Media Violence In Childrens Lives Essays - Criminology,

Media Violence In Children's Lives Media Violence in Children's Lives During the past decade, America has witnessed an alarming increase in the incidence of violence in the lives of children. On a daily basis, children in America are victims of violence, as witnesses to violent acts in their homes or communities, or as victims of abuse, neglect, or personal assault. The causes of violent behavior in society are complex and interrelated. Among the significant contributors are poverty, racism, unemployment, illegal drugs, inadequate or abusive parenting practices, and real-life adult models of violent problem-solving behavior. At the same time that there has been an increase in the number of reported violent acts directed at children, there has been an increase in the amount and severity of violent acts observed by children through the media, including television, movies, computer games, and videotapes, and an increase in the manufacture and distribution of weapon-like toys and other products directly linked to violent programming. In response, Governing Board appointed a panel of experts to guide the development of initiatives and resources to assist teachers and parents in confronting the issue of violence in the lives of children. This position statement addresses one aspect of the proble -- media violence -- and is the first in a series of projects the Association plans to address this important issue. We have chosen to address the issue of media violence first because, of all the sources and manifestations of violence in children's lives, it is perhaps the most easily corrected. The media industry ought to serve the public interest and ought to be subject to government regulation. The responsibility of adults and of public policy to protect children from unnecessary and potentially harmful exposure to violence through the media and to protect children from television content and advertising practices that exploit their special vulnerability (Huston, Watkins, & Kunkel, 1989). Television and other media have the potential to be very effective educational tools for children. Research demonstrates that television viewing is a highly complex, cognitive activity, during which children are actively involved in learning (Anderson & Collins, 1988). Therefore, supports efforts to use media constructively to expand children's knowledge and promote the development of positive social values. Supports measures that can be taken by responsible adults to limit children's exposure to violence through the media is an important details Such efforts include but are not limited to: ? legislation requiring reinstatement of guidelines for children's television by the Federal Communication Commission, including requirements for videotapes and elimination of television programs linked to toys ? legislation limiting advertising on children's programming, and standards for toys to ensure that they are not only physically safe but also psychologically safe ? legislation enabling the development of voluntary television-industry standards to alleviate violence in programming, specifically exempting such efforts from anti-trust regulation ? promotion of more developmentally appropriate, educational programming that meets children's diverse needs for information, entertainment, aesthetic appreciation, positive role models, and knowledge about the world (Huston et al., 1989) ? development and dissemination of curriculum for teachers to improve children's critical viewing skills and to teach nonviolent strategies for resolving conflicts ? development of resources to assist parents in the constructive and educational use of media with their children During early childhood, the foundation is laid for future social, emotional, cognitive, and physical development. During this formative period, young children are particularly vulnerable to negative influences. In most instances, children have no control over the environmental messages they receive. Up until age seven or eight, children have great difficulty distinguishing fantasy from reality, and their ability to comprehend nuances of behavior, motivation, or moral complexity is limited. This special vulnerability of children necessitates increased vigilance to protect them from potentially negative influences. Parents are ultimately responsible for monitoring their children's viewing habits; however, parents cannot be omniscient and omnipresent in their children's lives. Parents need assistance in protecting their children from unhealthy exposure to violence. Therefore, limits must be placed on the content of programming directed at children. Restricting violence in children's pro gramming should not be considered censorship, any more than is protecting children form exposure to pornography (Carlsson-Paige & Levin, 1990). Likewise, industry standards to limit violence in children's programming should be developed as

A Tree of Life film Analysis

A Tree of Life film Analysis American drama The Tree of Life is a 2011 film directed and produced by Terrence Malick. The film takes the audience through a middle-aged mans childhood memories of 1950s. The film combines the childhood thoughts of origins and meaning of life with imagery of the origins of the earth and the beginning of life.Advertising We will write a custom term paper sample on A Tree of Life film Analysis specifically for you for only $16.05 $11/page Learn More Terrence combined technical and artistic imagery and fragmented narration to produce a masterpiece family drama with a clear inclination to science fiction. This paper seeks to analyze Terrence Malick’s film The Tree of Life. A lot of visual effects work has been applied on The Tree of Life. The director has applied special effects not only to bring out his plot but also to engage the audiences as events unfold throughout the film. Special effects have been applied to create the universe sequence. The colo r effect filters have been used to enhance mood and dramatic effects. At the beginning of the movie, the producers block out some color wavelengths of light from reaching the film. The result is a dark yellow light that marks the beginning of the universe. After the family receives the news about death of a nineteen years old son, the entire family falls into grief. Color filters have been used to characterize the mood with Mr. and Mrs. O’Brien lost in their thoughts. In the film, Terrence has used lighting to show the emotional response of characters. He has used lens flare to invoke a sense of drama in the movie. This is evident just after Mr. OBrien is notified by telephone about the death of his son. It has also been applied to give an expression of a real life scene. For instance, Mrs. O’Brien moves through the trees lost in her thoughts looks more of a real life photograph. The director has used sound as background music, sounds of objects in the story and voices of characters, all which are heard both by the audience and the characters in the film. Another important aspect of sound employed by Terrence is the narrator’s commentary and mood music to create the solitude mood and the melancholy atmosphere of the film. Terrence has selected different lenses for different purposes throughout the movie. Variation of focal length has been used to make the audiences share their feelings with characters in the film. When Mr. O’Brien receives a call about the death of his son, the focal length of the lens is varied to show his entire face. This gives the audience a chance to see his facial expression and to share his grief.Advertising Looking for term paper on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More The same shot is evident when his wife reads a telegram notifying her about the same death. The focal length of the lens has been used to determine the angle of view and the field of view. Terrence has used this to combine real life and unreal world. For instance, a shot where a dinosaur moves in a natural environment with real vegetation and water is a combination of real and unreal world. The dinosaurs look like truly living animals and they are then super-imposed into a world that is completely real. In the film, short focal lengths of the lens have been used to make spatial distances to look more obvious. A character in the distance is made to look smaller while characters in the front emerge as big. This is clearly depicted by an instance where Mrs. O’Brien plays with his son as a small boy. The boy looks bigger when brought closer but much smaller when he runs out to play and the camera remains in the same position. The continuity style has been applied by the director in The Tree of Life as a conventional and dominant mode of visual storytelling. In this film, the most significant aspect of this particular style is that it encoura ges the viewer to become engrossed and fascinated by a story. However, this style discourages the audiences from consciously noticing the editing and camera techniques that have been used in the movie. The style has been deliberately used to make the camera, camerawork and editing invisible. The events on screen especially the multiple shots of the beginning of the universe seem to take place within a world of their own. Terrence makes the events to look as though they have been captured by some kind of unseen observer, who happened to have watched and recorded the action from convenient and suitable positions or angles. The film takes a surprising leap. It takes the audiences back millions of years in time, to the beginning of the world. The Tree of Life exhibits choral music that has been used as a staggeringly crafted hymn to creation. The audiences see swirling gases as planets emerge and the beginning of life itself. This leads to creation of plants, creatures like fish and din osaurs. The director suggests the O’Brien family as an archetype, a characteristic family in Biblical terms.Advertising We will write a custom term paper sample on A Tree of Life film Analysis specifically for you for only $16.05 $11/page Learn More The audience is drawn into the narrative. The viewers feel like they are viewing the story unfolding onscreen. Terrence has used the technique to precisely put the right emotional response in the audience and at the right moment. The outcome is seamless and engaging masterpiece and great filmmaking that make the audiences feel like they are actually participating in all events. An illustration of continuity style is the opening scene of The Tree of Life. This opening scene is an exceptional instance of how Terrence has relayed information to his audience without using a lot of dialogue. By moving the camera around and using strategically objects we find out that the lead character is a middle aged man who is married and with some children. The Tree of Life illustrates the technique of cross or inter-cutting in several instances. These are instances where the viewers are shown different events happening at the same time. The views are then made to seamlessly connect these events in their mind. In the opening scenes, the viewers see the first view of the two main characters, Mr. and Mrs. O’Brien. This is an instance of the technique of cross-cutting being applied to set up the plot and establish the two protagonists in the film in an absorbing way. Multiple scenes of nature are brought into focus simultaneously to illustrate the creation of earth. Terrence also uses the technique of cross-cutting to create suspense and narrative tension. Terrence has applied the point of view as a device through which the audiences identify with characters in the movie. This technique has been used to place the audience in the position of the protagonists. The point of view shots are evident wi th characters looking off screen and this allows the audience to cut to the object the character is looking at. Point of view is depicted in a church congregation as the clergyman delivers summon. The camera shifts from one character to another and it is easy to notice that all the characters are focused on the clergyman. The camera then shifts to O’Brien’s son seated next to his mother. The boy changes his gaze to a picture of Jesus on the wall. Like the boy, the audiences are lost in their thoughts as they identify themselves with the characters. Point of view is also depicted when the boy watches his parents engage in a fight in their house. The boy can see unclear shots of his father through the window as he moves with rage shouting to his mother. These shots make the audiences to concentrate on what the boy is watching, identify themselves with the boy and share his thoughts. The shots also increase the viewer’s concentration.Advertising Looking for term paper on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More The viewers are able to experience the emotions of the boy, his anxiety and apprehension as he watches his parents quarrel with each other. In a very direct way, the viewers gain an insight into the emotional vulnerability and suffering of O’Brien’s children. Terrence has extensively applied framing and frame cuts The Tree of Life. The film exits one shot, then enters the next, allowing the eyes of the audience to follow the movement of the protagonists. In particular, Terrence wants the audience to focus on the emotions of the characters. For instance, Mr. O’Brien is shot touching his wife’s pregnancy, perhaps to show his admiration. This shot eliminates the space around Mr. and Mrs. O’Brien, emphasizing their facial expressions and gestures. Instances of frame cuts are also evident in the film. Some shots ends with the characters leaving the frame and the next shot begins with the characters entering the frame. For example, the audience witness O ’Brien’s son learning to crawl as a baby. The baby leaves the frame when crawling and the next shot begin with the baby entering the frame aided to walk by his father. Terrence has used instances of three-point lighting, key, fill and back lights to light the subjects in the film. This enables the viewers to form their perception of characters or setting in the film. The key light is the main source of lighting but the director has combined it with fill lighting to avoid leaving the shadow and to soften the shadows. To create a sense of depth, Terrence has also used the back light paced behind and above the characters. A high contrast ratio of key and fill light has been used in an instance where Mr. and Mrs. O’Brien embrace each other and the shot disappears and reappears repetitively. This produces a dark shadow and a night time effect with the faces of the protagonists being bleached white against a black background. Terrence has used the light and shade to d irect the audience’s attention to particular part of the scenes. For instance, Mr. O’Brien enters the house and turn off all the lighting. The audience can only focus on his moving image in the house as he walks towards the window. He then looks at his son sleeping outside the house. The audiences’ attention is directed to his thoughts and memories as he remembers the happy moments he had spent with his family. Terrence has applied instances of mise-en-scene in The Tree of Life. In the context of this film, mise-en-scene has been used to describe both the content of what is filmed and the way in which it has been filmed. It also signifies the Terrence’s control over what appears in the frame of The Tree of Life. In this film, settings applied are not only backgrounds but also integral to creating atmosphere and to building narrative within the movie. For instance, shots of sky and moving clouds, mountains, vegetation, sea and sea creatures depict the begi nning of universe. Shots of imaginary creatures like dinosaurs are depicted in natural environment characterized by a river with flowing water. Like settings, Terrence has used the props to characterize and show the atmosphere of the film. Props play a significant role of the action of The Tree of Life. Props like a dinosaur play a very significant function in the cause-effect logic of a film’s narrative. They also have a symbolic meaning of showing the beginning of the world where imaginary creatures existed. In The Tree of Life, the positioning and movement of protagonists within a frame is very important for both characterization and narrative. Terrence has successfully drawn the attention of the audience to his important characters by placing them in the foreground of the frame. For instance, as Mr. O’Brien touches and listens to his unborn son, he is drawn very close to the foreground of the frame. This gives the audience a feeling that he was welcoming the idea o f getting a son. It also highlights the closeness that was shared by Mr. and Mrs. O’Brien before their son was born. The same effects are depicted when Terrence places moving objects in a stationary background. Some instances of these effects are evident when O’Brien’s sons are shown playing in the field. Stationary objects have also been placed in moving backgrounds. For example, Mr. O’Brien stands stationary in a building looking and admiring its architecture as the camera moves swiftly through the stairs and along the length of the huge building. The Tree of Life and The artist a 2011 French romance directed by Michel Hazanavicius share a lot of similarity. Both Terrence and Michel have used positioning to indicate relationships between characters in their films. The physical distance between all the members of O’Brien family in a frame indicates emotional distance. In many instances, Mr. O’Brien is seen hugging and squatting to hold his sons closely showing that he loved them. Michel has also used the physical distance to highlight the romance between George and Peppy. Both Terrence and Michel have applied performance in the film including the protagonist’s facial expressions and body language. By bringing the faces of the characters closer and highlighting their features, the audiences can read a wide range of emotions and feelings. The audience can view the faces of Mr. and Mrs. O’Brien as they engage in a heated argument. The camera is drawn close to their son’s face and the viewer can see and judge his remorse regarding the quarrel between his parents. In conclusion, The Tree of Life exhibits a lot of brilliance with its breath taking imagery. The film is filled with inquiring ideas and questions about our place in the changed world. Earlier in the film a woman’s voice sets the debate of what a man should follow, â€Å"the more selfish way of nature or the less selfish way of grace. † The movie has applied a lot of imagery and cinematographic features amid the touching story of a loving mother and a strict father.

