How has John Donne treated the theme of love in his poem ‘Lover’s Infiniteness’? Essay

Through his poem, John Donne, expresses his yearning to possess ‘all’ of his lady-love’s affection. He narrates about the pain and feelings he faces whilst trying to woo her. ‘Lover’s Infiniteness’ is part of Donne’s complex collection of literary work known as ‘Songs and Sonnets’; this particular piece was published in 1601. The poem deals with a question of how ‘vast’ or unconditional someone’s love can be, thus the word ‘Infiniteness’ in the title which expresses the enormity of Donne’s love for her. Being a metaphysical poet, Donne induces the elements of religion, identity, passion and reasoning into his poetry- for instance, in this specific poem, he emphasizes his ‘desire’ for the ownership of his lover’s heart yet, continues to think deeply and question her faithfulness to him. This further leads him into overthinking about the unquestioning love he has for her and how she might never reciprocate that amount of love to him. The tone of the poem suggests insecurity and- subtly- jealousy and possessiveness: this can be evident through lines such as ‘This new love may beget new fears’, ‘New love created be, by other men’, ‘The ground, thy heart is mine†¦have it all’. Using a variety of literary devices, Donne puts across the main idea of the poem vividly. Donne compares love to a ‘transaction’ wherein he expects his lady-love to ‘gift’ her love to him after he has ‘spent’ a lot of his ‘sighs, tears, and oaths, and letters’ to ‘purchase’ her heart- this is one of the many examples of both metaphor and visual imagery he uses(a clear picture of his efforts is being made). Some instances of the usage of paradox can also be seen: ‘If thou canst not give it, then thou never gav’st it’ expresses that if she doesn’t care for him every single day, then it would mean that never ever cared for him. The entire poem has been written in a well-structured manner of 3 paragraphs consisting 11 lines. Each paragraphs portrays a different aspect of Donne’s thoughts regarding his pining for his lover, aiding to a gradual build-up of a climatic ending to the poem. The poem follows a consistent rhyme scheme of ABABCDCD. Donne begins with ‘If yet I have not all thy love, /Dear, I shall never have it all.’ The tone suggests gentleness, but the lover seems to be wanting more from his lady-love – more attention, more love and affection. He is completely awestruck by her and deeply craves for her heart; he ‘cannot breathe one other sigh, to move, /nor can entreat one other tear to fall’ for he has been doing so for a very long time and cannot afford to spend any more of his ‘treasures’ of ‘sighs, tears, and oaths, and letters’. He calls her love for him as a ‘gift’ that is ‘partial’: the irony -usually love towards a lover isn’t supposed to be partial- when he stresses on how her heart might belong to other men as well, not fully his. Donne says ‘Dear, I shall never have thee all’, conveying how he worries about she not being his at all in reality. In the second stanza Donne questions his lady-love. He wonders that even if she did give him her ‘all’, what if it doesn’t last for a long time? The lines convey a sense of insecurity and jealousy the poet feels when he ponders about other men- just like him- who too would go through pain and try to gain her heart by using their share of ‘sighs, oaths and letters’ that would ‘outbid’ him- he fears of losing her. ‘This new love may beget new fears/ for, this love was not vowed by thee’, he sadly states out of fear and addressing the harsh reality. The last three lines of the paragraph show a more optimistic side of his: ‘And yet it was, thy gift being general’, he thinks about the positives of owning her love. He says ‘The ground, thy heart is mine; whatever shall/ Grow there, dear, I should have it all’: he compares her heart to fields where the seed of his love would grow and whatever she feels woul d be his too- an example of metaphor. John Donne wants a totality of love, but he has also reached the limit of his capacity to feel; he wants more to look forward to. The theme of possession and, specifically, commercial transactions underscores the inadequacy the lover feels when he thinks of or discusses the â€Å"all† of love that he requires from the lady. In the third stanza, he imagines their growing love as a kind of deposit with interest- he feels the need for her to pay back every single moment he’s spent putting efforts for their relationship with equal amount of love and attention. He could do no more. ‘He that hath all can have no more.’ After deep thought, Donne comes to a very contrasting conclusion: he suggests that if he has earned ‘all’ of her love and has been granted the ownership of her ‘heart’, he wouldn’t have anything more to look forward to as he feels that her love for him isn’t vast or unconditional- it might eventually stop growing. ‘Thou canst not every day give me thy heart/ If thou canst give it, then thou never gav’st it’: he questions that if she didn’t give him her heart before, then what assures the fact that she will give him her heart later on? Through a painful yet gentle tone he says ‘Love’s riddles are, that though thy heart depart†¦sav’st it’, here Donne expresses that even she might never respond to his feelings or leave him, he would still keep her heart- that he once had for a short while- safe and will always cherish the memories that they had shared before. Towards the end of the poem, Donne requests his lady-love to join hearts with him and be everything for each other: ‘Than changing hearts, to join them, so we shall/ Be one, and one another’s all.’ Through 3 paragraphs, Donne successfully conveys the pain, efforts and time he had spent to gain his lady-love’s heart. He portrays different the consequences faced while craving for one’s love and attention. Subtly expressing his possessiveness and jealousy, he tells of his true, infinite love that he has for her and how he wishes for her to answer him with same infiniteness.

Kennewick Man

The highly controversial treatment and care of the human skeletal remains that have come to be referred to as the â€Å"Kennewick Man† or the â€Å"Ancient One†, disinterred; July, 28, 1996, poses a multiplex of conflict. The remains were removed from a location below the surface of Lake Wallula, a section of the Columbia River pooled behind McNary Dam in Kennewick, Washington State, during a water sports event, July 29th. Being informed of the discovery of the remains, the U.S Army Corps of Engineers preceded to x-ray and CAT-scan the remains. On July 30th a local newspaper in Eastern Washington publishes a story of the discovery. The first public news leads representatives of local Native American communities to contact officials about the discovery. One bone fragment was sent to the University of California, Riverside, to be dated by a destructive test on August 5th. Early analysis reports upon the now irreparably damaged bone fragment dated the skeletal remains to b e approximately 8,400 years old. The U. S.Army Corps of Engineers, the agency responsible for the land where the remains were recovered took official possession On September 2nd. A group of five Native American tribes claim the human remains under the Native American Graves Protection and Repatriation Act (NAGPRA). The U. S. Army Corps of Engineers agrees to the tribal claim(s) and publishes an official â€Å"Notice of Intent to Repatriate† statement as required by Federal NAGPRA law. This degree of cooperation is unprecedented and very much embraced amongst the Native peoples perusing the reburial and respectful treatment of the remains.On October the 16th eight anthropologists file suit for the possession of the remains in the U. S. Magistrate Court of Portland, Oregon, to prevent the U. S. Army Corps of Engineers from repatriating the remains to the tribes. The U. S. Army Corps of Engineers defers possession of â€Å"Kennewick Man† to the U. S. department of the int erior. On September 3rd a federal judge orders â€Å"Kennewick Man† moved to the Burke Museum at the University of Washington. The remains thereby transferred to the Thomas Burke Memorial Washington State Museum, at theUniversity of Washington in Seattle, where they would be cared for until a final decision of possession or repatriation would be reached. A team of federally selected anthropologists present their preliminary findings based on non-destructive examinations of the remains, carried out at the Thomas Burke Memorial Washington State Museum, February 27th, 1999. A federal report links Kennewick Man to Asian peoples and not to any of the tribes claiming an ancestral link to the human being whose remains lay in question.Radiocarbon dating identifies the â€Å"Kennewick Man† remains as being approximately 9,300 years old. The Department of the Interior rules that the bones should be repatriated to the tribes who claimed them as belonging to an ancestor. The remai ns are perhaps the oldest exhumed Native of North America, providing scientifically valued information that may aid in the evolutionary sciences. The repertoire of evolutionary sciences concludes that the remains are particularly important for the research of North American migration from northern Europe and Asia, commonly known as the Barring land bridge theory. U. S.Magistrate, John Jelderks in the state of Portland rules on August 30th, 2002 that the skeletal remains should be turned over to a team of scientists for study, blocking the return to a coalition of Native American tribes advocating the reburial of the remains. Four Northwest Native bands that claim â€Å"Kennewick man† as their ancestor file notice that they will appeal in suit; the ruling rejecting their request to bury the remains. The federal Judge presiding over the 9th U. S. Circuit Court of Appeals upholds the ruling passed by Judge John Jelderks. The 9th Circuit Court of Appeals denies the request for a rehearing.While awaiting instructions from the legal possessor, the Army Corps of Engineers, the museum will provide a â€Å"secure† and â€Å"respectful† repository for the human remains for as long as required. The Burke Museum presently maintains possession of the remains, as there is the hypothetical necessity for further study which must entail rigorous testing and analysis to preside over a decade. The legal possessor of the remains has thereby vacated the matter leaving the Museum to sustain unlawful possession of the remains as well as the legal and social coup that coincides.The University of Washington, Seattle is a renowned institution with an extensive research facility placed at the disposal in conjunction with the Burke memorial museum. The imperative scientific â€Å"necessity† for further research of the remains has placed the museum as an institution in the wake of a highly controversial set of issues. The university has the initiative to perpet uate the sciences conducive to the study of anthropology, providing educational biases.The requests made on the behalf of the Native communities has a true claim to the respectful treatment of said human remains that is directly conflicting with the claims the scientific community has proclaimed. The definitions of respectful treatment are disputant amongst the two groups and continue to place the Burke Museum in the middle ground of a severe conflict. The university and the museum have taken the situation as an opportunity to educate the public to a degree, launching a section on the museum’s web cite that chronicles the displacement of â€Å"Kennewick Man†.Ideological separations between Native American belief structures and scientific initiatives are intrinsic within both sides of the debate. The respectful treatment of human remains is defined through the sciences at this time with little account for the native community and their wishes. The Museum is primarily th e caretaker of the remains adherent to the courts’ ruling, placing the institution in a precarious scenario pitting Native American human rights up against the sciences of anthropology. Some commentators and reporters have described the legal controversy swirling around the Kennewick remains in rather super-heated rhetoric pitting the interests of â€Å"science† against those of traditional Native Americans. This characterization ignores the detailed, intensive, and wide-ranging scientific investigation of the Kennewick remains undertaken to determine the facts relevant to the questions in the case and report them. † -National Parks Service: U. S. Dept. of the Interior 10/13/2008

