Prohibition and the 18th Amendment to the Constitution essays

Preclusion and the eighteenth Amendment to the Constitution articles The eighteenth Amendment to the Constitution - passed by Congress in 1917, and confirmed by  ¾ of the states by 1919 denied the production or offer of mixed refreshments inside the limits of the United States. The Volstead Act of 1919, otherwise called the National Prohibition Enforcement Act, which was ordering No individual will produce, sell, deal, transport, import, send out, convey, outfit or have inebriating alcohol aside from as approved in this demonstration. It plainly characterized a mixed drink as one with a heavy drinker content more prominent than 0.5 percent. The fundamental 36 states confirmed the revision on January sixteenth of that year. Taking into account the years alteration, America went dry at the stroke of 12 PM, the morning of January seventeenth. The Prohibition Era started on January sixteenth, 1920, when the United States sanctioned the eighteenth Amendment, which precluded the production and offer of liquor. The well meaning goal beliefs of the Prohibit ion Era prompted a few sick impacts including horrendous deception inside the American culture, debasement on all degrees of government, and a surprising loss of life, which was a consequence of the disturbing crime percentage. Forbiddance in the United States was a measure intended to lessen drinking by dispensing with the organizations that made, circulated, and sold mixed refreshments. The best proof accessible to students of history shows that utilization of drink liquor declined significantly under disallowance. During the 1920s utilization of drink liquor was around 30% of the pre-denial level. Utilization developed fairly in the most recent long periods of denial, as unlawful supplies of alcohol expanded and as another age of Americans dismissed the law and dismissed the demeanor of benevolence that was a piece of the bedrock of the disallowance development. In any case, it was quite a while after annulment before utilization rates to their pre-denial levels. In that sense, denial worked. When... <!

Movie Rental Industry Free Essays

Film Rental Industry Netflix and Blockbuster Case Analysis Lydia Floyd Strategic Management MGT422 February 28, 2013 Introduction Netflix serious methodology In request for Netflix to comprehend were the business lies as it identifies with the opposition it is imperative to look for the right system so as to be and remain serious. The five serious systems are * Low-Cost * Broad Differentiation * Best-Cost * Focused specialty dependent on ease * Focused specialty dependent on separation Since every technique requires absolutely an alternate moved toward my suggestions will be founded on centered specialty based around separation. Netflix initially offered DVD’s on an expense for each DVD premise and in the end fan out into the month to month membership administration business. We will compose a custom exposition test on Film Rental Industry or then again any comparative subject just for you Request Now The organization at one point was anticipated to have more than 11. 3 million endorsers by 2009 and 8 million VOD (Video on Demand) clients by 2013. (See Exhibit 1) This display essentially shows how the quantity of video spilling decisions has expanded in the course of recent years. So the organization is moving the correct way to the extent expand their separation methodology. The following display shows how Netflix thinks about to the its fundamental rivalry and how the company’s net overall revenue surpasses a contender like Blockbuster. The joined SWOT investigation for Netflix makes reference to some significant focuses that are related with an engaged separation system. The organization is remaining dedicated to how to support the specialty superior to the opposition and addresses the territories that intrigue to explicit clients, for example, offering administrations that permit endorsers of return to direct scenes of a TV arrangement. This investigation will permit the organization to recognize regions to focus on deliberately and to make a last determination to where the organization stands by and large. Qualities * Increasing rivalry per part seeing is on the * Customers’ quitting is the most minimal it has ever been. * Clearest brand character â€Å"Watch TV shows motion pictures whenever, anywhere† * Netflix has outperformed the rivalries in improving personalization of client decisions in light of enormous participation base * Price $7. 99 every month * Exclusive Content: Of Netflix’s top ten TV appears, six are just on Netflix, and not accessible with contenders. Netflix’s DVD membership administration is incredibly gainful, with commitment edges around half. * Services permit clients to go right back to the start of the main season for TV shows Weaknesses * DVD memberships are down 8. 47 million supporters in Q3, 2012 contrasted with 13. 81 million supporters 1 year back. * Brand endured when the organization changed the valuing * It could take three years for a full brand recuperation so as to see observable contrast to net revenues * Streaming membership commitment edges are a lot of Opportunities International extension (worldwide) * Original creations offer a route for the organization to associate with client feelings. Organization will offer 4 TV arrangement this year that may be on Netflix * Lack of utilization of charge and Visas †Latin America. * Internet TV. Dangers * As Hastings called attention to, â€Å"With large markets comes competition† †There is a reasonable change from straight TV to Internet TV and contenders need to partake in the benefits. * Contracts with Disney, Sony, and Universal * Hulu, offers its clients TV shows following they are publicized just because. Hulu, Amazon, and HBO contenders making more interests in gushing choices * United Kingdom is an extremely serious â€Å"The looked for after upper hand over other film rental contenders was to convey convincing client worth and consumer loyalty by disposing of the problem engaged with picking rent and bringing movies back. Develop forward the organization has 2 essential vital target 1 to keep on growing an enormous DVD membership business and to extend quickly to web based conveyance of substance as that market fragment created. (Case page c-102) The company’s income has kept on developing generously over that most recent few years. The following displays show the budgetary situation from the finish of 2006 to end of 2008 going from 996,660 to 1,364,661 with the overall gain edge being at 6. 1% by 2008 which shows the organization gainfulness as it identifies with costs and liabilities. The following two slides simply give a visual for where Netflix analyzes to blockbuster as it identifies with deals through 2010 Reference Page Thompson , A. College of Alabama 2008 Case 5 Competition in the Movie Rental Industry in 2008: Neflix and Blockbuster fight for advertise authority http://beta. fool. com/danielsparks/2012/10/31/netflix-swot-investigation/15522/http://www. slideshare. net/only1kiku/techindnetflix Gamble, John E. , Strickland, A. J. , Thompson, Arthur A. , 2010 Crafting and Executing Strategy McGraw Hill/Irwin New York New York http://fund. yippee. com/q? s=NFLXql=1 The most effective method to refer to Movie Rental Industry, Essay models

Small States Essay Example

Little States Essay For what reason do political requests for littler states and bifurcation emerge? There are, obviously, passionate contemplations like culture, language, religion and a feeling of financial and provincial hardship. In any case, more critically, lawmakers imagine extra posts of intensity as boss clergymen or pastors, pioneers of the restriction, Assembly speakers, etc. Correspondingly, government hirelings consider turning out to be boss secretaries or secretaries, DGs of police, boss specialists, chiefs thus on.A normal thought is that a bigger portion of focal assets would stream into another state contrasted with when it is a district in a bigger state. Most likewise accept that another capital city would give better day to day environments. Contentions are presented that a littler state with less number of regions would lessen the range of control of state-level functionaries. What's more, that diminished separations between the state capital and fringe territories would improve th e nature of administration and regulatory responsiveness and accountability.However, this can undoubtedly be accomplished with solid local authoritative units in bigger states. Proof shows that both huge and little states have fared well and that horrible showing isn't really connected to measure. Truth be told, today, innovation can help make administering bigger domains simpler and bring even distant closer. Significantly more than the size of a state, it is the nature of administration and organization, the differing ability accessible inside the state’s populace, and the leadership’s drive and vision that decide if a specific state performs better than the others.A little state is probably going to confront impediments regarding the regular (physical) and HR accessible to it. In addition, it will come up short on the sort of agro-climatic decent variety required for monetary and formative exercises. It would likewise be confined in its ability to raise assets insid e. Every one of these components would just make it progressively subject to the Center for money related exchanges and halfway supported schemes.Further, expanding the quantity of states in the nation would extend the range of control of the focal services managing states and of gathering central leaderships managing state party units. Another little state may end up ailing in foundation (authoritative and modern), which requires time, cash and exertion to assemble. Some may contend that it is with this very reason for creating framework that requests for the production of littler states are encouraged.But experience shows that it takes about 10 years for another state and its legislature and regulatory establishments to get steady; for different issues of division of benefits, reserves and of the state common service(s) to get completely settled; and for connections to the new state money to balance out. The expense of this progress isn't low and the state’s execution may e ndure during this break period. Thus, the legitimization of some current state limits and revamping domains might be alluring for reasons of physical connectivity.And even as this and other socio-political variables could be considered by another State’s Reorganization Commission, a change only for having a little state isn't attractive. Additionally, we can't fix a state’s ideal size spontaneously. It requires an intensive assessment of physical highlights like land quality and geography, agro-climatic conditions, socio-social variables, normal and human asset accessibility, thickness of populace, methods for correspondence, existing authoritative culture and viability of its region and provincial regulatory units thus on.There are various requests for littler states in various pieces of the nation. Be that as it may, littler states are not a panacea for India’s horde issues. Neither would they be able to determine issues looked by different areas and segments of society. Bigger states might be, truth be told, all the more monetarily and monetarily feasible and better equipped for serving individuals and accomplishing arranged turn of events. On the off chance that the organization in an enormous state experiences wasteful aspects, what is the assurance that it will get capable by only making a littler state?

