The Storm Essay Example For Students

The Storm Essay The Storm The title of this story proposes a figurative association between the tempest outside and the tempest of feelings going on in the people Calixta and Alcee. The force of their sexual demonstration inside the house follows the example of the tempest outside. Their enthusiasm peaks and decreases with the tempest. They are left recharged and new simply like nature. The tempest outside had been blending for quite a while, similarly as it had been fermenting among Calixta and Alcee. They attempted to hinder the tempest by avoiding one another, however it was unavoidable simply like the tempest itself. They had set up hindrances between themselves by not being separated from everyone else together yet those obstructions could be and were broken. Much the same as the tempest thrashing the hindrances of the house attempting to open them to the outside components, the obstructions among Calixta and Alcee were reducing with first contact as appeared in this selection. The downpour beat upon the low, shingled rooftop with a power and bang that took steps to break a passageway and storm them there. This alludes to the tempest outside and their enthusiastic state. They were feeling this need and want for one another and it was pounding all the boundaries they had set up inside themselves to oppose this enticement. Their sentiments were so hazardously near the surface that they could barely conceal them any more. The tempest was seething on and the dramatization of the lightning was stunning to them. They could nearly feel its power. The playing of lightning was ceaseless. A jolt struck a tall chinaberry tree at the edge of the field. It occupied all obvious space with a blinding glare and the accident appeared to attack the very sheets they remained upon. The lightning in the strict tempest was the image of the power felt between the Calixta and Alcee. It draws them together by its attractive power. She falls into his arms and their longing couldn't be denied once they contacted. The inclination was unreasonably incredible for them to deny, like a bat out of hell. The power of the tempest increments alongside their aching for one another. They didn't divert and run from the interior tempest of energy inside them, yet rather it made them cheerful and jubilant so they dont stress over the tempest outside. They didn't notice the slamming deluges, and the thunder of the components made her snicker as she lay in his arms. Her inclination and feelings are exceptionally serious right now. All she feels and needs is him to satisfy the seething tempest within them. Unwinding and quiet is the inclination one gets after a tempest has passed. This is the thing that the two of them felt after their sexual experience was finished. The downpour was finished; and the sun was transforming the shimmering green world into a castle of jewels. He turned and grinned at her with a radiating face. His face channeled like the sun after the fulfillment of a tempest. The tempest within him was fulfilled and quieted by this demonstration similarly as the earth is fulfilled and quieted by a rainstorm. He felt like nothing is wrong with the world and renewed. A tempest does numerous things for nature. It renews, channels, and permits nature to develop. The tempest among Alcee and Calixta did those things. Their longing was taken care of and fulfilled. The tempest recharged their associations with their life partners and families. The accompanying section was utilized to portray Calixta and her family at supper that equivalent night. Them three situated themselves at the table they giggled a lot thus uproarious that anybody may have heard them as distant as Laballieres. It likewise renewed Alcees relationship with his significant other. Alcee Laballiere kept in touch with his better half, Clarisse, that night. .u9847cec47e409d134755403304dd8943 , .u9847cec47e409d134755403304dd8943 .postImageUrl , .u9847cec47e409d134755403304dd8943 .focused content region { min-stature: 80px; position: relative; } .u9847cec47e409d134755403304dd8943 , .u9847cec47e409d134755403304dd8943:hover , .u9847cec47e409d134755403304dd8943:visited , .u9847cec47e409d134755403304dd8943:active { border:0!important; } .u9847cec47e409d134755403304dd8943 .clearfix:after { content: ; show: table; clear: both; } .u9847cec47e409d134755403304dd8943 { show: square; progress: foundation shading 250ms; webkit-change: foundation shading 250ms; width: 100%; darkness: 1; progress: haziness 250ms; webkit-progress: mistiness 250ms; foundation shading: #95A5A6; } .u9847cec47e409d134755403304dd8943:active , .u9847cec47e409d134755403304dd8943:hover { obscurity: 1; change: murkiness 250ms; webkit-change: obscurity 250ms; foundation shading: #2C3E50; } .u9847cec47e409d134755403304dd8943 .focused content zone { width: 100%; position: relative; } .u9847cec47e409d134755403304dd8943 .ctaText { outskirt base: 0 strong #fff; shading: #2980B9; text dimension: 16px; textual style weight: striking; edge: 0; cushioning: 0; text-adornment: underline; } .u9847cec47e409d134755403304dd8943 .postTitle { shading: #FFFFFF; text dimension: 16px; text style weight: 600; edge: 0; cushioning: 0; width: 100%; } .u9847cec47e409d134755403304dd8943 .ctaButton { foundation shading: #7F8C8D!important; shading: #2980B9; fringe: none; fringe span: 3px; box-shadow: none; text dimension: 14px; text style weight: intense; line-tallness: 26px; moz-outskirt sweep: 3px; text-adjust: focus; text-enrichment: none; text-shadow: none; width: 80px; min-stature: 80px; foundation: url(https://artscolumbia.org/wp-content/modules/intelly-related-posts/resources/pictures/basic arrow.png)no-rehash; position: total; right: 0; top: 0; } .u9847cec47e409d134755403304dd8943:hover .ctaButton { foundation shading: #34495E!important; } .u9847cec47e409d134755403304dd8943 .f ocused content { show: table; stature: 80px; cushioning left: 18px; top: 0; } .u9847cec47e409d134755403304dd8943-content { show: table-cell; edge: 0; cushioning: 0; cushioning right: 108px; position: relative; vertical-adjust: center; width: 100%; } .u9847cec47e409d134755403304dd8943:after { content: ; show: square; clear: both; } READ: How to think about loner crab Essay It was a caring letter, brimming with delicate concern. This tempest revived their lives with their families as the other tempest restored and renewed the earth outside. It made everything more grounded and more advantageous. The tempest embellishes the world with newness and new life. The tempest among Alcee and Calixta achieved something very similar. So the tempest passed and everybody was glad. The tempest between them gave them new life and fulfillment. They felt new and recharged like they had been renewed. They could value all that they have by and by.

Review of Part 3 of Omnivore’s Dilemma

Audit of Part 3 of The Omnivore’s Dilemma ENGL-135 Advanced Composition Professor Edmondson William McGuire In Part 3, Chapters 15, 16, and 17 of The Omnivore’s Dilemma, Michael Pollan investigates looking searching for changed nourishments, the morals of chasing creatures and gathering the meat from them, and giving a short investigate what achieved the mystery of The Omnivore’s Dilemma.Chapters 15, 16, and 17 raise a ton of valid statements about scavenging and chasing and Pollan gives through detail and research on the subjects, yet after perusing these sections you think that its lacking substance that will keep you connected with and the material can be really dry now and again while you get a smidgen of disorder from irregular points. Section 15 of Omnivore's Dilemma was a short part on how Pollan is getting ready to make a dinner from the entirety of the rummaging gatherings. Organic products, vegetables, parasites, and meat were the parts that made up thi s supper, he needed to discover and assemble enough from each gathering to make his first.Pollan had quite recently moved to California, so his newness to the region was a burden, so he chose to enlist an ally to help him on his mission. Section 16 takes the peruser to an alternate setting, Pollan talks about the beginnings of The Omnivore’s Dilemma through an exploration paper that was written in 1976 by Paul Rozin and titled The Selection of Foods by Rats, Humans, and Other Animals. Pollan communicates that we are so like rodents that we are omnivores, however not at all like rodents, we have lost our nature of picking food and follow commercials as our guide.He at that point proceeds to propose that the issues come from free enterprise gains and the quest for income. In section 17 we are reclaimed to Pollan on his scavenging mission he began in part 15. This part takes a gander at the morals of chasing and eating creatures that are not prepared in handling plants like we a re so use to seeing. Pollan raises thinking on why he is a meat eater and fights with the battle on if eating meat at a steakhouse is ethically right and moral. He broadly expounds on the manner in which the animal lived and if the animal had a long, upbeat, others conscious life.The creator presumes that on the off chance that we turn away from how the animal goes from being on the ranch to a cooler in the general store at that point individuals turn vegan and on the off chance that we can’t turn away, at that point we need to figure out how to acknowledge it and decide whether the animal persevered through a lifetime of torment. Section 3 in the book meets two out of the three basic desires and shows some solid graphic wording to give you a feeling of symbolism when you read certain pieces of the book just as give you a decent understanding on the point he is attempting to get across.An case of one of the explanations that he uses to paint an image for you and attempt to br ing you there is â€Å"I started to see things. I saw the delicate yellow globes of chamomile edging the way I climbed most evenings, and spotted bunches of miner’s lettuce off in the shade (Claytonia, a delicious coin-molded green I had once developed in my Connecticut nursery) and wild mustard out in the sun. (Angelo called it rapini, and said the youthful leaves were flavorful sauteed in olive oil and garlic. ) There were blackberries in bloom and the periodic palatable flying creature: a couple of quail, a couple of birds. (Pollan, pg. 285) Another quality in this book is the topic that relates to what the writer is attempting to pass on to the peruser, Pollan is attempting to show the perusers that the manner in which we use to get and eat food is ever changing and will proceed to change and we are anything but difficult to impact in accordance with our weight control plans, he does well in keeping to the topic of his book. The shortcomings of Part 3 spread two of the t hree normal desires and they are the absence of commitment for the peruser and the request where the topic is presented.This book isn't custom fitted for somebody who wants to understand dream or activity, something that will leave you holding tight the edge of your seat needing more. Rather what you get is somebody specifying his encounters and research that underpins a ton of his thoughts, morals of eating creatures, and corn sex, oh dear no blasts or hero/rival battle. I ended up snoozing off a couple of times feeling like I was in an agribusiness talk or science class.The topic is spread out well in certain pieces of the book, yet Pollan hops around a ton with the material, for example, in section 15 he is rummaging for food then part 16 is about an exploration article that gave him motivation to compose The Omnivore’s Dilemma, and afterward section 17 is about his ethical clash of eating steak at a steakhouse and whether the creature needed to endure to get to his plate. I think the book needs some improvement in such manner so the writer isn't bouncing to various subjects at random.In The Omnivore’s Dilemma, the writer Michael Pollan is to some degree fruitful in fulfilling the regular desires for the sections I have perused, one of the desires is both a quality and a soft spot for this piece of the book. I believe that the book all in all doesn't fulfill the regular desires with the enormous one being commitment, there will be individuals who are keen on this book yet it is just a little feature of the perusers out there today. The book delivers on the utilization of symbolism and the topic remains on theme more often than not and bolsters his thoughts and theories.Later on to a limited extent 3 in the following three sections he goes on the chase and he expounds on the historical backdrop of pigs that are not local to California and his emotions after the slaughter. He at that point discovers some wild mushrooms to match with the meat he has obtained from gathering the pig and discusses his experiences attempting to discover non-toxic mushrooms; and the last section presents the creator setting up the dinner with the entirety of the parts he has scavenged for and collected. Works Cited Pollan, M. (2006). The Omnivore's Dilemma. New York, New York: Penguin Books.