Angels Demons Chapter 6263

Suddenly someone grabbed him from behind. It was Vittoria. She was breathless and tugging at his arm. From the look of terror on her face, Langdon could only imagine one thing. She found a body. He felt an upswelling of dread. â€Å"Ah, your wife!† the docent exclaimed, clearly thrilled to have another guest. He motioned to her short pants and hiking boots. â€Å"Now you I can tell are American!† Vittoria’s eyes narrowed. â€Å"I’m Italian.† The guide’s smile dimmed. â€Å"Oh, dear.† â€Å"Robert,† Vittoria whispered, trying to turn her back on the guide. â€Å"Galileo’s Diagramma. I need to see it.† â€Å"Diagramma?† the docent said, wheedling back in. â€Å"My! You two certainly know your history! Unfortunately that document is not viewable. It is under secret preservation in the Vatican Arc – â€Å" â€Å"Could you excuse us?† Langdon said. He was confused by Vittoria’s panic. He took her aside and reached in his pocket, carefully extracting the Diagramma folio. â€Å"What’s going on?† â€Å"What’s the date on this thing?† Vittoria demanded, scanning the sheet. The docent was on them again, staring at the folio, mouth agape. â€Å"That’s not†¦ really†¦Ã¢â‚¬  â€Å"Tourist reproduction,† Langdon quipped. â€Å"Thank you for your help. Please, my wife and I would like a moment alone.† The docent backed off, eyes never leaving the paper. â€Å"Date,† Vittoria repeated to Langdon. â€Å"When did Galileo publish†¦Ã¢â‚¬  Langdon pointed to the Roman numeral in the lower liner. â€Å"That’s the pub date. What’s going on?† Vittoria deciphered the number. â€Å"1639?† â€Å"Yes. What’s wrong?† Vittoria’s eyes filled with foreboding. â€Å"We’re in trouble, Robert. Big trouble. The dates don’t match.† â€Å"What dates don’t match?† â€Å"Raphael’s tomb. He wasn’t buried here until 1759. A century after Diagramma was published.† Langdon stared at her, trying to make sense of the words. â€Å"No,† he replied. â€Å"Raphael died in 1520, long before Diagramma.† â€Å"Yes, but he wasn’t buried here until much later.† Langdon was lost. â€Å"What are you talking about?† â€Å"I just read it. Raphael’s body was relocated to the Pantheon in 1758. It was part of some historic tribute to eminent Italians.† As the words settled in, Langdon felt like a rug had just been yanked out from under him. â€Å"When that poem was written,† Vittoria declared, â€Å"Raphael’s tomb was somewhere else. Back then, the Pantheon had nothing at all to do with Raphael!† Langdon could not breathe. â€Å"But that†¦ means†¦Ã¢â‚¬  â€Å"Yes! It means we’re in the wrong place!† Langdon felt himself sway. Impossible†¦ I was certain†¦ Vittoria ran over and grabbed the docent, pulling him back. â€Å"Signore, excuse us. Where was Raphael’s body in the 1600s?† â€Å"Urb†¦ Urbino,† he stammered, now looking bewildered. â€Å"His birthplace.† â€Å"Impossible!† Langdon cursed to himself. â€Å"The Illuminati altars of science were here in Rome. I’m certain of it!† â€Å"Illuminati?† The docent gasped, looking again at the document in Langdon’s hand. â€Å"Who are you people?† Vittoria took charge. â€Å"We’re looking for something called Santi’s earthly tomb. In Rome. Can you tell us what that might be?† The docent looked unsettled. â€Å"This was Raphael’s only tomb in Rome.† Langdon tried to think, but his mind refused to engage. If Raphael’s tomb wasn’t in Rome in 1655, then what was the poem referring to? Santi’s earthly tomb with demon’s hole? What the hell is it? Think! â€Å"Was there another artist called Santi?† Vittoria asked. The docent shrugged. â€Å"Not that I know of.† â€Å"How about anyone famous at all? Maybe a scientist or a poet or an astronomer named Santi?† The docent now looked like he wanted to leave. â€Å"No, ma’am. The only Santi I’ve ever heard of is Raphael the architect.† â€Å"Architect?† Vittoria said. â€Å"I thought he was a painter!† â€Å"He was both, of course. They all were. Michelangelo, da Vinci, Raphael.† Langdon didn’t know whether it was the docent’s words or the ornate tombs around them that brought the revelation to mind, but it didn’t matter. The thought occurred. Santi was an architect. From there the progression of thoughts fell like dominoes. Renaissance architects lived for only two reasons – to glorify God with big churches, and to glorify dignitaries with lavish tombs. Santi’s tomb. Could it be? The images came faster now†¦ da Vinci’s Mona Lisa. Monet’s Water Lilies. Michelangelo’s David. Santi’s earthly tomb†¦ â€Å"Santi designed the tomb,† Langdon said. Vittoria turned. â€Å"What?† â€Å"It’s not a reference to where Raphael is buried, it’s referring to a tomb he designed.† â€Å"What are you talking about?† â€Å"I misunderstood the clue. It’s not Raphael’s burial site we’re looking for, it’s a tomb Raphael designed for someone else. I can’t believe I missed it. Half of the sculpting done in Renaissance and Baroque Rome was for the funeraries.† Langdon smiled with the revelation. â€Å"Raphael must have designed hundreds of tombs!† Vittoria did not look happy. â€Å"Hundreds?† Langdon’s smile faded. â€Å"Oh.† â€Å"Any of them earthly, professor?† Langdon felt suddenly inadequate. He knew embarrassingly little about Raphael’s work. Michelangelo he could have helped with, but Raphael’s work had never captivated him. Langdon could only name a couple of Raphael’s more famous tombs, but he wasn’t sure what they looked like. Apparently sensing Langdon’s stymie, Vittoria turned to the docent, who was now inching away. She grabbed his arm and reeled him in. â€Å"I need a tomb. Designed by Raphael. A tomb that could be considered earthly.† The docent now looked distressed. â€Å"A tomb of Raphael’s? I don’t know. He designed so many. And you probably would mean a chapel by Raphael, not a tomb. Architects always designed the chapels in conjunction with the tomb.† Langdon realized the man was right. â€Å"Are any of Raphael’s tombs or chapels considered earthly?† The man shrugged. â€Å"I’m sorry. I don’t know what you mean. Earthly really doesn’t describe anything I know of. I should be going.† Vittoria held his arm and read from the top line of the folio. â€Å"From Santi’s earthly tomb with demon’s hole. Does that mean anything to you?† â€Å"Not a thing.† Langdon looked up suddenly. He had momentarily forgotten the second part of the line. Demon’s hole? â€Å"Yes!† he said to the docent. â€Å"That’s it! Do any of Raphael’s chapels have an oculus in them?† The docent shook his head. â€Å"To my knowledge the Pantheon is unique.† He paused. â€Å"But†¦Ã¢â‚¬  â€Å"But what!† Vittoria and Langdon said in unison. Now the docent cocked his head, stepping toward them again. â€Å"A demon’s hole?† He muttered to himself and picked at his teeth. â€Å"Demon’s hole†¦ that is†¦ buco divolo?† Vittoria nodded. â€Å"Literally, yes.† The docent smiled faintly. â€Å"Now there’s a term I have not heard in a while. If I’m not mistaken, a buco divolo refers to an undercroft.† â€Å"An undercroft?† Langdon asked. â€Å"As in a crypt?† â€Å"Yes, but a specific kind of crypt. I believe a demon’s hole is an ancient term for a massive burial cavity located in a chapel†¦ underneath another tomb.† â€Å"An ossuary annex?† Langdon demanded, immediately recognizing what the man was describing. The docent looked impressed. â€Å"Yes! That is the term I was looking for!† Langdon considered it. Ossuary annexes were a cheap ecclesiastic fix to an awkward dilemma. When churches honored their most distinguished members with ornate tombs inside the sanctuary, surviving family members often demanded the family be buried together†¦ thus ensuring they too would have a coveted burial spot inside the church. However, if the church did not have space or funds to create tombs for an entire family, they sometimes dug an ossuary annex – a hole in the floor near the tomb where they buried the less worthy family members. The hole was then covered with the Renaissance equivalent of a manhole cover. Although convenient, the ossuary annex went out of style quickly because of the stench that often wafted up into the cathedral. Demon’s hole, Langdon thought. He had never heard the term. It seemed eerily fitting. Langdon’s heart was now pounding fiercely. From Santi’s earthly tomb with demon’s hole. There seemed to be only one question left to ask. â€Å"Did Raphael design any tombs that had one of these demon’s holes?† The docent scratched his head. â€Å"Actually. I’m sorry†¦ I can only think of one.† Only one? Langdon could not have dreamed of a better response. â€Å"Where!† Vittoria almost shouted. The docent eyed them strangely. â€Å"It’s called the Chigi Chapel. Tomb of Agostino Chigi and his brother, wealthy patrons of the arts and sciences.† â€Å"Sciences?† Langdon said, exchanging looks with Vittoria. â€Å"Where?† Vittoria asked again. The docent ignored the question, seeming enthusiastic again to be of service. â€Å"As for whether or not the tomb is earthly, I don’t know, but certainly it is†¦ shall we say differente.† â€Å"Different?† Langdon said. â€Å"How?† â€Å"Incoherent with the architecture. Raphael was only the architect. Some other sculptor did the interior adornments. I can’t remember who.† Langdon was now all ears. The anonymous Illuminati master, perhaps? â€Å"Whoever did the interior monuments lacked taste,† the docent said. â€Å"Dio mio! Atrocits! Who would want to be buried beneath piramides?† Langdon could scarcely believe his ears. â€Å"Pyramids? The chapel contains pyramids?† â€Å"I know,† the docent scoffed. â€Å"Terrible, isn’t it?† Vittoria grabbed the docent’s arm. â€Å"Signore, where is this Chigi Chapel?† â€Å"About a mile north. In the church of Santa Maria del Popolo.† Vittoria exhaled. â€Å"Thank you. Let’s – â€Å" â€Å"Hey,† the docent said, â€Å"I just thought of something. What a fool I am.† Vittoria stopped short. â€Å"Please don’t tell me you made a mistake.† He shook his head. â€Å"No, but it should have dawned on me earlier. The Chigi Chapel was not always known as the Chigi. It used to be called Capella della Terra.† â€Å"Chapel of the Land?† Langdon asked. â€Å"No,† Vittoria said, heading for the door. â€Å"Chapel of the Earth.† Vittoria Vetra whipped out her cell phone as she dashed into Piazza della Rotunda. â€Å"Commander Olivetti,† she said. â€Å"This is the wrong place!† Olivetti sounded bewildered. â€Å"Wrong? What do you mean?† â€Å"The first altar of science is at the Chigi Chapel!† â€Å"Where?† Now Olivetti sounded angry. â€Å"But Mr. Langdon said – â€Å" â€Å"Santa Maria del Popolo! One mile north. Get your men over there now! We’ve got four minutes!† â€Å"But my men are in position here! I can’t possibly – â€Å" â€Å"Move!† Vittoria snapped the phone shut. Behind her, Langdon emerged from the Pantheon, dazed. She grabbed his hand and pulled him toward the queue of seemingly driverless taxis waiting by the curb. She pounded on the hood of the first car in line. The sleeping driver bolted upright with a startled yelp. Vittoria yanked open the rear door and pushed Langdon inside. Then she jumped in behind him. â€Å"Santa Maria del Popolo,† she ordered. â€Å"Presto!