The Seven External Factors of the Market Place - Free Essay Example

The Seven External Factors of the Market Place Today I will explain one by one each of the seven external factors. To start: The Political-Legal Environment: It is a political and corporate relationship. Companies aim to franchise with and support political candidates through their activities to help promote their business. Socio-cultural Environment: A business’ development and prosperity is based on the cultural and social value of whatever they have to offer. The world’s view on things are always involving so a business must always stay up on these ever changing trends to better promote and develop new products. (Ebert Griffin, 2009) Technological Environment: The technological environment has been created to update and refresh our views and lifestyles by creating new goods and services. Economic Environment: The economic environment is the platform for all businesses world wide. It relegates a business spending patterns, pricing, marketing strategies etcetera. Competitive Environment: The competitive environment consists of the general competition between companies. They compete for the limelight to attract buyers. This has to be done properly for proper promotion is crucial to a business’ continuity. Demographic Variables: is akin to data mining; used to help identify consumer qualities; such as the age, gender, income, race, and etcetera. This helps determine a markets segmentation strategy. As for the Natural Environment: it is the typical weather, and natural resources that concern human continued existence and market activity. Natural Environment, 1999-2010) Now I am going to explain the advantages and disadvantages of two of the external factors? One of the two that I have chosen is the Competitive Environment. There are many but just to name a few (Ollman. B, 2004-2010) some advantages are: there is more modernization as firms look for new goods to sell and cheaper ways to do their work; a great diversity of consumer goods become available for those who have the money to purchase them; and hefty parts of the public take on a vibrant air as everyone busies him or herself trying to sell something to someone else. As for some disadvantages: over production of a product in the attempt to out-source another company; unemployment due to a lack in profit; and growing social and economic inequality. As for the advantages and disadvantages for a Technological Environment (Some advantages ad disadvantages of information technology, 2008) are: a better communication outlet. With the aid of technology, communication has also become affordable, quicker, and more resourceful. It is known to be cost effective for businesses and at the end of the day gives way to profits which will mean better pay and less exhausting working conditions. Culturally technology has opened a window for all cultures of all types of backgrounds and dialects to be able to communicate and relate with each other. Another advantage is t he advantage of time. Technology has made it achievable for businesses to be open 24 x7 all over the world if they so chose. This means that a business can be open anytime, anywhere which simultaneously makes it more convenient for the consumer to purchase things anytime and anywhere. Some disadvantages are: unemployment. Technology has appropriated many jobs while at the same time- it has created a lot of down sizing and out sourcing; that means that a lot of lower and middle level jobs have been removed and technically replaced causing more people to become unemployed. Privacy has also been considered an issue. Yes, it has made communication easier and faster but it also gave an opening to hackers; making ones once personal and confident information public. References: All Business. A DB Company. (1999-2010). Business Definition for Natural Environment Retrieved from: https://www. llbusiness. com/glossories/natural-environment/4964749-1. html Ebert, R. J. Griffin, R. W. (2009) . Business Essentials. (7th Ed). Upper Saddle River, N. J: Person-Prentice Hall Ollman. B. (2004-2010). Market Economy: Advantages + Disadvantages Retrievedfrom:https://www. nyu. edu/projects/ollman/docs/china_speech2. php Small Business Bible. (2008). Some advantages and disadvantages of information technology Retrievedfrom:https://www. smallbusinessbible. org/advan_disadvan_informationtechnology. html

Bullying Affects And Proven Data - 954 Words

Bullying: Affects and Proven Data Bullying has been going on for years now. It had been a major problem for years. Although bullying has dramatically decreased it still happens. I will be telling you the long term effects of kids who have been bullied. How studies have come out on victims of bullies. Lastly I will tell you who has been the most effected by bullying. As a kid and up to my teenage years I was teased, made fun of, and the blunt of all rumors that went around. I can relate and am living proof that bullying definitely affects you very negatively. In an article I read by Ms. Ashley Strickland she states â€Å"The researchers discovered that children who were bullied are more likely to suffer anxiety, depression and consider self-harm and suicide later in life.† This statement is very much true the news media had reported a lot of teenagers killing themselves because they were being bullied. These news reports were quite frequent for a while. The sad part is I know exactly why someone would go to those lengths. I felt so useless and like no one cared about me because everyone was always talking about me. Even though I kept saying they were just jealous, it still wears on you after a while. I had kids threatening to beat me up, smash my face to the ground, all because people couldn’t stop spreading rumors and saying I said it. After a brief battle with depression and finding who I was I started loving myself again, but not everyone can get to that point. If kids wouldShow MoreRelatedPersuasive Essay On Cyber Bullying1236 Words   |  5 Pages Bullying is no longer the big guy making a third grader give him his lunch money. In order to fully comprehend the word cyberbullying, one must understand that the definition goes into more depth than saying, kids are being mean to one another behind a phone/computer screen. With how quickly our world is evolving, cyberbullying will not just go away. Since being bullied online follows a victim home, they have nowhere to feel safe anymore, and that can lead to obtaining mental, behavioral, andRead MoreThe Problem Of Peer Victimization Essay1125 Words   |  5 Pagesto be spared the oppression and repeated, intentional humiliation of bullying.† The school is a place where youths spend a significant proportion of their life and this environment has proven to pose various challenges daily. The incidence of peer victimization has been a major social and health problem that is highlighted in the media and has become rampant among schools regionally and internationally. Historically, bullying was regarded as a â€Å"rite to passage† or a â€Å"part of growing up† howeverRead MoreEffects Of Social Media Essay1098 Words   |  5 Pagesa fun place to go to entertain oneself. However, the use of these sites can be risky to teens. Social media has put teenagers in situations that are both dangerous and harmful physically and mentally. This being said, social media can negatively affect a teenagers safety, psychological well-being, and their education. To start off, as the use of social media increases, the safety of many teenagers becomes more of a concern. The safety of a teenager may include risks involving one’s privacy andRead MoreThe Office Bully Essay883 Words   |  4 Pagesto create an informative virtue. Bullying is a form of aggression that affects others and it could be verbal, emotional, or even physical bullying. Perhaps it’s because of psychological issues as a child that may force them to become antagonistic, or to compensate for there own insecurities. As a child everyone has felt that they had to put up with the bully at school. If all you did was go running and telling an adult then it would be worse and the bullying wouldn’t stop. But what do you whenRead MorePersuasive Essay On Cyber Bullying1623 Words   |  7 PagesThe Real Issue Bullying is no longer the big guy making a third grader give him his lunch money. In order to fully comprehend the word cyberbullying, one must understand that the definition goes into more depth than saying, kids are being mean to one another behind a phone/computer screen. With how rapidly our world is evolving, cyberbullying will not simply go away. Since being bullied online follows victims home, they have nowhere to feel safe anymore, and that can lead to obtaining mental,Read MoreWhat Does Columbine, Sandy Hook, And The Edlington Murders All Have?872 Words   |  4 Pagesunder the age 18 who have maimed and murdered others. Looking at data from the National Criminal Data base, it is a clear fact that children’s behavior is significantly deteriorated from 20 years ago. Some critics would argue that the rate of children’s misbehavior has been the same through the decades, but this paper will present evidence that children’s behavior is indeed on the incline . Factors to support this view include: data of school violence, the severity of crimes committed, and the increaseRead MoreBullying in Schools Essay1512 Words   |  7 PagesBullying is not something that can just be addressed inside one teachers classroom, it requires a comprehensive community effort to effectively stop bullying and the tolerance of bullying. Research shows only 4% of teachers intervene in a situation where a student is being bullied yet 50-75% of students with special needs are the main targets of bullying. These percentages do not add up. With more adult involvement and awareness of what to look for with students educators possess the power to notRead MoreSchool Uniform Policies Within School Systems Essay1474 Words   |  6 Pagesdisciplined†.(Gentile) This caused a substantial growth in school systems enforcing uniforms that the number went up to 15%. Schools that have uniforms believe â€Å"they eliminate a source of distraction and differences amo ng students, reducing conflicts, bullying, ostracism and crime†. Uniforms also raise students self esteem and pride in the school community†.(Gentile) By enforcing uniforms, they can cause students to prioritize in their academics rather than trying to fit in with society’s expectationsRead MoreThe Common Conditions For Being Bullied, Bullying, And Violence3409 Words   |  14 Pagesthat the common conditions for being bullied, bullying behavior, and violence are related to a boys socially not normal categories, peer groups pressures, their higher risk for aggression, a lack of education, and family home environments and parenting styles (Farrell, Mehari, Mays, Sullivan, Le, 2015). Collected and reviewed cross sectional data on bullying, being bullied and violence from peer reviewed articles suggested also that active bullying and violence in boys ages 10-12 comes from parentingRead More Domestic Violence in Canada1662 Words   |  7 Pagesviolence is usually associated with gangs and guns, Canada experiences more violence related to bullying, sexual, verbal, cyber and domestic abuse (citation). Amidst the changing societal views towards treating women equally and eliminating objectification, of all these types of violence and abuse in our society, the most common still happens to be domestic abuse, which is mainly targeted at women and affects children. Domestic abuse is described as a form of abuse that takes place in the confines of