Exercise and Nutrition for Alcohol or Drugs Abstinence

Exercise and Nutrition for Alcohol or Drugs Abstinence Addiction Coping and Recovery Overcoming Addiction Print How Exercise, Nutrition, and Relaxation Can Help People Stay Sober By Buddy T facebook twitter Buddy T is an anonymous writer and founding member of the Online Al-Anon Outreach Committee with decades of experience writing about alcoholism. Learn about our editorial policy Buddy T Updated on February 10, 2020 Henrik Sorensen / Getty Images More in Addiction Coping and Recovery Overcoming Addiction Methods and Support Personal Stories Alcohol Use Addictive Behaviors Drug Use Nicotine Use Relaxation, exercise, and better nutrition can improve the physical and emotional health of people recovering from alcoholism or drug addiction and â€" in their own way â€" help prevent relapse. Lets face it: If you progressed to the point of seeking professional treatment or rehab for your alcohol or drug problem, you probably were not getting a lot of physical exercises  and you definitely were not eating as healthy as you should. Improving in these areas can contribute to a healthier lifestyle and can help you remain abstinent. The Benefits of Relaxation and Recreation During Recovery Becoming involved in a recreational or physical activity can benefit your recovery by reducing the stress that can be a trigger for relapse. It also can help reduce boredom, which for some is a key relapse trigger, and benefit you emotionally by restoring a sense of balance to your life. Of course, becoming more active will simply help you feel better physically and improve your overall health. This can aid your recovery by lessening the severity of any post-acute withdrawal symptoms that may re-occur. Gradually Incorporate Physical Activity If you have not been physically active at all for a long time, you should check with your doctor or healthcare provider before beginning any exercise program. You may want to ease into whatever physical exercise that you choose to keep from overdoing it early and becoming discouraged. Becoming physically active does not mean that you have to begin training to become a world-class athlete. You can just take a daily walk in your neighborhood or in the mall, take your kids to play in the park, ride a bicycle, or pick up a sport you once enjoyed like tennis, softball or basketball. The goal is to get more active at a level that you are comfortable with and make progress in improving your health.   The Effect of Poor Eating Habits in Alcoholics and Drug Users Hand in hand with physical activity in developing a healthy lifestyle is good nutrition. If you are like most alcoholics and addicts, you spent so much time with your drug of choice that you often failed to eat properly. Research shows that many alcoholics suffer from some level of malnutrition. Many of the drugs on the street today suppress the appetite. Consequently, many people who enter professional alcohol and drug rehab programs have skipped many meals simply because they did not feel hungry. Poor eating habits in alcoholics have been found to increase the risk of or exacerbate the following medical conditions: Liver Disease: Alcoholic liver damage is caused primarily by alcohol itself, but poor nutrition may increase the risk of alcohol-related liver damage.Pancreatitis: There is some research that suggests that alcohols damaging effect on the pancreas may be exacerbated by a protein-deficient diet.Brain Damage: Nutritional deficiencies can have severe and permanent effects on brain function. Specifically, thiamine deficiencies, often seen in alcoholics, can cause severe neurological problems.Pregnancy Complications: Alcohol itself is toxic to the fetus, but accompanying nutritional deficiency can affect fetal development, perhaps compounding the risk of developmental damage, research shows. Not only can nutritional deficiencies of an alcoholic mother adversely affect the nutrition of the fetus, but drinking alcohol can restrict nutrition flow to the fetus. The Importance of Good Nutrition in Maintaining Sobriety Like physical activity, good nutrition helps with your recovery by lessening any post-acute withdrawal symptoms you may experience. It helps rebuild a body worn down by alcohol or drug use. If you are in follow-up care from your rehab program, you will probably be asked about your usual eating habits and how much you know about good nutrition. Your current diet choices will be considered so that proper steps to eat more healthy and feel better in your recovery can be suggested. The key is to eat a balanced diet, following the dietary guidelines and choosing food from the different food groups â€" meat, poultry, and fish; dairy products; fruits and vegetables; and bread and grains. It is recommended that you eat five servings of fruits and vegetables daily.

Article Review School Readiness For Infants And Toddlers

Article Review The article â€Å"School Readiness for Infants and Toddlers? Really? Yes, Really!† (Petersen, 2012) demonstrated an interesting point of view to consider for upcoming early childhood educators and teachers. Sandra Petersen, MA a writer and a teacher in the early childhood field have coauthored three early childhood textbooks. She focuses mainly on the infants and toddlers and expresses the importance of having a strong developing brain. With that in mind if children were to have a strong start in their development the brain then there would be more chances of them being able to learn and participate in future activities. She mentions that for infants as they are growing up they are able to remember and re-enact actions from memory from an early stage. â€Å"Infants as young as 3 months can reproduce an action up to two weeks after seeing it† (Petersen,2012, p. 12) If infants were to practice and hone their memory skills at an early stage. It would then pr omote development in their cognitive domain and skills which can assist their ability in picking up new skills as they get older. Another main reason for having active and meaningful learning in the early stages of life for a child is so that it can further improve on their relationships and their attachments. As infants start out it is natural that they will face challenges. However a challenge to them could be learning how to walk or putting a toy that they just got together. To the older audience where this typeShow MoreRelatedThe Impact Of Poverty On Children s Development And Early Childhood Programs2790 Words   |  12 PagesAN ANALYSIS OF ARTICLES RELATED TO: The impact of poverty on children’s development and early childhood programs A literature review submitted in partial fulfillment of the requirements of the course SPS6805 To Dr. Phil Lazarus by Jessica R. 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Effect Of Bilingualism On Cognition And Their Abilities Essay

The way a child develops can have many effects on their cognition and their abilities. One example of an effect on a child’s development is shown between the differences of bilinguals and monolinguals. When a child learns a second language, the mental abilities that adjust to that second language are flexible. The changes in the flexibility and the anatomical structure of a bilingual child’s brain are based on his/her neural plasticity. Which are eventually different from the change in the flexibitlity and the anatomical structure of a monolingual child. Although bilinguism exerts many effects on the developing brain, it still; however, conjures the idea of the causaulity of the differences and the anatomy differences compared to monoliguism. In forth of achieving this, many reserachers strive in studying the impact of bilinguism in one’s life by understanding the causaulity of the differences and the brain anatomy differences to that of monolinguism. Ellen Bialystok, Fergus I.M Craik, and Gigi Luk (2012) studied the impact of bilinguism in one’s life by explaining the effects of bilingualism on cognition and its mechanisms. Ellen et al. (2012) found that overall bilinguals exerted better executive control than monolinguals. One possibile mechanism of this difference was mainly due that bilinguals exerted usage of a joint activation. Meaning that, the bilinigual’s mind showed activation for both languageses and that there were an interaction between them, even whenShow MoreRelatedBilingualism Does Improve Brain Functioning919 Words   |  4 Pagescan deviate from the main language spoken, bilingualism does improve brain functioning, because your brain has to work harder to understand two languages simultaneously. 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Olson states that speaking two different languages can be tough. Olson states that modern day citizens are encouraged to teach their children two or more languages, because of the statistics shownRead MoreBilingualism Is The Ability By Individuals1208 Words   |  5 PagesIntroduction Bilingualism is the ability by individuals to use two linguistic systems languages. Children acquire bilingualism in their early years when they are regularly exposed to adults who speak two different languages such as German and French or English and Spanish. Research shows that the majority of people in the world today are bilingual, or multilingual (those who comprehend more than two languages), compared to monolingual (individuals who have learned only one language). 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Mass Spec Explanation in HTML Free Essays

