American Beauty – Paper

American Beauty In the movie â€Å"American Beauty† there is a list of interpersonal conflicts. Lester and Carolyn Burnham are a seemingly ordinary couple in an anonymous suburban neighborhood, whose marriage and lives are slowly unraveling. They both have become so distant but remain together to keep up appearances. This relationship shows all the factors that Daniel Dana considers being a conflict. Two people are independent; they each need something from the other, both parties blame the other or find fault with them for causing the problem, one or more of the parties is angry or emotionally upset, the parties’ behaviors are affecting their relationship with each other and/or their relationships with others. †(Dana, 2000) In the movie there are many conflicts but the interpersonal conflict that stands out is that between Lester and Carolyn. The conflict between Lester and Carolyn is hard to ignore. They have stopped communicating effectively to one another. Les ter is a middle aged man, whom sees no satisfaction in his life anymore.Carolyn is a middle aged woman, whom only shows her satisfaction, but it is a mask; to make it seem that she is happy. Lester, at first, seems to have a passive communication style, compared to Carolyn’s aggressive communication style. In the narration from Lester in the beginning of the film; he seems to be tired of his life and how it is going. They live in a big white house with a red door and a white picket fence; living the American dream. Unfortunately it is anything but. They have a daughter Jane who Lester believes he has failed. One night, Lester and Carolyn go to one of her work functions.Almost immediately they go their own ways at the function. Carolyn is being entertained by the â€Å"King† of real estate, drinking. While Lester has found himself outside with the new neighbor boy Ricky Fitts, smoking the illicit drug marijuana. When they go home and are in bed, their problems come to f ruition. At this point the â€Å"blame game† comes into the picture; with much negativity. They fight back and forth sarcastically, saying hurtful things, until Carolyn jumps up out of bed and bursts out â€Å"This isn’t a marriage†. Then Lester finally speaks up and tells her what he has been feeling for years.One factor is the lack of sex between them. Also, he states that he has been her puppet for years; since she received her realtors license, and finally that he has been extremely unhappy. Then he continues saying that the only reason she is mad and saying anything is because he is finally fighting back. His dramatic and angry speech makes Carolyn silent. At this point in the film, I am more aware that they haven’t had effective communication to resolve their conflicts, for many years now. This situation escalated from their root cause of both of them becoming withdrawn, and not resolving their conflicts. When conflict erupts, emotions are involved, and the relationship can be threatened if the conflict is not resolved amicably. †(Sole, 2011) I think what started their downfall, years ago, is that they avoided conflict. This can be destructive in any relationship and/or marriage. If you don’t have the skills of resolving conflict; you run the risk of ruining your marriage, separate friendships, and shatter your family. Since both parties did not obtain the skills necessary to resolve their conflicts, it resulted in Carolyn stepping out of their marriage; to have an affair with her real-estate rival, Buddy Kane the â€Å"King†, of real-estate.Also, resulting in Lester acting out, quitting his job, smoking marijuana, buying a 1970 Pontiac Firebird, and working out to impress a 17 year old girl; what some may call a mid-life crisis. Amazingly enough, this could have all been resolved, as long as they both are willing with positive emotions during their conflicts. Research has shown that interjecting positive e motions, along with negative emotions, during discussions result in happier marriages.I think that is Lester and Carolyn would have used some basic elements like humor, light-hearted fun, or some playfulness during their conversations, their marriage could have remained happy. Then if they could know and understand one another’s communication style, they would be better at resolving conflicts between them. Lester started out having a passive communication style, and then it quickly moved to a passive-aggressive communication style. I believed this happened because he was fed up with how his life was going and started to display resentment.With negative feelings, this indirectly sabotaged his life. If Carolyn held an assertive communication style, rather than an aggressive communication style, I believe they would have been able to eventually resolve their conflicts. All in all, if they had effective interpersonal communication, they would have continued to go down the path, t o be a happily married couple. References Sole, K. ,Making Connections: Understanding Interpersonal Communication,(2011),BridgePoint Education Inc. Retrieved From: https://content. ashford. edu/books

Research Process and Terminology Paper Essay

The aim of this paper is to address the linkage between foreign direct investment (FDI) flows and the number of natural disasters. By using the data of 94 countries in the period of 1984 to 2004 and applying a variety of empirical tests, the result appears that natural hazards have significantly negative effects on FDI of countries. A. Economic Effects of Natural Disasters and The Determinants of Foreign Direct Investment Economic Effects of Natural Disasters There are three patterns that concern with the economic effects of natural hazard. The first two strands concentrates on the primary or short-term effects and long-term effects of hazards on economy. While the short-term effect strand achieves abundant evidences of negative disasters’ impacts on GDP, the long-term effect strand cannot reach a clear conclusion. The third strand focuses on the capacity to mitigate the destructive effects of natural risks. A brief conclusion is that the negative impacts of risks can be diminished by country’s institutions. Determinant of Foreign Direct Investment There are three types of foreign direct investment, namely: (1) Operating new (2) Moving an existing (3) Moving a part of existing The first type is considered as location decision and categorized in pull factor, the latter two types are relocation decision and belong to push factor. Following this logic, propositional pull factors to put in models are the level of openness and the size of the economy. Obviously, the push  factor in models is natural risks. Other determinants which are mainly focused are institutions, such as government infrastructure, political freedom, corruption, etc. B. Data and Methods The data for analyzing impacts of natural disasters on FDI flows are taken from the EMDAT, which provides by the institution Center for Research on the Epidemiology of Disasters (CRED) and World Bank. Some observations were dropped because of missing data, the data which is used in this research contains an unbalance panel with 1,822 country-year observations from 94 countries (29 in Africa, 17 in Asia, 22 in Europe and 26 in Americas) in the period 1984-2004. Table 2 presents descriptions of dependent and independent variables. (TABLE 2) At this point, it is important to look again at two primary variables which devoted to results of empirical tests. The first key variable is FDI, which is measured by the total net inflows of foreign direct investment as a percentage of GDP. FDI is the dependent variable in all models. The second key variable relates to natural hazards. Since both recent and longerterm risks have its impacts on investors, the authors deliver four variables that are concerned with the number of natural risks happening in four time period: Total events in the prior year, total events in the prior 5 years, total events in the prior 10 years, total events in the prior 25 years. Table 3 shows the correlations between FDI/GDP and each of four variables referring to the measures of natural risks. (TABLE 3) It is undoubtedly true that both the counted measure as number of natural hazards and the monetary measure as the estimation of â€Å"dollar value of damages† affect decision makers. While it can be argue that result as the dollar amount of damages may have substantial influence on investors’ decisions, it is obvious that estimating the consequence of natural disasters is complex and not as accurate as â€Å"counts of disasters†. For this  reason, models will mainly focus on counts of disasters. Moreover, the research emphasizes on five types of natural hazards that severely devastate infrastructures, physical capital and labor forces. As such, these five types are earthquakes, floods, volcanoes, landslide and windstorms (include hurricanes). The following two variables which refer to the degree of openness and incentive in trade and investment are Trade and Investment. The former is taken from World Bank’s 2008 World Development Indicators and the latter is provided by Political Risk Services Group, assembled by the IRIS Center at the University of Maryland. Regarding to a country’s reliability for trade and investment, the investment variable is the estimation of three factors: contract viability/risk of exportation, repatriation of profits and delay in payments. These three factors are rank from 0 to 12 and the higher value illustrates the higher risk in investment. The final three variables in the base model are Inflation, Gov. stability and Rule of law. The Inflation variable is the inflation level of each country in a particular year and taken from 2008 World Development Indicators. The other two variables are collected from the International Country Risk Guide, with reflecting the level of stability of government and adhesion to the rule of law. The higher value implies the better environment for investors. Those variables contribute to the base model as this form: FDIit = ÃŽ ±0 + ÃŽ ±1Total events in the prior # yearsit + ÃŽ ±2GDP per capitait + ÃŽ ±3GDP growthit + ÃŽ ±4Tradeit + ÃŽ ±5Investmentit + ÃŽ ±6Inflation + ÃŽ ±7Gov. stabilityit + ÃŽ ±8Rule of lawit + ÃŽ ³i + ÃŽ ³t + ÃŽ µit This research also employs ÃŽ ³i as country fixed effects over time and ÃŽ ³t as year fixed effects for all countries. C. Results and Their Implications The below table indicates the linkage between foreign direct investment and natural disasters by applying the base model. It can be seen from Table 4 that all four natural hazard variables have significantly negative effects on FDI in each of models. Moreover, there is a decline trend in coefficients of disaster variables when measuring in Total events in the prior 1 year to Total events in the prior 25 years, which suggests that relatively recent risks have more significant influence than long term risks on investors’ decisions. The next two variables, which are GDP per capita and GDP growth, are positive as expected and significant. However, although both Trade and Investment variables have positive effects on FDI, only Trade is significant. The Inflation variable is negative and significant in all four models. Only Gov. stability variable has unexpected side and both Gov. stability and Rule of law are not significant in all models. The authors also employ the empirical tests to find out different effects of five particular types of disasters. The result is presented in Table 5. The outcome demonstrates that all other non-disaster variables have the same reaction and all damage variables are negative in side. However, Windstorms is significant in all three cases, Volcanoes is significant in two cases while Landslides, Earthquake and Floods are significant in only one case. Hence, there is evidence to support the view that each type of hazards has its effects on FDI, the clearest evidence is found on Windstorms. Regardless the inaccurate in estimation of dollar value of damages, the research generates the final test by using the base model with â€Å"dollar value of damages† in place of â€Å"counts of disasters†. The result is displayed in Table 6. Similarly with the above case, all non-disaster variables have the same result as the base model case. Though disaster variables are negative and significant in all case, they do not decline from recent to older events. A draw conclusion may be policy makers equally focus on relative recent and longer-term risks or maybe there is error in data. D. Conclusion To sum up briefly, there are four important conclusions. First and foremost, natural disasters have significant and negative effect on foreign direct  investment. Second, there are some evidences to support the view that decisions of foreign investors are deeper affected by relative recent events in comparing to longer-term events. Third, different types of natural hazards are considered to have different impacts on foreign direct investment, the most severe impact is found on windstorms. Finally, regardless the intricacy and inaccuracy in monetary measuring the value of damages, the model which focuses on dollar value of damages also addresses the same result with the base model: natural disasters discourage foreign direct investment.

