William Shakespeare Was Born In The Year Of 1564 In Stratford-upon-Avo

William Shakespeare was born in the year of 1564 in Stratford-upon-Avon, England. His exact birth date is unknown but it is traditionally celebrated on April 23. In England this day is known as the feast of St. George. He was the third of eight children born to John and Mary Arden Shakespeare. John Shakespeare was a tanner, and a glove maker. He served a term as the mayor of Stratford, a town council man, a justice of peace, and an ale-taster. Unfortunately John could not write. John Shakespeare died in 1601. Since William was his eldest son he received what little land his father owned. Little is known about his mother's life. It is known that she came from a wealthy family. Her family also paid her husband a handsome dowry. William Shakespeare went to a very good grammar school in Stratford-upon- Avon. Two of his instructors were Oxford graduates, Simon Hunt and Thomas Jenkins. William's studies were in Greek and Latin. He developed the ability of keen observation of both nature and mankind. It is said that his education ended here. On November 27, 1582, when William was 18 years old, he married Anne Hathaway. She was ten years older than him. Their first daughter, named Susanna, was born the next year on May 26, 1583. The couple also had twins, Hamnet and Judith, in 1585. Hamnet died at the age of eleven, but it is unknown how. Between the years of 1585 and 1592 no evidence of what happened in Shakespeare's life is known. These years are called The Hidden Years. It is said that during this stretch of time, he ran away from the law or was the apprentice of a butcher, although a man named John Aubry was told by Christopher Beston that Shakespeare was a school teacher up until 1592 somewhere in London. Beginning in 1592, in London, he became known as an established playwright. In 1593 he found a patron, Henry Wriothsley, to sponsor him. William Shakespeare was also an actor, writer, director, and stockholder in The King's Men company. He acted for a company called The King's Men. This company became the largest and most famous acting company simply because William was performing and working for them. Shakespeare wrote two long poems. His first, Venus and Adonius, was written in the year 1593. Then a year later he wrote, Rape of Lucrece. These were written at a time when theatres were closed because of the contagious epidemic known as the plague. In the late 1590's he wrote many plays. Most of them being comedies, the major ones are: The Taming of the Shrew, The Comedy of Errors, As You Like It, Much Ado About Nothing, and The Two Gentlemen of Verona. Romeo and Juliet was his only tragedy written during this time. In 1599 a theatre called the Globe was built by Shakespeare's company. Some of his most prominent tragedies written and performed were Hamlet, Othello, King Lear, and Macbeth. Since Shakespeare was established playwright, he was wealthy because of multiple income sources. In 1597 he bought his family a huge house called New Place, located in Stratford-upon-Avon. Shakespeare retired from theatre in 1610 and returned to Stratford. On the 25th of March, 1616, he wrote his will. On April 23, 1616, the same date as his birthday, William Shakespeare died. He was buried at the chancel of the Church of the Holy Trinity in Stratford. The cause of his death is unknown. Many people believe that he knew that his death was near, but did not want anybody to know. Seven years after he died, in 1623 William Shakespeare's first folio was published including 154 sonnets, 36 plays, and his two long poems. The folio was put together by his friends so that nobody could take his work as theirs. Bibliography BIBLIOGRAPHY 1. Torstenson,Casey. William Shakespeare. Internet 2. Shah, Ravi P.Life of Shakespeare. Internet,1997 3. Booth,Beth.Shakespeare's Life. Internet 4. Editors of the Grolier Universal Encyclopedia. Shakespeare, Stratford Press,Inc: New York,1966 William Shakespeare Was Born In The Year Of 1564 In Stratford-upon-Avo William Shakespeare was born in the year of 1564 in Stratford-upon-Avon, England. His exact birth date is unknown but it is traditionally celebrated on April 23. In England this day is known as the feast of St. George. He was the third of eight children born to John and Mary Arden Shakespeare. John Shakespeare was a tanner, and a glove maker. He served a term as the mayor of Stratford, a town council man, a justice of peace, and an ale-taster. Unfortunately John could not write. John Shakespeare died in 1601. Since William was his eldest son he received what little land his father owned. Little is known about his mother's life. It is known that she came from a wealthy family. Her family also paid her husband a handsome dowry. William Shakespeare went to a very good grammar school in Stratford-upon- Avon. Two of his instructors were Oxford graduates, Simon Hunt and Thomas Jenkins. William's studies were in Greek and Latin. He developed the ability of keen observation of both nature and mankind. It is said that his education ended here. On November 27, 1582, when William was 18 years old, he married Anne Hathaway. She was ten years older than him. Their first daughter, named Susanna, was born the next year on May 26, 1583. The couple also had twins, Hamnet and Judith, in 1585. Hamnet died at the age of eleven, but it is unknown how. Between the years of 1585 and 1592 no evidence of what happened in Shakespeare's life is known. These years are called "The Hidden Years". It is said that during this stretch of time, he ran away from the law or was the apprentice of a butcher, although a man named John Aubry was told by Christopher Beston that Shakespeare was a school teacher up until 1592 somewhere in London. Beginning in 1592, in London, he became known as an established playwright. In 1593 he found a patron, Henry Wriothsley, to sponsor him. William Shakespeare was also an actor, writer, director, and stockholder in "The King's Men" company. He acted for a company called "The King's Men". This company became the largest and most famous acting company simply because William was performing and working for them. Shakespeare wrote two long poems. His first, "Venus and Adonius", was written in the year 1593. Then a year later he wrote, "Rape of Lucrece". These were written at a time when theatres were closed because of the contagious epidemic known as the plague. In the late 1590's he wrote many plays. Most of them being comedies, the major ones are: "The Taming of the Shrew", "The Comedy of Errors", "As You Like It", "Much Ado About Nothing", and "The Two Gentlemen of Verona". "Romeo and Juliet" was his only tragedy written during this time. In 1599 a theatre called the Globe was built by Shakespeare's company. Some of his most prominent tragedies written and performed were "Hamlet", "Othello", "King Lear", and "Macbeth". Since Shakespeare was established playwright, he was wealthy because of multiple income sources. In 1597 he bought his family a huge house called New Place, located in Stratford-upon-Avon. Shakespeare retired from theatre in 1610 and returned to Stratford. On the 25th of March, 1616, he wrote his will. On April 23, 1616, the same date as his birthday, William Shakespeare died. He was buried at the chancel of the Church of the Holy Trinity in Stratford. The cause of his death is unknown. Many people believe that he knew that his death was near, but did not want anybody to know. Seven years after he died, in 1623 William Shakespeare's first folio was published including 154 sonnets, 36 plays, and his two long poems. The folio was put together by his friends so that nobody could take his work as theirs. BIBLIOGRAPHY 1. Torstenson,Casey. "William Shakespeare". Internet 2. Shah, Ravi P."Life of Shakespeare". Internet,1997 3. Booth,Beth."Shakespeare's Life". Internet 4. Editors of the Grolier Universal Encyclopedia. "Shakespeare", Stratford Press,Inc: New York,1966