Mass spectrometry can help determine the molecular formula and weight of a compound as well as provide isotope abundance data. Within a magnetic field the angle of deflection of charged particles is used to discover the relative masses of molecular fragments and ions. Several peaks are due to the contribution of Isotopes. We will write a custom essay sample on Mass Spec Explanation in HTML or any similar topic only for you Order Now An Isotope refers to an atom having the same atomic number but a deferent number of neutrons, subtracting or adding mass. The mass spectrum of methyl chloride has a base peak at m/z=49 consisting of the most abundant Ion at 100% abundance. It also has a molecular ion peak at m/z=84 consisting of the molecular weight of methyl chloride at 80% abundance. By subtracting the base peak from the molecular Ion peak, It can be determined that the resulting 35 corresponds to CLC. The difference of other molecular fragments can be looked at to verify chlorine’s presence such as and corresponding to the CLC Isotope. The [M*2] rule also Identifies the CLC Isotope when looking at m/z=84, 86 and 86, 88. Each urn/z peak can represent a variety of different molecular mass fragments. The peaks arm=86 and 88 only have and abundance respectively, since both peaks are the results of isotopes. The CLC isotope has a 24% abundance naturally and ICC has a 1% abundance naturally. These low abundance percentages contribute to the smaller intensities of the m/z=86 and 88 peaks. While m/z=86 can be found with only one isotope of CLC, m/z=88 must contain at least two CLC isotopes making the intensity of its peak even less. Mass spectroscopy may identify a compound’s fragments and isotopes, but it also determines the purities of products. How to cite Mass Spec Explanation in HTML, Papers

Property Law (Equity and Trust)

Question: Describe about the Property Law (Equity and Trust). Answer: 1a. The executors obligations are characterized by what is known as the executor's oath. This is set out inside Section 25 of the Administration of Estates Act 1925, and affirms that the executor is to: Gather and get in the genuine and individual bequest of the perished, and oversee it as per law. At the point when required to do as such by the court, display on pledge in the court a full stock of the domain, and when so required, render a record of the organization of the bequest to the court. At the point when required to do as such by the high court, convey up the stipend of probate or organization. When a person dies, his or her property vests directly into the executor. An executor starts working when a grant of probate is obtained.Grant of probate is necessary when propertys value after paying funeral account is over 5,000 (Sutcliffe, n.d.). Executor has some legal, taxable and administrative duties to perform under which he has to identify, manage prepare an account of estate and therefore cruella can ask the executor to apply the annual income from her estate for the shelter and care of abandoned Dalmatians dogs in borough of North Kensington(Law on the web, 2016). So it is suggested or adviced to Cruella that as in a useful case of Re Estate of Crane various grounds were given upon which a executor was removed or being replaced by another person if he performs certain acts which are as follows: (a) if he has been convicted of bad character earlier. (b) if he has served or is in prison for some time. (c) if he has neglected to perform his duty etc.;(Re Estate of Potticary,1927) (d) if he is absent in abroad (f) he is unsound mind (h) he is not competent etc(thirteen wentworth selborne, 2015) So it can be clearly seen that executor is bound by the orders and it is his duty to perform as per the owner of estate wishes. 1b: Under Premises license (England and Wales) People additionally require a licence in the event they require to open the following types of entertainment: theatrical performance, showing a film etc (Gov of UK, 2015). It is truly essential to guarantee that both the venue and film should be authorized, as it's illegal to screen movies without the right licenses (any individual who does as such risks a powerful fine or even a jail sentence). So ensure that they should have everything set up to comply with the Licensing Act, 2003 with the Copyright, Designs and Patents Act,1988)( British Film Institute,2015). In the official language, a trust is a lawful game plan where one or more individuals or an organization (called the trustees) controls cash or resources (called the trust property) which they should use for the advantage of one or more individuals (the beneficiary)(the money advice service, n.d.). Therefore Micky being the director can leave the money in the trust for building a cinema hall for the use of the employees of Pluto PLC and their children if proper license is taken under statutes so defined. 1c: There are certain roles and responsibilities to be followed by the trustees for the charity: Act in great advantage. Act sensibly and capably in all matters. To make use of charity money and estate as mentioned in the document. Settle on choices according to the use and the goals fixed as per the charity's administering record. There is also a Legal requirement which should be kept in mind that apart from fair price the agents ought to not monetarily benefit themselves without proper clearance from the administering papers or the committee. Such circumstances when obligations are being conflicted with personal benefit must be avoided. Some liabilities and risk factors are also present under which the trustees are punishable if they act illegally or dishonestly. In spite of the fact that your charity may keep running up obligations or different liabilities as an aftereffect of choices any one make, one and alternate trustees won't be at risk on the off chance that the one have: Acted legally, dependably and sensibly. Accompanied tenets in administering record. Acquired sensible strides to oversee dangers In any case, in the event that they fail to prove, they would be liable for breach of trust. They behave mutually so they will be jointly liable for reimbursement. Therefore, if Harry being the accountant and the trustee of Ravenclaw family trust signs a document authorizing trust money to be used for the construction of houses on the family estate so provided by Diggory the other trustee because of which the money was being paid in Diggorys own personal account. Harry would be liable for the breach of trust if they cannot prove the same as harry should have seen the documents before signing the same. So he would be held liable equally for the breach (Gov of UK, 2014). 2: In the case of Pennington v Waine [2002] EWCA CIV 227 the maxim i.e. Equity will not assist a volunteer have been used to complete a present of stocks in situations where in the giver have not affected a introduction of believe or anything important to put an impact an exchange of stock. The said maxim has been used in this case by following the case of Choithram which have been explained later. The principle have been elaborated from its past meaning where it could be seen that the donor have surely done everything necessary for her to have done to transfer fully. The principle has been accepted totally (Pennington v Waine, 2002). On account of T Choithram case, it was concluded that a substantial faith was produced on that estate apart from the fact that the individual have as of now kicked the bucket and have not exchanged the lawful claim in the charity estate to each of the joint trustees as trustees. The standard maintained by the court in Rose case applying the guideline was so connected that the settlor has to be taken to endeavoured to do everything essentially important to make a trust and in this way that the impartial charge in the property ought to be passes simultaneously as soon as possible (T Choithram International SA v Pagarani,2001). As imagined beneath, the guideline was comprehended as making a reconstructive believe and as a result no custom was expected to make that believe (and hence no foundation of the trust would be critical). Along these lines, it is obviously seen that the Maxim i.e. "Value won't help a Volunteer" have been totally connected in the present case by taking after Choithram. A "volunteer" is a man who has not offered thought to a particular trade. On the off chance that their conduct is held to be unconscionable worth will compel a valuable trust for the done (Burmby, 2013). The maxim, the reference of which is given in the above cases so stated is more broadly explained in this case and the transfer must be fairly and equitably distributed without any illegal or fraudulent act being conducted then the full meaning can be explained. References: British Film Institute. (2015). Licensing your community cinema. Retrieved on 15th Aug, 2016 from: https://www.bfi.org.uk/neighbourhoodcinema/licensing-your-community-cinema. Burmby.C. (2013). An Introduction to Trust Law: Equitable Maxims.The Student Lawyer.Retrieved on 15th Aug, 2016 from: https://thestudentlawyer.com/2013/10/16/an-introduction-to-trust-law-equitable-maxims/. Gov of UK.(2014). Setting up and running a charity guidance Trustee board: people and skills.Retrieved on 15th Aug, 2016 from: https://www.gov.uk/guidance/trustee-board-people-and-skills. Gov of UK.(2015). Premises licence (England and Wales).Retrieved on 15th Aug, 2016 from: https://www.gov.uk/premises-licence.