Lab5 Essay Example | Topics and Well Written Essays - 500 words

Lab5 - Essay Example The coal is received in chunk form and is then crushed into powder and blown into a burner where it combusts and produces heat of about 1000 degrees. The heat made is used to heat water into steam. The steam is then used to revolve the blades of a turbine. The turning motion then generates electricity by releasing electrons into a circuit (exp.lcc.edu). The smoke seen is coming from the plant is actually the gases of combustion e.g. carbon dioxide. According to (Edward & Grossman, 18) the two major concerns of burning coal includes pollution caused by emissions of contaminants like sulfur dioxide nitrogen oxides and mercury. To control this kind of gas pollution, the plant uses electrostatic precipitators that have electrically charged plates and wires. These are used to attract airborne contaminates as the hot air passes through it thus controlling pollution of the atmosphere (exp.lcc.edu). The cost of electricity usually depends on the number of people living in a house. My bill shows that we pay $1.50 per day for electricity. This cost can be reduced by turning off the lights when, not in use, also using energy saving light bulbs and electronics that are in good working condition in the house. The Lansing Board is a plant that supplies drinking water, fire protection and electricity to the citizens of Lansing. The board is a municipally owned utility, and it is different since it is a public utility and the customers own the system. The citizens of Lansing own the plant since they are the plant’s customers. The plant does not make any profit a quality that also makes it different from other power producing plants (lbwl.com). To conserve water, I would fix leaking faucets and use a cup when brushing teeth. A lot of water usually goes to waste when brushing since we leave the water running the whole time. Using a cup saves water that could otherwise be

Introduction for lab report Iron in Soil and Coal Essay - 1

Introduction for lab report Iron in Soil and Coal - Essay Example Coal falls in the group of organic contaminants of soil. The iron concentration on in coal is limited compared to the iron in soil. As a result, the carbonaceous soils from coal mineral wastes provide an effective control for acidity in leachate. Iron appears in different forms in the soil. Its concentration in the soil can affect the drinking water due to the environmental concentrations in some parts of the world. This calls for the need for measuring the iron concentration in soil and coal. Various analytical methods are available for arsenic measurement in various environmental samples. Some of them include neuron activation, hydride generation atomic absorption and the inductively coupled plasma atomic emission spectrometry. Most of these approaches require expensive equipment to measure the iron concentration in soil. However, the Spectrophotometer is effective equipment in measuring the iron in coal and soil. The sample is placed in a hydrochloric acid solution followed by a measurement of Spectrophotometer using silver diethyldithiocarbamate which is the reagent that forms colour. From the colour outcome, the concentration of iron in the coal or soil is determined (Paolo Desogus

Pollution Control Policy Essay Example | Topics and Well Written Essays - 1250 words

Pollution Control Policy - Essay Example Proponents and opponents of air pollution control policy now accept the protection of the public health as a political reality. The need for clean air is considered to be "a uniformly agreed-upon problem" or a "valence issue" (Baumgartner and Jones, 150). Nobody can be against the public good of clean air. Despite general agreement of the public, legislators, regulators and the regulated that clean air is important, many urban areas in the United States struggle to meet national air quality standards as the EPA continues to set stricter emission thresholds. The EPA has tracked emission levels of six criteria pollutants deemed harmful to human health - nitrogen dioxide, ground level ozone, sulfur dioxide, particulate matter, carbon monoxide, and lead - since 1970. However, the persistence of the ground level ozone pollutant (commonly called either smog or ozone) troubles those who wish to protect the public health. The adverse health effects of acute and chronic exposure to ozone are more fully documented each year. While levels of some criteria pollutants (i.e. lead and carbon monoxide) have declined significantly, levels of ozone and particulate matter have not (Smith, 29). The EPA determined in 1997 that 122 million Americans, or 46% of the population, lived in smog-plagued areas (D oyle, 348). The EPA reported in 2004 that 112 million people across the nation still lived in 68 metropolitan areas classified in nonattainment of the national air quality standard for ozone. Regulators describe long-term exposure to ozone levels above the threshold set by law as extremely hazardous to human health (Smith, 34). From the critical perspective, there is a pressing need to establish radically new air pollution control policy. Contemporary business practice provides some important patterns in understanding policy new direction. It is evident that due to growing compliance costs, environmental expenditures have begun to play a major role in the policymaking decisions of companies. As a result, the environment is increasingly being used as a strategic tool to reduce cost and increase competitive advantage. Adequate and effective air pollution public policy should be largely based on firms' strategic needs to economize and being competitive. BACKGROUND: CURRENT POLICY FAILURE The continuing political controversy surrounding compliance with the provisions of the Clean Air Act suggests that the problem of national air pollution control is not going away either quickly or easily. Solutions to this challenging policy problem often appear partial and ineffectual. Four reasons for impaired policy effectiveness are suggested. First, the way in which federal regulators define and measure compliance with the law may not achieve consensus among the disparate participants in the implementation process. Even when participants do work together, gamesmanship among players who do not see themselves as equals on a level playing field may interfere with moving toward the same goal. The lack of consensus may continue until all the key players hold to some expectation of a common outcome (Bardach, 85). A second reason policy effectiveness may be impaired is due to the many participants in the fragmented federal hierarchy who represent multiple decision or veto points in the

Innovative Organisations Essay Example | Topics and Well Written Essays - 2000 words - 3

Innovative Organisations - Essay Example PepsiCo has evolved from its traditional beverage operations which has a rich history of business spanning over 100 years and has become one of the foremost multi-national food distributors in the world. This report highlights innovations at PepsiCo as well as a discussion of innovation philosophy in order to determine whether PepsiCo maintains a high level of invention or novel product creation to be considered truly innovative. many generations that it would be impossible to discuss all of its business evolutions in the 20th Century. However, ever since the company decided to move out of strictly beverages and into other snack food dimensions, the business has been competing in a very large variety of marketplaces against other small- and large-scale competition. In terms of market share, PepsiCo maintains 30.8 percent of the total beverage industry (Bauerlein, 2009). PepsiCo further earned $7 billion (USD) as a result of total business operations from 2007-2008 (PepsiCo, 2008). These are stellar profits, which suggests that PepsiCo understands how to properly innovate its products, making them stand out against other competing companies, and are able to build customer interest in these products through innovative marketing and manufacture of new product lines. In the beverage division of the company, the largest competitor is Coca-Cola. However, both companies are experiencing a drop in overall sales volume, which is driving further innovation on behalf of both companies to compete for market share in this division. Coca-Cola experienced a 3.1 percent drop in sales in 2008 while Pepsi experienced 4 percent in the same period (Bauerlein, 2009). This suggests an external consumer who is not spending as before on beverages, calling for innovative sales and product strategies to regain lost market share and satisfy customer needs at the same time. competitive environment is

To What Extent NGOs is the Voice of Civil Society Essay

To What Extent NGOs is the Voice of Civil Society - Essay Example Many people believe that NGOs emerging from the Civil Society; hence representing it. In their opinion, NGOs mediate relationships between state and civil society and they are part of civil society. In order to learn more about the role of NGO’s in a civil society, it is necessary to define the term civil society. Civil society is an ambiguous term. There are plenty of definitions attached to the term civil society by different scholars. â€Å"The paradox about civil society is that it covers a vast range of activities - yet it's very hard to define. One description puts it quite succinctly: 'A civil society is a public space between the state, the market, and the ordinary household, in which people can debate and tackle action† (What Is Civil Society?. When applied in developing country contexts, it is often used to refer to the NGO sector, social movements and trade unions. It sometimes even includes the private sector. â€Å"The term civil society is generally used to classify persons, institutions, and organizations that have the goal of advancing or expressing a common purpose through ideas, actions, and demands on governments†. In any case, politicians, governmental and nongovernmental organizations are working for the well-being of the civil society; at least on papers. According to Lister, â€Å"The legitimacy of non-governmental organizations (NGOs) is poorly theorized in development studies literature, where it is usually seen as dependent on accountability, performance, and representativeness

Hypertension Assignment Example | Topics and Well Written Essays - 250 words

Hypertension - Assignment Example The DASH eating plan tends to also regulate the amount of saturated fat, unsaturated fat, cholesterol, carbohydrate, magnesium, fiber and other essential nutrients in food. It has helped me realize the numerous benefits of less sodium consumption and higher potassium intake. The advantages are varied that range from fast reduction of blood pressure, it helps in reducing cholesterol in a phased manner, the reduction of insulin resistance, the prevention of heart diseases and strokes, the prevention of any types of chronic liver aliments, it delays and even fights against osteoporosis, it reduces the risk of certain types of cancers, it mitigates obesity and also leads to an overall feeling of wellness (Coben 95). There is also an increased effort on maintaining an overall healthy lifestyle that involves eating food in the right proportions. This assignment about hypertension has inculcated the values of healthy living in me, other than the food intake aspect of this plan. It espouses eating food in right portions and in moderation. The food should be comprised of higher levels of grains, fiber, potassium, green vegetables, low quantities of red meat and alcohol (Karppanen and Mervaala 126). Healthy lifestyle and exercising is also a part of this plan. This hypertension plan emphasizes the need for exercising five to six times a week. It also allots a lot of importance on keeping a brisk lifestyle. Overall, this assignment has helped me to learn about the importance of lower sodium intake, higher potassium intake, the importance of DASH diet, weight loss and a healthy