Contrasting Egyptian and Mesop essays

Contrasting Egyptian and Mesop essays Although some similarities exist, the way the ancient Egyptians and Mesopotamians viewed and worshipped their gods were quite different and impacted their daily lives in varying ways. In order to compare the two cultures in a religious sense, the way they lived and dealt with their surroundings must be examined. Life for the ancient Mesopotamians was precarious and day-to-day. The openness of the river valley lead to vulnerability from both raiding tribesmen and the elements. The climate was very harsh, with unpredictable flooding in the spring and at harvest time. There was also rapid evaporation, leading to the need for a reliable irrigation system. There were little natural resources for building purposes (stone and timber), leading to the need for both the establishment of trade routes and alternate building methods. The lifespan of the cities themselves was quite often unpredictable, usually coinciding with the water supply on which it so depended. The cities of Ur, Ashur and Akkad are examples of cities that disappeared without a trace. The Egyptian delta was considered the most abundant oasis in the region in terms of natural resources. Bounded on the eas t and west by desert and on the north the Mediterranean Sea, the region was much more easily defendable than the Mesopotamian river valley. The availability of sandstone and limestone gave plentiful building materials. Papyrus was also readily available for the building of boats, construction of matting and for writing material. The flooding and even the drought seasons fell during the same time frame each year, allowing for planting and harvesting to occur according to a corresponding schedule. The broad, fertile valley leads to easy irrigation and waster conservation. To the Sumerians as seen above, the world would have appeared a harsh and dangerous place. They viewed themselves as the servants of the gods they worshipped, whom could exact their wrath at any time upon ...

Business Proposal-Business Solutions Essay Example | Topics and Well Written Essays - 1500 words

Business Proposal-Business Solutions - Essay Example es at the company, evaluates the objectives necessary in tackling this issue, and then puts forward various suggestions and propositions for the company that it can apply in order to overcome the problem of losing its experienced and professional employees so soon and at a high rate. Problem A high turnover rate among employees of a given company has a negative impact on the overall performance of the company. This is because employees are the best asset that any company may have, and as such, instrumental in creating or developing a competitive advantage for the company over other industry players. However, a high rate in employee turnover means that the company loses at a fast rate its experienced and professional employees, sometimes to its competitors. This becomes a thorny issue as the company suffers a brain drain, as well as facing stiff competition from its competitors since the employees who leave the company to join its competitors go with important company information and secrets that its competitors later use to drive it out of the market. On the other hand, it is imperative to note that the company also suffers from inefficiencies in performance that result from the high rate of employee turnover. For instance, a company may reduce its production or processing capacity because it lacks adequate employees to undertake these duties and responsibilities within the company. This in turn reduces the overall output of the company, hence making it less competitive within the market, especially because it can no longer meet its market demands or satisfy its customers appropriately. Similarly, the process of recruiting and training new workers to fill in the vacancies created by the employees who left the organization is very costly and tiresome, especially considering that the company might have to undertake this process more frequently. The company loses vast resources in the recruitment and training sessions, as well as valuable time that would otherwise

Negligence Paper Essay Example | Topics and Well Written Essays - 1000 words

Negligence Paper - Essay Example The impending dilemma and major complication is that the wrong leg was amputated. The hospital identified to be the scenario of the event was likewise concurrently experiencing problems with the union and a shortage in staff, particularly nurses. In this regard, the aims of the essay are to address the following concerns: (1) to differentiate between negligence, gross negligence, and malpractice. Based on the information, decide if one agrees with the statement in given scenario; (2) to describe the importance of documentation (relating to the given simulation) and its correlation to potential negligence. Specifically, the following questions would be answered: (a) if you were the nurse in this situation, what ethical principles would guide your practice? And (b) how would you document the case to satisfy ethical and legal requirements? Differentiation between Negligence, Gross Negligence and Malpractice According to Delaune and Ladner (2006), negligence is â€Å"the failure of an i ndividual to provide care that a reasonable person would ordinarily use in a similar circumstance. In other words, action that is contrary to the conduct of a reasonable person and results in harm is considered to be negligent behavior. When a nurse commits a negligent act that results in injury, it is known as malpractice† (201). To differentiate the terms to gross negligence, Thorton (2006) averred that it â€Å"is a much more nebulous and complicated concept. Gross negligence is an act or omission ‘which (1) when viewed objectively from the standpoint of the actor at the time of its occurrence involves an extreme degree of risk, considering the probability and magnitude of the potential harm to others; and (2) of which the actor has actual, subjective awareness of the risk involved, but nevertheless proceeds with conscious indifference to the rights, safety, or welfare of others’† (cited from Tex. Civ. Prac. & Rem. Code, Section 41.001 (11), Vernon's 200 6 by Thorton, par. 6). More clearly, malpractice is defined by Stubenrauch (2007) as â€Å"improper or unethical conduct or unreasonable lack of skill by a holder of a professional or official position; often applied to physicians, dentists, lawyers, and public officers to denote negligent or unskillful performance of duties when professional skills are obligatory† (cited from The Joint Commission by Stubenrauch, 2007, par. 1). In the given scenario, the act of the responsible health care practitioner appears to be categorized as gross negligence because of the presence of the elements of omission resulting in extreme degree of risk and harm to the patient. Importance of Documentation According to Stimpfel (2007), â€Å"quality medical charting is important in providing high quality care and also because in the current health-care system, a number of patients who believe they have sustained physical or psychological harm as a result of their healthcare provider’s negl igence bring claims or lawsuits to recover damages† (1). The lack of proper documentation and accurate identification of the leg to be amputated in the patient chart resulted in gross negligence that contributed to bodily injury,