Chinese Cinderella Extended Response

The novel ‘Chinese Cinderella’ is an autobiography written by Adeline Yen Mah, describing her childhood and younger teenage years as an unwanted daugther. Unlike most children, Adeline had a difficult time growing up. All throughout her life she was bullied and looked down upon by most of her family. At a young age Adeline is constantly being left behind by her family, leaving her to feel like the unwanted daughter. Throughout the whole novel, Adeline is looked down at and is never acknowledged for her hard work â€Å"Nobody was there to pat my head or congratulate me†¦Ã¢â‚¬  page 17.Adeline’s Father, who is a wealthy businessman, has a small role in the book. This is because Niang seems to be the ‘head of house’. Whenever he is involved, he seems to not care, he is often forgetful or simply uninterested about her, admitting to Adeline â€Å"I have forgotten your Chinese name†¦ † page 140. Even by her siblings Adeline is abused or m istreated, â€Å"But then Mama died giving birth to you. If you had not been born, Mama would still be alive. She’ died because of you. â€Å"You are bad luck. † page 3. †¦He took my right arm under the table and gave it a quick hard twist. † page 10. Although Adeline tries her best to please her father and siblings she is continually being rejected by them. Adeline was looked down on and hated by her family, especially by Niang, who was the hardest to please, throughout Chinese Cinderella, it shows that Niang was never happy with Adeline â€Å"You don’t deserve to be housed and fed here. Girls like you should be sent away† page 113. Niang physically abuses Adeline by hitting her, kicking her, slapping her.Adeline is always left miserable, lonely and feeling helpless and afraid. One day, Adeline’s classmates had discreetly followed her home, hoping to give her a surprise party. Instead, they heard Niang beating and screaming at her, â⠂¬Å"Liar! You planned it, didn’t you, to show off our house to your penniless classmates. How dare you! † page 127. â€Å"I realised Niang’s blows must have caused a nosebleed, and that my face was probably smeared with a mixture of blood, mucus and tears†¦I felt naked and ghastly and vulnerable. † page 129.Niang continues abuse Adeline despite her doing nothing wrong she was unloved by Niang and alone with nobody there to support her. Adeline was different. Her family were the ones who put a label on her and her friends all realised that she was different. She is an unwanted daughter â€Å"†¦despised daughter publicly rejected by her parents. † page 133. Although Adeline is a smart girl going to expensive schools, she does not fit in very well with her classmates. This is because Adeline â€Å"†¦neither receives eggs or visits† â€Å"†¦rushing around in that infantile brown dress. page 194. In chapter 18 is shows that Ad eline hates being â€Å"the object of anyone’s charity or pity† Page 195. Even though it is clear Adeline and her classmates were never really on the same level of friendship. Back in the primary school in Shanghai, Adeline where tried hard to fit in with her classmates, She befriended Wu Chun-Mei who quickly became her best friend, the only one she had during primary. In conclusion all through Adeline’s life Niang shows multiple times through the book that Adeline is not a loved child in her family.

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Business environment and strategic planning - Essay Example Various factors which are specific to the industries in which firms operate such as - economies of scale, product differentiation, degree of concentration of various firms in that industry as well as barriers to market entry; significantly affect their performance (Hoskisson et al., 2008). This paper aims to discuss the impact of reclassification of a firm’s industry sector, on the industry, and the factors affecting its strategic management. It also includes an analysis of the company’s value chain; five forces analysis of the industry it operates in; core competencies and key issues the five forces framework. The leading construction firm – Carillion Plc., UK is selected for the purpose of this study. Carillion Plc., is one of UK’s leading support services companies, with a substantial portfolio of Public Private Partnership (PPP) projects and extensive construction capabilities. It has its business operations in various countries including the UK, Middle East, Canada, North Africa as well as the Caribbean, employing about fifty thousand people worldwide, and annual revenues worth more than  £5bn. It operates in various market sectors such as – defence, education, health, building, facilities management and services, roads, rail, civil engineering and utilities services etc. (Carillion, 2010a). Its key business strategy is to aim for sustainable growth in the support services and PPP projects; create, develop and market bespoke integrated solutions to its customers in the areas of project finance, design and construction as well as maintenance and lifetime asset management solutions. It also aims to maintain a strong and selective construction capability for long-term support service customers. As a part of this strategy the company has undergone significant changes over the years, primarily in the industry sector to which it belongs. Carillion has been reclassified as a

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Comparison between Dead Man's Path and A Tale for Children Research Paper

Comparison between Dead Man's Path and A Tale for Children - Research Paper Example Obi has an intention of closing the path that leads to the burial grounds of the village; however, the villagers contest this action because it puts their heritage, as well as culture into compromise. A person's approach, along with his character in compelling modernization over traditional beliefs is capable of giving rise to conflicts, while, at the same time, resulting into consequences. In Dead Men's Path, the author uses symbols in the setting, as well as characterization in expressing the theme (Achebe 10). In Dead Man’s Path, Obi closes the path to the road that is capable of taking away an opportunity, something that makes this story is a tragedy with a number of symbols. Living in a world that is full of hatred is uneasy, however, living in a world full of happiness happens to be the entire package. In Dead Man’s Path, Obi the chief director of the school makes a wise decision of closing this road since the majority of people in this area go there. Immediately after closing this path, residents begin to get angry; Obi is terrified by the unfolding of these events, especially when people begin coming up to the school, while, at the same time, tearing down everything, not sparing even the school (Elizabeth, Susan & Robert 25). There are a number of horrific things happening within this short story thereby making it a tragedy; being in possession of a school whose path leads to the dead turns out to be an idea that is that amusing. Initially, there is a rise to power when Obi obtains the promotion, which results in him erecting the fence around the school. These actions infuriate the people living in the town; the following day, a pregnant woman, goes into labor, but dies while giving birth, something that infuriates the villagers even more since they think that it is as a result of the closing of that path. It is possible that the baby’s spirit was to exit from where the fence was hence the death of both the mother and baby. After th e woman’s death, people assume that if the path was still open, both the woman, as well as the child, would still be alive and safe. When night falls, they take distinctive items and go ahead to tear down the fence, together with the school. These actions lead Obi to think twice concerning this situation; however, he still does not understand what he did wrong that led to the tragic fall of the fraying down of the fence. In this case, there is a perception of death or death symbolism as following the death of the woman, as well as her baby (Achebe 35). Dead Man’s Path turns out to be a tragedy comprising of a number of symbols. Living for the duration of that time was probably the hardest thing; however, the people of the town succeed in getting through these hard times. Obi fails in understanding that every person in life is in need of a path to walk on, as well as a place to set off in the future. Although Obi’s intention was to help the people in the village, in reality he did remarkably little in helping them, thereby ended up hurting them even much more (Elizabeth, Susan & Robert 68). A Tale for Children is quite different compared to Dead Man’s Path; considering that it is distinctive of a style referred to as magic realism, which is closely incorporated with its author, the Gabriel Garcia Marquez, who is a Colombian novelist. This imaginative style brings together realistic, daily details with