Critical Response Paper Research Example | Topics and Well Written Essays - 750 words - 2

Critical Response - Research Paper Example The film clearly indicates how classical modernism, ‘the thing of the past’ has been replaced by post modernism (Jameson 114). Cultural and social transition The film shows a positive transition in every respect. The opening scene depicts the deserted Madrid side street and the darkest night of Franco’s regime. At the end, the dark empty streets are replaced with bright light and traffic jams. It shows a positive change from dictatorship to democracy. Besides, at the end of the film, David becomes more accommodative after going through the ups and downs in his life. Same is the case with Victor, who feels that life has com full circle for him. His relationship with Elena and his incipient fatherhood transform him into a better person socially more acceptable. The fears of the 70’s no longer exist in their minds- a welcome change that represents the new cultural ethos that has given rise to democracy and freedom. Victor’s birth is contrasted with that of the unborn baby caught in the traffic jam. This well depicts the cultural change that Spain has undergone over a period of more than 25 years. Fatalistic entrapment The film tells the story of several characters involved in each other's fates in ways that are beyond their control. According to Morgan-Tamosunas of Anglia Polytechnic University, all the five central characters are bound together by ‘a circular relationship of interdependency’ (188). ... Things happen to him. Therefore, like the other characters, he too can be seen as a victim of chance and circumstance. The raw feelings of the characters act as catalysts that speed up the actions and reactions. They are cyclic in mature and so there is no escape for them from the ‘entrapment. The camera always focuses on circular objects which are symbolically suggestive of the circular entrapment. The main characters are stuck in this circular entrapment of fatalism. Characterisation and Masculinity Carne tremula has three well-developed male protagonists in Victor, David and, to a lesser extent, Sancho. Their masculinity is articulated through certain physical, emotional and behavioural codes. The pursuit of physical power by both Victor and David shows this point well. The bathroom sequence and David’s performance on the basket ball court focuses on masculinity. In the case of Victor, masculinity has been challenged by Elena and therefore he is obsessed with masculin e prowess and physical strength. The rivalry between David and Victor and the consequent muscle-flexing are considered as a test of masculinity highlighted by camera-angle and framing. Sancho is aggressive and masculine in a perverted and destructive way, resorting to physical violence and emotional manipulation. Clara and Elena are both self-sacrificing characters. Elena suffers repression and guilt complex where as Clara is a victim of self negation. Performance, use of colours and music In Carne Tremula, the ensemble is well-chosen. Liverto Rabal’s (Victor) boyish charm and wit is electrifying. Magnified by the star persona, Javier Bardem’s performance as paraplegic David asserting himself both physically and

Case study on abercrombie and fitch Example | Topics and Well Written Essays - 2250 words

On abercrombie and fitch - Case Study Example A marketing strategy in any business is a tool to a competitive advantage. It refers to setting the marketing plans, objectives and working towards market share. Marketing strategies are dynamic due to the different circumstances or environments companies do business. It is then necessary for a marketing manager to scan the environment before laying the most appropriate marketing strategy. The scan is conducted for both internal and external environments. In the internal environment, a marketing manager will have to consider the marketing mix, performance and any possible constraints that affect its implementation (Roederer, 2013). The most effective marketing strategy features market segmentation, targeting and then product differentiation or positioning. The first step is dividing the market into subsets of consumers with common needs. Consumer grouping is possible through the following segmenting the market. First, market can be segmented geographically, which gives precise features and common characteristics determining the needs of consumers in that particular region. Rainy regions will have high demand for raincoats and gumboots while hot regions will be in great need of summer clothing. Second, segment using variables like age, education and gender that is referred to demographic segmentation (Roederer, 2013). Third, there is behavioral segmentation whereby customers are grouped according to their usage rates and attitudes. The subset then gives the demand level. Fourth, cultural segmentation will consider putting together customer with same belief and moral values. The marketing manager will also be able to understand different culture preferences to provide only what is acceptable in a particular culture. Market segmentation gives some information about the potential customers. The data is useful in defining the target market. Using such data, the marketing manager can know what is needed

Modernism in the making Gustav Klimt Essay Example for Free

Modernism in the making Gustav Klimt Essay The early twentieth century is a period that gave rise to a number of artists distinguished as the best in their respective fields. From engravers, to painters, to sculptors and to literary greats, these individuals changed and modified the way their art was made and interpreted. They extended the tradition visions and opened new horizons for the world to better understand art. Gustav Klimt was one of these innovators, an artist that fascinated everyone with his unique style and approach in painting. Gustav Klimt, who lived from July 14, 1862 until February 6, 1918, was born in Baumgarten. He had four sisters and two brothers, and was the second eldest of them all. His father Ernst Klimt was from Bohemia and worked as a gold engraver. At a very early age, Gustav Klimt veered greatly towards art and enrolled at the State School of Applied Arts in Vienna where he studied a field called architectural painting. This led to a career in painting interiors and large ceilings of different public structures. A lot of murals in these buildings were also accredited to Klimt (Fliedl, 2006). In 1897, Klimt’s effect to the art world increased when he and others founded the Vienna Secession, a group of artists dedicated in bringing to the public works of unconventional artists. The group preferred no particular style, and different approaches to art existed under one roof. The movement became a revolt towards academic art style, challenging the views of the conservative fine arts (Sterling and Clark Art Institute, 2002). Throughout his lifetime, Klimt received numerous citations and awards for his contributions to art. One of these is the prestigious Golden Order of Merit from the Emperor Franz Josef. His group the â€Å"Company of Artists†, composed of himself, his brother Ernst, and their friend Franz Matsch also gained praises from both the academic and popular art divisions (Fliedl, 2006). Aside from art, Klimt also had a family by his side, with Emilie Floge as his wife. It is, however, quite known to many that Klimt had several relationships with different women, fathering a total of 14 children (Collins, 2001). But Emilie Floge stayed dedicated to Klimt, being his companion until his death at the relatively young age of 55 (Fliedl, 2006). Gustav’s style was known to many to be a revolution and a transformation from traditional works, and clearly from the common academic teachings of his time. His began developing his personal style at about the same time when the Vienna Secession took shape. It also evident that Klimt was consciously connected with the environment and factors around him that could have influenced his way of thinking. Klimt lived in the town of Vienna during the turn of the century. It was a time where a great battle between different aspects and standards of life was going on. Gilles Neret (1993) described the scene: Artists and intellectuals developed enormous creativity, torn as they were between reality and illusion, between the traditional and the modern. With inhabitants such as Sigmund Freud, Otto Wagner, Gustav Mahler and Arnold Schonberg, the city was a â€Å"Laboratory of the Apocalypse†, a late bloom, a last creative tumult before its decline. (p. 7) It was within this â€Å"laboratory† where Klimt created his work, bringing up a linkage between a passing world of tradition and an emerging one of modernism (Neret, 1993). Just like many other artists in his time, Klimt was challenged to create something totally unique and different, something that would reflect his own feelings and personality. He achieved this by creating art works that are very ornamental. Gold and shiny colors are very much present in his works, such as in the painting entitled â€Å"Adele Bloch-Bauers Portrait†. The portrait depicts a woman in elegancy, covered with a magnificent flowing dress of gold. The background was also painted in gold and yellowish hues. Aside from the colors, several jewelries can also be seen around the subject’s arms and neck. One interesting thing about the painting is the presence of different styles, yet common theme, patterns along the dress of the subject and on the background. These figures composed of eyes, triangles, squares, and circles, are another trademark of the artist. Klimt uses a lot of kaleidoscopic elements in his work. Most of these can be seen as symbolic, and it would take a little more effort to be able to draw the different meanings from Klimt’s works. Another common theme of Klimt’s art is the erotic element in his art. Vienna during those days fostered a languid yet exalted atmosphere which could have encouraged the artist to work a lot on eroticism (Neret, 1993). He is fond of using women as his subjects, and exposes their beauty and sweetness in the form of painting. The effectiveness of this element is manifested perfectly in this work â€Å"Judith I†. This is another image of a woman, also painted in a flavorful golden background. Her neck is covered with a broad ornament, also colored gold. On her hand hangs the head of a man. Although covered with some clothing, a great deal of flesh and skin is blatantly revealed. Also, aside from holding a head, her left hand is positioned as if pushing the part of her dress away, intentionally exposing her right breast. The eroticism of the image is additionally stressed by the sensual expression of the woman: eyes and lips almost showing signs of inner ecstasy and goodness. Nevertheless, Klimt was able to capture the beauty and perfection of a woman, without compensating any single angle on which a woman may be viewed. Klimt’s eroticism, however, became the subject of many critics. One of his greatest controversies is the attack on his murals for a Vienna university due to the bold and pornographic essence they hold (Sterling and Clark Art Institute, 2002). This however, had little effect on Klimt as he continued working with eroticism and women. Personally, I do not find the styles of Gustav Klimt to be a sign of pornography and taboo. Klimt used eroticism to further increase the sensuality of his paintings, adding a new dimension to the flat portrait of his subjects. Also, his use of this element must be seen symbolically and not just as a random factor in his works. Gustav Klimt used a lot of symbols in his paintings, from the kaleidoscopic images to different repeating patterns around and on the subject, and even the subjects themselves. One final work of Klimt that was able to grab my utmost attention is â€Å"The Kiss†, a painting that was said to be one of Klimt’s greatest works. It is an image of a couple in an intense scene where the male is passionately kissing the female. Sensuality is present in the painting, and a hint of ecstasy can be seen from the woman’s expression. Both are shrouded in something that looks like a golden veil. The broad background is in a bronze color, with different shadings of gray and black. On the foot of the couple lies a carpet of green area with dots of pastel colors scattered all over. This area is not that symbolical, and an experienced viewer can easily depict this as a garden, or probably a meadow of flowers where the lovers did their kiss. As with his previous works, a lot of repeating patterns are used in the painting. The male’s clothing is covered with rectangles of colors ranging from white to black. Some are â€Å"transparent†, and reveals the golden overall color of the male’s suit. The female on the other hand is covered with circles of different colors and sizes. On the bottom part of the female, particularly on her legs and feet hangs golden necklaces that extend to the carpet of flowers. The painting as a whole is a treasure throve of symbols. This can be interpreted in different ways. The golden veil, for example, can be a sign of endlessness and infinity. It shows how strong a kiss can be in creating a union between a male and a female. Time was symbolized as an imperishable element like gold. The painting also evokes a â€Å"sparkling feeling† when someone kisses another. Aside from the golden color, the positioning of the subjects also shows the superiority of the male. The woman, with her facial features, expresses succumbing to the power the kiss of male gives. But the hug by her hands suggests a mutual understanding between the two, and not just any abuse of patriarchal power over feminism. The patterns on the dresses of the subjects also serves as symbols that provide additional foundation on the painting. The rectangles signify a being full of strength and power. The black and white scheme also fosters an atmosphere of courage in the male. He was also wearing a crown of vines that shows wisdom and knowledge. On the other hand, the circles define womanhood – caring, warm, open, and eternal. Some circles are drawn inside larger circles, which might suggest pregnancy and formation of a new life inside an old one. The painting â€Å"The Kiss† is ever since opened to different interpretations and translations. Some would say that it shows power of men, others would decode it as a balanced act of love, while still many unravels it as a hidden desire of pleasure in women. Nobody really knows what Gustav Klimt was thinking when he created this work, and this is what makes â€Å"The Kiss† special. It is a work embedded with numerous symbols waiting to be identified and clarified. And this is what makes viewing a Klimt painting enjoyable. Each picture tends to create a sensation of difference and a struggle to derive the real meaning of the symbols found in the artwork. This shows the effectiveness of Klimt as an artist – someone who can stimulate an audience’s mind to think beyond the normal. References: Collins, J. (2001). Klimt: Modernism in the making. Canada: University of Michigan Press Fleidl, G. (2006). Klimt. Berlin: Taschen Neret, G. (1993). Gustav Klimt. Berlin: Taschen Sterling and Clark Art Institute. (2002). Gustav Klimt Landscapes. Retrieved May 03, 2008, from http://www. clarkart. edu/exhibitions/klimt/klimt/bio. cfm â€Å"Adele Bloch-Bauers Portrait† image from NBC news archive, April 9, 2006. Retrieved May 02, 2008, from http://www. msnbc. msn. com/id/12187512/ â€Å"Judith I† image from All Posters website, 2008. Retrieved May 02, 2008, from http://www. allposters. com/-sp/Judith-I-Posters_i324971_. htm â€Å"The Kiss† image from Art in the Picture website. Retrived May 02, 2008, from http://www. artinthepicture. com/paintings/Gustav_Klimt/The-Kiss/