Healthcare and the Quality of Human Life Research Proposal

Healthcare and the Quality of Human Life - Research Proposal Example The establishments offer essential health care services to their valued clientele most of whom subscribe for family health maintenance and therefore pay periodical visits to the facilities. In urgent cases, the facilities customize emergency response services some of which may include the practitioners rushing to the premises of their clients or the clients rushed to the facilities where they receive effective customized and urgent services. In severe cases when the patients are under acute attacks, they are admitted into the boarding facilities where they are adequately diagnosed, treated and discharged only upon full recovery (Rouse & Cortese, 2010). Such centers are not common in the society today but social homes that take care of the elderly and weak in society operate in a similar manner. However, these centers purely busy themselves with the provision of healthcare services and not the provision of social security. Unlike in the social homes, their clients pay for their servic es they, therefore, do not discriminate on patients based on their age as is the case in the social homes. Patient-centered homes operate in a manner similar to homes for the old in that patients subscribe to their service after which the centers offer customized services based on the unique requirements of the client. The centers are fully-fledged facilities incorporating boarding facilities, the centers, therefore, offer both in and outpatient services for their clients. The main difference between these homes and the normal hospital is that the homes track their clients over a period depending on the specifications of the clients. More often, they offer services similar to those offered by family doctors only that unlike family doctors, they have fully equipped facilities capable handling any medical, furthermore, at the centers a patient id attended to by a variety of doctors depending on the level of his medical complications.

