his only daughter, his declining health, and the fact that they were poor. It seems that right before his daughter died, Mozart started writing letters to Michael Puchberg, four in total, pleading for a loan, saying that he will be paid back quickly, when Mozart has planned concert series running. This concert series probably never took place. The loan was starting to be paid back just before Mozart died, the rest of it paid back by his wife, Constanze after his death, when she sold off his scores. This was at least the second loan Mozart asked for, another one was asked for in November of 1785 from his friend E.A. Hoffman (Anonymous 708) Mozart’s depression and worsened health did not affect the amount of writing he did, it only affected the writing itself. In K. 551, Mozart starts with full orchestra, and the thematic material doesn’t enter until the twenty-fourth bar, which is quite different than K. 465 and K. 467, where they start with thematic material right from the beginning of the piece. K. 551 is also a good representation of rests creating atmosphere as much as sound. In measure seventy-nine, Mozart stops all of the action on a half cadence, and has five beats of rest before re-entering with a slow minor feel, which almost sound like the next movement, but then he jumps back into the thematic material from before, only really resolving the chord until measure ninety-three. This is probably why it is described as in the â€Å"spirit of the comic opera† (Sisman 46). These three works were written in what the The New Grove Dictionary of Music and Musicians calls the peak of Mozart’s reputation as a composer and pianist (708). Although they were all in C Major and written in close proximity to each other, they really are quite different. Research Papers on Mozart's use of themes and motifs in the key of C MajorInfluences of Socio-Economic Status of Married MalesHip-Hop is ArtHonest Iagos Truth through DeceptionMarketing of Lifeboy Soap A Unilever ProductThe Spring and AutumnAssess the importance of Nationalism 1815-1850 EuropeBionic Assembly System: A New Concept of SelfWhere Wild and West MeetQuebec and CanadaEffects of Television Violence on Children

Quotations

Quotations Quotations Quotations By Mark Nichol When quotations are integrated into the syntax of a sentence, joining forces with a paraphrase to create an extended statement, the first word in the original quote is generally not capitalized. Here are three examples of sentences in which the quotation’s initial word is demoted. 1. Without federal instructions, he added, â€Å"People are just going to keep putting stuff out on the road with no guidance on how do we do this the right way.† The quotation marks accurately denote the speaker’s exact statement, but the writer has inserted a modifying phrase to provide additional context, paraphrasing the speaker’s intent. Because the combination of this phrase and the original statement constitute a grammatically complete sentence, the first word of the original quotation should be lowercased to indicate that it has been incorporated into a more comprehensive statement: â€Å"Without federal instructions, he added, ‘people are just going to keep putting stuff out on the road with no guidance on how do we do this the right way.’† (As originally written, the implication is that the person added the comment despite having no federal instructions.) 2. â€Å"You can admit that ‘Yes, there is a need in a humane society for institutions that take care of people who are poor.’† As with the previous example, the initial paraphrase has been inserted to provide context, so yes is no longer the first word of a sentence. Also, normally, when that serves as a bridge from a paraphrase to a quotation, in order to provide a seamless syntax, no punctuation follows that. Here, however, yes is an interjection, so it must be preceded and followed by punctuation: â€Å"You can admit that, ‘yes, there is a need in a humane society for institutions that take care of people who are poor.’† 3. The lawsuit also alleges that Remington and the other defendants â€Å"Marketed and promoted the assaultive qualities and military uses of AR-15s to civilian purchasers.† Here, the quoted material was never stated or written as a complete sentence. As a partial quotation, it should begin with a word that starts with a lowercase letter: â€Å"The lawsuit also alleges that Remington and the other defendants ‘marketed and promoted the assaultive qualities and military uses of AR-15s to civilian purchasers.’† Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Punctuation category, check our popular posts, or choose a related post below:10 Rules for Writing Numbers and Numerals80 Idioms with the Word TimeShore It Up