The Metamorphosis & Existentialism Essay Example for Free

The Metamorphosis Existentialism Essay Franz Kafka’s The Metamorphosis is a masterfully written novella about Gregor Samsa, a man who devotes his life to his family and work, for nothing in return. Only when he is transformed into a helpless beetle does he begin to develop a self-identity and understand the relationships around him. The underlying theme of The Metamorphosis is an existential one that says that any given choice will govern the later course of a person’s life and that a person has ultimate will over making choices. In this case, Gregor’s choices of his part in society cause him to have a lack of identity that has made him to be numb to everything around him. One morning Gregor awakens to find himself transformed into a beetle. Although the reader is never enlightened on how Gregor morphed into a beetle, or shown that Gregor gives much thought to having a body of an insect, Kafka gives the strong impression that Gregor is very devoted to his work and is the sole support of the family, none of which work themselves. Gregor devotes himself to a life of work and self-sacrifice, â€Å"[d]ay in, day out- on the road† (Kafka 4), following ever order, and expectation to a scurrilous degree. His life could be linked to that of a drone in an ant colony, and thus gives an explanation to Kafka’s logic when he is transformed into an insect, and thinks nothing of it. In fact upon finding himself transformed he immediately prioritizes his work above everything else; The next train left at seven o’clock; to make it, he would have to hurry like a madman, and the line of samples wasn’t packed yet, and he himself didn’t feel especially fresh and ready to march around. (5) Through his transformation into a beetle, Gregor abandons his mislead obligation to society and instead devotes the rest of his life to himself. Because of this Gregor’s family quickly grows to resent him as a burden to the household. Society and his family had no further use for him, so Gregor starves to death is his bedroom. On the opposite end of the spectrum, Gregor’s father began the story as a lazy and non-productive human being. He relied solely and completely on his son. After Gregor’s transformation, his father followed suit. He became a proud and productive individual of the lower bureaucracy. He found the balance between work and leisure that Gregor could not. According to Kafka and existentialism, people have both an individual side and a side with the commitment of society. It is our choices that must be in moderation of the two, to maintain balance. If a person chooses himself over society, he will lose the support of society; however, if a person chooses society, he will lose his individuality. Gregor initially chooses society over himself, which in turn transformed him into the working drone he was. After his physical transformation, he is forced reassert his focus to himself, and society abandons him. Through Gregor’s plight, his family became cohesive and productive in society, each contributing through work and leisure. Gregor learned to live for himself too late to become a whole person. Gregor begins to look for entertainment and fun in the form of a bug, a form that knows nothing but work, by crawling up to the ceiling and hanging from there, or from wall to wall over the various objects, this gave him a feeling of â€Å"almost happy absent-mindedness† (32). Haven given up any hope of returning to his human form or being a civilized working part of society ever again, this was one of the only joys Gregor had left in his life. By ignoring the purpose of being an insect, Gregor defeats the purpose of living in his new form of life, and in effect, dies. The Metamorphosis advances the existential view that choice is the opportune of the individual. It is the responsibility of the individual to maintain a balance between work and leisure. The Metamorphosis lends the idea that, if one chooses to devote their life entirely to work, they are no more than droning insects, yet if they devote their lives to leisure, they are no better off. A balance needs to be found. As rational beings, the burden of moderation between value to society and value to self must be assumed by the individual. One must be productive in order to be valuable to society, and one must have leisure in order to be valuable to them.