Expressionism And Fritz Lang

Expressionism And Fritz Lang I have been interested in a thousand things in my life, and out of these interests in a thousand things came one primary interest: mankind. And not only what he does- in innocence or in guilt- but what moves him to act, what makes him tick! And with that attempt to identify there grows not only personal awareness, but much more important, sympathy. Through this ones own sphere of thought is enriched; as a reaction to it, associations with all things one has occupied oneself with for a lifetime are expandedà ¢Ã¢â€š ¬Ã‚ ¦ Who can honestly say how one arrives at a theme? What influenced him? It could be a falling leaf from a tree in Autumn, a sudden lull in the wind, a sudden thunderstormà ¢Ã¢â€š ¬Ã‚ ¦ (Fritz Lang in interview with Gero Gandert, 1963) Fritz Lang was one of the pioneers of German school of Expressionism, one of the few auteurs, who was able to make the successful transition from silent cinema to the talkies, and who also paved the way for the film noir genre in the United States. In this paper, one will be looking at his two of his films as case studies, Metropolis (1927) and M (1931) respectively, all the while keeping in mind the distinctive role of Lang as an auteur in context to the tradition of expressionist cinema. Throughout the paper, one is going to deal with object-subject relationships in German expressionist cinema as well as self-referentiality, private anxieties and public projections in the Weimar Republic and an attempt is going to be made towards a feminist reading of German Expressionism with respect to the case studies. To give a brief background of the two films in question, both were made in the Weimar Republic before Lang went into a self-imposed exile in America. The circumstances of Langs emigration remain controversial; the story goes that he was offered a post of managing director of the entire German film industry by the ministry in Germany (to be precise, Goebbels, the propaganda minister) after banning his film, The Testament of Dr. Mabuse, and that he was given 24 hours to consider the proposal but soon afterwards he fled from Berlin to Paris. Metropolis was the worlds most expensive silent cinema at the time of its release while in M, elements of early film noir can be seen and the classic use of sound as a tool has been acknowledged by film scholars (this aspect of the film is going to discussed in detail later on in the paper). As is well-known expressionism as an art movement stemmed from the school of impressionists and goes well back to the 19th century. It assumed an identifiable structure only in the 1900s though. It sought to utilize contemporary philosophical and psychological thinking (Freudianism to a large degree) and relied heavily on personal experiences, feelings and emotions rather than impressions of reality. Weimar cinema has time and again been described as being proto-fascist and expressionism linked to National Socialism, which was popularized in the writings of Siegfried Kracauer and can be traced back to the theoretical debates of the 1930s, specifically to the views expressed Georg Lukà ¡cs. In a 1934 essay, Lukà ¡cs argued that expressionism was undoubtedly one of the diverse bourgeois ideological currents that would later result in fascism as its tendency towards subjectivism and romanticism linked it ideologically to the irrational mysticism of Wilhelmian philosophy, and therefore one of the central sources of Nazi beliefs. Lukà ¡cs sociological argument was later expanded and applied to the analysis of German cinema by Siegfried Kracauer in his study of Weimar film culture, From Caligari to Hitler (1947). John S. Titford begins his journal article with the sentence, Expressionist cinema is an impossibility. What he is trying to say through this is that the Expressionists and Realists alike cannot possibly transcend the limitations of cinema as a medium even if they exploit it to its fullest extent. It has to be mimetic, symbolic, never being the things it represents in exactitude. Art must, unlike reality itself, have a beginning and an end. Having defined its boundaries, cinema has proven to be the most appropriate medium for expressionism. It is more dynamic than expressionist painting, more able to instill a feeling of horror than expressionist literature, and more claustrophobic than expressionist theatre. Expressionism found an expression in the rapidly evolving motion pictures. There is a dichotomy between the creator and his creation, the medium and the message, and there is a need to understand the artists perception of the subject matter so as to get a hold of the deeper meaning of the piece of art itself. For it is the artists, or the auteur in our case, thoughts and feelings which are being communicated through his actions. Christian Metz has hence, made the differentiation between the signified (human consciousness) and the signifier (work of art). Anthromorphism, the process of inanimate objects coming to life, is a key feature of German expressionist cinema. Metropolis is an archetypal example for that. The live consciousness of the artist is, in a sense, metamorphosed into dead celluloid. Within the film, the humans tend to imbibe the characteristic traits of the world of objects while the objects exude human-like features and this is a cycle of life and death which the expressionist cinema follows. The figure of Rotwang exhibits qualities of a machine, or that of a prototypical cyborg to say the least, with a mechanical right arm, whereas the machines in the industrial underbellies of the city demonstrate signs of life as well as the Robot, which takes on the form of Maria, seemingly human but not quite. German expressionist film offers a penetrating analysis of the society along with the philosophy and psychology of its age. It is important also because of its filmic process. Unlike other forms of art, it is not static (before the advent of pop art and kinetic models), and transforms inert photographic frames into rendering a semblance of truth. Thus, film can make an object assume personality and vice versa. The workers in Metropolis operate like machines, often being grouped together in abstract geometrical shapes. The figure of Rotwang, as stated earlier, is the model for sub-human forces embodying the concept of Destiny, or a threat to the nation of Germany, depending upon the interpretation. He is perceived as a monster, hardly convincing as a living creature than the true monster like the Robot Maria. One of the scenes in M epitomizes the process whereby the animate becomes the inanimate. Beckett, the child-murderer, has been captured by the underground criminals and is brough t into a room where they are about to give him a trial. As he confronts the mass of people assembled to indict him, the camera pans around the group. It is not a moving mass that we see, but a still photograph: the image is frozen. It has thus taken the nature of an inert, static painting. Buildings become demoniacal in expressionist films; foreboding houses are used for shock effect, and rooms and enclosed spaces create a sense of claustrophobia. Maria in Metropolis is persistently pursued by a strong beam of light as she struggles to find a way out of the catacombs. The streets are merely an extension of the threatening building and dominate and control the lives of its inhabitants. In general, diagonals and oblique angles in the sets are employed, and the buildings and streets are distorted, ghostly, and with painted shadows and streets that seem to lead nowhere. Since the films were mostly shot in the studios with the help of painted canvas scenery, the world thus created was usually two dimensional. The mood or the stimmung and the claustrophobia of the expressionist world is further intensified by the use of lighting. There is a predisposition for the world of twilight in which the inanimate can readily become alive with no warning. Expressionist films are frequently lit using sharp, often jarring, blacks and whites, distorted shadows, and large areas of darkness. Precisely because light or absence of light gives space its reality, it can effect a transformation of concrete into abstract, living into dead, or vice versa, making us doubt our own senses, and even our awareness of figure and ground distinctions. Chiaroscuro affects our perceptions, and shadows themselves can become alive. Expressionist cinema was by no means limited to the city, even though the two case studies portray the cityscape. Expressionist directors were more concerned with life as a process ending in death, and their art was almost totally pessimistic. The game expressionist cinema plays with itself and i ts audience is that of Russian roulette, with destiny as the bullet, and death the prize. German expressionist cinema was concerned with the powers of darkness, with people trapped by their environment and with claustrophobia pervading everyday life. To back to the lighting in the early Weimar Republic cinema, the use of chiaroscuro effects of artificial lighting was unsurpassed. Lighting was used as a narrative device, and while in some early Weimar cinemas it was a little more than a decorative element or a creator of mood, in later films chiaroscuro elements and specifically shadow assume a precise communicative element. Chiaroscuro manipulated the visual sense to create emotions whereas the shadow rather than being a merely expressionistic mannerism, added narrative depth to the silent cinema. The employment of shadow as a communicative metaphor is found as early as Platos Republic, where he talks of the cave-men perceiving shadows and echoes as reality itself, which is not totally false; it results from reality