The Persians twisted history and radical chic Essay Example For Students

The Persians: twisted history and radical chic Essay When I first approached Robert Aulettas new version of Aeschylus The Persians, I thought the concept had great merit. Sellarss decision to contemporize the play, relocating the action to modern-day Baghdad in the aftermath of Desert Storm, seemed to have justification, even merit. After all, Aeschylus tragedy, an audacious work which describes how Athens defeated the invading Persian host at the Battle of Salamis, but from the point of view of the vanquished Persian enemy, is seldom produced or even read these days. How many modern theatregoers, moreover, can identify the Battle of Salamis, let alone name its victor or the century in which it took place? A post-Desert Storm setting might bring the drama to vivid life. We will write a custom essay on The Persians: twisted history and radical chic specifically for you for only $16.38 $13.9/page Order now As an evening in the theatre, certainly, the production had excitement; more than two intermissionless hours flew by with scarcely a dull moment. Some of the casting decisions had a breathtaking rightness: Howie Seago, a deaf actor, was an inspired choice to play the ghost of Darius, his enraged signing creating a perfect complement to the characters otherworldly presence, and Javanese court dancer Martinus Miroto played the role of the messenger with true elegance. Yet my one reservation about Sellarss overriding directorial concept for the production festered and grew as the performance progressed. These two wars are far more different than they are alike. Persia in the early fifth century was a vast empire, controlling all Asia west of the Indus, which had invaded a gallant little city-state. It was a ruthless act of aggression, which was turned back in one of the most famous David-and-Goliath victories in history. To liken the devastation wrought by American-led allies in Desert Storm to tiny Athens defending its homeland seemed far beyond the greatest possible stretch. Outline1 Artistic Reaganism2 Battling disinformation  3 Leave Aeschylus out of it   Artistic Reaganism Auletta and Sellarss solution to the problem is equivalent to artistic Reaganism: Deny theres a problem, reinvent facts to suit your purpose, and then declare victory. In this ahistorical fantasia which bears Aeschylus name, we have preposterous references to Athens as the greatest power in the world. Aeschylus noble tragedy, complex in tone, becomes a shrill, unimaginative exercise in boilerplate anti-Americanism. Parenthetically, let me note that I have not the slightest objection to relocating classical drama in space and time; I opposed the excessive firepower used in Desert Storm by the Allied war machine (why do I have to say this?); and on many occasions I have greatly admired Peter Sellarss stagecraft. Yet stagecraft, however provocative or well achieved, is worth little unless it serves a coherent artistic vision, which this Persians lacked. Where was the refreshing evenhandedness of the directors inventive production of Nixon in China? Where the wit and humanity of his Trump Tower Figaro? The theatrical hubris of this production indicated to me that Sellars himself has entered into a state of imperial detachment approaching the Nixonian. Battling disinformation   The most depressing aspect of the production was the directors conscious abandonment of the stage as an artistic medium. In his program note, Sellars declares, One of the reasons, possibly, for theatre to continue to exist in our technological age is as a kind of alternative public information system, as if the production were intended to rectify the sort of disinformation that was parceled out by the Pentagon during Desert Storm. What a bleak, anti-aesthetic vision of the theatres mission at the centurys end, to make of the world stage a high-priced Village Voice with costumes and good lighting! And how transparently disingenuous: Does anyone believe that the audience for a Peter Sellars production of Aeschylus is a hotbed of fervent believers in Pentagon briefings? .u247c0c7e9fd5ac280b89902ce38dda6a , .u247c0c7e9fd5ac280b89902ce38dda6a .postImageUrl , .u247c0c7e9fd5ac280b89902ce38dda6a .centered-text-area { min-height: 80px; position: relative; } .u247c0c7e9fd5ac280b89902ce38dda6a , .u247c0c7e9fd5ac280b89902ce38dda6a:hover , .u247c0c7e9fd5ac280b89902ce38dda6a:visited , .u247c0c7e9fd5ac280b89902ce38dda6a:active { border:0!important; } .u247c0c7e9fd5ac280b89902ce38dda6a .clearfix:after { content: ""; display: table; clear: both; } .u247c0c7e9fd5ac280b89902ce38dda6a { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u247c0c7e9fd5ac280b89902ce38dda6a:active , .u247c0c7e9fd5ac280b89902ce38dda6a:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u247c0c7e9fd5ac280b89902ce38dda6a .centered-text-area { width: 100%; position: relative ; } .u247c0c7e9fd5ac280b89902ce38dda6a .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u247c0c7e9fd5ac280b89902ce38dda6a .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u247c0c7e9fd5ac280b89902ce38dda6a .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u247c0c7e9fd5ac280b89902ce38dda6a:hover .ctaButton { background-color: #34495E!important; } .u247c0c7e9fd5ac280b89902ce38dda6a .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u247c0c7e9fd5ac280b89902ce38dda6a .u247c0c7e9fd5ac280b89902ce38dda6a-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u247c0c7e9fd5ac280b89902ce38dda6a:after { content: ""; display: block; clear: both; } READ: History of the Flamenco Dance EssayJust as disturbing was the directors twisting of history to suit his own ends. Sellarss program note contains this patent untruth: The Greeks stunningly defeated the Persians and enslaved them. (Is Sellars thinking of Alexander the Great, conqueror of Persia, who was born a hundred years after the death of Aeschylus? Even so, the word enslaved is hardly applicable.) This error could only be unimportant to one who believes that it was all such a long time ago that it doesnt really matter. Desert Storm matters because it happened to us, this argument suggests; the Battle of Salamis happened to a hunch of dead Greeks, so who cares about fact s. A dismaying suspicion presents itself: that the plays creators are seeking to validate their own political opinions with the cachet of Aeschylus name. Leave Aeschylus out of it   Whereas Thomas Bowdler improved Shakespeare by excising sentiments he deemed incompatible with contemporary morality, thus superimposing his own beliefs, Auletta and Sellars are putting their political convictionshundreds of dreary, prosy lines of theminto the mouths of Aeschylus characters. The sin of bowdlerization is not in perverting the text Aeschylus tragedy, to be found on the shelves of every good library in the world, is indestructible but rather in retaining the name of the mutilated author. We should be able to judge Auletta and Sellarss anti-American rant on its merits, and leave Aeschylus out of it. Aeschylus tragedy is above all a deeply patriotic work celebrating the victory of a free people over a despotic invader. To drape the piece with the trappings of radical chic, to make Aeschylus a sort of Joan Baez in a toga, is as intellectually slippery as using the Bible to propagate right-wing social ideology. Jamie James is an arts correspondent for The Times of London and a frequent contributor to the Sunday New York Times. His new book, The Music of the Spheres, a study of music and classical science, was published in May by Grove Press.

How The Irish essays

How The Irish essays Thomas Cahills book How the Irish Saved Civilization, is called the untold story of Irelands heroic role in maintaining western culture, from the fall of the Roman Empire until the European dark ages. The main point of this book, as specified in the books title, is how the Irish saved civilization. How they allegedly did that is the real meaning of this book. The author, Thomas Cahill, makes his views very clear throughout the entire book with the use of many facts, statistics and details. He clearly explains how Romes power crumbled and created chaos and anarchy all over Europe. Mr. Cahill does a magnificent job describing how European culture changed from the Roman to the medieval civilization, a civilization with a system of landlords and serfs. Other points of interest, which he made, are the spread of Irish missionaries and the study of St. Patrick. He covers two centuries of the early Middle Ages (5th and 6th) and he makes it enjoyable to read. First he starts the book by explaining to us how reliable history really is. Mr. Cahill doesnt necessarily agree with writer Emil Ciorans remark that history proves nothing because it contains everything (Cahill pg. 5). He says instead that every age writes history anew, reviewing deeds and texts of other ages from its own vantage point (Cahill pg. 5). He explains that todays historical accounts were largely written by Protestant Englishmen and Anglo-Saxon Protestant Americans; many historians have been discovering that not all of these works are always 100 percent reliable. He says that many of these historians have neglected the fact that without the contribution of the Irish monks of the past European civilization would not be the civilization, which we know today (Cahill pg. 5). Mr. Cahills main purpose is to explain how the Irish saved civilization, but first he sets the stage by explaining how a...

GE Global Coursework Example | Topics and Well Written Essays - 1750 words

GE Global - Coursework Example Though, the competitive advantage is tangible and many aspects of competitive advantage can be evaluated easily. In addition, competitive edge is the most important gauge for a business environment. Moreover, it is a significant aspect to maintain and achieve organizational success (Pietersen, 2012; Turban, Leidner, McLean, & Wetherbe, 2005). This paper outlines some of the major areas and aspects of GE Global Research Corporation for the assessment of its innovative capabilities. This paper also discusses that how this organization can achieve distinctive competence in the area of innovation. The basic aim of this research is to determine â€Å"how the company has bundled its technology resources to contribute to competitive advantage in its businesses. GE Global Research: An Overview GE Global Research is one of the world leading industrial research and analytical centers, which offers ground-breaking technology for all GE’s businesses. ... n is located in Niskayuna and New York along with three other corporate management and organizing multidisciplinary facilities in Shanghai (China), Bangalore (India) and Munich (Germany). Moreover, more than 2800 researchers are working at GE Global Research Corporation, with the purpose of bringing the next technological advancements that will transform the environment of GE businesses. Furthermore, GE Global Research Corporation possess a wide-ranging set of technology expertise varying from biosciences to computing, electronics to chemistry, materials to imaging, metallurgy to fluid mechanics and everything in between (General Electric Company, 2012). GE’s Deployment of Resources Attaining a competitive edge over other competitors and distinctive position in market and improving corporate performance in relation to their competitors are the major objectives that GE business especially wants to achieve. In this scenario, the competitive edge is an idea that turns out to be a main research area as far as strategic management is concerned. In order to strive successfully, organizational polices either locally or globally and standards must meet a long run policy as compared to policy formulation for a short term. Although this task is not simple to perform, in fact it requires ample efficiency, detailed overview or regulations and comprehensive analysis of policies. Thus, in an attempt to compete and maintain effectively, locally and internationally, GE businesses should not simply do extremely well in their area but as well continue in the long run. However, the accomplishment of such a â€Å"ground breaking and sustainable competitive advantage† and market position is not a possible without an appropriate road map or policy implementation. In addition, the