Comparison of French and German Cinema, 1930-1945

Comparison of French and German Cinema, 1930-1945 Introduction The dissertation aims to analyse the effects of totalitarian politics on the cinematic tradition of two of Europes most cultured nations, Germany and France. The study of cinema during the time period, 19301945 is a highly relevant discussion; one which is infrequently dissected by serious academic debate largely due to the lack of literature on the subject in comparison to studies pertaining to the effects of fascism upon other implements of the state, in particular religion and the military. Perhaps film students of the West still find it difficult to comprehend the fact that the Nazis were such a long way in front of their competitors when it came to the influence of National Socialist propaganda on the German people. As early as 1928 Hitler had come to understand the fundamental power of utilising modern forms of propaganda in paving the way for tyrannical rule, as he outlines in a speech dated 28 November (1999:151). The more one addresses only one social class, the easier it becomes to make promises. One knows from the beginning what each class wants If you are always only addressing yourself to one category, then political propaganda becomes infinitely easy. Certainly, in tandem with pervasive fascist symbolism and the dissolution of democratic political debate, the saturation of all forms of contemporary media was the key factor in Hitlers total seduction of the German nation. As such, the topic is relevant for the twenty first century where dictators still maintain power over illeducated people whose information is pumped into them via state propaganda machines that feed off insecurity, prejudice and paranoia, as modernday Zimbabwe currently illustrates. The study will be split into chapters as cited on the title page with the aim of creating an advanced understanding of how the Nazis used cinema as a tool of tricking the German people into believing concepts such as Lebensraum and the Jewish Question were issues of national urgency. The study will likewise examine the role of the Vichy collaborators in the seduction of French people, citing the essential similarities and differences of the two in terms of filmic content and production techniques. Clearly, as the instigator of right wing cinema as a political tool of mass hysteria, the German model will be first to be discussed, though the point should be made straight away that the Vichy Regime was not merely coerced into collaboration: there was active and passionate interest in France in fascist ideology with plenty of Vichy statesmen wishing to follow the path set about by the Hitler State. At no point should it be believed that Vichy cinema was a symptom of the occupation; it wa s, and remains, a marker for French sociopolitical beliefs at the time. Famous and infamous films such as Jean Renoirs La Grande Illusion, Bertolt Brechts Kuhle Wampe and Marcel Carnes Les Enfants du Paradis will be featured within the dissertation, citing specific examples from the movies to highlight how dissenters managed to voice their disapproval in highly subtle fashions that were unique to the extreme fear experienced in fascist Europe at the time. Comparisons between movie production under the influence of occupation, dictatorship, peacetime and war will provide fuel for the debate within. A conclusion will be sought as to the overall features that appear uniform within right wing film making, in addition to citing the subtle differences in the experience of movie production under the spectre of totalitarianism, as witnessed in Germany and France between 1930 and 1945. Chapter One: The effect of fascism on German Culture, 19301945 The short lived Weimar Republic is a source of great fascination for students not only of history but also of art, culture and society. Its relevance is in its oddity: the strange timeframe it fits into either side of Kaiser Wilhelm II and the Nazi State, two of the most suffocating and frustrating regimes in European history in terms of creative and artistic achievement. The Weimar Republic was responsible for a brief burgeoning of liberal German film making, art, sculpture, music, theatre and culture that was the envy of the western world at the time. Perversely, the strict socioeconomic conditions of the day appeared to ensure that the Republic would be as frivolous as it was unfortunate; as daring as it was politically unstable. Yet, as Elssaesser (2000:151) suggests, Weimar cinema may also have made it easier for Hitler to cast his cinematic spell on the German people. What has become abundantly clear is that the cinema permeated Weimar society as a very contradictory cultural force, at once part of oppositional Modernist avantgardes and in the forefront of capitalisms own modernising tendencies (as technology, industry and fashion) and for this very reason, invested with the hopes of revolutionary changes while susceptible to being used as the instrument for their containment (in the form of specular seduction, nostalgia, propaganda.) Diversity was the key to Weimar Cinema; it was an expression of multicultural Europe that was unfortunately located in the wrong place and time. With the Prussian aristocracy, disillusioned exmilitary personnel and marginalised masses of unemployed, the Weimar Republic was insufficiently prepared to withstand a structured coup from within when it inevitably came. Furthermore, the liberalism of the Republic gave added ammunition to the nascent Nazi State, giving Hitler and his propaganda minister, Josef Goebbels a readymade scapegoat for the deplorable state of German infrastructure during the early part of the 1930s. Indeed, it was Goebbels (1993:159) who highlighted the condition of the German nation before the National Socialists came to power in 1933 the state of the nation according to fascist eyes. Had it not been for the National Revolution, Germany would have been completely swissified, a nation of hotel porters and waiters, a nation having no political sense whatsoever that had lost any idea of its own historical significance. The effect of a onedimensional, intensely political approach to cultural affairs meant a surgical shift in the prism through which German society charted its progress between 1918 and 1933, and 1933 to 1945. Most art and film historians see the change that occurred in German culture after 1933, with the infamous burning of the books (May 1933) and mass emigration of a wealth of indigenous creative talent, as symptomatic of authoritarianism throughout the world. Bland, repetitive instances of film making and culture took the place of innovation and the first seedlings of avantgarde technique. Aesthetics and the human form took on added significance. Heavy handed plot lines guided the viewer of both art and cinema along a straightforward journey to the ideological heart of work without trusting the audience with the even the slightest semblance of individual reasoning. These are the popular images of authoritarian art forms promulgated after the defeat of fascism in Europe. Yet it would be incorrect to assume that German film making after 1933 was merely an exercise in retrospective propaganda studies; as shall be discussed in following chapters, Goebbels was fond of puncturing all genres of movies with National Socialist ideals with the result that a kaleidoscope of imagery is available to the twenty first century film student, each portraying a different vision of the fascist dream. It should come as little surprise to students of history to see a broad similarity between movies made in Nazi Germany and Soviet Russia: both countries relied upon eradicating the opposition and portraying the leader in an invincible light. Censorship at home and at the national borders also meant that fewer foreign films were being shown; those very few that made it past the German borders having to be screened first by the Nazis in order to gain an audience inside of Germany. Furthermore, the considerable risk that a film maker ran of being arrested, taken to concentration camp or even killed because of making a statement that the Nazi hierarchy did not favour was too great for all but the most ideologically driven of artists to bear. The result was an exodus of talent from Germany and a narrowing of vision to the extent that diversity, as a description of German cinema, became a complete misnomer. Art and cinema in the Third Reich were thus reduced to an entity in support of the regime; the hand over of the baton of creativity to autocracy was assisted by the state overhaul of existing cultural ministries. As part of the broader policy of Gleischaltung (coordination) the Reich Chamber of Culture (established in November 1933) oversaw this new breed of politicised movie making and art that presented a ludicrously perfect form of the Aryan man, engaged in the typical German pursuits of sport, work and family, as Seligmann et al (2003:50) detail. Images depicted Germans not just as modern day heroes but also as the heirs to Europes greatest cultural and imperial tradition, that of Alexander the Great and Caesar. As Aryans and National Socialists were elevated to the status of hero, so the Nazis used cinema and indeed every tool of popular culture at its disposal to reenforce the slide of the enemy into the sociological abyss. Over a short period of time, the Jews took over from the Weimar Republic and the Communists as the central target of Nazi abuse as one by one the political enemies of the state were made obsolete, leaving the racial enemies of the state as the sole carriers of the burden of national pariahs. Propaganda and film would play a disconcertingly influential role in the social facilitation of the Holocaust the essential psychological background whereby a nation might be made complicit in mass, statesponsored murder. As the violence and oppression against the Jews (and against gypsies, the handicapped and homosexuals) was increased, so the state began to use film and culture as a means to making the population complicit in their racial crimes. Reichskristallnacht (89 November 1938), for example, was a stateignited campaign of hatred against Jewry that was completed by the ordinary German people, a spontaneous orgy of destruction that would have been unimaginable were it not for the driptap effect of incessant fascist film making and media saturation, as Kershaw (2000:1412) underscores. The scale and nature of the savagery, and the apparent aim of maximising degradation and humiliation, reflected the success of propaganda in demonising the figure of the Jew certainly within the organisations of the Party itself and massively enhanced the process, underway since Hitlers takeover of power, of dehumanising Jews and excluding them from German society a vital step on the way to genocide. Der Erwige Jude (The Eternal Jew), the most extreme example of film utilised as a weapon of war, was a blatant and extreme vision of the life of common Jewry; the degradation of the living condition in the Warsaw Ghettoes providing the inspiration for the movies creator, Josef Goebbels who visited the area in 1940. The film portrayed Jews as vermin, cementing the belief in the viewer (coupled with state newspaper and radio) that the Jews were not only the enemy of the state but, more importantly, subhuman. As with all aspects of Nazi Germany, the murderous end effect can only be understood by taking the gradual desensitisation of the nation into account, a phenomenon that propaganda and film were instrumental in helping to bring about. Chapter Two: Occupied France: Vichy Collaboration in Moulding the Image of Fascist Europe The French experience of film was, until the continentwide rise of fascism, much the same as in Germany even if there were also fundamental differences between the two countries that made the transition from democracy to authoritarianism a more traumatic experience for the French, one that the nation has still not fully come to terms with. To start with, France, more than any other European nation, is synonymous with high culture, art and vision, characterised as the trend setting nation for creativity throughout the western world. Via Marcel Duchamp, for example, France was home to the origination of abstract art, his sculpture, Fountain (1917) often cited as a watershed in art and visual intention in the history of the West. In addition, France had dictatorship thrust upon it in a different way to the Germans. Clearly, autocracy can only arise from it being forcibly imposed on a population, yet in Germany it was Germans taking control of their own people, whereas, after the symbolic signing of the armistice on 22 June 1940, the French were dictated to by Germany from the vantage point of a vanquished nation. Therefore, there was more a sense of cultural partition between France in the 1930s and France in the 1940s that was not the case over the Alsace border into Germany. This starting point of a nation being defeated in war has been, ultimately, the greatest stumbling block regarding a better historical comprehension of the excesses of Vichy both from within and outside of French borders: for as long as the French were willing to rewrite history to paint the picture of a demoralised people who were fundamentally opposed to the right wing ideology of National Socialism, the country would be unable to see its true reflection. However, after the accumulation of two generations of historiography, Vichy was gradually deemed to be an active collaborator in the extremism that was witnessed in French culture and politics between 1940 and 1945 rather than a government coerced into cooperation. Marshall Pà ©tain may have been little more than a puppet figurehead, but he represented a large sector of conservative France that wished to eradicate the achievements of the artistic and philosophical endeavour of the early twentieth century so as to reembrace outmod ed notions of colonial France. Indeed, the right wing bloc who made up the core of the Vichy government were sympathetic to the anti-Semitic views of the Nazis the botched military trial of Captain Alfred Dreyfus for spying in 1894 highlighting a chequered history of a country that had barely bothered to even notice its own deeply resentful views concerning the Jews. The official separation of Church and State by law in 1905 merely paid lip service to a deepseated problem of prejudice in France. Although France had changed geographically, ethnically, politically and culturally between the two decades, a certain sense of continuity is detectable in French cinema of the period, which was certainly not the case in Germany. This was due to a combination of German censorship and genuine Vichy desire to ignore the shameful effect of the Occupation. As JeanPierre Jeancolas attests in his essay on the 1945 Vichy sponsored picture, Les Enfants du Paradis (2000:78), the realism that French cinema was so famous for showed no signs of cracking after 1940. The occupation of France in 1940, the control direct or indirect of its cinema by the German forces, condemned use of the present tense. Fiction films were allowed, at best, to portray a kind of vague present day, a period which had the appearance of the present, but not its singular hardships: the cars or the costumes are of 1943, but the French are depicted in light-hearted romantic entanglements, stories that never show the daily problems of finding food, or the presence of Nazi uniforms. Mention must be made of the division in France after her capitulation in 1940. Put simply, the country was split into half via north and south, whereby Paris, Brittany and the northern shores were deemed to be part of a territory called Free France, while the southern part of the nation, including major cities