even though it might be a weakened, diluted version of the real. The traditional motif of the shadow as a metaphor of perception later appears in the 20th century in Jungian psychology. Jung used the shadow metaphor t o describe the underside of the human psyche, which if acknowledged brings forth the survival responses, stimulating the libido, whereas if repressed can bring about the downfall of the individual. However, the intention of the early popular filmmaker was to involve the viewer in the film event. Thus, the shadow metaphor was appropriated as a narrative device, and the philosophical and psychological significance of the shadow became subordinated to the films fictional narrative, and the function of the shadow was sublimated in the narrative act. It became a device for communicating a simultaneous, secondary narrative to the viewer. Shadows significance is neither good nor evil but instead projects an other reality, another interpretation of sorts. Instead of seeking an escape from the pursuing shadow, one needed to acknowledge and accept it. In M, the character of Beckett was seen running away from his shadow, which relentlessly pursued him, stronger than the man himself, and the on ly way out for him was to embrace his darker side, even if it made him commit cruel, inhuman acts of violence. The early cinematic shadow enabled a possibility of multiple narratives which was later achieved through the use of sound. There was first an adoption and then rejection of shadow as metaphor within the conventions of the cinematic code, adoption during the silent period of cinema and rejection with the onset of sound in the 30s. The shadow as a metaphor was used most effectively in the early period of silent cinema. By the late 1920s, the New Objectivity had brought heightened realism in German films, and more natural lighting had replaced the intense chiaroscuro of the early 1920s. The cinematic shadow had become a clichà ©, and its narrative function was soon overtaken by other devices: the significant object of the late silent films and the soundtrack of the early sound films. In the opening credits of M, one sees a hand with the letter M inscribed on it. The drawing style evokes the exaggerated shapes and dramatic textures of German Expressionist painting, but due to its linear abstraction and dynamic simplification the hands image is also reminiscent of 1920s techno-culture: of New Objectivitys cold modernism and of Futurisms celebration of speed, energy, fluidity, and prosthetic body-machines. It strikes the viewer as an artificial limb taking on the uncanny function of living, or conversely, a human charged with the strength of a robotic apparatus. The first scene opens to a Berlin backyard populated by a bunch of children, their positions resembling that of a clock, with one girl standing in the middle and functioning as the clocks hand so as to count and count out the other players. The girl sings a song of brutal murder and dismemberment, a blatant endorsement of terror and violence itself. In Langs first sound film, M, sound had for the most part supplanted the communicative function of the shadow; the films basic distinctions between good and evil, rationality and irrationality, appearance and reality is rendered perceptible by shadow somewhat and mirror reflection, but mostly by sound. In M, nothing is as it seems on the surface: an apparent innocent is a psychotic killer, an apparently peaceful crowd can transform into a raging mob, apparent friends can become suspicious accusers, apparent organization (the police) is ineffective against the killer and the apparent disorder (the underworld) is really more orderly and efficient than the police. Even seemingly innocent children are tainted by the evil: the films opening sequence shows a group of children playing as they sing a variation of One Potato, Two Potato, a song about another non-fictional mass murderer Harmann, who not only murdered but also cooked and sold his victims as canned meat. What we see is innocent childhood, but what we hear refutes this appearance. In M, appearance is always deceptive, true reality is only perceptible to the observant viewer and listener. In M, the shadow metaphor has become secondary to the metaphors of reflection and sound. Shadows only appear infrequently. For instance, when Beckert leaves his home, he is followed by his shadow, a constant and quite visible reminder of his irrational psychosis. Later in the film when Schrà ¤nker and his band of criminals plan to trap the murderer, the camera moves from them to their shadows on the wall, depicting their transformation from a group of individuals to a retributive force, sort of vigilantes, which by its organization is able to capture the murderer. The most effective use of shadow in the film undoubtedly is at the beginning of the film when the shadow of the perpetrator falls across the poster describing his previous murders, at the same time his voice addressing the little girl, Elsie. The juxtaposition of the visual and the aural helps in the unraveling of the plot and is used as a device for placing the viewer on a level of knowledge or awareness exceeding that of any of the characters (including Beckert himself, who it is implied, is unaware of his condition). Even though the killer appears to be harmless, Lang informs the viewer very blatantly the shadow as killer and the girl as the victim. In Jungian terms, the shadow of Beckert is the actual killer. The shadow is used to establish Beckerts villainy. Later in the film, when he makes his first appearance he is shown inspecting himself in the mirror, probably trying to come to terms with his own predicament and grasp the reality, which he seemingly fails to perceive. What the viewer sees is two Beckerts, comparable to Dr. Jekyll and Mr. Hyde where at times Dr. Jekyll loses complete control over himself and the monstrous Mr. Hyde takes over his person. In a later shot, Beckert does get to know of his own reality when he becomes the marked man and sees the letter M imprinted on his overcoat in a glass reflection. Lang has reinforced the shadow and the mirror images by sophisticated sound, where it complements and supplements the visuals. The oft cited example here would the voiceover commentary during the scenes of police investigation: the voice of the police commissioner giving an overall explanation to the minister about the police actions that are seen. Sound, however, is also used to contradict the visual image, communicating a real threat to an apparent tranquility. In one sequence a little girl walks alone along a street, apparently safe. Had M been a silent film, the danger to the girls life might have been shown by an ominous shadow pursuing her. Instead, Lang replaced that with Beckerts characteristic whistling tune. As soon as the girl meets her mother, the whistling stops, the silence signifying the girls actual safety. However, the shadow and the chiaroscuro element never entirely disappeared, even though it was replaced by a more realistic lighting. The shadow was incorporated into American cinema as an element of film noir where it became an emblem of the criminal unknown. Fritz Langs Metropolis (1927) is one of his most well-known and widely recognized films of all times. It has either been termed the silliest film or the most unique and remarkable spectacle ever shown on screen, but the reaction or response towards it has at all times been extreme. Widely acknowledged as a bravura display of film craftsmanship, it has also been equally denounced as unbearably trivial, naÃÆ' ¯ve sentimental and even fascist. Some of the problems raised by the narrative structure of Metropolis stem from the fact that much of the original version of the film is missing. Nevertheless, it marks a significant moment in the history of cinema and represents a culmination of Langs early style. Metropolis began with a segment which appeared totally expository, having, however a definite function in the narrative. Langs film begins with a depiction of the totally alienated condition of the workers, their lack of control over their own conditions of existence. This lack marks the workers as the films first subject or hero (as a collective unit) although their function as a performer of a set of operations changes throughout the course of the film. The dichotomy between machine/self-movement and Machine/Human is highlighted in this segment of the film, which is to form an important device in the narrative structure. The notion of space is central and his definition of all narrative events as some sort of real or attempted transfer of an object is accompanied by or imply a special discontinuity. This happens in the second segment of the film when Maria, as subject, takes a group of children (the object of value) to the pleasure garden in the upper level from the worker city. Sh e is forced to leave and this unit of narrative is ended by the failure of this attempted transfer. This narrative unit may seem isolated but is not unconnected with the narrative as a whole, as through it another hero is created in the form of Freder, whose main aim would be to return these children to the upper level. In this segment itself, Freder realizes his own lack of knowledge of the workers and he descends to the machine rooms to observe the workers and witness the accident at the central power room. This however, constitutes his first stage of acquisition of knowledge. This portion of the narrative ends with him leaving the space of conflict to return to the upper level with his knowledge. When Freder returns to the upper city, the residence of the ruling class, he attempts to give his father, John Frederson, his understanding of the workers