The Schlieffen Plan and World War One

The Schlieffen Plan and World War One As the crisis which began World War One was developing from assassination, through calls of revenge round to paranoid imperial competition, Germany found itself facing the possibility of attacks from east and west at the same time. They had feared this for years, and their solution, which was soon put into action with German declarations of war against both France and Russia, was the Schlieffen Plan. Changing Heads of German Strategy In 1891, Count Alfred von Schlieffen became German Chief of Staff. He had succeeded the wholly successful General Hellmuth von Moltke, who together with Bismarck had won a series of short wars and created the new German Empire. Moltke feared a great European war might result if Russia and France allied against the new Germany, and decided to counter it by defending in the west against France, and attacking in the east to make small territorial gains from Russia. Bismarck aimed to prevent the international situation from ever reaching that point, by trying hard to keep France and Russia separated. However, Bismarck died, and Germanys diplomacy collapsed. Schlieffen was soon faced with the encirclement Germany feared when Russia and France allied, and he decided to draw up a new plan, one which would seek a decisive German victory on both fronts. The Schlieffen Plan The result was the Schlieffen Plan. This involved a rapid mobilization, and the bulk of the entire German army attacking through the western lowlands into northern France, where they would sweep round and attack Paris from behind its defences. France was assumed to be planning – and making – an attack into Alsace-Lorraine (which was accurate), and prone to surrendering if Paris fell (possibly not accurate). This entire operation was expected to take six weeks, at which point the war in the west would be won and Germany would then use its advanced railway system to move its army back to the east to meet the slowly mobilizing Russians. Russia could not be knocked out first, because their army could withdraw for miles deep into Russia if necessary. Despite this being a gamble of the highest order, it was the only real plan Germany had. It was fed by the vast paranoia in Germany that there had to be a reckoning between the German and Russian empires, a battle which should t ake place sooner, while Russia was relatively weak, and not later, when Russia might have modern railways, guns and more troops. There was, however, one major problem. The ‘plan’ was not operational, and wasn’t even really a plan, more a memorandum briefly describing a vague concept. Indeed, Schlieffen may even have written it just to persuade the government to increase the army, rather than believing it would ever be used. As a result their were problems: the plan required munitions in excess of what the German army had at that point, although they were developed in time for the war. It also required more troops on hand to attack than could be moved through the roads and railways of France. This problem was not solved, and the plan sat there, seemingly ready to use in the event of the great crisis people were expecting. Moltke Modifies the Plan Moltke’s nephew, also von Moltke, took over Schlieffen’s role in the early twentieth century. He wanted to be as great as his uncle, but was held back by not being anywhere near as skilled. He feared that Russia’s transport system had developed and they could mobilize quicker, so when working out how the plan would be run - a plan that was possibly never meant to be run but which he decided to use anyway - he altered it slightly to weaken the west and reinforce the east. However, he ignored the supply and other problems which had been left due to the vagueness of Schlieffen’s plan, and felt he had a solution. Schlieffen had, possibly accidentally, left a huge time bomb in Germany which Moltke had bought into the house. World War One When war looked likely in 1914, the Germans decided to put the Schlieffen Plan into effect, declaring war on France and attacking with multiple armies in the west, leaving one in the east. However, as the attack went ahead Moltke modified the plan even more by withdrawing more troops to the east. In addition, commanders on the ground also veered away from the design. The result was the Germans attacking Paris from the north, rather then from behind. The Germans were halted and pushed back at the Battle of the Marne, Moltke was considered to have failed and replaced in disgrace. A debate over whether the Schlieffen Plan would have worked if left alone began within moments and has continued ever since. No one then realised how little planning had gone into the original plan, and Moltke was vilified for having failed to use it properly, whereas its probably right to say he was always onto a loser with the plan, but he should be vilified for trying to use it at all.