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Theology - Assignment Example The lesson that was learnt from this verse is that, the purpose of a man was created even before he came into existence. The warnings of Jeremiah from the first to the sixteenth chapter of the book are targeted to the people of Judah as God warned them to repent and turn back to him (Attridge). Their refusal to yield would be that, God would destroy them. One is quite familiar with these prophetic warnings from God through Jeremiah to the people of Judah. One thing that is quite surprising is that, God actually knew that, the people would not heed the warning as they were a stubborn and rebellious people. But, he still went ahead to warn them, so they would not have any excuse that, they were not warned. This brings one to the conclusion that, God would not punish his people without warning them. In the first chapter of the book of Jeremiah, the prophet gave God the excuse that, he was too young for the task ahead of him. I would like to know the exact age of Jeremiah at the time of his calling. I am of the opinion that, he must have been very young at the time of his commissioning by

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Same Sex Marriage Essay Example for Free

Same Sex Marriage Essay Nancy Gill has been working for the American Postal office for almost 23 years but unlike other employees who can provide health benefits for their families, she cannot provide the same for her spouse because of one reason – she is married to a woman. Gill and her spouse, Marcelle Letourneau were married in Massachusetts in 2004 and now, they are challenging the federal law Defense of Marriage Act or DOMA that â€Å"defines marriage as a being between a man and a woman† (Seelye). The couple are backed up by Gay and Lesbian Advocates and Defenders together with 15 other couples who also complained about DOMA. The same sex couples are fighting against DOMA because they claim that DOMA makes same sex marriage look very immoral. Also, it gives a big burden on same sex couples because â€Å"ended up hurting such couples by making them pay twice for health insurance, for example, or denying them death benefits† (Seelye). The Obama administration disagrees with DOMA but as of the moment, there is nothing drastic they can do about it because it is not unconstitutional. The issue here is not whether to allow same-sex marriage; five states and the District of Columbia have allowed it but it does not change the fact that couples in same sex marriages are left out of the benefits that the typical heterosexual couple receives. As one may notice, same sex marriages are not legal in all the parts of the United States. Only some states have approved of it and as of the moment, same sex marriages are not really prioritized by law as seen in the article. They are not given the same benefits as normal couples. Anthropology is useful in the subject of same sex marriage because the study of anthropology has documented the development of same sex marriage from all over the world. For example, it is only in some societies that same sex marriage is allowed such as Spain, Canada, the Netherlands and Belgium (Haviland et al, 20). Anthropology tells us that the development of same sex marriage is different depending on the society because â€Å"it is human societies that define the boundaries of social relationships† (20). According to many feminist anthropologists, the reason why same sex marriage is not readily acceptable in the society of the United States is because the societys has allowed men to dictate on the womens sexuality and make rules for it (Lewin et al, 71). That kind of society is called patriarchal and in that society, men use sexuality as a tool to dominate and oppress women through sexual objectification (71). From the feminist perspective, sex, marriage and family were all tools used by men to limit women to heterosexuality and as a result, under the male power. Anthropologists point out how males dominate the females in many aspects of culture and society. Examples of these are â€Å"arranged and child marriages, brideprice, foot-binding, purdah (the segregation of women from men typical in some Islam societies), veiling, the chastity belt, clitoridectomies, and female infanticide† (71-72). Practices like these are made by society to make sure that women are always paired up with men. That is how men dominate women in society through major and minor cultural and societal practices. Given this information, it is not a surprise as to why same sex couples are having a hard time attaining rights that are equal to the typical heterosexual marriage or marriage to the opposite sex. As stated above, DOMA dictates that marriage is a union between a man and a woman, not a union of two men or two women respectively. DOMA is a law created by the government, a patriarchal institution. The government patronizes heterosexual unions, which is a political institution in itself. Heterosexuality is a â€Å"political union that makes women less powerful† (71). Society goes by heterosexuality and dictates that women should always end up with men. The fact that there are more women nowadays who are open to same sex marriages is a threat to the political institutions because women, after all, can have the freedom to choose whether or not they would like to marry and who they will marry. This fact is unacceptable to society because it does not agree with the rules of societal relations that have been established. If one goes back to history, marriage in most cultures have always been known to be a union between a man and a woman. The union of two sexes is still highly unthinkable for many societies because in that union, most likely there is no more inequality between the two entities because they are of the same sex. Same sex marriage may be accepted in some states but it does not mean that it is warmly accepted. Life for same sex couples is still difficult because society sees it as a breaking away from the norms. Same sex unions are making progress in gaining acceptance but they still have a long way to go. After all, we are still governed by a patriarchal society. sWorks Cited Haviland, William et al. The Essence of Anthropology. California: Thomas Wadsworth, 2007. Lewin, Ellin Leap, William, eds. Out in Theory: The Emergence of Gay and Lesbian Anthropology. Illinois: University of Illinois, 2002. s Seelye, Katharine. â€Å"Marriage Law is Challenged as Equaling Discrimination. † New York Times,May 6, 2010. http://www. nytimes. com/2010/05/07/us/07doma. html. Accessed