condition. But Frederson, in this segment, being the anti-hero/anti-subject/traitor prevents the transmission of this knowledge. Fred erson is the subject of another story in which the object of desire is the control of the workers. Another lack is revealed when Freder discovers a map in the pocket of the dead worker- the lack of the rulers knowledge of the maps and the workers intentions. From this point on, the object of desire for both father and son would be to seek knowledge in the catacombs, which would then enable them to function as hero and traitor in the later stages of the narrative. Knowledge will be acquired in stages all throughout the course of the narrative and so following the interview in Fredersons office, Freder descends to the machines and Frederson goes to see the inventor, Rotwang, each in search of a more adequate knowledge. The film shows the similarity with the use of parallel editing. Freder discovers the grueling effects of time and repeated effort by taking charge of the machine deserted by a failing worker. Frederson is shown the Robot by Rotwang, and mystery of the maps is deciphered partially which are revealed to be guides to the catacombs below the worker city. Parallels are established between these acquisitions of knowledge by intercutting. In the catacombs, the acquisition of knowledge is completed but this gives way to further problems; Frederson realizes he has no control over his workers while Freder comprehends his responsibility as a mediator. The new object of desire is Maria; she is desired by both as a means of obtaining another object, the workers, for their elimination (by the father) or their liberation (by the son). The abduction of Maria from the catacombs by Rotwang to his house and the confrontation between Freder and the scientist resulting in the latters victory over the former with the use of machinery, is replete with symbolism. Machinery, as a sign of evil, remains a constant throughout the film, and is always utilized by the traitors as a helping agent. Freder is denied access to Maria and her features are quite literally transferred to the Robot so as to transmit a false knowledge to the workers, deceive them and lead them astray. Transmitting false knowledge is the classic means of neutralizing power. The Robot Maria convinces the workers to act violently and turns them into traitors temporarily, allies of Frederson and Rotwang. The children, the metonymic representatives of the proletariat are left behind in the lower city. However, the deception of the workers is soon followed by the restoration of Freders power, by his acquisition of knowledge that Robot is not Maria. Subsequently Maria is released and destruction of the children is prevented by moving them to the upper city with the help of Freder and Joseph. The second abduction of Maria by the evil Rotwang is the final lack which is eliminated by the hero vanquishing the evil. At the end of the film, traitors are destroyed (Frederson is redeemed through his sons actions) and peace and balance restored. The heroes in the film are Freder, Maria and the workers while traitors are Frederson, Rotwang and the Robot. There is a tripartite division of the objects of value: the knowledge of the proletariat, the use of Maria, and the children of the workers who represent the proletariat as social entity. At the end of the film even though the children return to the pleasure garden their status is ambiguous; as a result of the accord reached between ruling class and the workers they would have to return to their original space. Thus the film reaffirms the social structure present at the beginning. The film can be divided into two dealing with political and scientific distinctions on the axis human/mechanical and with cultural and religious distinctions on the axis Christian/mystical-alchemical. The film starts with a montage comprising of several shots of stylized machines. This concludes with a shot of the whistle blowing indicating the end of the shift and the next shot shows the workers taking the elevators to go to the worker city. It is not only the machinery which is identified with the traitors as oppressors, but also the concept of time. Time is the measure of the repetitive effort required of the proletariat. In the pleasure garden Freder is essentially depicted as being out of vicious circle of time and is removed from all types of machinery. Also, out of the traitors, only Frederson, who would be transformed into a good man, is wholly human. Rotwang is part-human part-machine while the Robot is fully mechanical. There are other such examples all throughout the film- when the workers ply to and from work; they use the elevators, whereas when they need to descend to the catacombs, they do so on foot. Also when Freder, Maria and Joseph take the children to the upper level, they do so by purely human effort. Metropolis has heavy and significant allusions to religion. There is a consistent opposition present between the vague Christianity and the mystical and the alchemical, most evident in the connotations produced by Rotwang. He is portrayed to be some sort of a medieval sorcerer (his robot will be burned like a witch); compared to the archetypal Aryan appearances of Freder and Maria, the inventor looks distinctly Semitic. On his door and above his robot in his laboratory is a five-pointed star. He lives alone in a curiously distorted, old-fashioned house, set apart from the rest of the society. His science is occult and solitary. The Christian tradition is most apparent in Maria and Freder. While working in the circular machine, he clearly crucified at the hands of the clock face. Maria is undoubtedly Christian; in the catacombs while retelling the tale of the Tower of Babel, she is standing in front of a number of crucifixes and viewed reverently by the workers from below. Metropolis can also be analyzed on psychoanalytic terms. The oedipal aspect of the film is quite apparent. A three-member family is created with Frederson as the Father (leader of the society), Freder as the Son (representative of the workers) and Maria the Mother (spiritual creator of Freder and the workers/mother of the masses). Freder to negate and assume the power of the Father must have access to the Mother. This is achieved at the end of the film when the Father is stripped of his power (castration), and is seen kneeling in front of Freder, which is transmitted to the Son. Metropolis has not gone without criticism and Don Willis in his article has thoroughly bashed Lang for his overtly simplistic plot, going on to say that the spectacle seems almost incidental where the spectacle has been sacrificed to the message. He says of the film, à ¢Ã¢â€š ¬Ã‚ ¦the eerie delicateness of this image of foreboding is betrayed by the crudeness of development of plot and characterà ¢Ã¢â€š ¬Ã‚ ¦ Barry Salt has been quoted in his text as stating that à ¢Ã¢â€š ¬Ã‚ ¦Langs film is not even much of an improvement in craftsmanship, despite the several years of development there had been in film technique elsewhere. The rave reviews that the film opened in Germany are dismissed as sensationalistic. The position of an author is defined by the relationship which he maintains with his characters. In the film, one form of this relationship rests on the systems of vision which the pictures reveal: how the author fragmentarily indicates and encloses the viewpoint of his characters within the continuity of his own viewpoint constitutes the viewpoint of the film. Lang allows ambiguity to hover over the relationship which unites character and director in the vision. He is showing that only a well-crafted device can precisely situate a viewpoint, which the vision of the real alone cannot, or he is deliberately moving to a symbolic level, which results in distancing the author from the characters even more. The author defines himself by his point of view towards the objects he unveils. This point of view is manifest in the first place by the distance at which the camera is held. With Lang, it seems to be vivid or in a disguised manner. There are innumerable formal and thematic references, configurations which come into play from film to film and organize the enigmatic web of Langian knot-work. Hence, the sign, the token, around which the narration is organized, the significant object Lang always indicates with a close-up which is the first easily located link between the chain of shots and the thematic chain. The generally intensified demarcation of space disrupts the viewpoint in order to lead it to its more rightful place which carries to an extreme, in cinematographic space, dialectic of subject and object finding its origin in German cultural tradition and its achievement in the fundamental materialism of industrial civilization. This subject-object game, when divided, provokes the eye, making an incredible fissure in Langs films. Lang bases the possibility of his narrative on the richness and the perversity of oppositions. It is the logical outcome of writing and vision. Lang keeps the point of view in perpetual hesitation; for the event, whether it is foreshad owed or already occurred, always seems linked to something else. There is an incessant disequilibrium and abstract waiting which marks all of Langs films. Lang plays with counter-shots and at times tends to lose sight of his narrative, obscuring his characters. There is a subtle defeat in his films, which is revealed by the impossibility of the closed system. His films are extremely dense; in every shot, a writing unfolds which is strictly defined and structured, a part of the larger picture. Thus, by distancing himself from his films, Langs works always seem to be in the process of creating itself.