How may one account for the significance that contemporary societies Essay

How may one account for the significance that contemporary societies attach to the problem of terrorism - Essay Example Terrorism is commonly used as a term to describe violent acts against civilian targets based on nationalistic, political or religious motivations. It is an unconventional form of war which is often used to weaken or subvert a government and the effects of a terrorist attack may be seen as a threat to international order (Baylis, 2002). However, the nature of the causes can be debated since some terrorist activities have been given support while others have been considered atrocities against humanity. For example, as described by Martin & Martin (2003), even the Boston Tea Party can be seen as a terrorist act in a technical sense but that event has been connected with a justified cause while recent acts of terrorism against the United Kingdom such as the London underground attacks are considered unjustified. If not by all concerned individuals, at least by the western world and many other civilised nations who joined the British in mourning for the loss of life and the tragedies which unfolded in the aftermath. The aftermath comes with the public asking the most important question i.e. why? They want to know how and why such an event happened and what the government is willing to do to stop these acts from occurring again. Since there is no single or easy answer to the question and different opinions can be given by different writers coming from various backgrounds, society becomes more involved in answering these questions and thus becomes more focused on the idea of terrorism. In essence, it is a drama which is unfolding live before the people and this certainly fascinates society as it has done for the past hundreds of years (Orr and Klai, 1990). Undoubtedly, terrorism certainly affects those individuals who are targets or those who have lost something due to terrorist activity (NCT, 2006). Their lives have certainly changed and they have had to deal with the aftermath in ways that others can not imagine. However, even after the most

Lorenzo de Medeci and the Renaissance Research Paper

Lorenzo de Medeci and the Renaissance - Research Paper Example Through a combination of skill, capability and the Medici family’s dominant position in the Florentine government and society, Lorenzo was able to impose his secular views on the Italian society, changed its politics, help create a spurt of renaissance art and engage and influence the church and its role in the Italian community. Collectively these developments spilled over the rest of Europe, in effect, making Lorenzo’s influence far-reaching. Secular Views One of the defining concepts of the Renaissance is the humanist movement. Here, Italy started to veer away from the religiosity that typified the medieval tradition and focused more on creating art or works of literature, materialism and wealth (Romano 31). Lorenzo is crucial in this area because these are the very concepts that he believed in, promoted and supported. He was the quintessential Renaissance ideal who believed that the ancient Greece and its mythologies could teach and educate people in Renaissance Ita ly on important ideas that include beauty, way of life, values, among others. This is the reason why Lorenzo was a generous patron of the arts and that he saw fulfillment in the humanist values. Poets and artists are welcome in the Medici palace and Lorenzo was known to have supported Renaissance artists like Michelangelo and Botticelli. He himself wrote poetry. This attitude towards humanism, which was deeply rooted in Lorenzo’s appreciation for the Greek mythology, has facilitated the humanistic movement in the Renaissance. The case of the poet and humanist scholar Angelo Poliziano demonstrates this point. Poliziano was taken into the Medici household after he caught the attention of Lorenzo through his epigrams. He studied in the extensive Medici library and was charged to educate Lorenzo’s eldest son. His most important work, however, was his contribution to Lorenzo’s compilation of the Raccolta Aragonese (Aragon Collection). Here, he aided Lorenzo in the re valuation of vernacular poetry which came to characterize the increasing use of the Italian vernacular in literature in addition to the Latin language. Poliziano eventually brought his humanistic works with him as he travelled and stayed in several Italian estates such as the Gonzaga court in Mantau where he wrote Favola d’Orfeo (The Fable of Orpheus) (Cirigliano 217). Political Influence When his father died in 1469, Lorenzo de’ Medici began a steady ascent to power. His family’s wealth enabled him to rule Florence in de facto capacity. The city council contained his surrogates and his domination of the polity was achieved through clever manipulation, coercion, bribery and even strategic marriages. Lorenzo’s excellent grasp of Florentine politics was attributed to an early grooming in his younger years. The influence of his grandfather, Cosimo de Medici, the man responsible for the maintenance of peace and balance among the northern Italian states, also did its part. There are several crucial events that displayed Lorenzo’s political acumen and cleverness but his altercation with the papal authority during the time of Sixtus IV demonstrated this best. The conflict stemmed from the so-called Pazzi Conspiracy, wherein members of the Pazzi family and their cohorts tried to assassinate Lorenzo in Florence (Najemy 352). They operated under the support of the Archbishop of Pisa and the reigning Pope Sixtus IV. When the attacked failed, the perpetrators of the attack