† Looking delirious and half terrified, the driver hit the accelerator, peeling out down the street. 63 Gunther Glick had assumed control of the computer from Chinita Macri, who now stood hunched in the back of the cramped BBC van staring in confusion over Glick’s shoulder. â€Å"I told you,† Glick said, typing some more keys. â€Å"The British Tattler isn’t the only paper that runs stories on these guys.† Macri peered closer. Glick was right. The BBC database showed their distinguished network as having picked up and run six stories in the past ten years on the brotherhood called the Illuminati. Well, paint me purple, she thought. â€Å"Who are the journalists who ran the stories,† Macri asked. â€Å"Schlock jocks?† â€Å"BBC doesn’t hire schlock jocks.† â€Å"They hired you.† Glick scowled. â€Å"I don’t know why you’re such a skeptic. The Illuminati are well documented throughout history.† â€Å"So are witches, UFOs, and the Loch Ness Monster.† Glick read the list of stories. â€Å"You ever heard of a guy called Winston Churchill?† â€Å"Rings a bell.† â€Å"BBC did a historical a while back on Churchill’s life. Staunch Catholic by the way. Did you know that in 1920 Churchill published a statement condemning the Illuminati and warning Brits of a worldwide conspiracy against morality?† Macri was dubious. â€Å"Where did it run? In the British Tattler?† Glick smiled. â€Å"London Herald. February 8, 1920.† â€Å"No way.† â€Å"Feast your eyes.† Macri looked closer at the clip. London Herald. Feb. 8, 1920. I had no idea. â€Å"Well, Churchill was a paranoid.† â€Å"He wasn’t alone,† Glick said, reading further. â€Å"Looks like Woodrow Wilson gave three radio broadcasts in 1921 warning of growing Illuminati control over the U.S. banking system. You want a direct quote from the radio transcript?† â€Å"Not really.† Glick gave her one anyway. â€Å"He said, ‘There is a power so organized, so subtle, so complete, so pervasive, that none had better speak above their breath when they speak in condemnation of it.’ â€Å" â€Å"I’ve never heard anything about this.† â€Å"Maybe because in 1921 you were just a kid.† â€Å"Charming.† Macri took the jab in stride. She knew her years were showing. At forty-three, her bushy black curls were streaked with gray. She was too proud for dye. Her mom, a Southern Baptist, had taught Chinita contentedness and self-respect. When you’re a black woman, her mother said, ain’t no hiding what you are. Day you try, is the day you die. Stand tall, smile bright, and let ’em wonder what secret’s making you laugh. â€Å"Ever heard of Cecil Rhodes?† Glick asked. Macri looked up. â€Å"The British financier?† â€Å"Yeah. Founded the Rhodes Scholarships.† â€Å"Don’t tell me – â€Å" â€Å"Illuminatus.† â€Å"BS.† â€Å"BBC, actually. November 16, 1984.† â€Å"We wrote that Cecil Rhodes was Illuminati?† â€Å"Sure did. And according to our network, the Rhodes Scholarships were funds set up centuries ago to recruit the world’s brightest young minds into the Illuminati.† â€Å"That’s ridiculous! My uncle was a Rhodes Scholar!† Glick winked. â€Å"So was Bill Clinton.† Macri was getting mad now. She had never had tolerance for shoddy, alarmist reporting. Still, she knew enough about the BBC to know that every story they ran was carefully researched and confirmed. â€Å"Here’s one you’ll remember,† Glick said. â€Å"BBC, March 5, 1998. Parliament Committee Chair, Chris Mullin, required all members of British Parliament who were Masons to declare their affiliation.† Macri remembered it. The decree had eventually extended to include policemen and judges as well. â€Å"Why was it again?† Glick read. â€Å"†¦ concern that secret factions within the Masons exerted considerable control over political and financial systems.† â€Å"That’s right.† â€Å"Caused quite a bustle. The Masons in parliament were furious. Had a right to be. The vast majority turned out to be innocent men who joined the Masons for networking and charity work. They had no clue about the brotherhood’s past affiliations.† â€Å"Alleged affiliations.† â€Å"Whatever.† Glick scanned the articles. â€Å"Look at this stuff. Accounts tracing the Illuminati back to Galileo, the Guerenets of France, the Alumbrados of Spain. Even Karl Marx and the Russian Revolution.† â€Å"History has a way of rewriting itself.† â€Å"Fine, you want something current? Have a look at this. Here’s an Illuminati reference from a recent Wall Street Journal.† This caught Macri’s ear. â€Å"The Journal?† â€Å"Guess what the most popular Internet computer game in America is right now?† â€Å"Pin the tail on Pamela Anderson.† â€Å"Close. It’s called, Illuminati: New World Order.† Macri looked over his shoulder at the blurb. â€Å"Steve Jackson Games has a runaway hit†¦ a quasi-historical adventure in which an ancient satanic brotherhood from Bavaria sets out to take over the world. You can find them on-line at†¦Ã¢â‚¬  Macri looked up, feeling ill. â€Å"What do these Illuminati guys have against Christianity?† â€Å"Not just Christianity,† Glick said. â€Å"Religion in general.† Glick cocked his head and grinned. â€Å"Although from the phone call we just got, it appears they do have a special spot in their hearts for the Vatican.† â€Å"Oh, come on. You don’t really think that guy who called is who he claims to be, do you?† â€Å"A messenger of the Illuminati? Preparing to kill four cardinals?† Glick smiled. â€Å"I sure hope so.† Angels Demons Chapter 6263 Suddenly someone grabbed him from behind. It was Vittoria. She was breathless and tugging at his arm. From the look of terror on her face, Langdon could only imagine one thing. She found a body. He felt an upswelling of dread. â€Å"Ah, your wife!† the docent exclaimed, clearly thrilled to have another guest. He motioned to her short pants and hiking boots. â€Å"Now you I can tell are American!† Vittoria’s eyes narrowed. â€Å"I’m Italian.† The guide’s smile dimmed. â€Å"Oh, dear.† â€Å"Robert,† Vittoria whispered, trying to turn her back on the guide. â€Å"Galileo’s Diagramma. I need to see it.† â€Å"Diagramma?† the docent said, wheedling back in. â€Å"My! You two certainly know your history! Unfortunately that document is not viewable. It is under secret preservation in the Vatican Arc – â€Å" â€Å"Could you excuse us?† Langdon said. He was confused by Vittoria’s panic. He took her aside and reached in his pocket, carefully extracting the Diagramma folio. â€Å"What’s going on?† â€Å"What’s the date on this thing?† Vittoria demanded, scanning the sheet. The docent was on them again, staring at the folio, mouth agape. â€Å"That’s not†¦ really†¦Ã¢â‚¬  â€Å"Tourist reproduction,† Langdon quipped. â€Å"Thank you for your help. Please, my wife and I would like a moment alone.† The docent backed off, eyes never leaving the paper. â€Å"Date,† Vittoria repeated to Langdon. â€Å"When did Galileo publish†¦Ã¢â‚¬  Langdon pointed to the Roman numeral in the lower liner. â€Å"That’s the pub date. What’s going on?† Vittoria deciphered the number. â€Å"1639?† â€Å"Yes. What’s wrong?† Vittoria’s eyes filled with foreboding. â€Å"We’re in trouble, Robert. Big trouble. The dates don’t match.† â€Å"What dates don’t match?† â€Å"Raphael’s tomb. He wasn’t buried here until 1759. A century after Diagramma was published.† Langdon stared at her, trying to make sense of the words. â€Å"No,† he replied. â€Å"Raphael died in 1520, long before Diagramma.† â€Å"Yes, but he wasn’t buried here until much later.† Langdon was lost. â€Å"What are you talking about?† â€Å"I just read it. Raphael’s body was relocated to the Pantheon in 1758. It was part of some historic tribute to eminent Italians.† As the words settled in, Langdon felt like a rug had just been yanked out from under him. â€Å"When that poem was written,† Vittoria declared, â€Å"Raphael’s tomb was somewhere else. Back then, the Pantheon had nothing at all to do with Raphael!† Langdon could not breathe. â€Å"But that†¦ means†¦Ã¢â‚¬  â€Å"Yes! It means we’re in the wrong place!† Langdon felt himself sway. Impossible†¦ I was certain†¦ Vittoria ran over and grabbed the docent, pulling him back. â€Å"Signore, excuse us. Where was Raphael’s body in the 1600s?† â€Å"Urb†¦ Urbino,† he stammered, now looking bewildered. â€Å"His birthplace.† â€Å"Impossible!† Langdon cursed to himself. â€Å"The Illuminati altars of science were here in Rome. I’m certain of it!† â€Å"Illuminati?† The docent gasped, looking again at the document in Langdon’s hand. â€Å"Who are you people?† Vittoria took charge. â€Å"We’re looking for something called Santi’s earthly tomb. In Rome. Can you tell us what that might be?† The docent looked unsettled. â€Å"This was Raphael’s only tomb in Rome.† Langdon tried to think, but his mind refused to engage. If Raphael’s tomb wasn’t in Rome in 1655, then what was the poem referring to? Santi’s earthly tomb with demon’s hole? What the hell is it? Think! â€Å"Was there another artist called Santi?† Vittoria asked. The docent shrugged. â€Å"Not that I know of.† â€Å"How about anyone famous at all? Maybe a scientist or a poet or an astronomer named Santi?† The docent now looked like he wanted to leave. â€Å"No, ma’am. The only Santi I’ve ever heard of is Raphael the architect.† â€Å"Architect?† Vittoria said. â€Å"I thought he was a painter!† â€Å"He was both, of course. They all were. Michelangelo, da Vinci, Raphael.† Langdon didn’t know whether it was the docent’s words or the ornate tombs around them that brought the revelation to mind, but it didn’t matter. The thought occurred. Santi was an architect. From there the progression of thoughts fell like dominoes. Renaissance architects lived for only two reasons – to glorify God with big churches, and to glorify dignitaries with lavish tombs. Santi’s tomb. Could it be? The images came faster now†¦ da Vinci’s Mona Lisa. Monet’s Water Lilies. Michelangelo’s David. Santi’s earthly tomb†¦ â€Å"Santi designed the tomb,† Langdon said. Vittoria turned. â€Å"What?† â€Å"It’s not a reference to where Raphael is buried, it’s referring to a tomb he designed.† â€Å"What are you talking about?† â€Å"I misunderstood the clue. It’s not Raphael’s burial site we’re looking for, it’s a tomb Raphael designed for someone else. I can’t believe I missed it. Half of the sculpting done in Renaissance and Baroque Rome was for the funeraries.† Langdon smiled with the revelation. â€Å"Raphael must have designed hundreds of tombs!† Vittoria did not look happy. â€Å"Hundreds?† Langdon’s smile faded. â€Å"Oh.† â€Å"Any of them earthly, professor?† Langdon felt suddenly inadequate. He knew embarrassingly little about Raphael’s work. Michelangelo he could have helped with, but Raphael’s work had never captivated him. Langdon could only name a couple of Raphael’s more famous tombs, but he wasn’t sure what they looked like. Apparently sensing Langdon’s stymie, Vittoria turned to the docent, who was now inching away. She grabbed his arm and reeled him in. â€Å"I need a tomb. Designed by Raphael. A tomb that could be considered earthly.