Application Of Sound In Movies And Games Film Studies Essay

Application Of Sound In Movies And Games Film Studies Essay Approaches to Game Audio. Modern computer games are undeniably becoming more realistic and cinematic. As graphics become better quality and game consoles become more powerful, the distinctive line between films and computer games that was set in the 1970s now hardly exists. Graphics have a big part to play in films and modern computer games, but an even bigger part of films in my opinion is the music and the sound in the film general. The music helps create the tension, emphasise dramatic moments in the plot and giving films another dimension to what is shown on screen. These techniques in music and sound/sound effects in film have been taken and used into the production of the modern computer game. Although the music and sound in film and modern computer game may have the same cinematic practice, the way it is implemented in computer games is very different. This is because of the interactive nature of the gaming environment in the computer game. Throughout this assignment Im going to be looking at what kind of strategys game audio developers have created and adopted from film to produce effective audio in the music, dialogue and effects in computer games. We will firstly be looking into the techniques on how film music and sound is made, and the different strategies have been used to produce them. Then at the strategies and techniques on music for modern games, then discussing and evaluating the different and similar techniques and strategys that computer games have adopted. Sound in film Music and sound have always been a big part of film. Even before technology was advanced enough to play dialogue or music, silent films would normally accompanied by a pianist or even a whole orchestra. But why is sound so important to film? Composer Aaron Copland describes five purposes of film music which we will be going into detail about: Creating a convincing atmosphere of time and place; Underlining psychological refinements the unspoken thoughts of the character; Serving as a kind of neutral background filler; Building a sense of continuity; Underpinning the theatrical build-up of a scene, and rounding it off with a sense of finality. (Copland 1975: 154-5) Creating a convincing atmosphere of time and place Composers can achieve creating a time and place by capturing the musical colour, creating the feeling that the music would be created in that location or time. They can achieve this by using instrument of that era or location- Bagpipes would suggest the scene was in Scotland, while a String quartet could symbolise a Scene from the 1800. Although this is an effective way of locating the film musically in some respects, sometimes the composer or director of the film may not want to use authentic Chinese  music but just want to achieve a Chinese flavour or colour by using a pentatonic scale with Western instruments (Source 1) This can create a better effect overall, hinting towards where the scene is musically without using unwanted interments. Underlining psychological refinements the unspoken thoughts of the character In some instances, music can portray a psychological element much better than dialogue can. This type of film music seems more effective if the composer reads over the script at the creation stage, making suggestions on where he would like the music to be. Far too often, however, this possibility is passed over and music is not allowed to speak (B source 1). Music can also give the viewer a better understanding on what is going on within the head of a character, not specific detail, but an overview. Leonard Rosenman  thinks that The musical contribution to the film should be ideally to create a  supra-reality, a condition wherein the elements of literary naturalism are perceptually altered. In this way the audience can have the insight into different aspects of behaviour and motivation not possible under the aegis of naturalism. This show that music can give a film another dimension, bringing out emotions and insights into characters where film without sound cant. Serving as a kind of neutral background filler Through research many composers feel this is one of the hardest things to do within composing a piece of music. Roy A. Prendergast point out that creating background music for a composer calls for him to be at his most subordinated. At times one of the functions of film music is to do nothing more than be there This shows that sometimes music is just needed to blend in the background as though it would exist as sound rather than as constructed music. Building a sense of continuity What is meant by continuity in film is that music can hold a film together Music can tie together a visual medium that is, by its very nature, continually in danger of falling apart (B source 1).The editor of the film will probably be the most aware of this particular attribute of music in films. Music can also bring a film together as a whole using a unifying musical idea. Underpinning the theatrical build-up of a scene, and rounding it off with a sense of finality When used correctly, music can add a huge amount of intensity and intimacy to a scene, it can evoke a gut reaction unobtainable in any other way (B Source 1) But music isnt a miracle worker, a lot of good composers have been asked to create music for a weak scene, hoping that it will the scene stronger. But if the scene is weak it is near impossible to make it stronger, and sadly it is normally the composer who critics blame. Three forms of music The sound in Cinema takes on three different forms: Speech, Music or Noise. Speech The dialogue in films are spoken by the actors or narration heard as a voice over (Source 2). A major component in speech for films is an automated dialogue replacement. When recording on set there is normally back ground noise of traffic or planes flying overhead, this drowns the actors lines out. Because of this, the dialogue is recorded within a studio. Recording dialogue in this way makes it possible for actors to make their lines more dramatic then recording on location. An example of this is the screaming by the actor in Jurassic Park actually was recorded in the sound studios in New York and Los Angeles (source 2). In the studio an ADR expert would match the new recording with the film, making sure that they were properly in sync so that the audience isnt aware of it being recorded in a studio. Music Music is a very powerful component to a film, in many different ways. For example in musicals such as The Sound of Music (1965) the music trys to captivate the audience creating an emotional response when music and words are linked in a scene (B source 2). Music also helps explain and move the plot instrumentally. Themes are very commonly used for individual characters, for example Star wars when Darth Vader appears on screen his theme music is played. There are two different types of film music. Firstly there is Source music, which is the realistic part of the scene; Street Musicians, Rock band playing in the background etc. The second film type is Underscoring; Music motivated by dramatically consideration (B source 3). The composers are normally not needed until a rough cut of the film is made, or even later. Within films that have to be shot in time with music that does not exist yet a temporary music track may be played on set (B source 3). Many films without music feel very empty; this is why films are normally pretracked. The editor would cut scenes to stock or classical music so that the tempo and phrasing lend structure to the footage. Composers then have the task too music that is similar but different. In scoring, one of the first steps is deciding which scene will have music; this is called spotting. The composer will have to cue the start and end of the scene with a stop watch. The music editor will then create a time sheet or breakdown which will change the feet of the film into seconds, or even smaller time scale. He will then detail the action in a cue, making it easier for the composer to write any way he wants, The closes synchronisation of music to action is called Mickey-mousing' (B Source 3) There are two main types of cues in films. Long Cues which are length normally classical pieces of composition, an example of this is a scene from Gold finger where planes are dropping sleeping gas on to a military base, throughout this scene that lasts over two minutes, the same composition is played throughout. Short cues are normally just a few bars of music; this normally acts as punctuation. For example, in many horror films when someone is going to be stabbed with a knife, this is normal accompanied with a strings playing a high sustained chord, giving a sense of anticipation and making the audience uncomfortable. At the recording stage of the music, the conductor of the piece is alerted by a streamer, a three-foot scratch in the film at the end of which a punched hole producing a light on the screen that acts as the starting cue. For the additional short cue scenes, there are similar streamers that will alert the conductor. Throughout the recording, the conductor will normally have a set of headphones where he can listen to the dialogue or a click track. Noise This can be any other sound that can be heard within the movie for example footsteps or birds. Usually the quality recorded on set is poor, which means that special sound effect (SFX) have to be produced in a studio. To produce these sound effects, sound technicians called Foley artists will record different sound effect with items in a studio. For example to create a horse walking, the Foley artist can use two half of a coconut and tap them on the table or floor, or using a metal sheet to create the sound of thunder. Many of these sound effects can be bought digitally from companies that have noise libraries for a cheaper cost then to get Foley artists. But many producers for major motion pictures will employ people and spend more money on Foley artists to create custom sounds for the movie. Timing There are two different timings within films: Viewing Time and Story Time. Viewing time means the physical length of the film. This normally differs from Story time, which is the time that passes within the film itself. Films can normally cover a few years in the characters lives, but most films that we see only take around a couple hours to watch. Viewing time becomes an instrument of the plots manipulation of story time. (B Source 3) Matching a sound or dialogue within the films images is called synchronization. When dialogue or sound is synchronized properly, the audience will not normally be able to tell if everything has been over overdubbed, or sound effects have been added. Sound in games The process of producing game audio resembles in many ways the production of film audio. Game audio follows the same five purposes of film rules made by Aaron Copland, has similar recording techniques for live sound and Foley, and use many of the same software and recording equipment. A lot of game play, i.e. the battles or the big set pieces, essentially has to be scored in some form or fashion. So thats all similar to a film. (B source 4) Although these traits are very similar between game audio and film audio, there are very distinctive differences in the processes. Most of film audio is normally done on the post-production stage, which takes place after the film has been edited and the visuals have been locked (the final version set) (B source 4). A large amount of time is spent mixing and balancing the sounds at this stage, which is one of the most significant differences between film and games sound. Post- production within film doesnt generally exist within game audio. This is because the timings are variable, the music needs to adapt to the game play. The reason for this is because some game players may vary greatly in the length of time needed to complete a level, and often they can complete tasks in different ways. The way they have come across this hurdle is by creating adaptive audio or interactive audio to others. To find out how game audio makes this adaptive or interactive audio, we are going to look through the three production stages. The three stem can be found in the same file or separate files depending on the individual or companys choice. Pre Production The first step on pre production for game audio is the creation of an audio design document. An audio design document contains the details of the design and implementation of the games audio. At this early stage, the audio team dont have much information; they may only have storyboards and characters sketches on which they have to develop an audio design document. But with this information the can start at an early stage of the production, making sure that the audio plays a significant role in the game. The first thing is to determine what type of game it is, finding out the genre and theme for the audio. One technique of finding out the right genre is by creating a temp track. A temp track means placing pre-existing music where the final composition should be. This helps the composer have an idea on where to work from. The second step is how the sound will interact with the gameplay. Rules will normally be placed out by the games designer describing what role the sound design will have within the game. The next stage is to find out which parts of the game should have ambient sound and music. This is known as spotting, it involves defining cue point entrances, exits, play-ins/play-outs, and game state changes, as well as deciding if the games variables (such as players health, surface properties, and so on) will be used to change sound parameters(B source 4). To help the music fit into context with the game, a music cue list can be created. This helps break down the storyboard or script into segments and chapters, creating an individual map for the game, as well as for each individual level. At theses first stages the audio team will need to look for spots for environments, action, pace, tension/release, objects, characters/personalitys and so on. Another important step is spotting the game in terms of emotion; Within a games there is normally movement or a certain rhythm in terms of emotional peaks and valleys (B source 4). To help the sound designer which sounds may interfere with one and another and which sounds need emphasis, an emotion map can be created showing tension and release points. At this stage level descriptions are broken down into different sound types, for example ambient noises, weapons sounds, Foley etc. These sound types will be created within an asset list which can be used at a later stage too track recording in order to reproduce sounds at a later stage, if necessary Production At this stage the production of game sound is normally taken place in several different locations. Like production of film sound: sound libraries are used and normally these effects are layered and manipulated to create the right effect. Bigger companies may have a dedicated Foley studio where Foley artists are hired and are told to create original sound effects for the game. The same techniques in film are used in game audio for sound. One of the most useful techniques that are being used in game audio is the processing of digital signal processing (DSP) in real time. Being able to do this saves a lot of recording time for the sound developers. Before processing DSP in real time effects on certain sounds had to be re-recorded individually, for example; to get the effect of footsteps to change when walking from, say, a stone path into a cave, the effects would have to be pre recorded onto the footsteps file (B Source 4) But now only one sound sample of footsteps needs to be recorded, this is because the DSP filters can be set for location, making the audio responded physics graphic engines which can create more realistic sounding effects in real time while playing the game. The final part of the audio production process is the integration of the music, sound effects, and dialogue. The integration of audio into game decides how the audio will be triggered within the game. This also controls what part of the audio might change the games state or the games parameters. For example Music or ambience tracks may be triggered by location, by game state, by time-ins or time-outs, by players, or by various game events. For the composers music to work with the game, it must be able to integrate into it. Cutting the music into chunks, splits or loops may help in creating a much more dynamic score for the game. An hour or so of music can be stretched out to many hours by cutting it up and looping it. To make it easier to cut, normally the songs have to be quite rhythmic. In game music compositions, the composer will normally make sure that the music is played within the same key throughout. This is because it is easy for sections to be cut and looped without the audience realising. The music composers for Red Dead Redemption composed the music by creating many riffs and small composition lasting less than a minute each, all within the same key. After mastering each one individually, they then put it into the music engine of the game where segments of the musical material are constantly chosen at random an put together to form a piece of music. (B source 5) Music can not only be cut, but also elements of it can be changed in real time in the game engine, for example DSP effects, tempo and instrumentation. Software such as Wwise and FMOD are being used much more these days to create editing such as this. This is because the software lowers cost and production time, and makes it easier to integrate a more dynamic score within the game. Segments of the musical material are constantly chosen at random and put together to create a piece of music. Post Production stage At this stage of production the main task is the mixing of the audio. The mixer has to find anything within the mix which is unnatural, too much repetition or anything having an unnatural imbalance. Within current games, the different stems of audio are competing with each other because they are all in the same aural space. This gives a great risk of sounds being in the same sound range and masking each other out. This is also problematic within film, but because of the unpredictability on where different sounds are going to be heard in a game, makes the mixing an even more difficult task. A strategy mixers have used to tackle this obstacle is by prioritizing sounds real-time in games. Using FX and ducking the music when dialogue happens, is an effective way of making sure needed information is passed on to the player. Another effective technique is making certain frequencies in the music quieter; this makes room for the dialogue to be heard and the music still has a presence. Strategies adopted by game audio developers To make it easier to see the similarities and differences in film and game audio, they have been made into two different sections Similarities Film and game audio have very similar, if not exact recording techniques. They both have to overdub dialogue and ambience. Game audio however, is more reliant on over dubbing, this is because there is no original sound because they have to create the ambience and dialogue from scratch. They both follow similar rules in what they want from the audio, and how they want their audience too feel. The music is very similar, both film and game audio often have scores arranged by professional composers, have a dedicated team that that deal with all the audios needs. Differences Evaluate Conclusion Overall thoughts Examples, including discussion and evaluation, of strategies adopted by game audio developers; Conclusion; References.