Jocelyn Moorhouses How to Make an American Quilt Essay

Jocelyn Moorhouses How to Make an American Quilt - Essay Example However, when she asks Marianna who the latter would marry, Marianna shows her vulnerable side by saying â€Å"I would marry my soul mate† (American Quilt, 1995). Thereby she reveals the incident she has kept with her from her youth: she met a man by chance, and ended up spending the evening with him, only to find out later, after discovering her inner connection with him, that he was married. Marianna has always been brave; she has chosen whichever path her instincts have told her to follow. Perhaps this is why her character is the most colorful out of all the rest, and why she seems to be the most brilliant amongst the members of the quilting bee. Since she has chosen the â€Å"right colors† in the words of Anna (American Quilt, 1995), her life was much enhanced by it. In life, whatever choices we make have a consequence on our personality. A wrong choice does, like Anna says, â€Å"dull the colors and hide the original beauty† (American Quilt, 1995). This message, I would say, resonates in my life. I have always gone by instinct; that is to say, I have always trusted my instincts, without knowing why, and have made choices based on it. One of the reasons I can identify with the character of Marianna in the movie is that, like her, I too follow my hearts desires. This practice has, indeed, enriched my life. I have always been, and still am, my own person. Sometimes this entails going against the grain, however, in the long run, I have noticed, that it always pays to be true to oneself. One has to be brave to stand up to the opposition of one’s peers or your parents, but if one remains true to oneself, I feel one’s life is all the more enriched for that very reason. Just like Marianna in the movie, I can easily say that I have had no regrets in life, because I have always stayed true to myself.

Case 15.1 Study Example | Topics and Well Written Essays - 500 words

15.1 - Case Study Example n their locality and apart from a place to work out it also lets them socialize with local community people, saves time and cost of traveling because if the gym is located far and customers need to drive long to reach the place, they lose motivation for fitness fast. Also that they can use their membership in any of the Snap Fitness centers makes it more convenient for them to work out wherever they are be it office or home or any other place and do not have to skip working out because of location. In today’s stressful society convenience is given utmost priority by customers in choosing a service or product. However I do not think this is the only advantage Snap Fitness is offering its members, its affordable membership and no contracts only monthly membership fees and easy manage franchises also add to its appeal to both members as well as franchisees and give a competitive edge over its rivals. For Snap Fitness the most appropriate Franchise system would be the Business Format Franchise, because it is a service they are selling and Snap Fitness has a unique business model for both its franchisees and its members. In this format Snap Fitness needs to provide Franchisee with its unique business formula, training, advertising, equipment and other assistance. It can use an area franchise agreement that allows the franchisee in a geographical area to own and operate a given number of franchises that is Snap Fitness centers (Barringer and Ireland, 516). In its franchisees, the characteristics Snap Fitness is looking for are that Franchisees are able to deliver its members its unique business model, must be able to handle billing and collecting processes, Franchisees should be able to maintain the company’s lean business model and have financial net worth of $250, 000 and $500,000 in Liquid assets and that Franchisees are able to deliver on the â€Å"must haves† list prepared by Pete Taunton. As the business requires normal working hours and can be managed