First Crusade Military Perspectives Essay Example | Topics and Well Written Essays - 1250 words

First Crusade Military Perspectives - Essay Example 72). At the beginning of 1113 A.C., Baldwin, the King of Jerusalem, raided into the seigniory of Damascus. Unable to oppose him single-handed, Toghtakin, the Lord of Damascus, invoked the assistance of Moudud of Mosul (Irwin 1998, p. 75). In July 1113 the combined forces of the Lords of Mosul, Damascus, Sinjar2, and Maridin marched into Palestine. In a battle near Tiberias, the Franks were routed with terrible loss, and a large number of them were drowned in the lake and in the Jordan. In June 11193 they were again defended at a place called al-Balat by Ilgazi, the Lord of Maridin. Even the Egyptians won some successes on the sea coast (p. 77). But the Crusaders had the whole of Europe at their back; the reinforcements which poured in for them from all parts of Christendom, the assasincation of Moudud, who was stabbed by a Batinia after the battle of Tiberias, and the division of the chiefs, all helped them to recover their grounds (p. 78). Sultan Muhammad died in 511 A.H., and this death was not without effect on the fortunes of the Muslims and Christians. He was succeeded in the over-lordship by his brother Sanjar, the last hero of a heroic race, and in the succession of his private dominions of his son Mahmud. In 516 A.H. Zangi obtained from Sultan Mahmud the city of Wasit as an appanage, and the post of Commissary4 at Basra. Four year later the government of Mosul and Upper Mesopotamia was conferred on him, with the title of Atabek ("Prince Tutor"5), and he was confirmed in this dignity by the letters patent of the Caliph (p. 80). In 1128 A.C., on the invitation of the people of Aleppo, who had suffered terribly from the depredations of the Crusaders6, he took possession of their city. Hamah followed the example of Aleppo (p. 81). The following year Zangi routed the Crusaders under the walls of al-Asarib, and captured the castle after a stout resistance. A short truce between Joscelin, the Count of Edessa, "the greatest demon of them all"7, enabled Zangi to take part in the inevitable civil was which broke out on the death of Sultan Mahmud (p. 85). Atabek Zangi did not long concern himself with the troubles in the East. His great work lay in Syria. The Crusaders were again in ferment; they had received large reinforcements from Europe, and had been joined by a Greek contingent under the personal command of the Emperor John Comnenus. They captured Buzaa, put the sword all the male inhabitants, and carried into captivity the women and children. They they marched upon Shaizar (Casarea), a day's journey from Hamah. The castle of Shaizar, the birthplace of Usamah8, was almost impregnable (Philip 2000). Usamah's works offer a mesmerizing counterpoint to Christian stories of their own conduct and the responses of their opponents. Actually, Usamah's amity with a number of the Franks set him aside to recover from revengeful insult, and his expressions on the inquisitive thoughts and behavior of the Franks remain a precious resource. Mystifying are the workings of the Maker, the Creator of everything! When one comes to relate cases about the Franks, he cannot but praised God