such Marseilles and Bordeaux (both of which had large ethnic and Jewish communities) was placed under the control of the Vichy Government. Vichy struggled to unite the two divisions until 1943 at the earliest, a time which signalled an increase in French resistance as, after the Battle of Stalingrad (February 1943) the sense of a slow protracted capitulation in the East led to a renewed sense of optimism in the West. It is important, therefore, to recognise the difficulty in defining a singular French brand of cinema after 1940. There were noticeable anomalies in how the Germans treated the two main zones. Newsreel propaganda, for instance, was different: in the Occupied Zone, cinemas screened antiBritish German newsreels, while in the Unoccupied Zone, Vichy largely steered clear of any mention of the war of the German presence in France at all. It is likewise important to recognise that the Vichy propaganda machine was not under the same level of autocratic control as was the case in Germany. There was no allpowerful figurehead to rival Goebbels in France. Pierre Laval was the clearest comparison to him but the Deputy Prime Minister spent much of his time in Paris negotiating with the Germans. In addition, Laval believed fervently in the power of broadcast media as the fundamental tool to seduce a weary population, neglecting largely the cinema and music. Furthermore, Laval delegated control of the propaganda machine to Paul Marion after 1942, which meant a discernible lack of leadership. A comparable model to Goebbels extensive communications system cannot be found in Vichy France. However, this does not mean to say that the Vichy Government was without persuasion or an ideology of its own. Although Occupied France was under the control of Germany, Vichy was given leeway in terms of national reeducation and, as the administration grew more secure in the southern part of the country (coinciding with entire divisions of German troops leaving France to fight on the increasingly demoralising Eastern Front), so a discernibly French model of fascism was seen in all walks of life, extending quickly to the national movie community. Continuity in all areas is the chief characteristic of Vichy cinema. As beforehand, Paris remained the creative hub of wartime France; many of the cast and directors of the films of the thirties remained to star in Vichy pictures. Jean Gabin and Michele Morgan were two big name stars who fled the country, but the rest mostly remained in France and continued to work. The Germans did not permit French films to cross the demarcation line until February 1941 when it became apparent that the same stifling effect of authoritarianism was prevalent in French as well as German cinema: there was no question of antiGerman films being shown because they were not being made. As a rule, movies produced during the Vichy years were unanimously nostalgic. As in the 1930s, many of the movies of the early 1940s were scripted around the French experience of World War One, characterising the recent experiences of the nation in the form of one actor or actress. The core Vichy values of family, la patrie and duty were cited in almost every film of the period, such as La Voile Bleue (1942), an anachronistic view of rural southern France that was the biggest commercial success of the forties in France. However, as Julian Jackson (2001:3201) details and contrary to popular belief, there was not a plethora of explicit right wing propaganda present in films made on the fascist side of the Vichy watershed. Paradoxically, many themes that one might expect to have figured more prominently after 1940, almost disappeared from the screen. Before 1940, many French films contained critical portrayals of British characters; after 1940 the British are absent. Before 1940 films had frequently depicted Germans sympathetically; after 1940, despite collaboration, Germans almost disappear from the screen. In the 1930s, antagonism to foreigners had been a frequent theme; after 1940 it was less present. Most surprisingly of all, whereas hostile depictions of Jews had proliferated in the 1930s, they are almost absent after 1940 As far as feature films are concerned, if they reflect anything different from the films of the 1930s it is Vichys desperate wish to believe the outside world did not exist. If a viewer was unaware of the historical subtext of the films produced during the 1930s and 1940s in France, they would not know occupation occurred at any point. But perhaps this was precisely the point: to cover over the huge dent in national pride at having to endure occupation by pretending that it did not exist. Learning from Goebbels, Vichy would also have been aware that, regarding propaganda, less can often mean more. Chapter Three: Josef Goebbels and the Intervention of Propaganda Cinema Unlike in France where a clear line of cinematic continuity can be traced, in Germany there is little doubt that movies made pre1933 would not be funded under Nazi rule. Kuhle Wampe (1932), for instance, was a decidedly Weimar production. The film was written and coproduced by Bertolt Brecht who was known within Germany to be a left wing film maker and sympathiser, yet one who did not favour the heavyhanded film making approach, as the following excerpt (1996:138) underscores. This way of subordinating everything to a single idea, this passion for propelling the spectator along a single track where he can look neither right nor left, up nor down, is something that the new school of play righting must reject. Betraying such antiauthoritarian views, it is no surprise that Kuhle Wampe turned out to be a socialist classic, an art house production made all the more poignant due to the cusp of the historical wave upon which contemporary Germany was riding. Brechts vision of a utopian community that rejects pricefixing and imperialism has been viewed as the last independent breathe of Weimar culture the final flourish before people such as the writer left Germany forever. Films such as Kuhle Wampe, as well as The Threepenny Opera, Kameradschaft and The Blue Angel all produced between 1930 and 1932 ensured that the shift, when it inevitably came, towards the right was all the more transparent because pictures such as these simply ceased to exist in Germany after 1933. Propaganda and cinema were married in the Third Reich like never before. Deconstruction of the pluralist approach of Weimars brief democratic tradition was the first step the Nazis took in reconfiguring the German nation in their own distorted image, followed inevitably by the edification of a new mythology, built exclusively around the twin pillars of the ubiquitous power of the Fuhrer and the antiGerman predilections of the communists and international Jewry. At first, of the two, the Fuhrer Myth was the most important solidifying effect in the Nazi consolidation of power. Hitler had learnt from Mussolini the herald of Fascism according to Hugh TrevorRoper (1995:174) that a tyrant could exert sole control over a modern, industrial European country but only via eliminating all competing iconography and elevating the leader to a quasireligious status, which could only be achieved by extensive propaganda exercises. As Ian Kershaw (1998:289) explains, the all encompassing image of Hitler portrayed in banners across German cities, in schools and in cinemas throughout the nation was vital not only in securing the stability of the Nazi State but also in making a subliminal connection between himself and the traditional heroes of German history within the broader national consciousness. For Hitler himself, the Fuhrer myth was both a propaganda weapon and a central tenet of belief. His own greatness could be implicitly but unmistakably underscored by repeated reference to Bismarck, Frederick the Great and Luther. Initially, even Goebbels was taken aback by the way in which the Nazis were able to instil their extremism throughout the country. A process that should have been osmotic took place with astonishing rapidity, as the Propaganda Minister (1996:41) himself explained in April 1933. What we are now experiencing is only the transfer of our own dynamism and legality to the state. This is taking place with such breathtaking speed that one scarcely has any time to call his own. Goebbels considered himself to be a man of culture and the filmmakers that he most admired did not come from the right wing stock that one would naturally associate with the Propaganda Minister. For example, Goebbels was a big fan of American cinema and he privately thought that the film making industry in the United States was far ahead of German production to that point. One of his favourite movies, although he denounced it in public, was Gone with the Wind, and he was likewise a great fan of the icon of Soviet propagandist cinema, Eisensteins Battleship Potemkin. Within the broader sphere of German film making during the period 1935 to 1945, Goebbels was the most important man in the country. All of the guidelines pertaining to film production in the postsilent era were rewritten after the Nazis seized power. As ever, culture and film became officially politicised and, as a by-product of Gleischaltung, the movie production apparatus fell into the hands of the Reich Ministry for Popular Enlightenment and Propaganda. Therefore, without Goebbels patronage a film would never make it past the level of script. His control was absolute, even extending to the question of financing production. Whereas under the Weimar Republic censorship and rating were separate bodies, the Nazis held onto both principles offering a tax rebate for positive film ratings, thus exerting considerable financial pressure on production companies that persisted in making unsatisfactory films. Reuth (1993:1945), in his rich biography of Goebbels, details the full extent of his control over movie making in Germany during this period, a description of a cultural power more potent than any available to the leader of each of the German Armed Forces. He had lists prepared of his favourite actors, as well as of Hitlers. He also kept close track of upandcoming talent, which he insisted on seeing for himself producers also depended on Goebbels favour, for he had created a comprehensive apparatus that allowed him to intervene in all phases of film production. The film department in the Propaganda Ministry, whose director Ernst Seeger served simultaneously as head of the office of film standards, oversaw production planning. All screenplays were examined for appropriate artistic and intellectual attitudes He [Goebbels] read film scripts almost every evening, and not infrequently revised them according to his own notions, using a green ministers pencil that became infamous among directors. Only after he had approved a project could the Film Credit Bank respond to a request for financing. Goebbels would even intervene in the shooting, often dropping in on studio, checking the rushes, and rating the finished product. From October 1935 on , he alone determined which films would be banned. Goebbels was the first head of communications anywhere in the autocratic world to understand the power of cinema in seducing a country; combined with his absolute control over all areas of broadcasting, films would see to it that Germans saw no other image of themselves apart from the vision in his mind for over ten years. However, this is not to state that films made in Germany during this period ought to be dismissed as wasteful propaganda, good for nothing but a lens through which to view National Socialist ideals. As will become apparent, a great many German productions of this time were goodhumoured, light hearted affairs that do not conform to the preconceived notion of a nation forced to watch endless versions of Der Erwige Jude and similarly dark depictions of dictatorship. Although many films were made that were instantly recognisable as party political broadcasts, such as Patrioten (1937), there were likewise others that provided a more panoramic view of Germanys splintered cultural psyche during the Third Reich. The following two chapters will examine two polar opposites of Third Reich cinema Heimatfilme and Exilfilme two bookends of the typically Nazi notion of home and abroad. As always when revisiting the ideology of National Socialism, there was very little room for any grey area in between extremes Chapter Four: Heimatfilme 47.8 per cent of the films produced during the Third Reich were comedies, 27 per cent were problem films, 11.2 per cent were adventure stories and only 14 per cent were considered outright propaganda films (Reuth, 1993:283). One of the most cherished German films of all time, Die Feuerzangenbowle (1944) was made during the darkest most desperate days of the war when all but the most closeted and narrow minded of Nazis could see that the war was never going to end in a German victory. The story, involving a mature student who never got to enjoy the hilarity of public school, could not have been, aesthetically and emotionally, further away from the politics of the time. But that was the point all along. By manipulating the mood of the audience, the Nazi propaganda state could change focus as and when external events demanded it. Die Feuerzangenbowle, for instance, might never have been produced if it was created during the honeymoon period of the early years of the dictatorship. Clearly, propaganda can be inserted into a storyline via more subtle camera and plot techniques and this is how Goebbels set about reenforcing core ideals into the German film loving audience. According to Reuth (1993:284), Goebbels and the Nazi propaganda machine preferred a more pervasive approach to political persuasion, especially concerning the most important issue of armed conflict on two fronts. Goebbels saw to it that the war, which became the main theme in films from 1939 on, was linked to the most varied genres, so as to make indoctrination of the audience imperceptible and keep the medium of film attractive. As he expected of all his propaganda ideally, so too in film, one and the same message was to be conveyed over and over again under constantly varied aspects. Of all the creative, cinematic options open to Goebbels, the most popular genre favoured by the Nazi hierarchy was the Heimatfilme, a uniquely German cinematic experience that played on the national obsession with the homeland. Apart from Austria, no other European country has the same nostalgic disposition towards artistic portrayal of the homeland quite like Germany. Because the nation was only unified after the FrancoPrussian War in 1871, successive generations of German film makers consistently looked back to the patriarchal preindustrial period inciting dreamy landscapes and a simple way of life to try to evoke the sense of longing the displaced German people of the countryside may have felt before unification. Manuala Von Papen (1999:12) highlights the reasons why Heimatfilme appealed to the Nazi leadership. This seems to be a genre virtually exclusive to the German-speaking countries and therefore untranslatable. Heimat means home, but also much more than that; it also stands for the entirety of ones cultural, social, ethical and historical heritage and provides an individual, a group of a whole nation with their identity, their Heimatgefà ¼hl. Clearly, the notions of volk (people) and heimat (home) were central concepts to the longevity of National Socialism. By combining the two, Heimatfilme leant the Nazis the opportunity to pander to the broader European taste for nostalgia as well as reenforcing the belief that Hitler was the true defender of German interests abroad. In a revolutionary move in light of the despotism of the regime, the Third Reich severed the equation of dictatorship with brainwashing propaga