Men Are Aggressors And Women Are Victims

Men Are Aggressors And Women Are Victims Men are aggressors and women are victims is a very stereotypical view might be held by the majority of society and by some of the first criminologists; however criminology has evolved to try and understand how this stereotype has come to be seen as the norm within crime. They also try exploring whether this stereotype is in fact true or whether there are various differences. To understand the part of this stereotype that women are victims we must first look into the role of a victim. The role of a victim is essential in initiating the criminal justice process as the majority of offences which come to the attention of the police are reported to them by victims of these offences; their two roles within the criminal justice system are that of reporting the crime and providing evidenced that the crime has been committed. This role of the victim is different than in days gone by when the crime was controlled by individual and community self-regulation, as crimes were seen to be a private matter between offender and victim and so it was up to the victim and their family to decide if they went to court or not and would play the role of prosecutor rather than victim. Nils Christie (1986) explained how in the role of victim there is an ideal victim such as an elderly woman or a child, both seen as an ideal victim as they are seen as weak and deserving of help and care, on the other hand young men are seen as not as deserving of help and sympathetically and so are not as likely to be seen as true victims. This shows that the stereotype of only women as victims and men as aggressors is not true as it may just be that men are not seen as much of victims of an offence than a woman might be. There are many social variables which determine a persons likelihood to be a victim, one of which is gender. It has been shown from crime surveys that men are in actual fact more likely to be victims of violent attacks but that women are more likely to be victimised in the home. This shows how men can be victims and not just the aggressors who commit the acts, but it also shows how women can also still be victims and that perhaps different genders are victims of different types of attacks. For example men aged between 17 and 32 make up 7 per cent of the population but 25 per cent of all murder victims (Dorling, 2012) this is a greater percentage than women between these ages that are murdered proving how men can be more likely to be a victim than a women in certain crimes. This is true also by the fact that women are more likely to be the victim of reported and unreported sexual offences and are more likely to experience repeated unwanted attention such as stalking than men. However when it comes to a whole number of crimes it can be difficult to make judgements as to whether men or women are more likely to be victims as there are many forms on gendered crime such as forced prostitution and sex trafficking which are more likely to have female victims. A study conducted by the NSPCC in 2009 on people aged between 13-18 found that a third of girls and only 16% of boys had experienced sexual violence (Barter et al., 2009) This shows how girls are more likely to be a victim of this type of crime; although this statistics may not be entirely accurate because some people especially boys may not want to admit to being raped as it is more humiliating because of their gender. The study also showed how 12% of boys and only 3% of girls reported committing sexual violence against their partners (Barter et al., 2009); so this could be used to show how men are more likely to be aggressors; however these statistics are related to specific crimes and not all reported crimes and so are not proof of the men are aggressors and women are victims stereotype. Men as victims challenges the victim stereotype about who can be a victim, the lack of understanding of potential impacts on men this lack of perceived victimhood can have points to the lack of large-scale surveys on male victimisation, although these surveys may not be answered correctly as men could perceive being known as a victim as a threat to their masculinity. This means men may not answer surveys correctly as they do not want to be seen as a victim or they do not see themselves as a victim such as in cases of domestic abuse as if they were attacked by their female partner they may not see it as a real crime as no actual damage was done to themselves. There has been a sort of gender myopia within criminology in which early criminologists did not look into crimes committed by women, Heidensohn (1968) how this exclusion of women from criminology excluded half of society in understanding deviance and that other aspects of women and their lives are of interest to social sciences and that as gender differences are well reported in crime such as men committing more crime on the whole then women why then where they not well investigated. When criminologists did look into female offending they did not go as in depth with male criminology. Cesare Lombroso was an early positivist criminologist who used physiognomy to explain why some people commit crimes creating and anthropological criminology in which crime was thought to be inherited and that criminals could be identified from their physical features and that all criminals had certain physical features in common such as a small or weak chin and long arms. Lombroso penned a book with Guglielmo Ferrero in 1895, The Female Offender in this they tried to explain female criminals. They stated how when a woman does turn to crime how she is a monster and that her wickedness must have been enormous before it could triumph over so many obstacles. They also held the belief like many of their time that women ranked lower on the evolutionary scale than men, so were more primitive and so they suggested that female criminals would not be as visible as male criminals and would show fewer signs of degeneracy than males. So Lombroso and Ferrero stated how female criminality was down to their biology and a female criminal is an abnormal woman but also as they were like a man often more ferocious (Ferrero and Lombroso, 1895). So although early criminologists were aware of female offenders they put this down to the abnormality of a women being manlier and ferocious therefore it is not just a man who can be an aggressor. Further exploration into any other causes of female criminality bar abnormality and masculine traits were not much looked into until the next century after The Female Offender was published. The absence of qualitative research also meant that women were neglected from criminology, they are also seen and represented as helpmates rather than instigators of serious crime such as Ian Brady and Myra Hindley in the 1960s; he was seen as the instigator and she as a manipulated helper in killing and hiding the murders of several children. Some criminological theories attempted to explain female offending such as the learning theories which explain it by the fact male crime was glamorised in the media and encouraged women to commit crime. Because of this lack of thought into female offenders they were often seen as abnormal to other females as a criminal cannot be neutral when the norm is taken to be male and so women are measured to the degree to which they deviated from this norm and if they did offend and thus would be institutionalised for their own protection. Because of this previous treatment many think this leniency has carried on into the current criminal justice system causing the chivalry debate (Pollak, 1950) where a female offender might not be treated or judged as harshly as a male counterpart by a for instance a male judge who is sentencing her for a crime. This thinking of female offenders being abnormal from the rest of women reinforced the women as victims not as the aggressors stereotype and Pollak (1950) talks about this behaviour from certain women meaning them being seen as devious women. Female criminals are seen as twice as deviant as they have gone against the law and also against their prescr ibed gender role; this double deviance has reinforced the stereotype of women as victims so therefore they have not been twice as deviant even though in committing the same acts a man would only be seen as being deviant by going against the law and that his gender role is played along with as deviance is seen as a more male trait and thus males are seen to be more likely an aggressor than a victim. This silence of female offending in criminology could be explained by social gender inequalities, a low public profile as female crime could be seen as the wrong sort of crime, and it could also be difficult to accommodate gender perspectives in traditional criminological theories, the traditional feminisation of victimhood and masculinisation of aggression. There have been several theories and perspectives as to why women are perhaps committing more crimes such as Simon (1993) womens greater opportunities and skills increased participation in labor force and years of schooling, have increased their propensity to commit criminal acts, especially property and white-collar offenses. Adler (1975) explains how women seem to be becoming more violent and aggressive and that perhaps this is why they are committing more crimes. Because of this lack of research into female offenders, feminist criminology emerged in the 1960s and 1970s, as it could not be doubted that female criminals existed and seem to be on the rise as does female delinquency although this could be due to the media sensationalising female offenders there has been a veritable siege of news stories with essentially the same theme girls are in gangs and their behaviour in these gangs does not fit the stereotypical and traditional stereotype (Chesney-Lind, 1997). There are many different sub-sects of feminist theory each dealt with specific problems such as liberal feminism which deals with discrimination. This rise of research into female criminality lead in turn to more exploration and a deeper understanding of male crime and masculinity within crime and the differences between men and women and offending; showing that masculinity although perceived as a male criminal factor could also be apparent in women and that masculinity is not static and can be effected by context. There is also no clear notion of masculine identity meaning that although aggression is seen as a masculine trait that it can be apparent in both sexes and thus the stereotype that only men can be aggressors is false. Feminist criminologys concern is the marginalisation of women as subject matters in other criminological theories, because of the lack of theorising female offenders and then the lack of empirical investigations into the topic. The feminist critique also includes the lack of research into female victimisation and male violence against women and they argued that the majority of attention on how the criminal justice system affects male offenders and not female offenders. They argued that criminology in general held a rather uncritical attitude towards gender stereotypes, leading to the doubly-deviant debate (Llyod, 1995). Works such as Dobash and Dobashs (1992) Women, Violence and Social Change challenged the mainstream ideas around vicitimology and made the various forms and extent of female victims more visible. Feminist critique explores the gender gap apparent within the criminal justice system which went beyond early criminologists views such as Pollaks (1950) chivalry thesis whic h plays upon the existing stereotypical gender roles and patriarchal values to develop a more sophisticated gender analysis. As masculinity is seen in criminology as a male criminal contributor, the feminist criminology critique has allowed for the revealing of the power that underpins masculinity and its effect on the genders such as how males are obliged to live up to their gender role and so any criminal or deviant behaviour could be linked to them trying to fulfil their male role. The feminist approach shows a new side that builds on gender role theory and so helps criminology to move away from strict biological explanations such as those by Ferrero and Lombroso. So masculinity is viewed as an expression of difference from feminism behaviours but masculinity becomes representative of heterosexual power in this way and is normative and valued. So the feminist critique helps to explore gender template roles. Although the feminist critique shows how deviant acts committed by males are an example of men trying to fulfil their male role, this approach also points to a hierarchy of masculine types. This masc ulinity is not only confined to males but masculinity can change meaning over time and so there is no single masculinity. The feminist understanding of masculinity seeks to move past the simplistic stereotype of men as aggressors and women as victims and instead suggests that male identities are all different and that there is diversity this way in both genders. This leads to a questioning of previous positivist biological approaches such as Ferrero and Lombrosos work and other positivist works which try to use on universal explanation for female crime and the idea of crime is maleness as a beginning point. Feminist theory has allowed for the deconstruction of the stereotypical view of men as aggressors or criminals and women as vulnerable and conforming to a victim role. However the most consistent and dramatic findings from Lombroso not postmodern criminology is not that criminals are working classà ¢Ã¢â€š ¬Ã‚ ¦ but that most criminals are, and always have been, men (Cain, 1989). So men in general do commit more crimes then women but this does not confirm the stereotype of men are aggressors and women are victims as there is still room for women to be aggressors and men to be victims. Table 1 http://crimlinks.files.wordpress.com/2012/11/population-in-prison-by-gender.png?w=490h=79 This table shows the population in prisons by gender 30 June 2007 (MINISTRY OF JUSTICE, 2012). Each year it shows how there is a vast gap between numbers of women and men, however this may not necessarily mean men commit more crimes than women but that maybe they are more likely to commit more violent crimes and thus end up in prison as it is a harsher sentence and women may just commit as many crimes but of a different sort such as stealing and not go to prison and be sentenced to community service. Graph 1 This graph (Office for National Statistics, 2013) shows the incidents of intimate violence in the last year among adults of both genders aged 16 to 59, in 2011/12. These figures help to prove the stereotype that women are the victims are not always true as more men (2% more) interviewed reported being victims of violence than women. However 2% more women reported themselves as being victims of initiate violence than men. Literature on female violence usually has two central themes. The first is that even women are just as violent as men this is hidden in some sort of conspiracy as women should be seen as passive and men as the violent gender stereotype a small percentage of violent crime has always been committed by women (Pollock and Davis, 2005). This theory has been quashed by many writers such as Pearson (1997) who provides evidence of women who have killed their own children, helped killers and who killed their husbands and many other examples to show how women are violent and she argues they have always been as violent and predatory as men. This disproves the women as victims and not aggressors stereotype. There are also statistics which back up the women as the aggressors and committers of crime and not just men theory women commit the majority of child homicides in the United States (Pollock and Davis, 2005). However Jones (2009) argues that the women crime waves that seem to be apparent actu ally correlates with womens liberation movements and so women may receive different reactions from law enforcement then previous leading to increases of arrests and thus women crime waves. She also argues that the reason the women as victims and men as aggressors stereotype is still prevalent is due to men fearing powerful women, however her description ignores that women are less likely to murder than men; so the stereotype of men being more likely to be aggressors and so commit crime is true, even though women can too be aggressors. Even though women for some reason, they kill, rob, and assault much less often than men (Pollock and Davis, 2005); this makes it difficult for feminist criminology to figure out why women are less likely to be aggressors than men as no clear unanimous reasons seem to exist. The second theme is that more women are becoming violent than ever before and that numbers of violent and criminal acts committed by women are increasing; said to be due to womens liberation movements changing socialisation. This idea is based on percentage increases in women committing and being convicted of crime however as the numbers of women who commit these crimes are so small it wont take many to seem as though there has been a large increase Schaffner (1999) is one writer who discusses a rise in violent crime among young females uses these percentage increases. But she notes that the percentage increases can be influenced by small numbers; she infers that the rise may be due to females witnessing violence in their own home and on the streets but these factors may not be any different to times gone by when women in the 19th century witnessed these same factors yet were less likely to commit crime. Although men are aggressors and women are victims is a rather stereotypical viewpoint it can be the case given that more men commit crimes and are in jail and thus are aggressors and that women are more likely to be a victim of certain crimes such as rape. However feminist criminologists amongst others have shown how women can also be aggressors and commit crimes, although the reasons for this is not as well known or researched as it is for men. It is also clear from crime figures that men are more likely to be victims than women of certain crimes such as murder. So men are more likely to be aggressors overall but women can be aggressors too and men can be more likely to be victims of certain crimes. So the stereotype of men are aggressors and women are victims does hold some merit when taken as a sweeping statement for all crime but there are certain errors in this statement when we look closer into gender and crime.