† The docent now looked distressed. â€Å"A tomb of Raphael’s? I don’t know. He designed so many. And you probably would mean a chapel by Raphael, not a tomb. Architects always designed the chapels in conjunction with the tomb.† Langdon realized the man was right. â€Å"Are any of Raphael’s tombs or chapels considered earthly?† The man shrugged. â€Å"I’m sorry. I don’t know what you mean. Earthly really doesn’t describe anything I know of. I should be going.† Vittoria held his arm and read from the top line of the folio. â€Å"From Santi’s earthly tomb with demon’s hole. Does that mean anything to you?† â€Å"Not a thing.† Langdon looked up suddenly. He had momentarily forgotten the second part of the line. Demon’s hole? â€Å"Yes!† he said to the docent. â€Å"That’s it! Do any of Raphael’s chapels have an oculus in them?† The docent shook his head. â€Å"To my knowledge the Pantheon is unique.† He paused. â€Å"But†¦Ã¢â‚¬  â€Å"But what!† Vittoria and Langdon said in unison. Now the docent cocked his head, stepping toward them again. â€Å"A demon’s hole?† He muttered to himself and picked at his teeth. â€Å"Demon’s hole†¦ that is†¦ buco divolo?† Vittoria nodded. â€Å"Literally, yes.† The docent smiled faintly. â€Å"Now there’s a term I have not heard in a while. If I’m not mistaken, a buco divolo refers to an undercroft.† â€Å"An undercroft?† Langdon asked. â€Å"As in a crypt?† â€Å"Yes, but a specific kind of crypt. I believe a demon’s hole is an ancient term for a massive burial cavity located in a chapel†¦ underneath another tomb.† â€Å"An ossuary annex?† Langdon demanded, immediately recognizing what the man was describing. The docent looked impressed. â€Å"Yes! That is the term I was looking for!† Langdon considered it. Ossuary annexes were a cheap ecclesiastic fix to an awkward dilemma. When churches honored their most distinguished members with ornate tombs inside the sanctuary, surviving family members often demanded the family be buried together†¦ thus ensuring they too would have a coveted burial spot inside the church. However, if the church did not have space or funds to create tombs for an entire family, they sometimes dug an ossuary annex – a hole in the floor near the tomb where they buried the less worthy family members. The hole was then covered with the Renaissance equivalent of a manhole cover. Although convenient, the ossuary annex went out of style quickly because of the stench that often wafted up into the cathedral. Demon’s hole, Langdon thought. He had never heard the term. It seemed eerily fitting. Langdon’s heart was now pounding fiercely. From Santi’s earthly tomb with demon’s hole. There seemed to be only one question left to ask. â€Å"Did Raphael design any tombs that had one of these demon’s holes?† The docent scratched his head. â€Å"Actually. I’m sorry†¦ I can only think of one.† Only one? Langdon could not have dreamed of a better response. â€Å"Where!† Vittoria almost shouted. The docent eyed them strangely. â€Å"It’s called the Chigi Chapel. Tomb of Agostino Chigi and his brother, wealthy patrons of the arts and sciences.† â€Å"Sciences?† Langdon said, exchanging looks with Vittoria. â€Å"Where?† Vittoria asked again. The docent ignored the question, seeming enthusiastic again to be of service. â€Å"As for whether or not the tomb is earthly, I don’t know, but certainly it is†¦ shall we say differente.† â€Å"Different?† Langdon said. â€Å"How?† â€Å"Incoherent with the architecture. Raphael was only the architect. Some other sculptor did the interior adornments. I can’t remember who.† Langdon was now all ears. The anonymous Illuminati master, perhaps? â€Å"Whoever did the interior monuments lacked taste,† the docent said. â€Å"Dio mio! Atrocits! Who would want to be buried beneath piramides?† Langdon could scarcely believe his ears. â€Å"Pyramids? The chapel contains pyramids?† â€Å"I know,† the docent scoffed. â€Å"Terrible, isn’t it?† Vittoria grabbed the docent’s arm. â€Å"Signore, where is this Chigi Chapel?† â€Å"About a mile north. In the church of Santa Maria del Popolo.† Vittoria exhaled. â€Å"Thank you. Let’s – â€Å" â€Å"Hey,† the docent said, â€Å"I just thought of something. What a fool I am.† Vittoria stopped short. â€Å"Please don’t tell me you made a mistake.† He shook his head. â€Å"No, but it should have dawned on me earlier. The Chigi Chapel was not always known as the Chigi. It used to be called Capella della Terra.† â€Å"Chapel of the Land?† Langdon asked. â€Å"No,† Vittoria said, heading for the door. â€Å"Chapel of the Earth.† Vittoria Vetra whipped out her cell phone as she dashed into Piazza della Rotunda. â€Å"Commander Olivetti,† she said. â€Å"This is the wrong place!† Olivetti sounded bewildered. â€Å"Wrong? What do you mean?† â€Å"The first altar of science is at the Chigi Chapel!† â€Å"Where?† Now Olivetti sounded angry. â€Å"But Mr. Langdon said – â€Å" â€Å"Santa Maria del Popolo! One mile north. Get your men over there now! We’ve got four minutes!† â€Å"But my men are in position here! I can’t possibly – â€Å" â€Å"Move!† Vittoria snapped the phone shut. Behind her, Langdon emerged from the Pantheon, dazed. She grabbed his hand and pulled him toward the queue of seemingly driverless taxis waiting by the curb. She pounded on the hood of the first car in line. The sleeping driver bolted upright with a startled yelp. Vittoria yanked open the rear door and pushed Langdon inside. Then she jumped in behind him. â€Å"Santa Maria del Popolo,† she ordered. â€Å"Presto!† Looking delirious and half terrified, the driver hit the accelerator, peeling out down the street. 63 Gunther Glick had assumed control of the computer from Chinita Macri, who now stood hunched in the back of the cramped BBC van staring in confusion over Glick’s shoulder. â€Å"I told you,† Glick said, typing some more keys. â€Å"The British Tattler isn’t the only paper that runs stories on these guys.† Macri peered closer. Glick was right. The BBC database showed their distinguished network as having picked up and run six stories in the past ten years on the brotherhood called the Illuminati. Well, paint me purple, she thought. â€Å"Who are the journalists who ran the stories,† Macri asked. â€Å"Schlock jocks?† â€Å"BBC doesn’t hire schlock jocks.† â€Å"They hired you.† Glick scowled. â€Å"I don’t know why you’re such a skeptic. The Illuminati are well documented throughout history.† â€Å"So are witches, UFOs, and the Loch Ness Monster.† Glick read the list of stories. â€Å"You ever heard of a guy called Winston Churchill?† â€Å"Rings a bell.† â€Å"BBC did a historical a while back on Churchill’s life. Staunch Catholic by the way. Did you know that in 1920 Churchill published a statement condemning the Illuminati and warning Brits of a worldwide conspiracy against morality?† Macri was dubious. â€Å"Where did it run? In the British Tattler?† Glick smiled. â€Å"London Herald. February 8, 1920.† â€Å"No way.† â€Å"Feast your eyes.† Macri looked closer at the clip. London Herald. Feb. 8, 1920. I had no idea. â€Å"Well, Churchill was a paranoid.† â€Å"He wasn’t alone,† Glick said, reading further. â€Å"Looks like Woodrow Wilson gave three radio broadcasts in 1921 warning of growing Illuminati control over the U.S. banking system. You want a direct quote from the radio transcript?† â€Å"Not really.† Glick gave her one anyway. â€Å"He said, ‘There is a power so organized, so subtle, so complete, so pervasive, that none had better speak above their breath when they speak in condemnation of it.’ â€Å" â€Å"I’ve never heard anything about this.† â€Å"Maybe because in 1921 you were just a kid.† â€Å"Charming.† Macri took the jab in stride. She knew her years were showing. At forty-three, her bushy black curls were streaked with gray. She was too proud for dye. Her mom, a Southern Baptist, had taught Chinita contentedness and self-respect. When you’re a black woman, her mother said, ain’t no hiding what you are. Day you try, is the day you die. Stand tall, smile bright, and let ’em wonder what secret’s making you laugh. â€Å"Ever heard of Cecil Rhodes?† Glick asked. Macri looked up. â€Å"The British financier?† â€Å"Yeah. Founded the Rhodes Scholarships.† â€Å"Don’t tell me – â€Å" â€Å"Illuminatus.† â€Å"BS.† â€Å"BBC, actually. November 16, 1984.† â€Å"We wrote that Cecil Rhodes was Illuminati?† â€Å"Sure did. And according to our network, the Rhodes Scholarships were funds set up centuries ago to recruit the world’s brightest young minds into the Illuminati.† â€Å"That’s ridiculous! My uncle was a Rhodes Scholar!† Glick winked. â€Å"So was Bill Clinton.† Macri was getting mad now. She had never had tolerance for shoddy, alarmist reporting. Still, she knew enough about the BBC to know that every story they ran was carefully researched and confirmed. â€Å"Here’s one you’ll remember,† Glick said. â€Å"BBC, March 5, 1998. Parliament Committee Chair, Chris Mullin, required all members of British Parliament who were Masons to declare their affiliation.† Macri remembered it. The decree had eventually extended to include policemen and judges as well. â€Å"Why was it again?† Glick read. â€Å"†¦ concern that secret factions within the Masons exerted considerable control over political and financial systems.† â€Å"That’s right.† â€Å"Caused quite a bustle. The Masons in parliament were furious. Had a right to be. The vast majority turned out to be innocent men who joined the Masons for networking and charity work. They had no clue about the brotherhood’s past affiliations.† â€Å"Alleged affiliations.† â€Å"Whatever.† Glick scanned the articles. â€Å"Look at this stuff. Accounts tracing the Illuminati back to Galileo, the Guerenets of France, the Alumbrados of Spain. Even Karl Marx and the Russian Revolution.† â€Å"History has a way of rewriting itself.† â€Å"Fine, you want something current? Have a look at this. Here’s an Illuminati reference from a recent Wall Street Journal.† This caught Macri’s ear. â€Å"The Journal?† â€Å"Guess what the most popular Internet computer game in America is right now?† â€Å"Pin the tail on Pamela Anderson.† â€Å"Close. It’s called, Illuminati: New World Order.† Macri looked over his shoulder at the blurb. â€Å"Steve Jackson Games has a runaway hit†¦ a quasi-historical adventure in which an ancient satanic brotherhood from Bavaria sets out to take over the world. You can find them on-line at†¦Ã¢â‚¬  Macri looked up, feeling ill. â€Å"What do these Illuminati guys have against Christianity?† â€Å"Not just Christianity,† Glick said. â€Å"Religion in general.† Glick cocked his head and grinned. â€Å"Although from the phone call we just got, it appears they do have a special spot in their hearts for the Vatican.† â€Å"Oh, come on. You don’t really think that guy who called is who he claims to be, do you?† â€Å"A messenger of the Illuminati? Preparing to kill four cardinals?† Glick smiled. â€Å"I sure hope so.†