Comparing the Tragic Flaws in Oedipus Rex (the King) and Death of a Salesman :: comparison compare contrast essays

The Tragic Flaws in Oedipus Rex and Death of a Salesman "Oedipus Rex" and "Death of a Salesman" are two examples of tragedies. In these two plays the characters are good, but not perfect, and their misfortunes are the result of their tragic flaws. Blindness and vision are used as motifs in the play "Oedipus Rex," which are also the tragic flaws of the hero. Vision refers to both literal and metaphorical blindness. The frequent references to sight, light, eyes, and perception are used throughout the play. When Oedipus refuses to believe Tiersias, Tiersias responds by saying "have you eyes" and "do you not see your own damnation?" Tiersias also says "those now clear-seeing eyes shall then be darkened." The reference to sight has a double meaning. Oedipus is famed for his clear-sightedness and quick comprehension. He was able to "see" the answer to the Sphinx's riddle, yet ironically, he lacks the ability to see the truth about his own identity. Oedipus has become the very disease he wishes to remove from Thebes. In "Death of a Salesman," Willy Loman is the opposite of the classic tragic hero. Unlike Oedipus, Willy is a ordinary man. His name implies he is a "lowman" whose dreams and expectations have been shattered by the false values of thesociety he has put his faith into. This simple characteristic makes him a tragic hero like "Oedipus Rex." Willy is blind to the reality around him. This blindness, is his tragic flaw like that of Oedipus Rex. Willy is a dreamer who is unable to face the realities of a modern day society. Willy builds his whole life around the philosophy that if a person is well likedand good looking, he will be successful. Willy says to Biff, "I thank Almighty God that you are both are built like Adonises." Later, Willy makes the comment, "Be liked and you will never want." His need to be well liked is so strong that his choices throughout his life, and his blindness to the reality around him, prevents Willy from realizing his dreams and values were flawed.

A Mixed Economic System Would Benefit the United Kingdom Essay

A Mixed Economic System Would Benefit the United Kingdom Two main economic systems have been developed since the Industrial Revolution, these are Capitalism and Socialism. Both systems have advantages and disadvantages, this essay will explain these, and also give my proposals for a mixed system for the whole society of the United Kingdom. Capitalism Capitalism generally started as an economic system in the United Kingdom at the time of the Industrial Revolution. The basic explanation of Capitalism would be to say that 'the economy is left to its own devices with no Government intervention'. A Capitalist economy is a market economy where all economic decision making is decentralised, and the Government will only supply national defence, administer justice and provide certain public works. The goods that are provided in a Capitalist economy are decided by individuals who choose how to use their labour and spend their income. All resources are privately owned and will only be used for obtaining the highest profit. Advantages of Capitalism There are many advantages to a Capitalist economic system which could make it very appealing to society. The system allows the powers of market forces to operate which in turn gives the consumer a wider range of goods and services. Also because producers are always seeking the highest profit they must try to please the consumer and win their custom. This leads to innovation and greater quality and variety. The firms which produce the correct goods and services will win custom and make profit, those which don't will go out of business and therefore release their resources to the successful firms. This will lead to the expansion of the economy and greater prosperity. In summing up the advantages, it is clear to see that the consumer has the power to dictate the goods in the economy. Disadvantages of Capitalism As discussed in the advantages of Capitalism the consumer has all the power in the economy. However individuals purchasing power is drastically unequal because of the inequality of wealth within the economy. This is due to the fact that some people will always be able to work harder, be more innovative and be more talented than others, and therefore be more profitable and promote themselves higher in the economy whilst others will fail. Because of the inequality of wealth in a truly Capitalist society with... ... Since the war the Government has still kept a lot of control but the opportunity for entrepreneurship is available. The economy in the United Kingdom is, as far as I can see, the only way a society can flourish. The Government tax people but provide, health care, infrastructure, education and welfare as well as owning certain industries to keep some form of economic planning available to them. However recently the Government has sold off a lot of nationalised industries and this has allowed for more competition and moves the economy in to a more Capitalist state. Conclusion In a Capitalist society there is great suffering because of the great inequality but in a Socialist society it seems that, even though the idea of everyone living equally in harmony is appealing, the fact of the matter is that the only equality that people will share is the equality of no choice and oppression. True Socialism can never work in any society because it is human nature to want mare than you have and to strive to achieve this. Countries that say they are socialist seem to me to be more of a dictatorship. A true mix between the two must be achieved to sustain a healthy economy and a happy society.

Richard Avedon: Changing the Future Through Art Essay -- essays resear

Bright lights, flashes going off, beautiful and famous people everywhere, creative set designs, and everyone working to make the photo shoot perfect. This was the life of famous Richard Avedon. Avedon is one of the most successful photographers of the 20th Century. He is known for his fashion, advertising, exhibitions and book photographs that he has done.   Ã‚  Ã‚  Ã‚  Ã‚  Richard Avedon was born in 1923, in New York City. Avedon attended DeWitt Clinton High School in the Bronx. He never completed his high school career, and in 1942 Avedon joined the U.S. Merchant Marine Photographic Department. When he returned he joined the Design Laboratory taught at The New School by famous art teacher Alexey Brodovitch. Through this class he started to become well known for his stylistically fashion work that often took place in exotic and vivid locations. Avedon was married in 1944 to Dorcas Nowell, a model known professionally as Doe Avedon. They divorced after five years. In 1951, he married Evelyn Franklin. The pair later separated. In 1945 his photography career began.   Ã‚  Ã‚  Ã‚  Ã‚  He began his career in fashion photography in 1945 with Harper's Bazaar, switching to Vogue magazine in 1966. A retrospective exhibition of his work was mounted in 1978 at New York City's Metropolitan Museum of Art. Richard Avedon was the first staff photographer in the history of The New Yorker in 1992. Avedon’s work was a very unique and new way of photography. He was wid...