Psychoanalytical Approach To Disney Films

Psychoanalytical Approach To Disney Films This essay will consider how Disney films can be regarded as projecting a range of stereotypes in film which seek to define what is normal and natural in society. I hope to reveal that these images actually are consciously constructed to adhere to and reinforce dominant ideological values and are a part of the Disneyfication process where everything is homogenized and turned into a product (See Bryman 2004). This entails the repetition of stereotypes from film to film in the arena of gender, sexuality and race, and while these roles vary slightly throughout the years, they remain largely consistent between 1923 when Disney was founded and 2010 when their most recent film Tangled (Greno Howard, 2011) was released. The fact that these stereotypes are so conservative has prompted a range of writers to criticise the impact Disney has had on American and even global society. Giroux stated in The Mouse That Roared: Disney and the End of Innocence (1999) that There are few cultural icons i n the United States that can match the signifying power of the Disney Company (2001: 123). He is not alone in his criticism of Disney; writers like Wasko (2001) and Bell (1999) have joined the ranks of those seeking to elucidate how pervasive Disneys influence has become. I will consider the impact these films potentially have on children, especially in the way their world views are formed. Methodology I will consider several Disney films in seeking to explore these stereotypes: Tangled, The Princess and the Frog (Clements Musker, 2009) The Lion King (Allers Rob Minkoff, 1994), Aladdin (Clements Musker, 1992) and The Little Mermaid (Clements John Musker, 1989) as I believe these all can be seen as very reflective of the societies in which they were produced and reveal Disneys world view. I will argue how the fact that these films are aimed at young people make them even more powerful. The Disney film seeks to naturalize these stereotypes, presenting them as part of the natural order, when in fact they are nothing of the sort. The world that Disney has constructed has historically tended to be defined and largely populated by white heterosexual characters, even when the narratives reside in the animal world. I will show how some of these more contemporary texts offer partial challenges to these norms while simultaneously reinforcing the predominantly hegemonic world view. I intend to approach the films from a semiotic, sociological and psychoanalytical perspective in an attempt to deconstruct the role these films play in society. In doing so I have attempted to look at the texts in as objective a manner as possible and read them as artistic artefacts to suggest what they say about the times and the culture in which they are made. I would argue that films are the most powerful of all artistic texts with a tremendous ability to move and motivate people in ways they often cannot understand or even register. Governments have regularly put the cinema to use in mobilising the public to support their political ideas, both in an explicit fashion (see the Soviet propaganda films made by Eisenstein and Pudovkin during the aftermath of the revolution in Russia in 1917) and in more implicit ways (for this we could consider how Hollywood films have continued to promote a variety of versions of the American Dream especially in the 1930s and 1940s). A lot has been written about Disney, especially in the fields of race and gender and these texts have been very useful in informing my critical approach to Dis ney as a company and a signifying entity. The Central Question How do Disney films and other Disney products influence young people and their lives? I would argue that far from being a benign and harmless relationship the connection between Disney and its consumers, as that is what they are, is a powerful one which starts at a very early age. Children are exposed to Disney images almost from birth on Disneys television channels and then at the cinema, then on home DVD. I suggest that this surreptitiously informs their world view in quite significant ways. This is especially perfidious because these texts are deliberately targeted at the young and impressionable who lack the defences and reasoning skills adults have developed which enable them to resist such strong images. The world view that Disney normalises for them is one in which certain behaviours are depicted as being the norm and even certain races, sexualities and gender roles are assigned with positive and negative attributes. A key aspect of these process is the way in which Disney fil ms market themselves as safe, innocent and even morally educational, suggesting to the parents that to entrust their children to Disney is to embrace something that is more than a company but something akin to a family. I hope to show in this essay that this is just another cynical marketing ploy that Disney employs to engender support for the company, and ultimately generate more revenue for the corporation. Sexism Since 1923 Disney has become an almost unrivalled multi media empire. However, Walt Disney did not believe his films were culturally influential, he suggested they were just entertainment (qtd in Wasko 2001: 3). Critics like Ward disagree and assert that such films aimed at young people can shape the way children think about who they are and who they should be (2002: 5). Disney films can be considered to promote sexist or even misogynist values to young women as the roles women are afforded are very limited and the narratives place men in positions of power. Here it is clear that Disney fits into stereotypes that reach across the breadth of Hollywood into all of its genres. Laura Mulvey argued that Hollywood reproduces the hegemonic and patriarchal society by presenting certain roles and images as the norm. In her analysis women are portrayed in a very reductive manner and presented as scopophilic objects for the purpose of being looked at by males and in the process dominated. In Mu lveys understanding Hollywood is part of the systematic process which reinforces the patriarchal ideology and we can see this at work from early Hollywood until now. Her works poses a lot of questions for audiences? Why do women get so few leading roles? Why are they relegated in films and cast as sex objects for the male oriented narratives? Why are women that transgress the natural order punished in Hollywood cinema? We can observe that this process works on two levels: the films both recreate and perpetuate dominant ideological values. Mulvey commented, There is no way in which we can produce an alternative [to the conservative values that Hollywood reproduces] out of the blue, but we can begin to make a break by examining patriarchy with the tools it provides, of which psychoanalysis is not the only but an important one (Mulvey 1989: 15). I would argue that Disney films are an effective embodiment of many aspects of Mulveys central thesis. In the history of Disney films women have largely tended to be defined as either perfectly pure princesses (to be valued, idealised and cherished and ultimately married), villains (who transgress unspoken laws of society by being corpulent, unattractive or refusing to submit to patriarchal dominance), mothers (who give up their independence, sexuality and individuality to be subsumed into the male defined family unit), or variations of these archetypes. Despite often being the protagonist (and having the film named after them), they are relegated to subservient positions in the narrative or rely on men for their ultimate salvation. Attractiveness is a key feature in Disney and it has been since even before Cinderella (1950) and Sleeping Beauty (1959). Women are categorized by whether they are attractive or not and beauty becomes a key to their moral status and their happiness. The goal for a woman in Disney films is often love, not a career or intellectual growth, and these visions o f womanhood are presented as something every woman should aspire to, without exception. If a woman departs from this stereotype she is shunned within the diegesis and presented as a corruption. Bell suggested there were only three predefined roles for females in Disney texts 1) beautiful young heroines, 2) cruel mother figures and 3) harmless, asexualised elderly women. (See Bell 1995) Here we see the imagery and ideology young girls are exposed to before they are old enough to understand and be critical of it. They are informed that to be a whole and happy person they must be beautiful, define themselves through relationships with the opposite sex and be submissive to their fathers and then their husbands. For me this is far from a healthy ideology to promote to young girls and offers up a disturbing and unbalanced gender relationship at a very important period in a young persons life. We can see examples of this paradigm in the majority of Disney texts produced over the years. In Snow White and the Seven Dwarves we have Snow White as the beautiful heroine and The Wicked Stepmother as the cruel mother archetype. Cinderella contains the eponymous character as the beautiful heroine, the sisters as cruel figures and the fairy godmother as asexualized elderly woman. If we consider some more modern examples we can see how far things have changed, or discern whether they have not changes at all. The Little Mermaid (1989) features the heroine Ariel, a beautiful young woman and mermaid at the centre of the narrative, she is slightly more independent than the antecedents that came before her, but she too is defined by her pursuit of love. She challenges her father, Triton, at the beginning of the narrative, eager to not be a part of a show being performed for him. Near the end of the film Ariel even gives up her identity for the sake of her true love. So despite minor chang es, she is still forced to make sacrifices that men in Disney films are not asked to make. It is no coincidence that the heroine of the film is beautiful and young and the villain of the film is the old, overweight and unattractive Ursula, who seeks to steal identity and power and by going outside of the norm can only be thought of as a corruption. This implicitly connotes that if a woman is not young, attractive and compliant she is then a threat to society. Supporters of Disney will suggest that these texts are just films, harmless entertainment for young people, but what moral lessons are they to draw from the ideologies presented? In my opinion they are far from innocent texts devoid of cultural meaning, they are immensely powerful artefacts that structure how young people look at the world. The Little Mermaid was also accused of racism on its release, the character of Sebastian the underwater crab was felt by many to be a stereotype of a Jamaican man who enjoys a lazy life under the sea which he prefers to the surface. The song he sings is suggestive of this Up on the shore they work all day, Out in the sun they slave away, While we devotin, Full time to floatin, Under the sea! This is just another example of how Disney chooses to frame certain characteristics in distinctly racial terms. The choice to have the character a black man embody this aspect perpetuates the racist stereotype that has remained pervasive in the society and here it is projected at children. Disneys newest film, Tangled, makes an interesting addition to the Disney oeuvre as it both subverts and reinforces some of these archetypes. It concerns the familiar fairy tale story Rapunzel, but like many modern adaptations (See Dreamworks Shrek, 2001) it deconstructs its tropes and its codes and conventions. Bruno Betelheim in his influential The Uses of Enchantment: The Meaning and Importance of Fairy Tales suggested that stories like this imparted powerful notions of ideology to generations through the ages and reflect what a society arbitrarily decides is moral and just. We can see this approach very much apparent in the work of Disney who often draw on these fairy tales in their films and see they role as some sort of unofficial moral educator for generations of children, whether they state this or not. The protagonist of the Tangled, Rapunzel, is a young woman who is, as per usual blonde, white and slim. One could ask what kind of messages this sends to young women? They sug gest that the way for happiness and success is through youth and beauty. That being young and looking a certain way makes you normal and fit into society. If you do not fit this paradigm then you are relegated from the narrative or cast as the villain. The way Disney promotes these messages is so veiled that the youths watching may never regard the issue so explicitly, but it is so deeply ingrained in our culture that it is hard to ignore. In this way films and the way people identify with the cinema screen can be associated with French psychoanalyst Jacques Lacans idea of the mirror stage. Lacan suggested that the child at the age of between six and eighteen months see themselves in the mirror and believe it not to be a reflection but the self in its entirety. Thus the way a spectator identifies and subsumes itself into the characters it sees projected on the cinema screen is just as illusory as the process the baby goes through. This is only one example of how a psychological appr oach to Disney is useful in coming to understand the film as texts with cultural resonance. Whether one holds with this theory or not it is clear that these images of princesses hold a distinct fascination for young girls which can be seen in the amount of merchandise that is sold across the world focusing on characters like Snow White, Cinderella and Ariel. Disney presents these figures as iconic characters that girls of the world should aspire to be like instead of doctors, authors, scientists and politicians. Rapunzel is more independent than Disneys usual heroines; she is not averse to action and combat, in fact when she first comes across Flynn, the dashing hero of the film she knocks him out. Rapunzel is also intelligent, quick witted and humorous, attributes that are not always connected to women in Disney films. Here we see evidence of Disneys ability to move somewhat with the times and identify that the needs of their audiences have changed since the 1950s, but I would argue that this is performed in a cynical fashion, seeking to anticipate what would sell to an audience rather than a desire to present more balanced role models for young women. The antagonist of the film is much more predictable, a cruel mother figure called Gothel who has kidnapped Rapunzel and imprisoned her in a tower, leaving Rapunzel unaware of the fact that she is a princess. Gothel uses Rapunzels powers to keep herself young. By being ignorant of her royal lineage the film places Rapunzel resolutely within th e fantasy of young women discovering they are princesses, an enduring trope particularly relevant in the last few years given media fascination with the courtship and eventual marriage between Prince William and a commoner Kate Middleton. Not only is Rapunzel a princess, but she secretly has magic powers and later we discover her tears can heal wounds and even bring the dead back to life. The character of Flynn embodies many archetypes familiar to the Disney canon, his swaggering posture denotes that is the handsome and dashing rogue with a heart of gold. It is worth pausing to consider that, while males are given more variety of characterization in Disney films than women, they still are forced into certain stereotypes of attractiveness, bravery and what constitutes masculinity. Disney makes one or two concessions to new millennial masculinity in portraying that underneath Flynns brash exterior he is sensitive. In a sequence where they both believe they are about to die Flynn reveals his real name is the considerably less dashing Eugene Fitzherbert. Yet despite these progressive aspects to Rapunzels character the film also has her life given meaning through her love for