Freud and his view of psychology based on Creative Writers and Research Paper

Freud and his view of psychology based on Creative Writers and Daydreaming - Research Paper Example While this is obvious in some creative art movements like â€Å"Surrealism†, to a certain extent, this holds true for every art form though often not very obvious. The subconscious mind, in its wandering day-dreaming form, allows the artist to touch such deep rooted emotions which normally are restrained by social consciousness and social appropriateness. The drifting mind creates a world of its own in the deep alleys of the subconscious, allowing the mind to roam in this unreal play world and create images and imagery. This becomes the basis for many a creative endeavor. Sigmund Freud, the famous psychoanalyst and the originator of modern psychoanalysis, in his theories had subscribed to some form of this theory. This is hardly surprising as the Freudian theory is based on bringing out the subconscious thoughts of a person into consciousness and thereby making the person free from the agonies of repression and consequent distortion. As Sigmund Freud once said, â€Å"there ar e no indications of reality in the unconscious, so that one cannot distinguish between the truth and fiction that has been cathected with affect† (as cited in Steiner, 5). Sigmund Freud was born in Austria on 6th May 1856 to Jewish parents. He came from a very impoverished family but worked his way up through sheer hard work, intelligence and talent. Though he started his research work related to medical studies on the life history of eels, failure in this line made him change and turn to psychology as his field of study. He later founded the psychoanalytic school of psychology and is famous for his theories on the unconscious mind and his method of treating psychological patients through psychoanalysis or dialogues between a patient and the doctor. Freud believed that the subconscious or the unconscious was an inroad to the thoughts and actions of a conscious mind and helped in understanding the latter. Dreams, as per Freud, were a method by which one can understand the

Similarities and differences between japan's keiretsu and south Essay

Similarities and differences between japan's keiretsu and south korea's chaebol - Essay Example These enterprises were established by the Meiji government in the late nineteenth century, as a way to invigorate Japan’s industrialization. Therefore, the main reason for the formation of these business enterprises was to respond to failures in the market. Companies owned by these zaibatsu’s were vertically organized and owned by families and sometimes, holding companies. According to Rosati (1993), trading companies and banks were the most powerful industries among the zaibatsu. This is because they controlled the distribution of goods and operations among the zaibatsu’s. The zaibatsu were abolished at the end of the Second World War by the Allied Occupation Forces, when their shares were allocated to the Japanese public, in order to promote competition and equality. Rosati points out that â€Å"during this period, however, the private sector had little funding capacity, and corporations among themselves unable to raise the capital they needed† (1993, p. 85). It was during this time that the practice of raising funds through loans from banks was embraced. Due to the low prices of shares and accumulation of capital in the private sector, corporations were exposed to acquisitions. This was further compounded by the fact that the stock owning capacity of banks was limited by the 1947 Antimonopoly Act (Rosati, 1993). Consequently, corporations had to invest somewhat equal amounts of capital among themselves to create stability among shareholders although there was no physical exchange of the money. In the 1960s, Japan joined the Organization for Economic Cooperation and Development (OECD) and this led to a relaxation of capital transaction policies by the government. Since the owners of the corporations feared being taken over by foreign investors, they conducted cross ownership that brought back the links that had existed among zaibatsu groups prior to the Second World War and this led to the formation of Keiretsu groups. Keiretsu gro ups were very significant in rejuvenating the economy of Japan after the Second World War. Small industries in Japan were able to develop, despite the fact that Japan’s economy was detached for the world markets and highly monitored. Examples of keiretsus include Mitsui and Mitsubishi. South Korea's Chaebols: Origins and Features Chaebols were established by the Japanese colonial rule in Korea during the 1920s and 1930s. In fact, Korea’s Chaebols were formed in a similar way to the Japanese keiretsus. The main reason for the establishment of Chaebols was so that Japan could benefit from Korea’s economic development. The establishment of chaebols began when Japan set up privately owned businesses in Korea, but strictly controlled business procedures, license applications, and credit. Japanese rule in Korea eventually came to an end, and this gave the Korean’s freedom to adjust the business procedures and processes of the Chaebols. Dubois (2004) points out that â€Å"the effort was coordinated by president Park Chung Hee, the president of South Korea from 1961 until his assassination in 1976† (p. 42). Under the concept of chaebols, conglomerates usually controlled by a family were formed under a sole holding company. Each company held another company’s shares and through this, they were all interlinked. The chaebols however had no financial institutions and this required financial support from the government, since South Korea’s banks are joined together and controlled by the government.