My Personal Statement On Time Management - 880 Words

The test was interesting being that some of my weaknesses are listed. I see the test as an outline to the things I should work on. I have known for some time I really need to get things in order and make life easier on me with a lot of organization. â€Å"When it came to areas of organization, time management, planning, positive, and energy. These are a list of my weakness and I do feel I am very accurate with these weaknesses. Time management is so hard for me to get a hold of. I have been late for a lot of things in life but never doctor appointments for my son. I could definitely work on my positive visualization and optimism. Planning out my daily activities are never done probably because I am lazy. I don’t organize my life but I alike my home organized with things being where they should be. Lastly, my energy level is so bad I am surprised I made it through the Success Program. I suffer daily form low energy levels and no doctor seems to know why.† (Bethel University, 2014) â€Å"My strengths are reading, listening, speaking, honesty integrity, and focused. There is no need in life to be afraid of the truth so I am honest with people. Reading is easy to me and I comprehend what I read very well. I speak in a good tone and I am pretty direct and clear with my words. I know how to focus on the positive things in life and never easily influenced. I have integrity because there is never a fear in me of losing someone for what I will say. If you don’t likeShow MoreRelatedPersonal Statement : God s Child1602 Words   |  7 Pageswas a world of devastation to enter. Four of my older siblings lost their lives in a fire when my mother was three months pregnant with me. The oldest sibling was trying to save them and survived when a firefighter stumbled over him going into the building. 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Literary criticism free essay sample