Essay example --

Molecular technology has become the talk of mainstream science and technology today. As the aviation industry searches for new forms of efficient aviation, molecular technology would be the only logical place to start. For this report the various beneficial uses of carbon nanotubes, in form of buckminsterfullerene, will be both discussed and theorized. The infinitesimal molecular structure of carbon 60 has provided a revolutionary solution for flight efficiency and advancement today. Through the use of an experimental material derived from carbon nanotube technology some of flights oldest conjectures will be solved. Manifested in the form of paper like sheets, these carbon molecules have been transformed into a material better known as buckypaper, possessing less than a quarter of steel’s overall weight and ten times its conductivity(Jade Boyd). It’s strong yet lightweight properties could perhaps pave the way for major breakthroughs within the ever critical flight industry today. Introduction Phenomenal leaps in the flight and aviation industry today have caused a state of static ignorance throughout the minds of innovative aviators. What baffles the mind of contemporary aviation today is not the next high speed jet, perhaps soaring some speed close to that of light. What baffles modern aviation today is the creation of an effective yet practical form manpowered flight. With the creation of the combustion and jet engines the dreams once conceived by numerous pioneers of early flight have become the lost fables of history. As a result, the aviation industry today has ultimately failed when searching for better forms flight efficiency. In order to modify the wheel it must first be rebuilt using the most practical and effective m... ...et from destination A to destination B with a cheaper and safer means of affordable flight. Though the general public knows very little about alternative methods of mass production for buckypaper, it will probably become the most prolifically used molecule in aviation sector for many years to come. The general public should expect to see a technological revolution in the future that will make flight cheaper and more affordable. To retrieve any scientific information pertaining to the topic’s progress has currently proven to be a difficult task, partly because there aren’t many published journals pertaining to the topic of buckminsterfullerene. This, however, does not mean research will remain stagnant and future opportunities lost. Buckypaper’s diverse fields of application will redefine the status quo of aviation and technology today once research is complete.

Grade Speech Essay

From the minute the teacher mentioned the word SPEECHES i started to frown. I have never been a big fan speeches from the start, even though i have been doing them for a few years now i still have trouble with them. Whether its coming up with a topic, revising and editing, or presenting in front of the class i don’t like it one bit. But when you think of it who really does like doing speeches at are age. I have never met someone who has started jumping up and down cheering when they hear the teacher start talking about doing speeches. Or someone who started thinking yaaa i get stand up in front of all my friends and my classmates and talk about one subject for 5 to 6 minutes. But in the end we all have to do it one time or another. Knowing that I start thinking of different topics to do my speech on, and then i think why not do a speech on the very thing i have trouble with. Why not do a speech on doing a speech. So here’s my speech on speeches. The first step on creating your speech is too come up with a good topic. You wanna think of something that isn’t too boring. The last thing you want is to be standing there talking with half of the room falling asleep. You want a topic that is something your audience will find interesting or maybe something they can relate to. If your like me, coming up with the right topic to do your speech on can be challenging sometimes. So here are some things to keep in mind while finding a good topic for you. First thing is that the topic you choose has to be one that either you know a lot on or one that will be easy to research. If you cant get information on it then you wont have anything to talk about. Second thing to keep in mind is that you need to make sure the topic is appropriate for whatever audience you will be presenting to. Third thing is that another way to help think of a topic is to brainstorm. You can brainstorm many different ideas then choose the one you want to do most . The next part to do of the writhing section of your speech is the draft. this is one of the parts that takes the most work. The most important thing to keep in mind while writing your draft is that it’s a draft! A rough copy. You can go back and fix things later when you don’t like what u have written. There should be three parts to your speech. #1 the introduction. #2 the body. #3 the conclusion. The introduction is where it all starts. That’s where you have your opening sentence. You want your opening sentence to be something interesting that will grab the audiences attention and make them want to keep on listening to the speech. A good introduction is the way to start off a good speech the body of your speech is the middle. Its the biggest part of the whole thing. Then there’s your conclusion. Its the ending part of speech, the part where you Finnish up and conclude. Now its time to revise and edit.