Hurricane Katrina and African-American Society Essay

Hurricane Katrina and African-American Society - Essay Example In the days that followed, the death toll due to the storm would rise to one thousand eight hundred and thirty-three people, 1577 of that number in Louisiana, with hundreds still unaccounted for (CNN). Even though the water was pumped out of the city within four days, thousands were left homeless and abandoned in the wreckage of the city. The survivors of the storm and flood made their way through the remnants of New Orleans to the Superdome. What was previously the home of the New Orleans Saints became home to thousands of refugees awaiting government aid that fell far short of expectations. Survivors were abandoned for days as they waited for aid that wouldn't come fast enough. The world watched helplessly as graphic images of people begging for assistance, of people dying in the streets filled television screens urging them to act, to help bring relief to those affected by this senseless catastrophe. The end result was just as horrifying as the uncensored images displayed which both brought world-wide attention to the nightmarish circumstances facing the survivors and exploited them for those who would take advantage of the disastrous situation (Hartman, Chester; Spires, Gregory). There were plenty of people waiting in the wings to capitalize on the devastation surrounding the survivors of the storm. The total dam age has been estimated at $125 billion (CNN). When our ownWhen our own government wouldn't step up to the challenge, other groups stepped in to raise funds for those displaced by the storm and subsequent flooding. Some of these were legitimate non-profit groups whose only interest was to try and help, such as the Red Cross and the Salvation Army who brought food, water, clothing and volunteers to the area. Others were scam artists and large corporations who took the opportunity to profit from the devastation and take advantage of those who required assistance most. The United States government made no preparations for those that depended on public transportation just to get around the city, for those sick, invalid, or financially unable to leave on their own merit in the days leading up to Katrina (Brookings Institution). Even after the storm passed and the National Guard made their way into the devastation of New Orleans, they brought few supplies for those trapped inside the city, were even instructed to not distribute their own water and supplies to those crying out for help (Hartman, Chester; Spires, Gregory). Survivors were left in the ill-equipped Superdome as the government feared the spread of disease from those who had been forced to live in the fetid waters flooding the city. When they finally were brought supplies from the government, refugees were given boxes containing the vaccine for SARS (Hartman, Chester; Spires, Gregory). The lack of real response to the poorer, African-American population on the behalf of our government is a point of contention worth a deeper examination. The most recent numbers from the government show a total federal infusion of one hundred and twenty-six billion dollars into the Gulf area for rebuilding. Of that amount, one hundred and one billion has either been dispersed or is available for the affected states' governments to draw on (White House). President Bush has committed the federal government to allowing the state of Louisiana a thirty year period to repay their segment of

Management for Organizations Term Paper Example | Topics and Well Written Essays - 1250 words

Management for Organizations - Term Paper Example No matter which segment of the industry this contact center provided services to, the fundamental principles of management never changed. Effectiveness and efficiency are the two governing principles. While the other five changed from one to other depending upon the nature of client and the objectives it set. For instance, if a government organization like the national sui gas company would like to take services of the contact center, the primary concern would be to take care of the orders and try to convince the customers in whichever way possible. This allowed the call centers agents and operators to get aggressive or sometimes even hang-up on customers that were not really converting into sales. As the government departments don’t really need to sell to be able to generate cash. They have different set of rules. On the other hand, when it’s the private companies, they need to be able to retain their customers and be able to develop a real presence with them, as they need to give them better services than the competition. Here are five elements and their implementation at the ABC Inc; Planning Whenever a task needs to be started, it starts with proper planning. Each goal is derived from a specific service response (Nelson, 2008). Like every other successful company ABC Inc. also undertakes planning very seriously as the whole progress depends upon this blue print (planning). For instance when a new client approaches the company to start providing services the top managers and the client representative sit together to figure out the details. The top managers ask almost every possible detail they can extract from the client so that they put in all factors in the planning process. This would involve the budget they have, their short term and long term goals, their priorities, their desired customer portfolio and their weekly milestones. This list is matched with the company’s current services, and the bargaining is done to make sure that eve ry detail is settled right at this planning phase. When this agreement is made then comes the internal planning of the company. An in house meeting is held where all the people from concerned department are gathered. The top manager gives a presentation about the new client and the respective project. This presentation is customized and is kept brief as the pre planning is done at the agreement time. This phase is scheduled for working forward from the briefings given by the top manager with the approval of the chairman and the president. Then the senior HR manager comes to give his part of the presentation to describe the plan. This part is extremely crucial as each task is broken down and assigned to the relevant person/department. Participants to the meeting are encouraged to ask questions, raise their concerns or even argue if they think there is a better alternative. Leading Leading comes after the panning is done. Without leading there is no following, and eventually there is no productivity. At ABC Inc. leadership is given paramount importance, as there have been many times when a project is very difficult, pays very low or is extremely difficult to run. However, when the effective leader like the VP or the floor manager steps in