The auther of this essay is interested in finding the meaning of absurdity, Beckett is master of absurd theater, and Krapp’s last tape is one of the most influencial plays in absured theater which is deconstructed by nature. Not just the work and auther but the approach itself help the auther of this essay to find the true meaning of absurdity which itself leads human, after passing a chaos, to absolute peace. In the following paragraphs, first there is a biography of Samual Beckett the auther of Krapp’s last tape. Then the discussion goes through deconstruction which is not actually an approach but a reading stategy and short part is devoted to introsucing Lacan’s model of human psyche. Afterward the application of deconstruction and some other points on Krapp’s last tape is placed. At the end there is a conclusion of all what the auther of this essay trying to say. However, more complex variations of psychoanalytic criticism are possible. The concepts of psychoanalysis can be deployed with reference to the narrative or poetic structure itself, without requiring access to the authorial psyche (an interpretation motivated by French psychoanalyst Jacques Lacans remark that the unconscious is structured like a language). Or the founding texts of psychoanalysis may themselves be treated as literature, and re-read for the light cast by their formal qualities on their theoretical content (Freuds texts frequently resemble detective stories, or the archaeological narratives of which he was so fond). Like all forms of literary criticism, psychoanalytic criticism can yield useful clues to the sometime baffling symbols, actions, and settings in a literary work; however, like all forms of literary criticism, it has its limits. For one thing, some critics rely on psychocriticism as a one size fits all approach, when other literary scholars argue that no one approach can adequately illuminate or interpret a complex work of art. As Guerin, et al. put it in A Handbook of Critical Approaches to Literature. The danger is that the serious student may become theory-ridden, forgetting that Freuds is not the only approach to literary criticism. To see a great work of fiction or a great poem primarily as a psychological case study is often to miss its wider significance and perhaps even the essential aesthetic experience it should provide. Psychoanalytic: Such criticism aims at uncovering the working of the human mindespecially the expression of the unconscious. Possibilities include analyzing a text like a dream, looking for symbolism and repressed meaning, or developing a psychological analysis of a character. Three ideas found in the work of Sigmund Freud are particularly useful: the dominance of the unconscious mind over the conscious, the expression of the unconscious mind through symbols (often in dreams), and sexuality as a powerful force for motivating human behavior. Psychoanalytic criticism can be applied to either the author/text relationship or to the reader/text relationship. You might ask, How is this text use or represent the unconscious mind: of the author, the characters, the reader? Methods Early applications Freud wrote several important essays on literature, which he used to explore the psyche of authors and characters, to explain narrative mysteries, and to develop new concepts in psychoanalysis (for instance, Delusion and Dream in Jensens Gradiva and his influential readings of the Oedipus myth and Shakespeares Hamlet in The Interpretation of Dreams). The criticism has been made, however, that in his and his early followers studies what calls for elucidation are not the artistic and literary works themselves, but rather the psychopathology and biography of the artist, writer or fictional characters. Thus many psychoanalysts among Freuds earliest adherents did not resist the temptation to psychoanalyze poets and painters (sometimes to Freuds chagrin. Later analysts would conclude that clearly one cannot psychoanalyse a writer from his text; one can only appropriate him. Early psychoanalytic literary criticism would often treat the text as if it were a ind of dream. This means that the text represses its real (or latent) content behind obvious (manifest) content. The process of changing from latent to manifest content is known as the dream work, and involves operations of concentration and displacement. The critic analyzes the language and symbolism of a text to reverse the process of the dream work and arrive at the underlying late nt thoughts. The danger is that such criticism tends to be reductive, explaining away the ambiguities of works of literature by reference to established psychoanalytic doctrine; and very little of this work retains much influence today. Jungians Later readers, such as Carl Jung and another of Freuds disciples, Karen Horney, broke with Freud, and their work, especially Jungs, led to other rich branches of psychoanalytic criticism: Horneys to feminist approaches including womb envy, and Jungs to the study of archetypes and the collective unconscious. Jungs work in particular was influential as, combined with the work of anthropologists such as Claude Levi-Strauss and Joseph Campbell, it led to the entire fields of mythocriticism and archetype analysis. Northrop Frye considered that the literary critic finds Freud most suggestive for the theory of comedy, and Jung for the theory of romance. Form Waugh writes, The development of psychoanalytic approaches to literature proceeds from the shift of emphasis from content to the fabric of artistic and literary works. Thus for example Hayden White has explored how Freuds descriptions tally with nineteenth-century theories of tropes, which his work somehow reinvents. Especially influential here has been the work of Jacques Lacan, an avid reader of literature who used literary examples as illustrations of important concepts in his work (for instance, Lacan argued with Jacques Derrida over the interpretation of Edgar Allan Poes The Purloined Letter). Lacans theories have encouraged a criticism which focuses not on the author but on the linguistic processes of the text. Within this Lacanian emphasis, Freuds theories become a place from which to raise questions of interpretation, rhetoric, style, and figuration. However, Lacanian scholars have noted that Lacan himself was not interested in literary criticism per se, but in how literature might illustrate a psychoanalytic method or concept. Reader response According to Ousby, Among modern critical uses of psychoanalysis is the development of ego psychology in the work of Norman Holland, who concentrates on the relations between reader and text as with reader response criticism. Rollin writes that Hollands experiments in reader response theory suggest that we all read literature selectively, unconsciously projecting our own fantasies into it. Thus in crime fiction, for example, Rycroft sees the criminal as personifying the readers unavowed hostility to the parent. Charles Mauron: psychocriticism In 1963, Charles Mauron conceived a structured method to interpret literary works via psychoanalysis. The study implied four different phases: 1. The creative process is akin to dreaming awake: as such, it is a mimetic, and cathartic, representation of an unconscious impulse or desire that is best expressed and revealed by metaphors and symbols. 2. Then, the juxtaposition of a writers works leads the critic to define symbolical themes. . These metaphorical networks are significant of a latent inner reality. 4. They point at an obsession just as dreams can do. The last phase consists in linking the writers literary creation to his own personal life. On Maurons concept, the author cannot be reduced to a ratiocinating self: his own more or less traumatic biographical past, the cultural archetypes that have suffused his soul ironicall y contrast with the conscious self, The chiasmic relation between the two tales may be seen as a sane and safe acting out. A basically unconscious sexual impulse is symbolically fulfilled in a positive and socially gratifying way, a process known as Sublimation. Anxiety of influence The American critic Harold Bloom has adopted the Freudian notion of the Oedipus Complex to his study of relationships of influence between poets and his work has also inspired a feminist variant in the work of Sandra Gilbert and Susan Gubar. In similar vein, Shoshana Felman has asked with respect to what she calls the guilt of poetry the question: Could literary history be in any way considered as a repetitive unconscious transference of the guilt of poetry? . Cultural examples In Small World: An Academic Romance, one of David Lodges satires of academia, the naive hero Persse follows Angelica to a forum where she discourses on Romance: Roland Barthes has taught us the close connection between narrative and sexuality, between the pleasures of the body and the pleasure of the text. Romance is a multiple orgasm. Persse listened to this stream of filth flowing from between Angelicas exquisite lips and pearly teeth with growing astonishment and burning cheeks, but no one else in the audience seemed to find anything remarkable or disturbing about her presentation. In A. S. Byatts novel Possession, the heroine/feminist scholar, while recognising that we live in the truth of what Freud discovered, concedes that the whole of our scholarship the whole of our thought we question everything except the centrality of sexuality. Psychoanalysis in Literature In a nutshell, the key to understanding the history of psychoanalytic literary criticism is to recognize that literary criticism is about books and psychoanalysis is about minds. Therefore, the psychoanalytic critic can only talk about the minds associated with the book. And what are those? There are three, and curiously, Freud spelled them out in his very first remarks on literature in the letter to Fliess of October 15, 1897 in which he discussed Oedipus Rex. He applied the idea of oedipal conflict to the audience response to Oedipus and to the character of Hamlet, Hamlets inability to act, and he speculated about the role of oedipal guilt in the life of William Shakespeare. Those are the three people that the psychoanalytic critic can talk about: the author, the audience, and some character represented in or associated with a text. From the beginning of this field to the present, that cast of characters has never changed: author, audience, or some person derived from the text. Those are the three minds that the psychoanalytic critic addresses. How the psychoanalytic critic addresses those minds depends on the orientation of the critic. Is he or she a classical psychoanalyst, an ego psychologist, a Lacanian, a Kleinian, a member of the object-relations school, a Kohutian, and so on? Each of the various schools in the development of psychoanalysis necessarily produces a different style of psychoanalytic literary criticism. In the earliest stage of psychoanalytic criticism, the critics did little more than identify oedipus complexes and the occasional symbol or parapraxis in one or another work of literature. Usually the critic would relate the complex or the slip of the tongue or the phallic symbol to the mind of the author, as in Freuds studies of Dostoevsky or da Vinci. Other familiar examples would be Ernest Jones often-reprinted book on Hamlet (1949) or Marie Bonapartes analyses of Poe (1933). (Relevant collections would be: Phillips 1957; Manheim and Manheim 1966;; Ruitenbeek 1964. As psychoanalysts began to define the pre-oedipal stagesoral, anal, urethral, phallicthe range of fantasies that one could identify in a literary text expanded from oedipal triangles to fantasies about money, devouring and being devoured, going into dangerous places, fantasies about control, ambition, rage, and so on, as in Phyllis Greenacres well-known studies of Swift and Carroll (Greenacre 1955) or Edmund Wilsons rea ding of Ben Jonson as an anal character (Wilson 1948) or Kenneth Burkes fine studies of Antony and Cleopatra, Coriolanus, and Kubla Khan (Burke 1966a, b, c). In 1963 the French critic Charles Mauron made the important point that these different levels of fantasies were all transformations of one another, superimposed, so that one could imagine the human being as a series of geological levels with oral fantasies at the deepest level, then anal, phallic and so on forming and leaving traces of themselves at the higher. This is, of course, consistent with the continuities we see psychoanalytically in the development of any human being. Mauron showed that one could read from a writers repeated themes to the writers mythe personel or, as I would say, identity theme. Then, as ego psychology developed further, and psychoanalysis acquired its complex theory of defenses, we literary critics became able in the 1960s and 70s to trace defenses as well as fantasies in texts (see, for example, (Kris 1952). Again, we often read both the defenses and the fantasies back to the authors, and the result has been distinguished biographies by Leon Edel (1953-19 72), Justin Kaplan (1966, 1982), and Cynthia Griffin Wolff (1977, 1986), to name but a few of the many good psychobiographers. Even more helpfully, we became able to see that literary forms functioned psychologically like various types of defense mechanism. Form works as a defense, both at the level of particular wordings and in larger structures. Our identifications with characters serve in this way, to modulate and direct our feelings as identifications do in life. The parallel plots of a novel or a Shakesperean play, for example, would act in the readers mind and perhaps the authors as a kind of splitting. A shift of the sensory modality in a poem may serve as a kind of isolation. Symbolizing serves to disguise all kinds of content in literary works. And, of course, omission functions like repression or denial. (See Holland 1968; Withim 1969-70; Rose 1980. ) The idea of form as defense meant that we could talk about literary works that had no characters at all, where one could only talk about form. We were no longer limited to plays and stories. We could talk about lyric poems (see, for example, Sullivan 1967 or Tennenhouse 1976). We could analyze non-fiction prose. Necessarily we related these to the mind of the author. We could say, for example, that Matthew Arnolds sentence structures expressed denial of physical contact, perhaps related to the general denial of sexuality in Victorian times (Holland 1968; Ohmann 1968). Today, in the 80s and 90s, I believe psychoanalysis has become a psychology of the self, although there are wide differences in the way different schools address the self: British object-relations, Kohuts self-psychology, or Lacans return to a verbal psychoanalysis. Various collections of essays use one or another of these familiar approaches: object-relations (Woodward, Schwartz 1986; Rudnytsky 1993); self-psychology (Bouson 1989; Berman 1990); Lacan, Davis 1981; Stoltzfus 1996). In their various modes, these follow the general pattern of psychoanalytic criticism: applying object-relations, self-psychology, or Lacanian psychoanalysis to the reader, the author, or some person derived from the text. To me, the most significant breakthrough was the recognition that our relationship to a literary work is to a transitional or transformational object. Literature exists in potential space (Schwartz 1975; Bollas 1979). There have been many failures of psychoanalytic criticism, mostly as a result of crudity in applying psychoanalytic ideas: labeling, pathography, id analysis. And there have been some successes. Today, I think the liveliest psychoanalytic criticism addresses questions of gender and personality in the personality of the author and, to me, most interestingly, in the mind of the reader (Holland 1975; Flynn and Schweickart 1986). I said earlier that I think the most interesting part of todays psychoanalytic criticism is its address to he reader. Nowadays we have psychoanalytically-oriented courses in literature and classes oriented to analyzing reader-response (Holland and Schwartz 1975; Holland 1977, 1978b; Berman 1994). In such teaching, a critic or teacher can help readers understand what they are bringing to a given work of literature. How do you respond when you enter the obsessionl world of Charles Dickens? How do y ou respond when you enter the oral world of Christopher Marlowe with its overwhelming rage and desire? How do you shape and change those those worlds to fit your own characteristic patterns of fantasy and defense? In other words, what kind of person are you and how do you perceive the world of books and the world around you? But what about the future? Ive developed very briefly the century-long history of psychoanalytic literary criticism. Whats next? It seems to me that the direction psychoanalytic theory, including its theory of literature, needs to take in the twenty-first century is to integrate psychoanalytic insights with the new discoveries coming from brain research and cognitive science. These are very powerful and, as I read them, often quite in harmony with what psychoanalysis has been saying about people from an entirely different perspective and based on entirely different evidence. It seems to me that what psychoanalysis or psychology in general needs to do is put together the clinical knowledge derived from psychoanalysis with the new knowledge of how the mind works in perception, memory, learning, bilateralization, and, most important for a literary critic, in the way we use language. I do not think this is an impossible task, or even, perhaps, a very difficult one. There have been several efforts so far: Reiser 1984; Winson 1985; Harris 1986;Modell 1997; Kandel 1998. What I think is rather more difficult is integrating with literary criticism the things we are finding out about the brain and how it acquires and uses language with literary criticism. MRI and PET scans enable us to get pictures of the blood and oxygen flow and other things in the brain as that person fears or perceives or reads or listens to languge. Scientists like Gerard Edelman (1992) or Hanna and Antonio Damasio (1994)are showing how we understand words in our brains. There is no simple correspondence between signifier and signified as Lacan claimed. Rather, just to understand one word, the brain must bring together a variety of separate features, the sound of the word, its grammatical role, and other words that it is like and unlike. Then, to arrive at a meaning for a word, the brain assembles or coordinates these different kinds of information from different places in the brain. Furthermore, and most important for the psychoanalyst, what information there is, where it is located, and what emotions accompany it are all highly personal. For each of us, the meaning of a simple word like dog or cat results from our unique history with that word. And, of course, for complex words like democracy or psychoanalyst, the results will be even more personal. If each of us interprets a word in an individual way, that is, a way that is both like and unlike everybody elses interpretation. If so, then a fortiori each of us will interpret a literary text consisting of a lot of words in an individual way. These new researches confirm what we reader-response critics have been saying for a long time. But more to the point, they confirm what every psychoanalyst has seen from behind the couch. That is, a word, an eventtake, for example, a national catastrophe like the Kennedy assassination or the Challenger crash or the embassy bombings in Nairobi and Dar-es-Salaam. Each patient will respond to that event out of his or her personal history and character. There is no fixed meaning in the event. Neither is there a fixed meaning in a literary text. In a general way, then, I think the discoveries of brain science are confirming the theory behind psychoanalytic literary criticism, particularly reader-response psychoanalytic literary criticism. But how, if at all, can we apply this to individual works of literature? Im not sure. This may be a question best left to neuroscientists and scientifically oriented psychoanalysts. What I am sure of is that the best future I can imagine for psychoanalytic literary criticism is a fusion of insights derived from psychoanalysis with insights derived from neuroscience. Ive described what psychoanalytic critics have done in the past, and Ive suggested what I think they should do in the future. Id like to say now what psychoanalytic critics ought to do right now. Id like to go back to a more fundamental question. What is the purpose of all this mental energy that people have put into psychoanalytic literary criticism over the past century? What was it all for? What should it be for? What is the purpose of psychoanalytic literary criticism? What, for that matter, is the purpose of any kind of literary criticism? In the 1960s, literary critics vastly expanded their subject matter to include just about anything that involves language. Nowadays, in literature classes or scholarly journals, you find discussions, not just of this or that poem or story or play or writer, but of gender, race, politics, anthropology, sociology, linguistics, all kinds of sciences, and, of course, of psychoanalysis. Needless to say, few English teachers can qualify as the universal geniuses that such discussions require. Perhaps for that reason we might do well to focus on that part of this larger literary criticism that does talk about literature, particularly this or that particular poem or story or play or film, as psychoanalytic literary critics tend to do. What is the purpose, what is the use, of saying Hamlet has an oedipus complex and maybe Shakespeare does too? What is the use of saying that Othello and Iago have a homosexual marriage? What is the purpose of psychoanalytic literary criticism? What is the purpose of literary criticism? Literary criticism, any kind of criticism, rests on the purpose of literature itself, for, after all, criticism is, as the old saying has it, only the handmaiden to the muse. We come, then, to a much larger question. What is the purpose of literature? Most, perhaps even all, theories of literature seem to me to agree in a general way on two purposes. They are most simply expressed by Horace in his Ars Poetica: aut prodesse aut delectare. delectare: to delightthats straightforward enough. We turn to literature for a pleasurable experience. We usually translate Horaces other term, prodesse, as to instruct or to teach or to enlighten. That seems a little bit more problematic. In the duller periods of literary history, people said that prodesse means teaching better morals. That, I take it, would be the point of view of, say, Jesse Helms or McGuffeys Reader. Not a very sophisticated view and not very pleasurable literature. But then, in our rather phallic society, politicians rarely show interest in the arts (Apple 1998). Another idea of prodesse would be that of a middlebrow book reviewer. This novel tells us what life is like in an advertising agency. This is a sensitive and perceptive account of life on a Minnesota farm in 1903. Prodesse, enlightenment, means giving you factual information. But we do not prize Ulysses for its picture of 1905 Dublin, nor The Great Gatsby for its geography of Long Island. If we take a less narrow and fundamentalist view, and a less middlebrow view, I would suggest that the delight, th e delectare, in Horaces formula is the experience of entering the imaginative world created by the writer. I can enjoy the manliness of Hemingways hunters and soldiers. I can enjoy the intensely interpersonal mind of Mrs. Dalloway. I can enjoy the gallantry of Sir Walter Scotts romances or the avarice of Charles Dickenss world. In other words, I can take pleasure in the great human themes, both the good ones and the bad ones, by means of what I read. If that be the pleasure side of Horaces formula, what is the teaching or instruction side? Again, if we take a less narrow and fundamentalist and politically correct view, I would suggest that the instruction literature itself offers is the understanding of these experi ences, these writers minds, these alien worlds. Not judging them morally, not downloading information from them, but understanding them as fully as we can so that they can become part of our total experience of living. What is the purpose of literary criticism, then? Literary criticism, any kind of criticism, rests on the purpose of literature itself, for, after all, criticism is, as the old saying has it, only the handmaiden to the muse. I would suggest that the role of the critic parallels that of the writer: the critic is also prodesse aut delectare, to delight or to instruct, but more narrowly than the writer. The critic delights or instructs in relation to literature. That is, the critic should give you ideas that enable you to add to your delight. The critic should be saying, Watch this, notice that, see how this other thing works out. If you observe these aspects of the work, you will have a better experience of it. You will be able to enter the world of the book in a more imaginative, more empathic, more satisfying way. In this way, a critic can add to your pleasure in a book but also help you to understand your pleasure. Criticism should help us to understand both our experience of literary pleasure and to understand ourselves as the experiencers. Criticism finally should enable both critic and ordinary reader to obey the primary command above the temple of the Delphic Oracle: Know Thyself. The art gives us the experience. Criticism should give us some understanding of the experience. That is how literary criticism serves as the handmaiden of the muse. It helps literature achieve both its pleasure and instruction. Very occasionally, literary criticism is an aesthetic experience in itselfmore often it is not. At least, though, literary criticism should help us to shape and articulate some other aesthetic experience to ourselves, to take it from the authors words and put it into our own words and our own world of experience and understand what we are doing. In other words instruction helps delight and delight helps instruction. In that sense, all literary criticism would benefit from psychological wisdom. The better the psychology, the better the criticism. I started by saying that literary criticism is about books and psychoanalysis is about minds. The reader-response critics and the brain scientists would add an important corollary to that. The only way you can know a book is through a mind. You can only know a bookyou can only know a work of art of any kindthrough some human process of perception, through your own mind or through some other persons telling you about the book or the painting. Inevitably then, there is a psychological component to any talk at all about books. Often, orthodox, non-psychological critics dont talk about that psychological element. They leave it unspoken or even denied. But there is always an element of personality in what a critic saysotherwise, why would we sign our articles? Now how does this ideal for criticism translate into psychoanalytic literary criticism in particular? Suppose I say that Dickens is an obsessional writer. I give you a term. You can name the quality you are experiencing. I give you a way of thinking about it. I am giving you the opportunity of finding out what obsession is, what it feels like, what kind of imagination, what kind of world, such a person inhabits. By bringing in the psychoanalysts clinical experience of obsession, I sensitize you to the issues that dogged Charles Dickens, questions of control, aggression, possession, money, dirtyou can share his horrified fascination as he followed the Thames floating its filth and corpses down to the sea. In effect, I offer you another way of entering the imaginative world of, say, Bleak House or Our Mutual Friend. I believe that the psychoanalytic literary critics primary job is to foreground that psychological element in what he or she says about books. In other words, I think psychoanalytic critics should be interpreting their own, if you will, countertransference to the text or whatever else they are describing. Good literary criticism can help us to shape and articulate that experience to ourselves, to take it from the authors words and put it into our own words and our own world of experience. Also, good psychological literary criticism can help us shape and articulate the psychological experience of the writer or the characters to ourselves, to form that psychological experience from the authors words nd put it into our own words and our own world of experience. Think back for a moment to Charlie Chaplins movies. I think most of us would agree that, mixed in with all the delightful comedy, is a great deal of dreadful sentimentality. We could simply call it mush or treacle and dismiss it. But suppose I offer you a bit of psychoanalytic criticism. Suppose I say to you that Charlie Chaplin, as Stephen Weissman has recently written (1996) is dealing in his films with the problem of a promiscuous mother. At first, she had been a glamorous dancer onstage where the boy often admired her. At the end she was an impoverished seamstress, who perhaps prostituted herself, and who certainly suffered and eventually died from syphilis. The psychoanalytic critic combines this biographical information with the psychoanalystic insight that, as Freud put it about Chaplin, He always plays only himself as he was in his grim youth (Freud 1960). We can understand why so often in his films his hero rescues and repairs damaged and fallen women. We can understand the ineptitude, the childishness of his tramp-hero as he tries to attract these women, like a child playing up to an elusive mother. Most people find these episodes repellingly sentimental. We could simply write them off. But I think psychoanalytic insight offers us a chance to do better. We can enter into these episodes more fully, with better understanding and more empathy. We can rescue them by using our imagination as Chaplin rescued his mother in imagination. We can understand the little tramp as a recreation of the boy Chaplin. In Limelight, we can understand differently the appalling sentimentality of the last scene: the aged music hall star dying offstage as his protegee dances her way back to stardom. We can ask ourselves, how would we feel if we had had a prostitute for our mother? We can imagine a small boy giving his life to the rescue of that shamed and failing mother, making her into something different from what she was, erasing the reality through his own creativity. As a psychoanalytic critic, Im asking you to look at the women in Chaplins films in a different light, not just as sentimentalized or demonized, but as detested and loved in a painful and complicated combination of fear, desire, and loathing. And through that understanding, we perhaps can experience these episodes more sympathetically, more empathically, more generously. That to me, is the purpose of psychoanalytic criticism. To open up art to us. To add to our empathy and understanding and through our empathic understanding to add to the experience of art. In other words, what Im suggesting is that good psychoanalytic criticism instructs and delights its readers in the experiencing of our own human nature. In the past, psychoanalytic criticism has addressed the three persons involved in the literary transaction: author, reader, and textual person. In the future, I hope psychoanalytic literary critics will draw on the rich insights of cognitive science. But in that future, I hope even more that psychoanalytic literary critics will offer their readers both instruction and delight. No more pathography, no more id-analysis, no more symbol-mongering, no more jargon. I hope instead that psychoanalytic critics will keep open a royal road into the human possibilities offered by great literature.