Gender and Women

Oppression is a word that is often misunderstood and misused. In Marilyn Frye’s article, Oppression, a central theme is created that focuses on male control, and how it is a form of oppression that affects the lives of women (Frye, 9). My reasons for agreeing with Frye’s argument that only women are oppressed as their own gender will be further discussed by focusing on how women are forced into particular roles.Additionally, I will explain how there is a mutual barrier of oppression where women are oppressed for the benefit of men, and how women will always be immobilized and degraded to benefit other groups regardless of their race or economic status. Frye defines oppression as often being thought of as the limitation or suffering of any human for any reason or cause. She argues that this statement is incorrect and highlights that humans can be miserable without being oppressed. Frye defines being oppressed as similar to being molded, immobilized and reduced by forces or barriers.She relates this concept to the â€Å"category† of women and how they are constantly caught between forces or barriers that are a disadvantage to them. It is explained that women, regardless of race, religion or economic status, will always be oppressed because â€Å"being a woman is significantly attached to whatever disadvantages and deprivations she suffers, be they great or small†(Frye, 16). Frye highlights that oppression is a double bind barrier in which one group will suffer for the betterment of the other. Men oppress women with a variety of different elements that collaboratively immobilize, reduce, and mold the lives of women.She concludes that women are oppressed as women, which adds limitations to what they can do in life, and men are not oppressed as men by shedding light on the fact that being a man is something that they have going for them (Frye, 9-16). It is clear that everyone, either male or female, acts a certain way around someone of th e same sex, as opposed to someone of the opposite sex. Frye explains that both males and females have certain restraints on what behavior is acceptable for them, and how â€Å"women restraint is part of a structure oppressive to women and the men restraint is part of a structure oppressive to women† (Frye, 16).Women can act â€Å"un-lady like† when they are only around other women, however as soon as men are in the picture, a woman is expected to act a specific way. Men and women have grown up in different gender roles, where they do certain things and act in a certain way that differs from the other sex. Nonetheless, men seem to oppress women into certain roles so strongly that it results in men also having to live up to particular roles. If a woman is expected to sit up straight, then a man is expected to play the opposite role and slouch, to ensure their masculinity.If a woman is expected to eat healthy and stay slim, a man is expected to work out and get buff. By c reating standards or roles that women have to live up to, men create social standards for themselves unintentionally. However this does not mean that they are oppressed, because men do not miss out on opportunities for being a male. Being able to recognize this difference is crucial. There are several ways in which men oppress women, in turn creating social standards for themselves without being oppressed. Frye uses the example of a man opening a door for a woman.At a microscopic level, it looks like the man is being polite, and removing a barrier for a woman to walk freely (Frye, 12). By simply opening the door for a woman who is capable of doing it herself, men are oppressing women as unable (Frye, 12). As a result, men create a new social â€Å"mold† for themselves, where they have to be a gentleman and ensure that they get to the door first. So does this mean that women oppress men? Fyre argues that there is a mutual barrier within oppression. For example, when looking at a prison, there is a barrier that separates the prisoners from citizens.The prisoners are restrained to ensure the safety of the citizens outside of the prison. These barriers take away from the freedom and liberty of the prisoners, while intensifying the freedom of the citizens (Frye 14). This scenario is similar to how men oppress women. Men sometimes believe that they are oppressed into the â€Å"mold† of masculinity, and are unable to be nurturing (Frye, 14). Nonetheless, men restrict themselves to this role in order to maintain their superiority, while women are oppressed into roles, which act as a huge disadvantage to them.As a result of being oppressed by men, women will always be immobilized and degraded to benefit another group. Although men are constrained by the oppression of women, women have to fit into a tighter mold. Frye underlines that one’s suffering is partly because one is a member of a specific category. In this case, being a woman is a huge facto r that gets in the way of her everyday life (Frye, 16). McGinn (2012) explains that in the early 19th century, women were not expected to work and earn their own living. They rarely had careers, and most professions were refused to women and saved for men (McGinn, 2012).Today, women are allowed to work, and have an equal chance of getting the same jobs as males. However, there are underlying bias’ that affect a woman from being respected in the position as highly as a male. For example, a lot of individuals take male police officers more seriously than female police officers, even though they have the same qualifications. This is just one of many examples of how women are oppressed and further degraded in order to give men the role of being the more dominant sex. Frye’s argument on how women are oppressed as women and how men are not oppressed as men is indeed correct.Women are consistently degraded and shaped into particular roles, which benefit men and other social g roups. Regardless of a women’s economic status, race, or culture, they will always be victimized for solely being a women. It is clear, that when looking at the barriers of oppression, that women are confined to the side that is oppressed, giving all dominance to the male sex. Future generations should work towards creating a more equal lifestyle between women and other social groups, allowing women to achieve roles in which they want to fulfill.

Alternative Teaching Strategies

From Infancy until the late stages of our lives, we undergo divergent stages of development. In each of the stages, we be mantic to be mastering both(prenominal) craft, or prioritizing a task that we have nary(prenominal) given the condemnation of day before. several(prenominal) psychologists have come up with theories active these stages, each intertwined with the other. This paper will lose weight on Jean Piagets scheme of Cognitive Development, specifically, to Concrete Operational Stage, in relation to the experience of coach-and-fouring Math to the children in St.Kitts. According Perret-Clermont and Bessire, (2004) from encyclopedia. com, Piaget comp atomic number 18d ideas and details, the philosophy of science and the contemplation of children, working pop out the fundamental normals of patrimonial epistemology. Concrete Operational Stage happens from the ages 7 to 11 years. According to Piaget, at this stage, reversibility, that is rejects when changed has th e dexterity to return to its original state, is attained. According to marshall (1998) in encyclopedia.com, In the stage of supposed concrete-operations (which lasts from about the ages of 7 to 11 or 12), children start to classify objects, roll in the hay suck up the role of others and understand the nature of find and effect, but still have obstacle holding about abstract concepts without referring these to current events or particular images with which they be familiar. Edwards, Hopgood, Rosenberg and squawk (2009) further wrote in their website, During this stage, the thought cover becomes more rational, mature and adult like, or more operational, although this bring most very much continues well into the teenage years.The process is divided by Piaget into devil stages, the Concrete Operations, and the established Operations stage, which is normally underg hotshot by adolescents. In the Concrete Operational stage, the child has the ability to develop logical thought about an object, if they are able to manipulate it. By comparison, however, in the Formal Operations stage, the thoughts are able to be manipulated and the presence of the object is non necessary for the thought to mob place. Other characteristic for this stage was menti whizzd by Atherton (2009) in the Learning Teaching website underside think logically about objects and events Achieves saving of tot (age 6), mass (age 7), and weight (age 9) categoryifies objects harmonize to several features and can order them in series along a mavin dimension much(prenominal)(prenominal) as size. An anonymous writer from Child Development work (2008) said the following for this stage of development, manifest for organized, logical thought. There is the ability to suffice multiple classification tasks, order objects in a logical sequence, and comprehend the principle of conservation.Thinking becomes less transductive and less egocentric. The child is capable of concrete probl em-solving. Some reversibility now assertable (quantities moved can be restored such as in arithmetic 3+4 = 7 and 7-4 = 3, etc. ) Class logic-finding bases to sort unlike objects into logical groups where antecedently it was on superficial perceived depute such as color. Categorical labels such as outcome or carnal now available. It is from these that the project was initiated. For two months, the seed of this paper has spent time with the enlighten kids of St. Kitts.Everyday, tutorial lessons were held to aid children in accomplishing their tasks at school. A stiff of survey irresolutions was in any case distributed to find out their views to assistance in setting up the project. The survey consisted of 10 questions specifically phrased and distributed to both the children and their parents. Of the ten questions answered by the children, the diadem 4 questions that were noticeable were questions result 2, 4, 5 and 9. Question number two asked them if their parents pa ss off quality time with them and their schoolwork. nearly 70% of the tribe said no. Majority of the children answered 4-5 hours with question number four that asked about the amount of time they spend playing after school. When asked if they spend time studying at home, besides at school, for question number 5, only when 43% said yes. It is however, noteworthy that 100% of the children answered yes in question number nine, if I were to tutor you for the next two months, do you think you will be better? As for the result on the survey to the parents, the top four questions that had numerical impact were questions number 1, 2, 3 and 5.For question number one, only 50% of the parents say that they are abstruse in their childrens formulation. The involvement of the 50% though varies from root word to subject as they have limited knowledge to some areas. Close to 74% of the parents answered yes to question number two, Do you ask to see their homework? Comparing the results for both questions number one and two, the disparity between involvement (helping children out) and just looking at the homework, is already evident. sounding at the homework does not unavoidably mean seeing through the process of its completion.One of the more interesting results is the answer to question number three, as it deals with time frames parents set to their children in accomplishing their homework. Only 20% of the population does it. The last question that had impact is for the one that asked whether or not parents cut out distractions (like TV or computer) in the emphasize? Only 12% were confident in saying yes, whereas a majority rated it as not sure. This result roots from the fact that they dont entirely bump off these distractions, because most of the parents still do their avouch chores and tasks while their children are doing their homework.The experience has brought the closedown that deficiency of attention and attentiveness to and from the kids are the big gest ratifiers for the knowledge deficit in the community. The object glass of the project is to come up with an alternate(a) that will help children concentrate on doing assignments to gain desire for learning anew, to help and equip parents with the styles of teaching, so that after this project, they can do it themselves. The project and teaching plan, however, are limited to tutoring Math, and not other subjects.Nursing diagnosis Knowledge deficit related to lack of application of age-appropriate (developmental stage) learning methodology. While the children answered in such manner to the survey questions, an unvarnished lack of appropriate application of the developmental ability and capability is a contributor to making the children interested in the subject area and making the parents involved in the assignments. Parents have little knowledge on how to approach teaching children, and they are not wary about the fact that children at distinguishable stages comprehend less ons in different manners or levels.

Charles Dickens

You may choose to sustain a biographical dictionary handy! Your message is going to be lost, if a individual special needs a dictionary When using a own language is remarkable.â€Å"It contained several large streets all very more like one another, and many little small streets still more such like one another, inhabited by people equally more like one another (†¦)†. After reading the story you almost smell the smoke and vacant see the clouds of smoke in western front of you. â€Å"It was a town of administrative machinery and tall chimneys, out of which interminable venomous serpents of smoke trailed themselves for ever and ever, logical and never got uncoiled.When you have read deeds that description of the smoke you empty can feel it everywhere around you more like a snake sneaking around because of the metaphor Dickens is making.Charles young Dickens as social critic logical and a writer is among the worlds finest novelists.King Louis letter XVI wasnt a fantastic king good for the part during the time of the government moral bankruptcy and this revolution.

At times the story appears to be aimless.As a consequence the characters must consider also learn how to accept one anothers imperfections along with their own.Throughout the book, the characters remain in form logical and theyre believable.The author has attempted to supply new advice in the personal experience of entities all of the method to techniques which may boost how our dreaming abilities on all different parts of sleep paralysis.

It is a little book about reading.Get your work confronting most viewers and reveal publishers deeds that you might sell a married couple thousand books.You have to little read the book.Write the book which you would love to read.