Act I of the Crucible Essay Example for Free

Act I of the Crucible Essay In reading the overture, before any dialogue takes place, we are given a small glimpse into the world of the Salemites. Miller speaks briefly of the town and the surrounding wilderness. The placement of Salem, surrounded by the impenetrable forest already starts building tension. The simple fact that forest is present prevents escape from Salem and therefore the inhabitants of Salem are unable to physically remove themselves from their problems and conflicts within the community. The forest itself is described as: dark and threatening, by Miller. This introduces an almost intangible danger and constant threat to the play. This alone will make the Salemites feel trapped; this pressured feeling being reflected throughout the play. More significant is the way in which the forest is said to be: over their shoulders. This creates a feeling that the inhabitants of Salem are being overshadowed by this great threat. As the play is a battle between light and dark, good and evil, this is particularly meaningful as it shows Salem being overpowered by the darkness. It also adds to the feelings of threat and menace the Salemites feel because it implies an unseen something watching them. When viewed in a historical context the forest serves another purpose. At the time of writing McCarthyism was sweeping America. Although more obvious parallels are drawn later in the play I believe the forest represents the looming threat of being accused a communist sympathiser. The audience would empathise with the Salemites through this shared threat; this link would have been used by Miller to give the entire play more impact. Another way in which Miller creates a feeling of tension is through the language used in both stage directions and in the speech of the characters. Miller uses power words to create an atmosphere of tension throughout the play. On the first page with speech, page six, words such as: frightened, trouble and fury. It is evident from the start that Salem is not the perfect pilgrim village it is meant, and used, to be. The fact that something is wrong in this village, wrong enough to make a minister weep, and react with such violence grabs the attention of the audience instantly. The stage directions are particularly telling of the moods of characters. Page seventeen sees Abigail and Proctor alone for the first time and the tension between them is clearly visible. For example Abigail has stood as though on tiptoe, absorbing his presence, when someone is on tiptoe their entire body goes tense as though anticipating something. This may be a very literal way of showing us tension between Proctor and Abigail. Later, on the same page, Abigail springs into his path. Again the word spring suggests she has been coiled, tense, awaiting his movement and it is this anticipation that Miller uses to great effect when showing us chemistry between two characters. Of all things, perhaps the fear of the unknown is the most potent. Miller uses this from the start and builds tension around the fact that the audience has as little or less information about the preceding events as the characters. As both the audience and characters are apparently in the dark about events surrounding Bettys condition there is again a link draw up between the two, this is used to the same effect as the McCarthyism link. Speech patterns also show the stress of the characters involved. For example, most characters start to shorten their words and speak in a far more rigid fashion than usual when feeling threatened or angry. These monosyllabic phrases litter the play and show the audience the rising conflicts in the community. On page twenty-six this is especially apparent. He had no right to sell it, says Putnam to Proctor. All the words in this sentence are monosyllabic, sharp and to the point. It is these changes that show the audience how the characters are really feeling. Miller uses these phrases to both show tension and to create it between characters throughout the play. Repetition plays an immense part in The Crucible. Specific words such as evil, unnatural and most obviously Devil are repeated to the point where they are appearing almost every page. Only Proctor and Paris seem set against the idea of supernatural tampering and even when the village is faced with a mass of evidence which supports more mundane explanations of events the cries of witchcraft are still as loud. It appears as if the Salemites want to believe Lucifer himself is threatening them. There is probably a lot of truth in that statement. The Salemites had fled England but a few generations ago and had done so to avoid persecution because of their beliefs. Now the Salemites are trapped and alone. It is ironic perhaps that their flight to freedom has in reality increased their isolation. Now they have no one to fight either. They were truly alone; perhaps the manic belief in Lucifers conquest of Salem was a release, an enemy against which they could fight the good fight. Without the unconverted heathens England offered it what was left but fighting the Devil himself or looking to your neighbour for anything that could be seen as an unholy blemish? The Salemites belief in the Devils power in Salem may have been started by the girls but was carried onwards and taken higher by almost all of the inhabitants of Salem, possibly because they wanted to believe in the corruption of their village. This scenario, as presented by Miller in Act I of The Crucible is at the core of all tension throughout the play. Miller makes us see how incredibly dangerous society can be when in the grip of hysteria, the audience of then would have known all too well. Through uses of different devices Miller feeds and augments the underlying tension at key moments until we realise that some dreadful act must take place before the village will realises what it has done. What action could be interpreted as the Devils work in a society gone mad? As we see from Goody Nurses and Proctors hanging, anything.

Comparing the American Dream of the Transcendentalists with that of The Great Gatsby :: essays research papers

Comparing the American Dream of 19th Century Transcendentalists with that of The Great Gatsby The American Dream remains viewed as the success which one obtains. The American Dream has had a great impact on literature as well as an impact on the changing of time periods. The 19th century Transcendentalists’ idea of the American Dream focuses on reaching one’s goals by honest, hard work. On the other hand, Gatsby’s idea of the American Dream in the 20th century centers on becoming successful by way of illegal money that was not acquired through working. Ultimately, the Transcendental and Gatsby’s beliefs reveal a great deal of contrast. The American Dream of the Transcendentalists centers on being all that one is meant to be. First of all, the ideas of the Transcendentalists did not revolve around society and materialistic possessions. Transcendentalists felt that â€Å"society everywhere is in conspiracy against the manhood of everyone of its members†(from Self-Reliance 194). Also, Transcendentalists believed that â€Å"The nation itself, with all its so-called internal improvements, which, by the way, are all external and superficial, is just such an unwieldy and overgrown establishment, cluttered with furniture and tripped up by its own traps, ruined by luxury and heedless expense† (from Where I Lived and What I Lived For 212) and for which the only cure is simplicity. In addition, Transcendentalists believed that man should live life to the fullest by seeking to reach their potential. Thoreau â€Å"did not wish to take a cabin passage, but rather to go before the mast and on the deck of the world, for there I [Thoreau] could best see the moonlight amid the mountains† (from Conclusion 217). Seeking to reach one’s potential means that one must â€Å"Absolve you to yourself, and you should have the suffrage of the world† (from Self-Reliance 194). Furthermore, the Transcendentalists sought self-knowledge through the study of nature. â€Å"Nature never became a toy to a wise spirit. The flowers, the animals, the mountains, reflected the wisdom of his best hour, as much as they had delighted the simplicity of his childhood† (from Nature 191). â€Å"The life in us is like the water in the river† (from Conclusion 217) because some days one rises like the river and drowns out all of ones problems. Most importantly, the ideas of nonconformity and individualism illustrate the Transcendentalist beliefs. â€Å"Whoso would be a man must be a nonconformist† (from Self-Reliance 194) shows that every man should have a unique quality that separates him from other men.

Lost in Identity Essay

Through public opinion, prejudices and stereotypes, one’s identity is subject to change. If one is constantly criticized and put down for their physical appearance or their actions, they will try to modify themselves to fit the norm, and to match the majority. In the three pieces, â€Å"Barbie Doll,† Siddhartha, and â€Å"Black Men and Public Space,† they demonstrate that through society’s expectations and stereotypes, one’s identity will be challenged and thus inhibited. Only when one’s own determination and perseverance pulls through, will they discover their true â€Å"Self.† In both pieces Siddhartha by Hermann Hesse, and â€Å"Black Men and Public Space† by Brent Staples, the characters were often seen changing and reevaluating their current positions in society. In â€Å"Black Men and Public Space,† Staples recalls his past connection with outside opinions and stereotyping. Black men are repeatedly labeled as dangerous and suspicious, so in the evening, women would avoid him and the policemen would often pull him over solely due to the color of his skin. Because of his constant mistreatment, Staples is conned into believing he is some sort of ominous being who threatens everyone around him. In the end, instead of conveying his true identity, he tries to make everyone else around him feel more comfortable by â€Å"learning to move about with care,† and to â€Å"give wide berth to nervous people†(Staples). Staples ultimately mutates himself into someone so passive that his only purpose in life is to satisfy others. In Siddhartha, Hesse’s portrayal of Siddhartha illustrates the epitome of conquering â€Å"Self† and understanding one’s own identity. At first, Siddhartha attempts to fight back outside pressures, however he too falls into the trap. As Staples journeys through New York and Siddhartha through India, the paths they decide to take are quite similar. For example, soon after parting ways with Govinda, Siddhartha travels to a new town with fresh obstacles waiting to be overcome. Upon arrival into the new town, Siddhartha owned no worldly possessions except for the clothes on his back. Siddhartha soon meets the town’s very own love mistress, Kamala, and she informs him that he will not be permitted to study love from her unless he attains three things: expensive clothes, shoes and a house. Although Siddhartha easily could have dismissed her conditions, he felt as if he was obligated by society’s standards to live a wealthy life. Staples on the other hand also lives a scripted life because he alters everything about himself, from his standing proximity to even wasting extra time to make sure others don’t feel as if he is following them. In the end, Siddhartha grows wary of societal expectations and learns that it should not govern what he does. If Siddhartha were to advise Staples, he would tell him that instead of enduring continuous racial inequalities, he should take time to look deep within himself in order to reestablish the inner peace that would eventually pull him away from outside expectations. Another common theme addressed in these three pieces is the idea of fitting into society’s archetype. In â€Å"Barbie Doll† by Marge Piercy, her character would give anything to look good and fit into the crowd. Similarly in today’s society, women are continuously pressured to match a certain role and look a specific way in order to feel welcome. It doesn’t make sense why healthy, intelligent and strong women crumble under the low self-esteem of others. Women are getting so torn up by their peer’s critiquing that they focus more on the constant negative reminders, rather than their positive qualities. At the end of the novel Siddhartha, Siddhartha ends up reaching Nirvana by conquering his â€Å"Self† and learning to break free from society’s hold. On the contrary, the ending in â€Å"Barbie Doll,† Piercy’s character could no longer handle any more criticism so she â€Å"cut off her nose and legs and offered them up†(Piercy). Only then did society recognize her beauty, the beauty of the painted on undertaker’s cosmetics and the â€Å"turned-up putty nose†(Piercy). Even though Siddhartha wouldn’t judge â€Å"Barbie Doll† on her looks, he would however critique her on how she gave into outside pressures. Instead of letting society’s expectations take root and fester within, like Staples, she should have listened to her â€Å"Self†, and lived her life through the true beauty found inside. Staple’s mistake in â€Å"Black Men and Public Space† is closely intertwined with â€Å"Barbie Doll’s† in that they both are caught in society’s grasp and they have trouble clawing their way back out. Since Staples has grown so accustomed to the design of other people governing his every motion and every thought, the idea of putting his foot down and standing out from the crowd seems totally inconceivable. If this attitude persists, the only foreseeable outcome is one that will lead to his undoing. â€Å"Barbie Doll† resembles Staples’ ever-growing uncertainty with his life. If Staples continues his charade and prolongs his constant mistreatment, he will ultimately turn out like Barbie Doll, someone who was so thirsty to taste her real identity that in order to escape from the hole she dug herself into she had to kill herself. For Staples, it is not too late. Towards the end of â€Å"Black Men and Public Space,† he admits to â€Å"whistling melodies from Beethoven and Vivaldi†(Staples). Staples is under the impression that â€Å"a mugger wouldn’t be warbling bright, sunny selection from Vivaldi’s Four Seasons,† so by finding a way to cope with his situation, Staple’s repressed identity leaks out through the form of music (Staples). Siddhartha suggests that one’s own identity will never be lost, no matter how far one might venture from it, they will always cycle back to it in the end. So with Staples, however dormant his former â€Å"Self† remains, the return is inevitable. As people develop through outside influences as well as their own need to fit in, the connection with their identity will struggle to return. As a result, people become even more detached from reality and live as if they do not have a mind of their own, but like a machine that is programmed to do as others tell it. In the three pieces of literature, â€Å"Barbie Doll,† Siddhartha, and â€Å"Black Men and Public Places† they try to warn their viewers of the dangers of becoming too attached to what other people think. Instead of listening to others and obeying their every command, we must think for ourselves and create our own guidelines and expectations to live by. â€Å"One must find the source within one’s own self, one must possess it. Everything else is seeking- a detour, error†(Siddhartha 5). Works Cited Hesse, Hermann. Siddhartha. New York: Bantam Classics, 1981. Piercy, Marge. â€Å"Barbie Doll.† Circles on the Water: Selected Poems of Marge Piercy. Ed. Alfred A. Knopf. New York: Knopf, 1982. Staples, Brent. â€Å"Black Men and Public Space.† The Norton Reader: Eleventh Edition. Ed. Linda H. Peterson and John C. Brereton. New York: W. W. Norton and Company, Inc., 2004.