The Role of Group Work in Enhancing Speaking Skill in Primary Level free essay sample

The Role of Group Work In Enhancing Speaking Skill In Primary Level The Role of Group Work in Enhancing Speaking Skill in Primary Level Effective language skills are essential for children to access the curriculum. In the classroom, spoken language is the primary medium through which teachers teach and children learn. In developing their speaking skills, children need to learn to adapt their talk to the listeners; use a range of ways to express themselves; use talk to clarify their ideas and sustain their talk to develop thinking and reasoning. It is expected that when children start primary school, they will be able to understand much of what is said, express themselves clearly, share their feelings and make their needs known. This level of proficiency in speech, language and communication is critical to the development of a child’s cognitive, social and emotional well-being. Speaking should include putting thoughts into words and sharing in groups; taking opportunities to speak at some length to explain ideas in different situations; giving a talk or presentation using gestures, aids and rhetorical devices. We will write a custom essay sample on The Role of Group Work in Enhancing Speaking Skill in Primary Level or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page This paper will explore the different types of group work and its mechanism of enhancing the speaking skill in the primary level. This will be done through reviewing different research made in this field. The purpose of this paper is to look closely at the importance of group work in the early stages to enhance the speaking skill of students. Group Group work is a very important part of our culture and life; and businesses now look at team work skills when evaluating any employee. Therefore, it is important for both, students and teachers, to learn to function in a group work environment. Research indicates that students learn the tasks better through involving oral interaction, in group, which is based on a real attempt to find a collective solution to problems. We chose to explore this area to find out if group work serves as a meaningful activity for students to focus on meaningful negotiation and information exchange. We are very much concerned with getting students to talk and to stimulate their interest and imagination. Since group work can improve learning and is a much needed skill in enhancing speaking skill, it should be exercised regularly in the classroom. Annotated Bibliography: The Role of Group Work in Enhancing Speaking Skill in Primary Level Baines, E. , Kutnick, P. , Blatchford, P. (2009). Promoting effective group work in the primary classroom: a handbook for teachers and practitioners. USA and Canada: Routledge. This handbook explores how pupil group work can be made more effective in support of children’s learning. It is based on a research study, known as the Social Pedagogic Research into Group work (SPRinG), which developed and evaluated a new approach to group work in primary schools. Boussiada, S. (2010). Enhancing students’ oral proficiency through cooperative group work: the case of 3rd year LMD students of English at Constantine University. Master’s Thesis, University of Constantine, Algeria. In her study, Boussiada explores the effects of cooperative group work on improving learners’ oral proficiency and communicative skills. She is mainly concerned with making use of pair or small group to maximize learners? oral production. She also attempts to shed some light on the importance of establishing a relaxed and friendly environment as an attempt to get learners to use the language. Lee, W. (2008). Speech, language and communication needs and primary school-aged children. I Can Talk Series, Issue 6, 13-18. Retrieved March 21, 2012, from http:// www. ican. org. uk/~/media/Ican2/Whats%20the%20Issue/Evidence/6%20Speech%20%20Language%20and%20Communication%20Needs%20and%20Primary%20School%20aged%20Children. ashx This report outlines the nature and extent of Speech, Language and Communication Needs (SLCN) in primary schools, what this means for children and their families and what can be done to ensure primary school is a positive, enriching experience for children with SLCN. Richards, J. (2008). Teaching listening and speaking: from theory to practice. NY: Cambridge University Press. Richards explores approaches to the teaching of listening and speaking which have undergone considerable changes in recent years, and their implications for classroom teaching and materials design. His goal is to examine what applied linguistics research and theory says about the nature of listening and speaking skills, and then to explore what the implications are for classroom teaching Jones, L. (2007). The student-centered classroom. NY: Cambridge University Press.