Hurricane Katrina and African-American Society Essay

Hurricane Katrina and African-American Society - Essay Example In the days that followed, the death toll due to the storm would rise to one thousand eight hundred and thirty-three people, 1577 of that number in Louisiana, with hundreds still unaccounted for (CNN). Even though the water was pumped out of the city within four days, thousands were left homeless and abandoned in the wreckage of the city. The survivors of the storm and flood made their way through the remnants of New Orleans to the Superdome. What was previously the home of the New Orleans Saints became home to thousands of refugees awaiting government aid that fell far short of expectations. Survivors were abandoned for days as they waited for aid that wouldn't come fast enough. The world watched helplessly as graphic images of people begging for assistance, of people dying in the streets filled television screens urging them to act, to help bring relief to those affected by this senseless catastrophe. The end result was just as horrifying as the uncensored images displayed which both brought world-wide attention to the nightmarish circumstances facing the survivors and exploited them for those who would take advantage of the disastrous situation (Hartman, Chester; Spires, Gregory). There were plenty of people waiting in the wings to capitalize on the devastation surrounding the survivors of the storm. The total dam age has been estimated at $125 billion (CNN). When our ownWhen our own government wouldn't step up to the challenge, other groups stepped in to raise funds for those displaced by the storm and subsequent flooding. Some of these were legitimate non-profit groups whose only interest was to try and help, such as the Red Cross and the Salvation Army who brought food, water, clothing and volunteers to the area. Others were scam artists and large corporations who took the opportunity to profit from the devastation and take advantage of those who required assistance most. The United States government made no preparations for those that depended on public transportation just to get around the city, for those sick, invalid, or financially unable to leave on their own merit in the days leading up to Katrina (Brookings Institution). Even after the storm passed and the National Guard made their way into the devastation of New Orleans, they brought few supplies for those trapped inside the city, were even instructed to not distribute their own water and supplies to those crying out for help (Hartman, Chester; Spires, Gregory). Survivors were left in the ill-equipped Superdome as the government feared the spread of disease from those who had been forced to live in the fetid waters flooding the city. When they finally were brought supplies from the government, refugees were given boxes containing the vaccine for SARS (Hartman, Chester; Spires, Gregory). The lack of real response to the poorer, African-American population on the behalf of our government is a point of contention worth a deeper examination. The most recent numbers from the government show a total federal infusion of one hundred and twenty-six billion dollars into the Gulf area for rebuilding. Of that amount, one hundred and one billion has either been dispersed or is available for the affected states' governments to draw on (White House). President Bush has committed the federal government to allowing the state of Louisiana a thirty year period to repay their segment of

Boeing Essay Example for Free

Boeing Essay Vision People working together as one global company for aerospace leadership Boeing- The future of flight. Mission To be the number one aerospace company in the world and among the premier industrial concerns in terms of quality, profitability and growth Objectives To achieve the above goals and fulfil Boeing’s mission, the following objectives will guide company: †¢ Continuous improvements in quality of products and processes: Our commitment to steady, long-term improvement in our products and processes is the cornerstone of our business strategy. To achieve this objective, we must work to continuously improve the overall quality of our design, manufacturing, administrative, and support organizations. †¢ A highly skilled and motivated workforce: Our most important resource is our human resource: the people who design and build our products and service our customers. Given the right combination of skills, training, communications, environment, and leadership, we believe our employees will achieve the needed gains in productivity and quality to meet our goals. †¢ Capable and focused management To employ our technical and human resources with optimum efficiency, we must ensure that managers are carefully selected, appropriately trained, and work together to achieve our long-range goals. †¢ Technical excellence In a world of fast-challenging technology, we can only remain competitive by continuously refining and expanding our technical capability. †¢ Financial strength The high-risk, cyclical nature of our business demands a strong financial base. We must retain the capital resources to meet our current commitments and make substantial investments to develop new products and new technology for the future. This objective also requires contingency planning and control to ensure the company is not overextended should a severe economic downturn occur the plan period. †¢ Commitment to integrity Integrity, in the broadest sense, must pervade our actions in all relationships, including those with our customers, suppliers, and each other. This is a commitment to uncompromising values and conduct. It includes compliance with all laws and regulations. Boeing- Airbus market share The rivalry between these giants, the only manufacturers of large medium or long-range passenger aircraft, has today reached epic proportions. Airbus overtook Boeing five years ago to be number one, mostly through the success of its medium capacity long-haul Airbus A-330 and its shorter-range variations such as the A-340. This market share pie-chart of the two head to head competitors-Boeing and Airbus shows that Airbus is leading at the moment. Even though the number of orders is higher with Airbus in 2004 but the total revenues of Boeing is still much higher than that of Airbus. This is due to the fact that Boeing gains profit from other activities such as military aerospace, defence, and space businesses. With the launch of Airbus A380, the market share in the coming year will have slightly a change which is better for Airbus. However, Boeing will be able to regain its market share thanks to the new model of 7E7, Dreamliner and making the competition more aggressive.