Censorship in Huck Finn

Censorship and the Importance of Accurate Historical Sources Mark Twain's classic novel The Adventures of Huckleberry Finn has been criticized since the day it was released. A library in Concord MA banned the book only a month after it was put into print and other libraries and schools have followed suit (Mark Twain's Adventures of Huckleberry Finn). The Adventures of Huckleberry Finn is not the only story to be widely banned, but it is one of the most controversial and well known.Many people claim that the novel is racist due to the frequent use of racial slurs and the disrespect and mistreatment of the character Jim who is a runaway slave. Mark Twain's famous novel is not a racist text because it is a historical account of the south during the 1840s, when racism was commonplace. The book's purpose was to emphasize real life and mock the faults in human nature. In The Adventures of Huckleberry Finn, a young boy named Huckleberry Finn runs away from his life and travels down the Miss issippi River with his friend Jim, a runaway slave.The story follows Huck's moral growth and maturity throughout his many adventures and experiences. The major turning point of the book is when Huck realizes that Jim cares about him, and that he cares about Jim in return. As a child, Huck is taught that Jim isn't a person because of his skin color and that he does not deserve respect, but Huck discovers that Jim is a person and deserves more respect than most people Huckleberry met on his journeys. He comes to this decision because Jim cares for him and treats Huck better than his own father. Huck says â€Å"All right, then, I'll go to hell. when he decides to go against the racist teachings of his childhood and help Jim get his freedom (Twain 216-217). The book was written to show what life was like in the 1840s and successfully revealed the way people viewed each other and people of other races. In the beginning of the story, Huck treats Jim poorly because he is taught that Jim i sn't a real person and he could get away with it. One of the many tricks Huckleberry plays on Jim was hiding a snake in the cave they were living in, but the snake bites Jim and Huck realizes how cruel his trick was and begins to feel sorry for how he treats Jim (Twain 55).Events like this are the reason people believe that Mark Twain's book is racist, but without these examples the book's purpose is muddled and the historical reliability is gone. The book The Adventures of Huckleberry Finn is considered a controversial text because it contains derogatory language and examples of disrespectful behavior towards people of color. Speech and actions like the ones in the book were common in the setting of the book (Knab 1). People want to ban or edit the original text of The Adventures of Huckleberry Finn, because of these elements, but they still allow these remarks in other literary works.Fredric Douglass used the same language in his narrative that was published in 1845, forty years b efore Twain published The Adventures of Huckleberry Finn, but people don't challenge his work because he was a slave and his story is a historical account of a slave's life (Bowker). The two stories are based in the same time, are about the same topic, and both aim to be realistic portrayals of everyday life in the 1840s, yet one is constantly challenged while the other is allowed to be as it is.People today are concerned with being â€Å"politically correct† and â€Å"non-offensive†, but they have reached the point where they are willing to change history to protect the feelings of certain people (Kay). If these â€Å"racist† remarks and actions were removed from The Adventures of Huckleberry Finn, the message of the book would not be evident, its historical accuracy destroyed, and the book would just be a meaningless children's story. Censorship is useful to an extent, it allows people to keep mature information from children, but when it is used on history it takes away from the importance of knowing about and learning from the past.The reason racism is so important to avoid now is because of the negative effects it had in the past. If people don't learn about these effects, then they can not understand the importance of equality now. When books are censored, their historical accuracy is lost and they are unable to educate people on the importance of the past to modern-day (Kay). Without learning about the good, bad, and ugly of the past, people wont be able to comprehend why the world is the way it is and how they can avoid the mistakes of the past.If the offensive content of The Adventures of Huckleberry Finn is removed, then people will not be able to see the severity of racism during the 1840s (Bosman). If the book is censored, then the point where Pap starts ranting about the â€Å"injustice† of a well educated black man being able to vote will not have the impact it should, representing the opinion of the average white male in the south (Twain 28). The novel The Adventures of Huckleberry Finn is seen as a masterpiece (Mark Twain's Adventures of Huckleberry Finn) and a classic (Robert O'Meally) due to the original riting and arrangement. Without these elements, that people want to change, the book would not be as renowned or highly regarded. Although The Adventures of Huckleberry Finn may have some content that offends some people and they believe that it would be better to remove the offensive content, it would take away from the plot and meaning of the story. If the novel really offends someone, then they do not have to read it again or even finish reading it, but they do not have the right to change the words of someone else to suit their own ideals.The words of The Adventures of Huckleberry Finn were all carefully picked by Mark Twain to carry the message of his story and editing them would be defacing his hard work. Twain often complained about his proofreaders and editors changing his work (Kurut z). The book was written by Mark Twain and if he saw the need to add these controversial elements, then we should not interfere with his decision or his historical accuracy (Kay). Then novel The Adventures of Huckleberry Finn is not a racist text, nor is Mark Twain a racist himself.Mark Twain's novel was written as a historical account of life in the 1840s and as a result, any content that could be considered offensive to some is all added to make the literary work more realistic and a more accurate portrayal of life in the setting. Without these elements, the story of Huckleberry's moral growth would not be as developed and the message of the book will not be as prominent. The Adventures of Huckleberry Finn should not be censored because the way the book is written provides an accurate account of life in the 1840s and without the writing staying as it is, the whole integrity of the work will be diminished.The Adventures of Huckleberry Finn is considered a classic because of how it was written. Changing the text changes the whole book and since the book is so highly regarded as it is, it should remain the same. When people claim that a book is racist, they make this assumption based on the content of the book. What people need to note is when the book is set, its publication date, and the purpose of the offensive content. With The Adventures of Huckleberry Finn, the story takes place in the 1840s when racism was very common.It also was published in 1885 when people in the United States were struggling with racism after the Civil War. The offensive content of the book is used to portray what life was like in the 1840s and to mock the behavior of the people of that time. When the book was written, language like that used in the text was still common and not seen as offensive as it does now. Mark Twain's novel The Adventures of Huckleberry Finn is not racist, it just contains racist content, and this content makes the story what it is and develops its meaning.To take away this major element of the literary work to protect the feelings of some individuals would ruin the story and would hurt more people than it would help. To censor The Adventures of Huckleberry Finn would take away a valuable source of historical knowledge that allows us to see the importance of how our society has changed and developed. Without this knowledge, people will forget the importance of the progress humankind has made and will not be able to avoid the mistakes we have already made as a whole in the past.Because of these reasons, changing the great literary work of Mark Twain Is unnecessary because The Adventures of Huckleberry Finn is not a racist text and exposure to the harsh realities in the story will help the people of today to truly understand our past as a whole and improve our future. Works Cited Page Bosman, Julie. â€Å"Publisher Tinkers with Twain. † National Post. 4 Jan 2011. Print. Bowker, Gene. â€Å"Mark Twain, racism and Huckleberry Finn. à ¢â‚¬  Examiner. com. Web. 9 Feb 2013 ;http://www. examiner. om/article/mark-twain-racism-and-huckleberry-finn; Kay, Barbara. â€Å"We Shouldn't Censor History. † National Post. 10 Jan 2011. Print. Knab, Jakob. Racism in The Adventures of Huckleberry Finn. 2011. Print. Kurutz,, Steven. â€Å"A Twain Scholar Reacts to the New, Censored Version ‘Huckleberry Finn’. † National Post. 9 Jan 2011. Print. PBS. â€Å"Mark Twain's Adventures of Huckleberry Finn. † Web. 9 Feb 2013 ;http://www. pbs. org/wgbh/cultureshock/flashpoints/literature/huck. html; Twain, Mark. The Adventures of Huckleberry Finn. New York: Barnes and Noble, 2003. Print.