Burial Practices of the Ancient Egyptian and Greco Essays

Burial Practices of the Ancient Egyptian and Greco Essays Burial Practices of the Ancient Egyptian and Greco-Roman Cultures Mythology Burial Practices of the Ancient Egyptian and Greco-Roman Cultures Ancient Egyptian and Greco-Roman practices of preparing the dead for the next cradle of humanity are very intriguing. These two cultures differ in a multitude of ways yet similarities can be noted in the domain of funerary services. In the realm of Egyptian afterlife, The Book of the Dead can provide one with vital information concerning ritual entombment practices and myths of the afterlife. The additional handouts I received from Timothy Stoker also proved to be useful in trying uncover vital information regarding the transition into another life. Regarding the burial practices of Greece and Rome, parts of Homer's Odyssey are useful in the analysis of proper interment methods. One particular method used by the Egyptians was an intricate process known as mummification. It was undoubtedly a very involved process spanning seventy days in some cases. First, all the internal organs were removed with one exception, the heart. If the body was not already West of the Nile it was transported across it, but not before the drying process was initiated. Natron (a special salt) was extracted from the banks of the Nile and was placed under the corpse, on the sides, on top, and bags of the substance were placed inside the body cavity to facilitate the process of dehydration. After thirty-five days the ancient embalmers would anoint the body with oil and wrap it in fine linen. If the deceased was wealthy enough a priest donning a mask of Anubis would preside over the ceremonies to ensure proper passage into the next realm. One of the practices overseen by the priest was the placing of a special funerary amulet over the heart. This was done in behest to secure a successful union with Osiris and their kas. The amulet made sure the heart did not speak out against the individual at the scale of the goddess of justice and divine order, Maat. The priest also made use of a "peculiar ritual instrument, a sort of chisel, with which he literally opened the mouth of the deceased." This was done to ensure that the deceased was able to speak during their journeys in Duat. Another practice used by the Egyptians to aid the departed soul involved mass human sacrifice. Many times if a prominent person passed away the family and servants would willfully ingest poison to continue their servitude in the next world. The family members and religious figureheads of the community did just about everything in their power to aid the deceased in the transition to a new life. The community made sure the chamber was furnished with "everything necessary for the comfort and well-being of the occupants." It was believed that the individual would be able of accessing these items in the next world. Some of the most important things that the deceased would need to have at his side were certain spells and incantations. A conglomeration of reading material ensured a successful passage; The Pyramid Texts, The Book of the Dead, and the Coffin Texts all aided the lost soul in their journey through Duat into the Fields of the Blessed. "Besides all these spells, charms, and magical tomb texts, the ancient practice of depositing in the tomb small wooden figures of servants was employed." These "Ushabi statuettes" as they are called, were essentially slaves of the deceased. If the deceased was called to work in the Elysian fields he would call upon one of the statues to take his place and perform the task for him. It was not unheard of for an individual to have a figure for every day of the year to ensure an afterlife devoid of physical exertion. Just about every thing the embalmers and burial practitioners did during the process was done for particular reasons. Many of the funerary practices of the ancient Greco-Romans were also done with a specific purpose in mind. Unlike the Egyptian's the Greco-Roman cultures did not employ elaborate tombs but focused on the use of a simple pit in the ground. Right after death, not too dissimilar from the practices of the Egyptians, it was necessary for the persons to carefully wash and prepare the corpse for his journey. It was vital for all persons to receive a proper burial and if they did not they were dammed to hover in a quasi-world, somewhat of a "limbo" between life and death. One Greco-Roman myth that illustrates this point is The Odyssey by Homer. There is a

Trifles Essay Example | Topics and Well Written Essays - 1000 words - 2

Trifles - Essay Example cture, including altering the starting and stopping points to some degree or another to either sharpen or soften the impact of the climax, it is true that most of our most popular stories follow this basic concept. However, Susan Glaspell, author of Trifles, has been accused of completely abandoning this basic structural framework within the play, creating instead a meandering, pointless and climax-less exposition that communicates its power through the very powerlessness of its main characters and the absence of the primary protagonist. A closer understanding of the basic plotline of the story reveals that Glaspell did not abandon this common structure, but instead placed it in an unusual context, purposely de-emphasizing the climax to illustrate the necessary actions of women with little to no power of their own. The play begins with the entrance of two women and three men into a gloomy farm kitchen that turns out to be the former home of John and Mrs. Wright. This is typically where exposition would start as the author begins to set up the story and this is exactly what Glaspell does. She includes some foreshadowing regarding the nature of the relationship between the couple as Mr. Hale continues to drop hints that John was cruelly dominating toward his wife. Telling the story of how he found the couple upon his arrival the morning of John’s death, Mr. Hale indicates that he had hoped to convince John to get a telephone and felt perhaps speaking about it in front of Mrs. Wright might have some positive effect as she was sure to want one as well. â€Å"I thought maybe if I went to the house and talked about it before his wife, though I said to Harry that I didn’t know as what his wife wanted made much difference to John.† This indication of a master/servant relationship is carried throughout this opening segment of the play and deliberately throws emphasis upon the men’s ideas regarding John’s death while allowing the two women to slip almost

Conceptual Art as a Response to Modernism Thesis

Conceptual Art as a Response to Modernism - Thesis Example The essay "Conceptual Art as a Response to Modernism" analyzes conceptual art. Conceptual art was a critique and a pushback against modernism, simply because modernism had a structure and a place in history and theory of art. According to Harrison & Wood, modernist art assumes the relationship between art and language and art and theory. Theoretical art, according to Harrison & Wood is post hoc, in that it builds upon tradition and what has gone before. In this sense, modernist art, while new and a repudiation of traditional art forms, still retained a semblance of previous art forms. The modernists explored the future in their art, and built their concepts on the â€Å"new man,† yet, the forms that they explored did not stray to far from traditional art, as they looked for a â€Å"different means of expression best suited to each component of his language: line, surface and color†. In other words, artists explored different ideas and different ways of creating art, and different means of expression, yet these explorations occurred within the confines of accepted art forms, such as painting, sculpture and the like. So, it is perhaps ironic that one of the fathers of the conceptual art movement was a man who was associated with modernism, and that was Marcel Duchamp. Duchamp was the first artist who conceptualized everyday items as works of art. Or, rather, he was the first artist who was able to turn everyday items into works of art, simply by stating that these items were something else entirely.