Affects of Alcohol :: essays research papers fc

Alcohol: Best or Worst Times of Life? Alcohol has many dangerous effects and should be banned. That being said, what exactly IS alcohol? Alcohol is a clear liquid at room temperature, it is flammable and it can be dissolved in water. Alcohol is usually produced in two main ways: fermentation or distillation. The alcohol found in alcoholic beverages such as beer or wine is known as ethyl alcohol. Alcohol is rarely found in a pure form. In beer, the ethanol concentration is only 4 to 6 percent. In wine the ethanol concentration is 7 to 11 percent and in champagne 8 to 14 percent. In distilled spirits such as rum or vodka, ethanol concentration can be anywhere from 45 to 90 percent! Alcohol has made its way into western culture; from the good tasting beverage to have after work to the â€Å"cool† thing to do in front of all your friends. The United States has tried to ban alcohol consumption. The Prohibition in 1919 occurred when the 18th amendment was approved; this outlawed the manufacture, sale, and transportation of intoxicating liquors. However, the ban on liquor was highly unsuccessful. Crime rates shot sky high and the demand for liquor was as high as ever. However, the 18th amendment was repealed by the 21st in 1933 (Mason 2). Where the 18th amendment failed, the National Minimum Drinking Age Act of 1984 succeeded. The National minimum Drinking Age Act of 1984 required that all states change their legal drinking age. If the states refused to comply with this new law, the state would lose its money under the Federal Aid Highway Act (Mason 1). This only proves the point further that alcohol is dangerous and should be banned for a variety of reasons: it has many negative effects on youth, it causes a lot of damage inside the home and out, and there are many physically ill effects. Alcohol has many negative effects on youth. Some of the most influential factors in a youth’s decision to drink are parents and peers. However, past and present research has shown that alcohol advertising also has a significant impact by ‘influencing the attitudes of parents and peers and helping to create an environment that promotes underage drinking. (CAMY 1). Youth are easily influenced through television advertisements. â€Å"A 1996 study of children age’s nine to eleven found that children were more familiar with Budweiser’s television frogs than Kellogg’s Tony the Tiger, the Mighty Morphin’ Power Rangers, or Smokey the Bear (CAMY 1).