Awesome Quotes That Will Leave Your Friends Dumbstruck

Awesome Quotes That Will Leave Your Friends Dumbstruck Have you felt the need to impress your colleagues, peers, or friends with your profound wisdom or expansive knowledge? While wisdom cannot be gained overnight, you can impress folks with your insight. A little bit of preparation will do the trick. Post cool profile status updates on Facebook and Twitter every day. Make sure that statements reflect the real you. If you want to use these awesome quotes, make sure to cite the author. Do you have to make a speech on a research topic? Dont be monotonous. Begin your speech with some interesting information. You can also use these awesome quotes to make an impressive start. Once you have grabbed attention, the rest of the speech will become easy. When you send birthday messages to your friends, instead of the boring happy birthday, throw in these awesome quotes. On your birthday, throw a party for friends, and give each friend a party favor with a personalized quote written on the gift. Read a few of these awesome quotes and commit them to memory. Once you have done that, you can simply walk into a group and stun them with your newfound wisdom. Isnt that a brilliant way to grow your fan following? Get started on your path to stardom. Sir James Barrie If you cannot teach me to fly, teach me to sing. ‎Eric Thomas When you want to succeed as bad as you want to breathe, then you’ll be successful. Jerry Seinfeld Its amazing that the amount of news that happens in the world every day always just exactly fits the newspaper. Ruth E. Renkel Never fear shadows. They simply mean theres a light shining somewhere nearby. Oliver Wendell Holmes, Jr. Mans mind, once stretched by a new idea, never regains its original dimensions. J. K. Rowling, Harry Potter and the Sorcerers Stone There are some things you cant share without ending up liking each other, and knocking out a twelve-foot mountain troll is one of them. Ruth E. Renkel Sometimes the poorest man leaves his children the richest inheritance. Will Rogers Everything is funny as long as it is happening to somebody else. Jimmy Carter Go out on a limb. Thats where the fruit is. Jenny Han, The Summer I Turned Pretty Its the imperfections that make things beautiful. George Burns No snowflake in an avalanche ever feels responsible. Rick Riordan, The Lost Hero I don’t try to be awesome. It just comes natural. Sir Winston Churchill A lie gets halfway around the world before the truth has a chance to get its pants on. Antoine de Saint-Exupà ©ry If you want to build a ship, don’t herd people together to collect wood and don’t assign them tasks and work, but rather teach them to long for the endless immensity of the sea. Marilyn Monroe Im selfish, impatient, and a little insecure. I make mistakes, I am out of control and at times hard to handle. But if you cant handle me at my worst, then you sure as hell dont deserve me at my best. Albert Einstein Two things are infinite: the universe and human stupidity; and Im not sure about the universe. Benjamin Franklin A man wrapped up in himself makes a very small bundle. William J. Cameron Money never starts an idea; it is the idea that starts the money. Tao Le Ching It is only by not trusting that you turn someone into a liar. Bertrand Russell The fundamental cause of trouble in the world is that the stupid are cocksure while the intelligent are full of doubt. Chinese Proverb Pearls dont lie on the seashore. If you want one, you must dive for it. Steve Jobs Your time is limited, so don’t waste it living someone else’s life. Alice Longworth If you haven’t got anything nice to say about anybody, come sit next to me. Antoine Saint-Exupery A pile of rocks ceases to be a rock pile when somebody contemplates it with the idea of a cathedral in mind. William Shakespeare The earth has music for those who listen. Rumi Looking up gives light, although at first it makes you dizzy. Anaà ¯s Nin We don’t see things as they are, we see things as we are. Elvis Presley Do something worth remembering. Michelangelo Genius is infinite painstaking. Voltaire The best way to become boring is to say everything. Richard Branson Screw it. Let’s do it! W. C. Fields I am free of all prejudice. I hate everyone equally. Aristotle There is only one way to avoid criticism: do nothing, say nothing, and be nothing. Zen Proverb Sit, walk, or run, but don’t wobble. Epictetus Only the educated are free. Karl Wallenda Life is being on the wire, everything else is just waiting. Thomas Edison The greatest invention in the world is the mind of a child. Zen Saying Leap and the net will appear. Raynor Schein Tears are the rinse water of an unhappy heart. John A. Shedd A ship in harbor is safe, but that is not what ships are built for.

The Workings of Louis Napoleon III essays

The Workings of Louis Napoleon III essays Being named after one of the greatest rulers of France, Louis Napoleon III had no simple task, but that is not to say he did not handle it with tremendous grace. He fed upon the identical name and used it to his advantage to further promote his reign. Having his up and downs, Louis Napoleon III always seemed to realize giving the people what they wanted would be in his best interest. In 1848 Louis Napoleon III won the French presidential election with the aid of a few key ideas. First, the aforementioned same name fact gave the people of France a sense of comfort in that a ruler of their liking was again rising to power. Human nature leads us to this conclusion which, naturally, in certain cases is harmful; however I believe in this case it gave Napoleon the necessary praise he deserved. Second, Louis Napoleon III eased the fear of the middle-class and peasant property and gave them the compulsory protection from the socialist challenge of the urban workers that was so readily exclaimed by Karl Marx. Third, Napoleon had a program of guidance for himself and France which he composed while incarcerated for an attempted overthrow of Louis Philippes government. The two pamphlets were named Napoleonic Ideas, and The Elimination of Poverty. Although the three above mentioned principles of Louis Napoleons campaign of France were vital to his stability, the most important has yet to be revealed. He believed in government representing its people and should strive to help them economically. In previous years parliaments and political parties had been the dominant features of the French government but Napoleon believed otherwise thus deeming them impractical. The answer to this new found gap in representation was to have a strong, even authoritarian, national leader, literally in the vein of, Napoleon I. This strong national leader would serve all the people, rich and poor, would be linked to each citizen by direc...

How two major supermarkets in the Australian market carry out their Assignment

How two major supermarkets in the Australian market carry out their business - Assignment Example This research establishes an inter-association between all picture images, content, and loyalty components. The outcomes of the research demonstrate the way store picture influences feelings more straight from store environment, service, producing and after sales service more so than the sight and expediency. This outcome promotes past researchers like Willkie and Olson et al. on the way feelings have a straight firm effect on store loyalty and reassure the proposed theory if a customer holds an optimistic feeling towards the supermarket; they are probable to be faithful. However, this study contrasts the research by Yoo and Macinnis that accounts for just supermarket site to have a straight impact on the general store feelings. Alain d’Astous and Melanie Levesque’s research, â€Å"A Scale for Measuring Store Personality†, develops the urgency to conceptualize the notion that every store has its personal new personality and establishes a technique in which it wou ld be assessed to access its psychometric features. Five sizes were established that are applied in the breakdown of this research of Coles vs. Woolworths. The sizes are marked complexity, firmness, genuineness, keenness, and unpleasantness. The research attains its outcomes through establishing a prosperous personality scale for supermarkets to aid with marketers’ breakdown of customers’ views on the grounds of their emotional sequences.  

Role of Men and Women in the work force Essay Example | Topics and Well Written Essays - 250 words

Role of Men and Women in the work force - Essay Example In essence, both men and women have had differential work roles in the recent past and credit must be given to the organizational top heads who have realized that it is good to assign tasks based on the competence of individuals, who work for the sake of the organization in the long term. The role of both men and women has drastically changed and the middle tier also needs to be appreciated for the efforts brought forward by the management studies. Therefore productivity comes out as the eventual winner and the organization starts earning respect within the industrial domains. It is indeed an encouraging sign that both men and women are now being treated uniformly – an aspect which used to lack quite a lot a decade back. One can hope that there would be further pragmatic changes in the coming times as well. The need is to have proper arrangements which will help solve the problems in a localized manner, i.e. organization to organization