Similar Themes in Different Stories Essay Example for Free

Similar Themes in Different Stories Essay Literature is universal. Literature speaks of universal human experience that readers and authors alike can relate to. Because of its universality, themes and messages in literature can be common in various texts. In fact, two different pieces of literature may exhibit similar qualities even if they were written by different authors. Such is the case for â€Å"Oedipus the King† by Sophocles and â€Å"Othello† by William Shakespeare. Both plays share the concept of uncertain vision. Othello also shares a similar concept with Henrik Ibsen’s play â€Å"A Doll’s House;† in both plays, a malevolent character is responsible for the destruction of a marriage. Literature is indeed universal, as the messages it conveys are shared by different texts. Sophocles’ â€Å"Oedipus the King† and Shakespeare’s â€Å"Othello† carry a similar theme. Both plays share the theme of sight and blindness (NovelGuide). The texts illustrate how people who are blessed with the gift of sight can still be blind to what is really happening around them. Within this theme, there exists the concept of uncertain vision: the impairment of one’s perception. This impairment can result in the failure to differentiate between what appears to be and what really is. In both plays, the lead character is characterized with uncertain vision. It is their uncertain vision that drives the play forward, and leads the character into his demise. On one hand, the uncertain vision as exhibited by Oedipus was brought upon him by fate. From the moment his fate was revealed, people tried to prevent its fulfillment by changing the course of events. According to the oracle, Oedipus was destined to kill his own father and marry his own mother (Sophocles). Despite attempts to alter fate, Oedipus still lived his life as the oracle revealed. When a plague fell upon Thebes, Oedipus sought out a way to end it. Creon returned with word from the oracle, stating that the only way to end the plague is to punish the man who killed King Laius. According to Creon, â€Å"In this land, said the god; ‘who seeks shall find; /Who sits with folded hands or sleeps is blind† (Sophocles). This started Oedipus’ quest for the truth, which eventually led to the discovery of his destiny. When Oedipus mocked the blind seer Teiresias, this is what the latter said: â€Å"thou hast eyes, /Yet see’st not in what misery thou art fallen, / Nor where thou dwellest nor with whom for mate† (Sophocles). The passage states that while a blind man like Teiresias knows the truth, Oedipus is completely blind from it. On the other hand, the uncertain vision in Othello’s case was presented in different way. If Oedipus’ uncertain vision was brought about by fate, Othello’s uncertain vision was initiated by man. Just like Oedipus the King, the theme of Othello is also sight and blindness. The character of Othello is the most blind, as he was convinced by Iago that his wife Desdemona was cheating without seeing firsthand any evidence of her infidelity (Shakespeare). Rather, Othello was persuaded by Iago’s words and planted scenarios. The latter’s efforts impaired the former’s judgment, disabling him to distinguish between his wife’s truth and his colleague’s lies. In Act V Scene II, Lodovico said to Iago: â€Å"This is thy work: the object poisons sight† (Shakespeare). This passage states that it was Iago’s actions that altered Othello’s perception and poisoned his mind. Thus, Iago was responsible for Othello’s uncertain vision. Shakespeare’s â€Å"Othello† is also similar to yet another play, â€Å"A Doll’s House† by Henrik Ibsen. In both plays, a character seeks to ruin a marriage. In Othello, it was Iago who ruined the marriage of Othello and Desdemona. In A Doll’s House, it was Nils Krogstad who sought to break up Nora and Torvald Helmer. However, the difference lies in the motive of each character. Iago wanted to ruin Othello’s marriage as revenge. In Act I Scene 3, Iago directly expresses his feelings for Othello: â€Å"I hate the Moor† (Shakespeare). Iago has two main reasons to hate Othello: first, he married Desdemona whom Iago loved, and second, he chose Cassioto be the lieutenant instead of him. He wanted to punish Othello by making him accuse his wife of infidelity. In Act 2 Scene 1, Iago states: â€Å"Or failing so, yet that I put the Moor/ At least into a jealousy so strong/ That judgment cannot cure† (Shakespeare). In Act I Scene 3, Iago, he makes his intentions clear: â€Å"After some time, to abuse Othello’s ear/ That he is too familiar with his wife. / He hath a person and a smooth dispose/ To be suspected, framed to make woman false† (Shakespeare). Because he made Othello suspicious of Desdemona, Iago was indeed responsible for the failure of Othello’s marriage. On the other hand, Krogstad never planned to ruin the marriage of the Helmers. He was working at the same bank where Torvald Helmer works, and his employment was terminated because he was accused of forgery (Ibsen). He was desperate to keep his job; when Nora refused to help him, he was forced to reveal to Torvald the debt that Nora owed him. He never intended to destroy the marriage; he was simply trying to remain employed. In Act I, Krogstad said to Nora: â€Å"My sons are growing up; for their sake I must try and win back as much respect as I can in the town. This post in the Bank was like the first step up for me—and now your husband is going to kick me downstairs again into the mud† (Ibsen). Krogstad thought that blackmail was the only means through which he could keep his job. In Act II, he said: â€Å"I want to get on, I tell you. I want to get into the Bank again, in a higher position. Your husband must make a place for me† (Ibsen). Unlike Iago, Krogstad was not responsible for the demise of the Helmers’ marriage. What really ended the marriage was Nora’s realization that she was merely a doll in the house. In the words of Nora to Torvald, â€Å"You have never loved me. You have only thought it pleasant to be in love with me† (Ibsen). â€Å"Oedipus the King† by Sophocles, â€Å"Othello† by William Shakespeare and â€Å"A Doll’s House† by Henrik Ibsen are three distinct plays by three different authors. Despite the apparent difference, all three works are connected because of inherent similarities. The first two plays are similar in relation to its theme, while the last two plays are alike because of the role of a character which is instrumental in the destruction of a marriage. Indeed, literature proves its universality through the unintended similarities embedded in different texts. Works Cited Ibsen, Henrik. â€Å"A Doll’s House. † Project Gutenberg. 22 Feb. 2004. 3 Sept. 2008 http://www. gutenberg. org/dirs/etext01/dlshs11h. htm. â€Å"Novel Analysis: Oedipus the King. † NovelGuide. 2008. 3 Sept. 2008 http://www. novelguide. com/oedipustheking/themeanalysis. html. Shakespeare, William. â€Å"Othello. † The Complete Works of William Shakespeare. 2000 Nov. 13. 3 Sept. 2008 http://shakespeare. mit. edu/othello/full. html. Sophocles. â€Å"Oedipus the King. † Trans. F. Storr. Project Gutenberg. 1912. 3 Sept. 2008 http://www. gutenberg. org/files/31/31-h/31-h. htm.

Othello :: essays research papers

Othello In Othello by William Shakespeare, the villain Iago has many motives for ruining the lives of Othello, Cassio, Desdemona, and Roderigo. They include jealousy, fears of infidelity, greed, and his anger at being passed on for a promotion. These passionate motives drives Iago, turning him into one of the most evil of villains Shakespeare has created.   Ã‚  Ã‚  Ã‚  Ã‚  Roderigo a solider in Othello’s army and once a courtier of Othello’s wife Desdemona is under Iago’s spell from the beginning. Iago’s manipulates him into aggravating Cassio, Iago’s rival and into giving him all his money to sway Desdemona. Iago tells Roderigo to,   Ã‚  Ã‚  Ã‚  Ã‚   â€Å" But, sir, be you ruled by me: I have brought you up from Venice. Watch you tonight; for the command, I’ll lay’t upon you. Cassio knows you not. I’ll not be far from you: do you find some occasion to anger Cassio, either by speaking to loud, or tainting his discipline; or from what other course you please, which the time shall more favorably minister. â€Å" (Pg. 673) Roderigo does this for Iago promises it will make him look good in front of Desdemona. Iago needs to make Cassio suffer and manipulates Roderigo to do it by playing on Roderigo’s desire for Desdemona. Iago also uses Roderigo for his money as well as helping his evil plans,   Ã‚  Ã‚  Ã‚  Ã‚   â€Å" Roderigo: I am changed: I’ll go sell all my land. Exit. Iago: Thus do I ever make my fool my purse; For I mine own gain’d knowledge should profane, If I would time expend with such a snipe, But for my sport and profit. â€Å" (Pg. 665) Simply put Iago explains that if it wasn’t for his plans and his desire for money he would have nothing to do with a fool like Roderigo.   Ã‚  Ã‚  Ã‚  Ã‚  Iago’s motives when it comes to Desdemona are quite the same. He uses the young girl as the object of Cassio’s desire to upset Othello. Iago also professes his love for the girl but not as a sexual object but as an object to be used to exact his revenge upon Othello. â€Å" Now, I do love her too; Not out of absolute lust, though peradventure I stand accountant for as a great sin, But partly led to diet my revenge,. â€Å" (Pg. 674) Desdemona is the major party in Iago’s plan for revenge against Othello. She is so important that Iago confesses his love for her, because of her importance.   Ã‚  Ã‚  Ã‚  Ã‚  Cassio is a biting thorn in the side of Iago.