Analytical Review Of From Out Of The Shadows History Essay

Analytical Review Of From Out Of The Shadows History Essay From Out of the Shadows is a study of Mexican women, who had migrated to America before the World Wars, their struggles and achievements. Vicki L. Ruiz is a professor of History and Chicano/Latino studies , University of California and has authored a number of books including the well known book Cannery Women, Cannery Lives. Vicki L. Ruiz exposes the strife the Mexican women had to face after crossing the border early in the century. The book tells us about the endeavors of these courageous and enterprising women and the society they helped to build in an alien land, quite often under hostile conditions. In her book she writes From Out of the Shadows focuses on the claiming of personal and public spaces across generations (Ruiz, xi). Ruiz was motivated to chronicle this aspect of American history by the stories she heard as a child from her mother and grand-mother. Her imagination was kindled by the images of village life, the difficult living conditions and the discrimination women faced in those days. From Out of the Shadows also emphasizes the different types of political activism in which the Mexican-American women participated and created public awareness, which included fighting for the cause of civil rights and organized protests against the Vietnam War. For a newer edition of this book, Ruiz has added a preface that carries on the story of the Mexican womens experience in America and traces the growth of Latino history. The book describes the first exodus of women crossing the border from Mexico to California seeking refuge from tyrannical husbands or in search of a better life earlier on in the century. Over one million Mexican men and women migrated al otro lado between 1910 and 1930 (Ruiz: 6) Ruiz throws light on the effort made by protestant groups in an attempt to Americanize the Mexicans but whose efforts generally failed because the Mexican women relied on their own community groups like the rural community groups, religious groups and labor unions to help them absorb into mainstream American society. The book talks about the conflict that arose between mothers and daughters when the daughters were forbidden to use makeup and the mothers insisted that teenage girls attend a dance or go for social outings like movies with a chaperone. What this book reveals is a portrayal of a distinct culture in America, one that has slowly gained momentum and richness in the past several years. From Out of the Shadows is a significant contribution to the largely unrecorded and undocumented history of Mexican-American women. She has chosen to integrate the cultural diversity based on gender, class, region and generational experiences. She has used a variety of sources in her research such as records of census, journals and scholarly texts. In the introduction, Ruiz tells her readers that Mexican women have made history, no matter what their occupations. However, somehow their tales have remained in the shadows (Ruiz xi). In her work, Ruiz has tried to address the issues of interpreting these unheard voices and defining strength within individuals, families and communities. Conventionally the history of America has focused on the Northern European immigrants and their progeny as the settlers in a male dominated, capitalist society. In her writing, Ruiz demonstrates the hardships the Mexican women faced in their journey to become a part of the American community. Ruiz draws upon the lives of women, their dreams, aspirations and decisions and gives these issues a platform. She examines the influx of Mexican women into the States before World War II. Her writing also illustrates their responses to the pressures and challenges of adjusting to the newly forming American culture and Americanization of society in general. The women had to live with altered social values during the inter-war period and the end of young Mexican American women who took to chaperoning. The increasing political and social activism of Mexican women and their role in resisting financial oppression as well as their espousal of the cause of feminism through the 1960s and 70s has been faithfully chronicled in the pages of this book. As yet not much has been documented and published about the activities and importance of Mexican women in twentieth century America. In that perspective this book may be considered as a pioneering attempt to record the contribution of Mexican women in building a multicultural American society. The book is full of interesting anecdotes and tales of how the women struggled to make sense of an alien world, into which they had migrated, and of their efforts to make their lives and of those around them meaningful. The thoughtful way in which personal interviews of Mexican women with very long memories and lots of stories to tell, adds poignancy to the text. The narrative increases the readers admiration for the courage and doggedness displayed by these women in their struggle to realize their rights and for a chance to get equal opportunities, work and wages. To present an unbiased analysis of the book one must draw attention towards some of the draw backs in the book as well. While this is a monumental effort to chronicle the contribution of Mexican women and the integration of Latino people to the American society it becomes hard to comprehend the frequent use of jargon that impacts the flow of the narrative. In portions the author becomes too involved in the account and loses sense objectivity and neutral research. Ruiz, however, admits that she has written from the heart (p.xii) and this kind of impassioned approach may appeal to a good many of her readers. Readers looking at this book as a traditional source of historical data may find this approach subjective and a bit unconventional. It must be emphasized here that the data collected and recorded in this book is of great importance to students of American history and to all those generations of Mexican-American people who have now become assimilated in the multicultural American so ciety. The book will find a ready readership amongst scholars in who are taking courses or researching in the areas of Diaspora, immigration and ethnic studies. It is also an asset for teachers who have to teach courses in this filed. This book is of special interest to women all over the world and to anyone who wishes to learn about the Mexican settlers in America and the contribution Mexican-American women have made to the development, organization and sustenance of Latino culture in the American society. Through the pages of this book Vicki Ruiz has truly rescued the Mexican- American woman and drawn them From Out of the Shadows. Work Cited: Ruiz, V.L. 2008. From Out of the Shadows: Mexican Women in Twentieth Century America. New York: Oxford University Press. Print. .