Emory Douglas: All Power to the People Essay -- Artists

Gun-slinging, militant-looking, irate adolescent African American men, women, and children: an incessant image employed by the revolutionary artist Emory Douglas. Douglas is perhaps one of the most iconic artists’ of the 20th century and has created thousands of influential protest images that remain unforgettable to this day. Through the use of compelling images Emory Douglas aided in defining the distinct visual aesthetic of the Black Panther Party’s newspapers, pamphlets, and posters. It was through such mediums that Douglas had the ability to enlighten and provoke a predominately illiterate and uneducated community via visual communication, illustrating that art can evolve into an overpowering device to precipitate social and political change. Emory Douglas was born and raised in Grand Rapids, Michigan, until 1951 when he and his mother relocated to the San Francisco Bay Area. At the time San Francisco was the hub of African American organizations that arranged events aimed at overthrowing the social injustices within the Bay Area’s black communities. As a minor immersed within the community Douglas became captivated by Charles Wilbert White, an African American social realist artist whom created various monochrome sketches and paintings, â€Å"transforming American scenes into iconic modernist narratives.† Not long after, Douglas was incarcerated at the Youth Training School in Ontario, California where he spent countless hours working in the penitentiary’s printery. It was not until the mid-1960’s when Douglas registered in the City College of San Francisco, majoring in commercial art and graphic design. Soon after, Douglas went to a Black Panthers rally, where he encountered Bob by Seale and Huey Newton; during ... ...ion. Tucson, AZ: John Brown Party, 1971, 1-2 Gaiter, Colette. â€Å"VISUALIZING A REVOLUTION: EMORY DOUGLAS AND THE BLACK PANTHER NEWSPAPER.† AIGA. 8 June 2005. http://www.aiga.org/visualizing-a-revolution-emory-dou... (accessed Mar. 9, 2012). Moyer, Carrie. â€Å"Minister of Culture: the Revolutionary Art of Emory Douglas.† Modern Painters 19, no.9 (2007): Art Full Text (H.W. Wilson), EBSCOhost (Apr. 11, 2012). Ross, Alice. â€Å"Emory Douglas - Interview.† Digital Arts. 26 Jan. 2009. http://www.digitalartsonline.co.uk/features/?FeatureID... (accessed Mar. 8, 2012), 2 Stewart, Sean. On the Ground: An Illustrated Anecdotal History of the Sixties Underground Press in the U.S.. Oakland, CA: PM Press, 2011, 28 Wikipedia. Wikimedia Foundation, Inc., s.v. â€Å"Emory Douglas.† http://en.wikipedia.org/wiki/Emory_Douglas (accessed March. 7, 2012).

Positive and Negative Impacts of Postmodernism Essay

Having its roots in the Renaissance and the Enlightenment, modernism was the era of universal truth which was objectively understood and interpreted by humankind. Postmodernism, the period starting around 1950’s to present, rejects this notion of an objective and universal truth. Instead the postmodernist view of meaning is ambiguous and truth is relative to an individual or a group. Furthermore, postmodernism rejects the validity of grand narratives, such as religion, and their attempt to conceptualize existence from within a single rational and linguistic framework (â€Å"IDH†). Both positive and negative impacts arrive from such notion. The positive impact is that the goal of an individual or a group is to build relationship with God, no matter what religion they are. Therefore, the group becomes united. For example, Mega Church in Cleveland, demonstrates the Kingdom of God in its embrace of people of all races and religious backgrounds. The negative impact is expres sed through the fallible and multi-layered truth. It is impossible for an individual or a group to know the actual truth, and as a result, postmodernism undermines people’s beliefs. Postmodernism, an essay by Doy Moyer, a former priest who became a professor at Florida College, summarizes the negative impact of postmodernism. In order to better understand this aspect of postmodernism, one should take a closer look at its impact. The postmodernist groups reject the idea of an absolute truth, or religion, because truth is relative to the community in which they participate (Sparks). The truth is based on their experience of God by building relationship with Him. The Mega Church in Cleveland demonstrates such an idea. â€Å"The church consists of converted Muslim, completed Jew, Irish, Italian, a large delegation of Hispanic, Caucasian, and African-American members, of all walks of life† (Mega). The church’s postmodernist character welcomes those individuals or groups who see God relative to themselves. According to Michael Summers, director of church services at Wayland Baptist University, postmodernism focus on building relationships and connections. This ideal directly affects how the church as an organization relates to the church as the body of God. Disregarding the racial and religious differences, people are willing to unite and experience the truth as it  applies to them. â€Å"When it comes to choosing a church, postmodernists will search for a church that best fits them in terms of shaping relationship with God† (Park). An individual or a group seeks God not by aligning themselves with a certain religion, but through their faith and their emotions such as love for God. There is also a negative impact to postmodernism. Postmodernism undermines people’s beliefs and distorts the actual truth. The essay Postmodernism, by Doy Moyer, explains such contradiction.  According to the postmodern worldview, there are no such things as absolutes†¦ All ideas, all actions, no matter how different from â€Å"ours,† must be accepted†¦ One should be able to see how such a worldview is antagonistic toward those who believe in the inspiration of the Bible†¦ To say that we must tolerate everyone, then refuse to tolerate those who don’t kowtow to the movement, is sheer hypocrisy (Moyer). It is evident that the truth is altered due to relativity and diverse ideas, views, and outlooks. Such notion undermines people’s beliefs, leaving them with no idea what to believe in. Reason is to be distrusted because there is no way to know which person’s reason is reliable. There is no such thing as objectivity. There is no â€Å"truth† to appeal to for understanding histor y and culture. Texts, whether religious or philosophical or literary, do not have intrinsic meaning (Beverly). Disregarding the concrete historical religious texts such as Bible and Koran, an individual or a group is left with its unreliable experiences and unsupported views. The truth, thus, becomes multi-layered and fallible. The Mega Church in Cleveland is a great example of a positive impact of postmodernism. It unites people of different races and religious backgrounds in order to build a relationship with God. The downside is that people rely on their own experiences and ideas, since no truth is gained from religious texts such Bible and Koran. Such impact is explained in the work of Doy Moyer, called Postmodernism. Postmodernism allows people to, through personal experiences, gain knowledge and truth about God, which in process becomes relative and, at the same time, fallible. It rejects the grand narrative, religion, and its attempt to conceptualize the existence  and God from within a single rational and linguistic framework (IDH). Works Cited Beverly, James. â€Å"Postmodernism†. John Mark Ministries. 22 Apr. 2007 . IDH Staff. â€Å"IDH Student’s Unit 5 Guide to Postmodernism†. 10 Apr. 2007. IDH 2121. Valencia Community College. 22 Apr. 2007 Mega Church Official Website. 22 Apr. 2007 < http://www.megachurch.com/about.php>. Moyer, Doy. â€Å"Postmodernism†. 22 Apr. 2007 < http://www.inplainsite.org/html/ postmodernism.html>. Park, Vivian S. â€Å"Positive and Negative Impact of Postmodernism on Christianity†. 7 Jun. 2004. Christian Post. 22 Apr. 2007 < http://www.christianpost.com/article/ 20040607/7138.htm>. Sparks, Noy. â€Å"Postmodernism†. Valencia Community College. 22 Apr. 2007.