George’s first diary Essay

We’re here now, at the ranch. Our new home, for the time being anyway, until Lennie messes up again! He’s always messing up, losing us our jobs! Stay here, and save the money here instead of always being on the run. He made us lose our last job. That’s why we had to leave. You see, Lennie loves soft things; he loves to stroke them and hold them. One day he saw a girl with a soft dress on. Of course, the first thing Lennie does is touch it. The girl doesn’t realise how stupid he is, (and simple) and thinks he’s going to rape her and she screams. Lennie, being the idiot that he is just holds on and rips the dress! So, that leads to us being chased by a lot of angry people! Now we have to start all over again. If only he weren’t with me. Aw hell, I can’t say that. He’d die without me. And I don’t reckon I’d be doing that great without him either. Who would I have to talk to? Well anyway, on the way to the ranch, the bus driver, being a lazy bastard, wouldn’t take us all the way. We didn’t want to walk all night so we stayed in the brush until morning. It was just a little clearing in the woods with a stream running through it. I told Lennie that if he got in trouble he should come there. Its safe and hidden away so I could easily find him! But if it comes to that, if he messes up again. I’ll kill him, I’m sure I will. I’ve had my full of him and I don’t think I have much patience left! Oh yeah, he made me tell him yet again about the house we’re gonna get. Him and his rabbits. He always makes me remind him about our house and his damned rabbits! I love thinking about what our life will be like too when we get the house but he drives me crazy, having to remind him every two seconds. The thing I’m most looking forward to is not being told what to do. Being my own boss! I can’t wait. We met our workmates today. They seem okay. We got a nigger working with us too. Haven’t met him yet. There’s a guy called Candy. He’s pretty old and a right gossip. Seems nice enough though! The boss seems okay too. Candy says he’s real generous! Though how much I can trust what he says, I don’t know! Curley the boss’s son, on the other hand, he’s horrible. Reminds me of a troublemaker and all the other workers seem to agree! He took one look at us, especially Lennie and started to make trouble. I don’t like the look of him, I just don’t know what I’m gonna do if he starts any trouble. Lennie’s dangerous. This Curley’s married too. Met his wife! A right piece of jailbait if ever I seen one! Lennie liked her. I’ll have to make sure he stays right out her way. She gonna cause us trouble otherwise, I can feel it. Met Slim too. Hell of a nice guy, he is. Seems well respected too. Real nice. I do like having nice workmates but it is worrying, knowing that there’s an evil bastard lurking ’round too! I’ve a bad feeling ’bout Curley, its real bad. George Georges second diary Dear Diary, What a heck of a day! It started off so well. I knew that Curley would be trouble, I said it. He ruined what could’ve been a good day. Started off well. Got to know Slim a little, or, well, he got to know me better. There must be something good about Slim, I must have sensed it ‘coz I told him things ’bout Weed and ’bout the house we’re saving for. He understood Lennie didn’t mean no harm in Weed. He’s fair and knows a ‘nice fella’ when he meets one. He also has a dog. It had pups so I got one for Lennie. Aw, he was so pleased. Petting it and hugging it. I’m a bit worried that he’s gonna pet it too much. Lennie just don’t know his own strength Goddamn it! I felt so sorry for Candy today. You see, he’s got a dog too, but his is old and tired. It’s like Candy’s best friend. Well, Carlson started complaining about the smell of him (the dog) then started talkin’ ’bout shooting him, putting him out of his misery he said. I suppose I agreed at the time but seeing Candy’s face was enough to change anyone’s mind. Slim suggested he have one of the puppies but I’m not sure whether he decided to. Well anyways, Lennie and I thought we were the only ones in the bunkhouse, where we sleep. The others went off to see Curley have a pop at Slim; he thought his wife was with him. I notice he never seems to be able to find her, though she’s always lookin’ for him. So Lennie and I get talking ’bout our house we’re saving for. What we didn’t know was that Candy was there too! Well, I was a bit wary at first. Worried that he would tell the others but then he decided that he wanted to be part of it. Even said he’d put up over half the money we needed! It was great. In a matter of minutes we went from just talking about it, to it being a fast-coming reality! I told him to keep it to himself for the time being until we were ready. It was so exciting. Then, in come Curley and the others and Curley’s ready for a fight. Slim was shouting at him of sleeping with his wife. Anyways, dopey old Lennie’s still sitting there smiling away to himself about the thought of his rabbits, and Curley notices and thinks he’s mocking him and of course picks a fight. He starts punching poor Lennie, and Lennie having listened real hard to what I told him was not fighting back! After a while, I told Lennie to fight back. I couldn’t bear it. He was just yelping like a dog. Anyways, he got scared and just held on tightly to the closest thing at hand, Curley’s fist. He just wouldn’t let go. It was bleeding and everything. We got him off in the end and blackmailed Curley to say he got it caught in a machine. I don’t like this place. It smells of trouble. I can tell. George Crook’s diary Dear Diary, Here I am. Just another day of either being ignored or picked on ‘coz of me being a Negro. I hate this. Day in day out. It’s not fair the way I’m ignored. The others say I smell but I wash more than they all do. My back hurts too. Its seems like its getting worse every day. The liniment don’t seem to be much use either. They call me Crooks too. That ain’t my name. It’s not what my mother gave me and I don’t like it. I can’t say nothing though, I’m just a nigger they keep tellin’ me. I gots a room to myself and I have no one to talk to or play cards with. I’m not even allowed to borrow their cards to play solitaire. It smells in my room. All the shit is kept just under my window and on those hot days, the steam rises into my room and rests on my sheets ready to smother me as I go to sleep. I got another tellin’ off today too. Curley’s hand got hurt in a machine and the boss o’ course blames me. Likes I did it! Not that I wouldn’t mind ruffin’ him a little. He’s a nasty asshole and needs to be brought down a bit. I’d get hung if I did it so I s’pose I better leave to the white men! They all gone to the town today. Their regular Cathouse visit. I’d never be allowed in one of those, at least I don’t reckon I would. They never asked me to go with ’em so I never went. Just in me room, on me lonesome, rubbing me back†¦.. †¦.. Lennie and Candy jus’ been in here! I was a bit funny at first ‘coz I thought Lennie was coming for trouble but no, he said the others had gone and he had jus’ been with his pup. Him and his pup! Oh boy. He loves it so much but he’s not careful. Those big hands o’ his are likely to break that pup one day if he ain’t careful. Anyways, I said he could come in and we got to talking a little. He’s a bit slow. He don’t remember anything you tell him. Just talks ’bout George and his rabbits he’s gonna get when they get a house. He’s all set on getting a house. He wants to tend rabbits! Whenever the subject changed to something other than those rabbits, he went straight back to ’em like we’d been talking ’bout ’em all the time! He’s awful fond o’ that George one. I just said one tiny little thing ’bout George not coming back from town and he went mad. Like I jus’ told him someone had died or something. It took a while to calm him down. Then, Candy comes in too. He’s by my room and I ask him what he wants. I thought he may o’ been wanting to talk too but he was just looking for Lennie. He came in too, though. They talked to each other most but it was nice them just being there. Well, they were talking ’bout their house. Candy was gonna go there too. I thought that I’d ask if I could help. They wouldn’t have to pay me o’ course, just put me up, but before they could answer that bitch walked in. She’s trouble if ever I did see it. She asking ’bout Curley and where he’s at but she knows where! I don’t understand these white folk. Talk about them being so educated and well learned and they ask such stupid questions! Anyways, I asked her to go away real politely mind, the same way any of the boys round here say it when they know she’s looking for trouble. She does her nut and starts yelling ’bout needing people to talk to too! Then she starts telling me she’s gonna tell the boss I been doing bad things and get me strung up. I don’t want to be strung up so I shut up. Candy was nice though. He told her that if she did that he would stick up for me. I ain’t ever known anyone to stick up for me before. Candy then said, when she’d gone, that the boys were coming back. I told ’em they better go. I didn’t want all of those white fellas thinking they can bother me when they like. I gotta have some rights even if I don’t like ’em. I dunno. It’s been a funny day that’s all. I better get back to my liniment. That back o’ mine is just murder. Georges last diary Dear diary, This has been the worst day I’ve ever had and I don’t think I’m’ a ever gonna have a worser one. I had to do it. It weren’t nothing evil. I di’nt wanna hurt him. He was my only friend, more like family and I feel jus’ awful. If you coulda seen her, what he did. If only you coulda seen the other option he woulda had. Curley’s evil way. I suppose I woulda done the same in his place but Lennie di’nt do no harm. At least he never meant none. I feel awful, just awful. He never meant no harm. They may o’ been nice? No, that’s stupid talk. Tha’s the kinda thing Lennie woulda said! He’s a crazy bastard. I mean he was. Oh I feel awful. What will I do now? What can I do? I s’pose the only thing to do is to spend my money the way anyone else would, if they di’nt have a Lennie with ’em. We were just having a game o’ horseshoe. Lennie was in the barn with that damn pup I reckon. I’d left him in the bunkhouse but he ended up there. Anyways, we were all playing and I had no thought to what he was doing. The next thing I knew, Candy was looking all pale and calling me over to the barn. For a second I thought she was just resting. It was the look on Candy’s face that made me guess. I knew what he was thinking and I knew he was right. She was lying there, that good for nothing piece of jailbait, her neck all twisted and face down in the straw. Lennie did it. Crazy bastard. I knew he was the only one, but to think of it was killing me from the inside. I ain’t never felt that before. I suppose in the back of my mind, I always knew he would go too far, that he wasn’t safe and should not o’ been left alone. But I di’nt wanna think like that. Now I had to. From that moment I knew what I had to do and just set about doing it. I knew that I had to get to him before them. I told Candy to make out I never saw this and tell the others and then fetch me. I had to go to the bunkhouse and get Carlson’s Luger. I wasn’t completely sure why first but I realised when I saw him. Candy said he’d do that and I ran out. Next time I saw her ever’ one was there too blaming Lennie for ever’ thing. Curley was shook up and was ready to explode. He scared me looking like that but I had to keep my cool. I had to make it like I was on their side, out to kill for murder. That word sends shivers down me and I know I done it too now. Lennie always said we were the same. All of them ran to get guns to help out Curley. Two-faced that’s what they are. One minute they’re complaining about him and the next they are trying to be his best friend betraying their true friend. Oh I can’t blame ’em really if it weren’t Lennie I reckon I woulda done it too. Anyway Carlson never found his gun. They all thought Lennie had it. Only I knew that Lennie wasn’t so clever to think forward like that! Slim knew what I was doing though. He knew well enough. His face said he knew and was ready to do what he knew was best. I sent Curley in the other direction to where I knew Lennie was. He woulda gone to the brush like I told him too. He always tried to do what I told him. I ran off and found him straight. He was sitting there by the river and was talking to something. He kept saying sorry: Saying he knew I would look after him. He made me tell him about our house for what was to be the last time. I mentioned it, and, he heard it. I told him not to look at me. I was trying to be a man but I couldn’t control my eyes. I was shaking too. I don’t want to write his last moments. I don’t want to have this later and be reminded of the moment my life as I knew it ended. I want to remember Lennie as the Lennie I knew. Not the one I saw moments later. That Lennie will go from me. If I still believed in God (a part of me that was there but now has gone) I would pray to ask Lennie to forgive me but I know that he cannot be in my life because he let this happen. If Lennie was ever here and I could talk to him once more, I’d tell him that I didn’t mean what I said about not wanting him there. That now he isn’t, I feel lost. And last, that he was my friend; my best friend and I wish he was still here.