Flynn. Flynn proves the catalyst for her self-discovery and she is rarely a casual narrative agent of her own. She is the latest in a long line of Disney heroines that require a man to save her and teach her what true love is. The film ends with Gothel being killed; by moving outside of what is regarded as normal and moral behavior for women she must be punished. Rapunzel then marries Flynn and in doing so she has achieved the ultimate goal, in Disneys eyes, of what young girls must aspire to. At the beginning of the new millennium Disney believes that it is appropriate and right to suggest to young women that what they should dream of above all else, above a career, education, excitement, travel or adventure, is marriage with a young man. Racism The other prominent arena that Disney has been criticised for is its depiction of racial stereotypes in its films. From its very early days Disney films were permeated with racist characterisations which were delivered in the same way: as harmless depictions of how things really were and in no way a moral statement at all. One could point to how the crows in Dumbo (1941) or the Arabs in Aladdin are framed in distinctly racial and pejorative terms. It wasnt until 2010 that Disney produced a film with a black princess, The Princess and the Frog and the film emerges as a very interesting and ambiguous text. The film is set in New Orleans in 1912 and it too is a reinterpretation of a familiar fairytale updated for modern audiences. The princess is Tiana and, on the outside, she seems like a fairly modern construction. When her mother reads her the fairy story The Frog Princess at the start of the film unlike her friend Charlotte La Bouff, she rejects it, stating that she would never kiss a frog. This is one of many ways the film ironically comments on its own status as a fairytale text and allows the film-makers to make gestures towards contemporary attitudes and values. When the narrative moves to 1926, Tiana is far from what might be considered an ivory tower princess, as she works two jobs in an effort to save money and open her own restaurant. By portraying her as an industrious young business woman the film seems to be suggesting that there is more in life for young girls to aspire to than becoming a princess, wife or mother. However despite this the film relies on the old fashioned stereotypes that have permeated Disney since the very beginning with regards to how women should look. Tiana is black, yet she is beautiful, slim and pale skinned and thus contributes to the inculcation of a certain stereotype that Princesses must look a certain way. Again we must ask, how would young girls who do not look this way respond? When a prince is changed into a frog she agrees to kiss him in exchange for enough money to open her restaurant, but is surprised when she too turns into a frog. So while Tiana spends a large section of the film asserting her individuality through her hard work and feisty attitude she finds herself completed by the love of a man. The film does offer some variations on the stereotype of the male hero, in more or less the same way as Tangled, near the end of the film it is the sensitive prince Naveen who states that he is willing to give up his dreams for her, an act that is usually given to the woman to perform. When they are initially unable to change back to human form, they proclaim their love for one another and state that they will be happy to live as frogs as long as they are together. However, when they kiss Tiana becomes a princess and thus breaks the spell turning them both back into humans. Like Tangled, the film offers both improvements to Disneys traditionally conservative portrayals and also it perpetuates some of the same old stereotypes. I would argue that the film uses racial stereotypes in a different way to the way Disney has historically. By dwelling on voodoo, in particular in the character of the voodoo master Dr. Facilier, it relegates African identity to a crudely stereotyped Other. He is a malicious and evil characterization who, by transgressing the natural order, must be punished at the end of the narrative. The film Aladdin was also accused of perpetuating racial stereotypes on its release in 1992. As Disney moved into depicting an Arab culture in one of its films many predicted it would conjure up similar antiquated and racist characters. It too takes a familiar fairy tale and deconstructs it as became the trend in the 1990s and into the new millennium. The story follows a young boy, Aladdin, and his relationship with an evil wizard, Jafar, as they battle for the powers of a magic lamp which contains a genie. Critics felt that the film dwelled on images of barbarism and cruelty by Arabs which audiences would equate with the contemporary Muslim world. A particular song in the film was targeted by the American-Arab Anti-Discrimination Committee as being an embodiment of the attitude of the film towards the Middle East, its lyrics went Where they cut off your ear if they dont like your face/Its barbaric, but, hey, its home. In subsequent releases on video and DVD they were changed to Wher e its flat and immense and the heat is intense/Its barbaric, but, hey, its home. It is quite obvious that those with lighter skins are placed on the side of good and those with darker skins are evil. Giroux states that the bad Arabs in the film are determined by their thick, foreign accents and the good Arabs like Jasmine and Aladdin speak in standard American English. (1999: 105) The film was criticized for something Disney has historically done with many of its non white characters throughout the years, that is anglicize their features. We can see this in the case of not only Aladdin and Jasmine in Aladdin but Pocahontas and Mulan. Disney takes non-white characters and makes them appear more white in appearance than they actually are and thereby less threatening for the audience who they presume might be offended by watching an non-white character as a protagonist. The case of Aladdin and Jasmine is quite clear as they are changed from looking like Arabs to almost twentieth centur y American who happen to have healthy tans. It is no coincidence that the character was Aladdin seems to have been modeled on perhaps the all American symbol of the 1980s and 1990s, Tom Cruise. Such Manichean and racist accounts of morality can be found across the whole of Disney where the idea of evil is encapsulated by the dark skinned and obviously Arabic wizard Jafar. One of Disneys greatest critical and commercial successes in the modern era is undoubtedly The Lion King. It too is an example of a film which, arguably, embodies both the sexism and racism in inherent in the Disney world. It is an original rites of passage drama about a young cub Simba, who sees his father the King Mufasa killed. Scar tricks Simba into thinking he was responsible for his fathers death causing Simba to flee the kingdom in shame. The throne is claimed by Simbas cruel uncle Scar who had orchestrated the kings death. Throughout the course of the narrative women are almost entirely marginalized from the film and the realms of power and responsibility are only occupied by men. This is another way that female roles are constructed in Disney films, by legitimizing gender power relations and naturalising such imbalances. Here one might ask whether Disney are being sexist or just reflecting existing social structures in the real world? However this process of legitimization r esults in further exacerbation of such existing structures by reinforcing them. Like other Disney films this process is deemed as normal and part of the natural order, attention is not drawn to it within the plot and it is depicted as historically inherent and normal. The only female characters of note are Simbas mother who is relegated to the sidelines and the young cub which Simba grows to marry. Her only function is to act as a catalyst to prompt Simba to return to do his masculine duty and reclaim the throne. At the end of the film she has another role and that is to provide a son and heir for Simba when he becomes King. The villain of the film, Scar, has conspicuously darker skin than his biological relatives in the film and he is distanced from them by the fact that he speaks with an English accent. The creation of such a racial Other has been a historic strategy by Disney throughout the companys history. In modern films their racism is not so obvious as it once was but there is still an assumption that a villain must deviate from what society regards as normal, that is he or she must be non-white, overweight or old. Perhaps the films most racist element is the army of hyenas which Scar commands are also depicted as distinctly part of a racial minority in the way they speak: inner city, jive talk. When finding a group of characters supposed to represent menace and evil, Disney falls back on the same hackneyed stereotype it has used for more than fifty years. Critics of the film charged that The Lion King made racism and sexism acceptable and part of the natural order. Ward stated when racism and se xism becomes the norm that appears to represent reality, then Disney has lost its moral high ground (2002: 32). In recent times outside of Disney films directors like George Lucas and Michael Bay have been criticised for using the same stereotypes in their films. In The Phantom Menace (1997) the character of Jar Jar Binks was criticised by being a bumbling and foolish character who happened to speak with a Jamaican accent. In Transformers 2 (2009) the characters of Mudflaps and Skids were regarded as racist for the same reason. Many Disney films have come under a lot of criticism for including subliminal messages in their films in particular hidden erotic images like a phallus from The Little Mermiad, the word sex across the sky written in the clouds in The Lion King, and nudity in The Rescuers and Who Framed Roger Rabbit. After these criticisms Disney often removed the offending images from the video and DVD release of the films. They were mostly done by disenfranchised animators during the long and laborious process of animating a film which can last for several years. The powers of subliminal messages are well documented and it might be argued that this is another reason why Disney films should not be handed over to children to be watched without care and attention. Techniques like this have been used in advertising for decades to sell products and here in films targeted at families and children it is hard to tell what the effects may be. These stories of images in Disney films inspired the episode in th e satirical Fight Club where the protagonist Tyler Durden (Brad Pitt) splices images from pornography into family films. The audiences do not ever know consciously what they have seen, but somewhere in their brain it registers, the scene ends with a shot of a little girl crying for a reason she doesnt understand. A concept which I feel has been largely neglected in most academic studies of Disney that I have read is the fact that children growing up in the Disney era being introduced to fairy tales through the Disney process rather than in one of their original forms. Of course this is a considerable shame for a variety of reasons: 1) that the stories are distinctly Americanised and populated with white characters and lack the diversity which can be found in many of the original texts. 2) That children are being (and have been for many decades) effectively raised by the television and having these stereotypes inculcated into them from a very early age. 3) That these rich stories are being manufactured to act as devices through which to sell products to children which, I would argue, perverts the important role which fairy tales play in our society. One must consider Disneys power as a cultural signifier in this first decade of the twenty-first century. Disney now has television stations that are projected into peoples living rooms everyday rather than once or twice a year when people take their children to see the latest Disney film at the cinema. This changes things in the sense that the company achieves an even greater intimacy with the consumer from an even earlier age. Fortunately this has coincided with what we might regard as greater awareness on issues of media culpability, although how much of this has filtered into the mainstream audience remains to be seen. I believe that the majority of parents regard the Disney brand as an example of safe and sincere entertainment that is automatically suitable for young people. Disney has branched out to produce hugely successful shows aimed at the wide spectrum of different demographics within the family audience from the very young, those dubbed tweens, into the early teenage years and beyond with shows like Hannah Montana which fit into the mould established within Disneys animated films. These shows are vibrant and aspirational and on the surface have positive messages for young people. However, as we have seen with Disney films this fails to account for what they leaves out of these narratives. There are very few characters from ethnic minorities, or with disabilities, or those who have different sexualities, or children who look different from the bright, predominantly white, clean teens that occupy the central positions in these shows. One might ask how relevant these characterisations are around the world? Or to children living in America who do not come from so obviously affluent families? Disney might argue that these shows are inspirational, but for many they ignore the realities of a large part of their audience forced to identify with characters very different to themselves. There can be no doubt that Disney has changed, to a certain extent, with the times both on the cinema screen and in the home entertainment arena. Many of Disneys television shows and films pay lip service to issues of political correctness as we have observed in films like The Frog Princess and Mulan. But I think it is still clear to see that a fundamental shift in Disneys approach to the social and political realities of the world has yet to happen. Disney has continued to perpetuate many racial stereotypes even in recent films, when they must have been aware of the impact of these issues and how important they have become to many parts of their audience. Conclusion It is clear to see that Disney are one of the most influential media companies in the entire world and to deny their influence on successive generations of youths is impossible. Once this influence is accepted one asks, what kind of influence is it? Peter and Rochelle Schweizer in Disney: the Mouse Betrayed: Greed, Corruption, and Children at Risk (1998) argue that Disneys image of wholesome and nostalgic Americana is a self-consciously created one that is only formed to generate income for the company. Disney films are not benign artefacts, but texts full of extremely potent symbols rife with meaning and ready to be decoded by people willing to look a bit deeper for these sorts of message in cultural texts. The images of gender and race we have seen in this essay seem harmless on the surface, but when considered closely one sees that the kind of ideals and norms they present to children they might not be as benign as they first appear and for this reason alone they are worthy of fur ther study. These images have tended to be ignored in the mainstream media as Giroux comments The more liberal critiques often entirely ignore the racist, sexist and anti-democratic ethos that permeates Disney films (1999: 85). Here we must identify something that often slips by parents in their relationship with Disney, the fact that it is a capitalist corporation designed to earn money for its shareholders. This is often lost in the fondly remembered nostalgia consumers have for the films of their childhood. This is perhaps one of the most effective marketing strategies in the history of modern America, how the company has sought to convince consumers that it does not real