William Shakespeares Sonnet 138 Comparing love in two poems Essays

William Shakespeares Sonnet 138 Comparing love in two poems Essays William Shakespeares Sonnet 138 Comparing love in two poems Paper William Shakespeares Sonnet 138 Comparing love in two poems Paper Essay Topic: Poetry William Shakespeares Sonnet 138 is about a couple that have a very cynical relationship. The poet is saying he knows that he is old and no longer beautiful, and that she doesnt love him as much because of this, but he doesnt tell her this. Elizabeth Barrett Brownings Sonnet is a contrast to Sonnet 138 because this relationship is completely honest and open. The poet is writing about how important her lover is to her, even more important than God. Sonnet 138 written by William Shakespeare in the late 1590s, but was not published until 1609. The poem is about a man who is in a relationship with a much younger lady. Their relationship is very cynical and they are very untruthful to each other. The man knows his helper is lying to him and he thinks she doesnt realise this. The man is just as bad though, because he is also being deceitful to her. But he is happy leaving it that way. The sonnet is a Shakespearian sonnet, and is divided into 3 quatrains and a rhyming couplet. The first line of the poem gives us a faint idea of what the poem could be about, he says When my love swears that she is made of truth We know from this it is a lover telling us that his partner is promising she is truthful to him. It could also mean that the partner promises that she is virginal and pure. The writer soon makes a contradiction, because he does believe her, though I know she lies. He says that he believes her even though he knows she is lying, he could also be trying to fool himself into believing something that isnt true, so that he feels better. She might think that he is naà ¯Ã‚ ¿Ã‚ ½ve and will believe anything she tells him, she might think me some untutord youth, She thinks this because she thinks he doesnt know about the truth, Unlearned in the worlds false subtleties backs this idea up. The next quatrain starts with the writer saying because of her lies and deception he is vainly thinking that she thinks me young, he is hoping that she really does think him young, he tries to make himself believe this, but it is hard for him since he knows that he is rather old, and she knows my days are past the best. He knows that it is obvious to her. It seems as if the man may have gave up thinking in vain as we can see from Simply I credit her false-speaking tongue he respects her for lying to make him feel better about himself, and because she lies so well. However he cannot be angry at her for lying to him, because On both sides thus is simple truth supprest. They are both lying to each other, and it would not be fair for him to blame it all on her. In the last quatrain he is wondering why she doesnt tell him that he is too old, But wherefore say not that I am old? He probably would not mind if she just went ahead and told him, but she might be afraid of the consequences. He doesnt mind the lying, he thinks loves best habit is in seeming trust, he seems to think that lying is a normal part of love and he says it is the best part of it. He could be trying to make himself believe that it is all a normal part of love so he does not feel bad. He then goes on to, in a way, disagree with himself, because he thinks age in love loves not to have years told he is saying love does not like to hear about the age difference. The rhyming couplet at the end sums up the poem, Therefore I lie with her, and she with me, can mean two things. The man lying to his wife and her lying to him, and the two still lying in bed together as a result of them not being truthful to each other and not breaking up. The last line, And in our faults by lies we flatterd be means that he is happy with the fact that they are both lying to each other, because it still makes him feel happy. Sonnet by Elizabeth Barrett Browning is very different to Shakespeares Sonnet 138 in the way that it is about a relationship based on pure everlasting love and trust, rather than dishonesty and lying to each other. Her love for her husband is so great that she compares it with her love for God, or maybe she sees him as God. She says that she loves him as much as possible, and her love for him will last forever. This is very unlike Sonnet 138 because in that it is about false love and deceptions. The poet was handicapped as a child, due to a horse riding accident; this made people think that she would be a failure, therefore being able to achieve nothing special in her life. This may have affected her, so maybe she wanted to prove them wrong. She may have started writing because of this. Then in 1845 she met and fell deeply in love with. Robert Browning, who she later married and ran away to Italy with. Meeting Robert Browning may have been another factor that affected her writing (definitely in this poem), and moving to Italy, seeing all the changes in relationships she would have seen. This is a petrarchan sonnet, divided into an octave and a sestet. The first line of the poem gives us a big clue on what the rest of the poem is about; she asks how does she love thee? then says let her count the ways. This shows she is going to list the many ways that she loves her husband, whereas in Sonnet 138 the poet is listing the faults in his relationship and the ways his partner lies to him. It also tells us there might be a lot of ways, because she has to count them. She loves him to the depth and breadth and height her soul can reach, she is saying that her love for him is so immense that it would fill up the whole universe if it were possible. Her use of all three dimensions emphasizes the feeling of everlasting, making the reader think of an infinite amount of space. The poem is given a spiritual feeling from her soul, giving a clue that the poem may be about spiritual, religious love as well. She loves him to the level of every days most quiet need, this could mean that during every little thing that she does everyday, she is thinking of him persistently by sun and candlelight. Sun and candlelight means during day and night, suggesting that she may stay awake at night think about him or dream about him. Candlelight also brings up the idea of spirituality again, because a candle is a strong Christian religious symbol. Her love for him is free and unleashed; she compares this freedom of love with men who strive for Right. Elizabeth Barrett Browning was strongly against the slave trade, and this could represent the slaves fighting with a passion for freedom. She says she loves him purely, and she compares this purity with the innocence of the slaves when they praise their gods for release. She uses all her love in her heart to love her husband and it is put to good use. Her love is pure and simple, she loves him with her childhoods faith. Children are supposed to have pure, innocent, simple minds, and she is saying that her love for him is simple, yet full of passion. The childhood aspect appears in Sonnet 138 as well, but instead meaning a childs gullibility, showing a negative feeling rather than the positive one shown in this poem. This could also mean with all the breath, smiles, tears she has lost in the past she has lost all her old griefs, which makes her love him more. She ends it with saying that she will love thee better after death. This shows the religious love again, she obviously believes in heaven, therefore God. She might also see her husband as a god. This poem is a big contrast to Sonnet 138 because the poet is exploring the idea of the lovers being in an honest relationship and their love is true and everlasting. Whereas in Sonnet 138 the poet has explored the idea of a relationship being based on lies and the lovers are not really sure if their love is true love. From analyzing and comparing these two poems, contrasts and similarities can be made. The main similarity is that the two poems are about love within a relationship. The main contrast is that Sonnet is about positive feelings towards the partner and Sonnet 138 is about negative feelings towards the partner. Sonnet uses positive language like purely, freely, and passion which show feelings and emotions of pure love, and religious imagery is used, like soul, Grace, candlelight, and praise which emphasizes the feeling of love by comparing it with her love for her religion and God. Sonnet 138 on the other hand uses language that shows negative feelings, like lies, false, unjust, and untutord. All these words show negative feelings, giving the whole poem a dark feeling to it. To summarize, Sonnet is a positive poem focusing on the positive side of love, and Sonnet 138 is a negative poem focusing on the negative side of love.

Cannery Row by John Steinbeck Essay Example | Topics and Well Written Essays - 1000 words

Cannery Row by John Steinbeck - Essay Example The story is about five characters living together along the street, during one of the hardest times in history; they are forced to battle out their financial and economical woes due to the depression and try to, through different plots, live together and survive in their own ways. In this way, the story has been broadly described as a tide pool because the characters are like a number of different kinds of fish living together in an aquarium. John Steinbeck writes, â€Å"Cannery Row in Monterey in California is a poem, a stink, a grating noise, a quality of light, a tone, a habit, a nostalgia, a dream. Cannery Row is the gathered and scattered, tin and iron and rust and splintered wood, chipped pavement and weedy lots and junk heaps, sardine canneries of corrugated iron, honky tonks, restaurants and whore houses, and little crowded groceries, and laboratories and flophouses.† (Steinbeck, John) The story is beautiful, and both tragic and mysterious and the way it has been portrayed. It is easy for a reader to look at the messed up lives of the people in the story and feel a sense of humour at the same time while trying to connect with them as fish belonging to a certain wing of a tide pool or an aquarium. The main attempt of this story, according to the author, has been to capture the essence of the Cannery district in Monterey Row in the city of California. The main plot revolves around how Mack and his boys try and get hold of a rundown fishmeal shack and try and convert it into a habitual place to live in. They have feelings for their friends and family and thus want to throw a party for Doc, their friend and make him feel better. The reference of a tide pool has been provided as the story takes a slight turn in the first few chapters and the party leads to a mess in the Doc’s house. This causes a certain amount of trouble and thus leads to ill will and bad luck falling on all the people

Understanding the concepts of realized return of the stock, systematic Assignment

Understanding the concepts of realized return of the stock, systematic and unsystematic risk, risk of the portfolio, beta, WACC - Assignment Example Thus the total realized value of the stock is the summation of the realized value of the different assets. Segregating the different factors or components of a stock’s realized return it can be seen that such return is constituted essentially by three main blocks. The first factor reflects the total return that is expected of the stock. Second factor hints on the different economic changes that are taking place in the external world and the effect of such changes on the position of the stock. The third factor endeavors to figure out alterations in the external climate, which tend to render some unique effects on the firm’s stock position. Understanding of the components of realized return of a stock is essential for different stocks tend to reflect different types of sensitivity depending on the various factors. Further through the understanding of the firm’s stock position it becomes easy to infer on the stability position of the firm. (Brigham & Daves, 2009, p. 97; What is a Realized Return?, n.d.). Q.2. Contrast systematic and unsystematic risk A.2. The concept of systematic risks hints at the evolution of risks, which happen not by the occurrence of chance events. These risks rather happen due to the simultaneous occurrence of events, which do not rely on chances. Thus systematic risks are generally undiversified in nature. They can be easily correlated to the occurrence of certain external events. Examples of systematic risks entail changes in the state of economic conditions, which brings in abrupt losses for the economy as a whole. Hence a tight regulation brought about by the monetary organizations causes the rise in the rates of interest for financial concerns. However because of the correlated happenings of these risks due to changes in the economic conditions these risks become simultaneous in nature. Thus it becomes difficult to render insurance schemes covering such risks for these risks go on occurring spontaneously with economic changes. On the other hand the happen ing of unsystematic risks is related to the occurrence of events, which generally take place owing to chance factors. Risks emanating out of chance events cannot be correlated to the occurrences of the events, which are probable, by nature. For example the outbreak of fire in a complex is simply a probabilistic event and depends highly on chance factors. Thus any amount of expected economic loss amounting from such counters an unsystematic risk and can be insured beforehand (Condamin, Louisot, & Naim, p.4). Further the due to certainty measures the amount of systematic risks can be rendered for explanations and also can be easily modeled. On the contrary, the unsystematic risks for the uncertainty factor adhered to it fails to be modeled. (Los, 2001, p.114) Q.3. Explain why the total risk of a portfolio is not simply equal to the weighted average of the risks of the securities in the portfolio. A.3. The total risk of a portfolio is computed based on the variance or standard deviatio n of the different returns emanating out of the different assets of the portfolio. However the variance computed does not depend on the weighted average of the different range of returns amounting from the employment of different assets. Rather the computation of the total risk of the portfolio is done based on the factor of correlation of each asset to other assets employed such. Thus if two assets constitute a certain portfolio then the