Let The Circle Be Unbroken :: essays research papers

Let the Circle be Unbroken   Ã‚  Ã‚  Ã‚  Ã‚  When TJ gets a trial, the Logan children are very happy because they think he will not be killed. Mama and Papa disagree because the jury will be entirely white. Mr. Jaminson does and excellent job defending TJ. He had experiments, such as putting a black stocking over his hand and showing it to Mrs. Barnett. He also had strong evidence that TJ did not commit the crime. At the end, TJ was found guilty, mostly because of the jury’s prejudice. This part is a very crucial part of the novel because if TJ were not convicted, the Logan children would have not ridden up to strawberry and they would not have used the â€Å"white† bathrooms. This incident sets a sad tone for the rest of the novel. If TJ weren’t convicted, a majority of the rest of the book would deal with threats against TJ and how he deals with them. Maybe TJ would even get into more trouble with RW and Melvin. When Dube organizes a union with Mr. Wheeler and John Moses, they all came to Mr. Logan for help. They asked him if he could sign up all of the people in his area. Their goal is to get plantation workers 50 cents from sunup to sundown. It looked like Mr. Logan would go along with it until Mr. Wheeler blurts out that it would be a white and black union. Mr. Logan shows some resistance and never really lets Mr. Wheeler know if he would do it or not. This turning point is important because later on in the book the Logans go to a meeting about the union. After that, the night men ambush the next meeting (Logans don’t attend). Dube, who was at the meeting, comes knocking on the Logans door asking for help. If this event would have not taken place, the second union meeting would have not gotten ambushed and all of those people wouldn’t have gotten hurt. Dube wouldn’t have knocked on the Logans door asking for help. The meeting could have been a success and the plantation workers (a.k.a. sharecroppers) would get 50 cents a day for work. My opinion on this event is why even have meetings. The book did a very poor job explaining what Mr. Wheeler and John Moses talked about. In reality, would your pay get boosted from 4 cents a day to 50 cents a day especially in time of depression?

Law of Nature - Wordsworth Essay -- William Wordsworth

Nature is freedom, it knows no boundaries. Bronislaw Malinowski wrote, "Freedom is a symbol which stands for a sublime and powerful ideal.† The state of nature is a term in political philosophy that describes a circumstance prior to the state and society's establishment. John Locke, whose work influenced the American Declaration of Independence, believes that the state of nature is the state where are individuals are completely equal, natural law regulates, and every human being has the executive power of the natural law. Nature is the very essence of freedom, and freedom is the essence of singularity. An Infinite and Unbound Singularity would require infinite and unbound degrees of freedom. Each individual mind represents an infinite degree of freedom separated by Nothing but its own Perspective. Just as there is Nothing that separates one spatial dimension from the other but the perspective view. The height, weight, and depth of our spatial dimensions are interchangeable, and are only defined by our current point of view. Rotate them by 90 or 180 degrees in any direction and one be...