Francine du Plessix Gray’s: At Home with the Marquis de Sade: A Life :: Biography Family Papers

Francine du Plessix Gray’s: At Home with the Marquis de Sade: A Life In 1998, Francine du Plessix Gray, prolific author of novels, biographies, sociological studies and frequent contributions to The New Yorker, published her most acclaimed work to date: At Home with the Marquis de Sade: A Life. A Pulizer Prize finalist that has already appeared in multiple English-language editions as well as translated ones, Du Plessix Gray’s biography has met with crowning achievement and recognition on all fronts. Accolades have accumulated from the most acclaimed of eighteenth-century luminaries, such as Robert Darnton, in a lengthy review in The New York Review of Books that compares her biography with Laurence Bongie’s Sade: A Biographical Essay, to the list of scholars whom she thanks in her acknowledgements for having read the manuscript: Lynn Hunt, Lucienne Frappier-Mazur, and Marie-Hà ©là ¨ne Huà «t. Surely, any scholar can appreciate the vast amount of research that undergirds Du Plessix Gray’s narrative, and indeed, she takes g reat pains to meticulously inform the reader who might care to look at her sources and read her acknowledgements that she has done her homework and knows every inch of the scholarly terrain. Du PlessixGray wisely begins her acknowledgements with a debt of gratitude to Maurice Lever’s studies, which rest on years of archival research. However, what really frames Francine du Plessix Gray’s biography is not so much the â€Å"fin du dix huitià ¨me sià ¨cle† but the â€Å"fin du vingtià ¨me sià ¨cle† and the â€Å"reality† material from Sade’s life that made it possible to represent the Marquis, his sons, his wife, mother-in-law, father-in-law, and uncle as so many of the people who populate the running narrative of criminals, deadbeat dads, incestuous relatives, date-raping playboys, and battered women that fill soap operas, day-time talk, women’s magazines, talk radio, and the tabloids. This paper, then, explores Sade’s biography not as a narrative of (the Marquis de Sade’s) his life, but as a narrative that pleases today’s reader because it serves up a voyeur’s view of (in) his â€Å"dysfunctional† family life â€Å"at home† that we are all too familiar with. This becomes abundantly apparent when du Plessix-Gray’s rend ering of the Marquis and the Marquise’s lives are superimposed over the rà ©cit of lives that we read about all the time in the popular press and observe in television soaps and other series. Ultimately, we are interested in what such a reading, writing and representation of Sade’s life does to Sade’s persona and status, both in the world of letters, but more importantly, in the world at large.

Tips for Pam and Sue

Multiple Regression Project The is the only deliverable in Week Four. It is the case study titled â€Å"Locating New Pam and Susan’s Stores,† described at the end of Chapter 12 of your textbook. The case involves the decision to locate a new store at one of two candidate sites. The decision will be based on estimates of sales potential, and for this purpose, you will need to develop a multiple regression model to predict sales. Specific case questions are given in the textbook, and the necessary data is in the file named pamsue. ls. Assuming that you are reasonably comfortable with using Excel and its Analysis ToolPak add-in, you should expect to spend approximately 2-3 hours on computer work, and another 3-4 hours on writing the report. It is a good idea not to wait until the last day to do the entire project and write the report. Content of the report consists of your answers to the case questions, plus computer output(s) to support your answers. Please keep the entir e report – including computer outputs – under 8 printed pages.Thus, your write up should be concise, and you need to be selective in deciding which computer outputs to include. You can use your discretion in formatting your write up, but use good writing practices and try to make it look professional (more on the report format below). Project Hints and Guidelines It is assumed that you have access to 1. Microsoft Excel with Analysis ToolPak (do NOT use stepwise regression for this project even if it runs on your computer). 2. Data file named pamsue. xls in the DataSets. zip folder.Basic Excel skills you need are the ability to construct histograms and scatterplots, to create dummy variables, copying or moving columns of data in a spreadsheet, and the ability to use the Correlation and Regression facilities under Data Analysis (available when Analysis ToolPak has been added in). Remember that Analysis ToolPak requires contiguous ranges of data for correlation or regress ion. 1. Open the file pamsue. xls. First, move the column for sales so that it is the rightmost column (it is now to the right of comtype).If the old sales column remains but appears empty, delete that column. 2. Obtain a scatterplot of the sales on the vertical axis against comtype on the horizontal axis. This will give you a good idea of whether different categories of comtype appear to differ in sales. In the scatterplot, you should see that sales in the middle categories 3 – 6 are in similar ranges on the vertical axis, but 1 and 2 have somewhat higher sales, and category 7 appears to have somewhat lower sales.This implies that, when you create dummy variables for comtype, dummy variables for categories 1, 2, 7 are likely to be statistically significant in the multiple regression model (and dummy variables for categories 3 – 6 are likely to be not significant). Although it would be desirable to also obtain the scatterplot of sales against every other X variable, yo u can omit these if you do not have time, and use the correlation coefficients instead (see step 4 below). 3. Insert seven new columns immediately to the left of comtype, and in these columns, create seven dummy variables to represent the seven categories of site types.Name them comtype1, comtype2, †¦ , comtype7. At this point, you have 40 columns of data in the spreadsheet with comtype and sales in the last two columns. 4. Use the Correlation facility under Data Analysis to obtain the correlation coefficients between sales and all of the other variables except store and comtype (why exclude comtype? ). This will produce a matrix of correlation coefficients between sales and every X variable, as well as between every pair of X variables. To make them easy to read, you may want to format the cells to show numbers with 2 or 3 decimal places. . Write down the names of 10 quantitative X variables having the highest correlations with sales. From the correlations worksheet, move to t he data worksheet. Select the following columns: sales, plus the 10 quantitative X variables you wrote down, plus comtype1, comptype2, comptype7 (here, you could include up to three more dummy variables, but they are likely to be statistically not significant, so you can save some work – see 2. above). Copy these onto a blank worksheet. Make sure there are no blank columns in within the data range in the new worksheet.Note: To prevent unexpected changes in copying data when formulas are involved, use Paste Special with Values selected when pasting data into a new worksheet. 6. Use Regression under Data Analysis to obtain the regression output table for sales using the variables in the columns you had selected, making sure that Labels and New Worksheet Ply checkboxes are checked, and leave the other boxes unchecked. On the name tab of the output sheet (at the bottom), change the name of the worksheet to Model1. 7. Using appropriate statistics in the regression output table, se e if any of the X variables is statistically not significant.If there is at least one insignificant X variable, write down the most insignificant variable, move to the data sheet and delete that column, and re-run Regression without that variable. Repeat until there are no insignificant X variables. Name each output sheet Model2, Model3, and so on for easy identification. 8. When you get to a model in which all remaining X variables are statistically significant, you will have found the final regression equation for predicting sales. Re-run the last model, but this time checking the Residuals checkbox.This will reproduce the last regression table, but below it, you will see columns for Predicted sales and Residuals. Obtain a scatterplot of Residuals against Predicted sales. Also obtain a histogram of Residuals. 9. Use the final regression equation you found in the last step to predict sales at the two sites under consideration. You have just completed all necessary computer work for your project report. Now you have to write a report to present your answers to the case questions (see pages 388-389 of your textbook), and the reasons for those answers.In terms of physical organization, a reasonable format for the report is described below. Content and Format of the Project Report Cover page Include the report title, your name, course, section, facilitator, and date. Go to a new page, and use the following subsection headings for the report. Introduction One paragraph (two at most) describing the subject and context of the project. Data One or two paragraphs describing the data in plain English (number of variables, number of observations, units for data values, etc. ) Results and Discussion This is the main body of the report.It is where you will describe what you have done, what you found, and answer the case questions with the reasons for your answers. These reasons should be based on the analytical work you have done using Excel. Depending on how concisely yo u write and how many tables and graphs you include, this page could be 3-4 pages long. Conclusion One or two paragraphs discussing any remaining issues (e. g. shortcomings and possible improvements of the analyses in the report). In the Results and Discussion section, you should include a few informative tables or graphs derived from your computer analyses.DO NOT include anything that is not absolutely necessary. DO NOT include entire worksheets form Excel, but only the parts you need. For example, do not include the entire correlation matrix found in step 4 above, but you can make a small table to show the 10 variables having the highest correlations with sales. You should include the scatterplot of sales against comtype, relevant portion of the final regression output table, the final regression equation, and the two residual graphs you obtained in step 8. Please keep the total length of the report under 8 printed pages (5 to 6 pages should be sufficient in most cases).