The Art of Cultivating a Phenomenological State of Mind

It continues to be a renowned belief of Buddhism that upon coming to the conclusion that neither the extreme course of self-denial practiced by the ascetics nor the life of self-indulgence which he had led as a prince was the right path towards enlightenment, Siddhartha Gautama adopts what he refers to as the Middle Way. He then, having the notion that the answer to what he seeks is buried within his own consciousness, sits in meditation beneath a fig tree for a duration of four (some say seven) weeks. Throughout this length of time, he manages to withstand a barrage of attacks and temptations from the devil Mara while gradually ascending through higher states of consciousness, until he transcends the realm of conventional awareness and attains enlightenment. Such is the final aspiration of those pursuing the Buddhist path: to acquire, through right thoughts and good deeds, â€Å"release from the round of phenomenal existence with its inherent suffering†¦ to attain nirvana, an enlightened state in which the fires of greed, hatred, and ignorance have been quenched† (Buddhism). The primary ethic that serves as a guide toward one’s ascent to nirvana is one that is both â€Å"detached and inner-oriented,† requiring the individual searching to cultivate â€Å"four virtuous attitudes, known as the Palaces of Brahma: loving-kindness, compassion, sympathetic joy, and equanimity† (Buddhism). However, in one’s striving to do so, it is important for them to first understand that in regards to Buddhist theory of the mind and consciousness, â€Å"there is no self that is aware of the experiences one undergoes or the thoughts one has. Rather the thoughts themselves are the thinker, and the experiences the experiencer† (Indian Theories of Mind). As long as one continues to believe in the existence of a self, it is not possible for them to properly understand the concept of mental activity as it is expressed within the Buddhist tradition. Only once the belief in an inner self is renounced, and the belief in Atman, â€Å"the non-material spiritual element that merely witnesses the mental activities involved in the ordinary awareness of objects† (Indian Theories of Mind), is nurtured, is the individual then capable of amassing together positive mental factors which will aid in their resolve to veer from both the practices of austere asceticism and sensual indulgence, and instead follow the Middle Way to enlightenment. Current scientific research on the consciousness has observed that the ordinary person is inclined to â€Å"attend to the world strictly as it appears, the world as it is phenomenally manifest† to him (Phenomenology). In other words, man considers the objects around him to be mere associations to a specific experience, thus he concentrates not on them, but on the manner in which they appear to him. Buddhists, on the other hand, adopt the ‘phenomenological attitude’ by detaching themselves â€Å"from the natural attitude, not to deny it, but to investigate the very experiences it comprises† (Phenomenology). By employing this phenomenological mindset, Buddhists prove that, contrary to common belief, the acquisition of perceptions from an experience is not confined only to emotional or tactile receptors, rather, the awareness of these phenomenal aspects can also be granted through conscious thought. The Abhidharma, which constitutes one of the ‘three baskets’ into which the Buddhist scriptures are divided, endeavors to organize Buddhist teachings in such a manner as to provide detailed analyses of experience. In examining these analyses, it becomes evident that in some aspects they are redolent of â€Å"those in cognitive science that aim to account for cognitive processing without invoking a homunculus or ‘little man’ inside the head who oversees the workings of the mind (or merely passively witnesses the results†¦)† (Phenomenology). For example, the Abhidharma investigates matter as a composition of multiple basic elements. However, in contrast to the standard definition which describing an element as being a concrete object unable to be divided into simpler forms, the Abhidharma classifies an element as being an evanescent material occurrence fluctuating in and out of existence according to the given circumstances. In a similar manner, the Abhidharma categorizes the human mind into its basic components: a â€Å"succession of mental states† or â€Å"stream of consciousness. In line with this reasoning, Buddhists hold this point of view with regards to the functioning of the mind: â€Å"It is a mental imposition of unity where there is in fact only the arising of a multiplicity of interrelated physical and mental events. The sense of control belonging to one’s sense of self is thus largely illusory. There is really nobody in charge of the physical and mental processes, which arise according to the ir own causes and conditions, not our whims. The mind is not ruled by a central unite, but by competing factors whose strengths varies according to our circumstances† (Indian Theories of Mind). Buddhists thus attribute the â€Å"limited but intuitive presence† an individual senses in response to their cognitive experiences, not to a metaphysical self, but to the spontaneous, non-recurrent awareness one has in relation to their own mental states; it can be interpreted as one of many varieties of perception. It is the Atman, or non-spiritual element, â€Å"that merely witnesses the mental activities involved in the ordinary awareness of objects† (Indian Theories of Mind). While on his deathbed, the Buddha told his disciples these words: â€Å"Seek salvation alone in the truth; look not for assistance to anyone besides yourself. † He was, in effect, admonishing them to seek enlightenment by no means other than developing right thinking and good deeds on a personal level. When taking into account the path a Buddhist is required to follow, the significance of them cultivating a phenomenological mindset becomes progressively more apparent to the observer. Consider the concept of Renunciation. A Buddhist author, Gill Farrer-Halls, explains in layman terms: â€Å"Renunciation means lessening both our attachment to those things we like and our aversion to unpleasant situations and feelings, by realizing that none of these things have an inherent ability to make us happy or unhappy† (Buddhism Seeks Enlightenment and Ultimate Reality). To an ordinary person, adopting such a view regarding material possessions is no effortless task. However, in assuming the phenomenological attitude, they no longer become concerned with â€Å"what things are in themselves†¦ but rather in exactly how they appear, and thus as strict rational correlates of [their] experience† (Phenomenology). This is the Buddhist mindset. Believing material things to be sheer â€Å"correlates of [their] experience† and nothing concrete, they are then able to hold them with a relaxed hand, so to speak. In the event these possessions are removed from them, Buddhists, instead of becoming distressed, accept this as a trait of matter, which, according to the Abhidharma, fluctuates within the realm of existence according to causes and conditions. Farrer-Halls elaborates on this concept further: â€Å"A tightly closed fist tries to grasp hold of things, but they slip away because of this grasping. If we open our hands, things pour over and move unimpeded. In this way, by not trying to control the natural flow of life, we can enjoy it. When we loosen our grasping we become open, which makes us receptive to our environment. We can appreciate other people and our surroundings beyond our tightly help perceptions† (Buddhism Seeks Enlightenment and Ultimate Reality). Through these examples, it is evident that the cultivation of a phenomenological mindset enables one to develop a detached appreciation for the material things of the world. If this psychological approach wasn’t administered through routine meditation, the three poisons: desire, craving, and lust, would effortlessly trounce the Buddhist’s determination to follow the Middle Way first established by Siddhartha Gautama, and thus attain enlightenment and ultimate reality.

The Jack Cole Style

THE JACK COLE STYLE Cole used many ethnic and folk styles of dance (like East Indian, flamenco, and the lindy) as a source for movements. His style was derived from dance movements performed for centuries by common people, but theatricalised for use on the stage. This is why, when pressed for a definition of his movement, Cole termed it â€Å"urban folk dance. † When trying to describe Cole's movement, it is best to identify certain predominate characteristics. A partial list would include dancing in plie; with isolated body movements; with compressed or stored energy; and with a keen sense of manipulating rhythm, spatial levels, and attack.The first item of dancing in plie is a key to the Cole style. Cole made great use of a wide and low second position, as well as a parallel fourth position with both knees bent and the back knee close to the floor. This wide stance dropped the dancer's centre of gravity, and allowed the dancer to extend movement horizontally across the floor . This contrasted with the ballet dancer's vertical orientation. By using an ultra smooth transition of weight from foot to foot, a slinky, sensual feel was given by him and his dancers. Cole's movement is often called cat-like, or animalistic.But while the weight centre was dropped low to the floor, the torso remained very tall and erect. Cole's spine was lengthened and regal, giving a polished look. Even though his body was in plie, working with gravity, his torso at the same time defied gravity. This contradiction was magnified by his supple arms movements. Cole initiated arm movement from the center of the back, often involving the shoulder. This shoulder involvement in arm movement is characteristic of the way cats walk, adding to his reputation of having cat-like movement. Isolation in body movement was another key to Cole's style.He made great use of side and forward thrust of the hips and shoulders, and even the head. Much of his isolations came from his background in Indian dance. Cole used isolations to show rhythmic flow throughout the body, and to draw the attention of the audience to specific parts of the body. MOVEMENT QUALITIES Cole's dances generally had a consistent set of movement qualities. First was the used of recoil and release to launch bursts of energy. In a fashion similar to a cat crouching and compressing its hind legs in order to spring at its prey, Cole used his plie level in order to launch the body and give dynamic impact to his movements.Cole dancer Buzz Miller remembers him as being a â€Å"coiled spring. † Another quality was that of supreme strength in movement. His dancers were rock solid, and Graciela Daniele, the well-known choreographer and director of musicals at Lincoln Center, felt that Cole dancers were â€Å"warriors. † An excellent description of this aspect of the Cole style was given by critic Debra Jowitt, who said † Cole dancing strikes me as immensely aggressive; almost every gesture is deli vered with maximum force, but then has to be stopped cold in mid-air to achieve the clarity of design he wanted†¦ n immense counter effort has to be used to stop the gesture. † Cole explored all spatial level in his choreography. Knee slides and floorwork were common, and it was normal for dancers to spring from the deepest plie into high, suspended leaps. He also abhorred the smiling, happy face seen in most jazz and tap dance of the time. Instead, he preferred a cool, almost cold look in the eyes. He danced with a piercing gaze, much like a newly caged tiger, that could prod and intimidate an audience. Rhythm is integral to Cole's style.Cole observed dancers at Harlem's Savoy Ballroom dancing the lindy, and utilised the swing feeling in their bodies. Swing music has a drop and recovery, much like a bouncing ball, that generates new energy on each rebound. This feeling, as transformed into authentic jazz dances, gives renewed energy and attack to each subsequent movement . Cole integrated this bounce and rebound into his movement, giving it a fresh and lively appearance. He also manipulated the dynamics of his movement, alternating passages of sharp attack with smooth sections. This