Life in the 1960s was Better than Life Today Essay examples -- essays

Life in the 1960s was both better for the people and significantly different to life today.When comparing the 1960s and today, there are some significant differences. The 1960s held events that were unique to that era, such as the Vietnam War and the landing on the moon, and today we are trying to find ways to advance applied science further. The two eras also had different lifestyles, clothing, technology and pass-times. Life in the 1960s was better than the life today because the world hadn?t yet advanced likewise far, and life was revolved more around friends and family then other things.Events in the 1960s changed the people of that era. People who did adventurous things such as Neil Armstrong walking on the moon and those men who returned home from the Vietnam War inspired them, feminism bettered the life for women, teens began to enjoy life more as the counter culture began, the cold state of war made people aware of the danger of nuclear technology and the JFK assassinatio n gave people a topic of conversation. Important events today include the discovery of cloning, which is a way of c...

Billy Bathegate by EL Doctorow Essay -- Essays Papers

he-goat Bathegate by EL DoctorowBilly Bathgate is an important Ameri dejection novel in its portrayal of one young homos evolution from boyhood to maturity. The novel is about a fifteen year old boy that gets taken under the wing of Dutch Schultz, a 1930s gangster trying to keep a hold of his diminishing empire. As the novel unfolds, so does the rising maturity of the tough young man introduced to us as Billy Bathgate. Billy finds himself in situations that most of us never see in our whole life. In difference to the reactions that most people would induct in these situations, Billy learns from them in order to better his role in the crime family. It is for these reasons that the young fifteen year old boy quickly develops into a man.Author OverviewThe novel was written in 1989 by a contemporaneous author named E. L. Doctorow. Doctorow was born in 1931 and fantasized about the 1930s crime life as a child. He is an American novelist, short story writer, editor, essayist, as well as a dramatist. His works include Big as Life, The Book of Daniel, Ragtime, addle-head Lake, Worlds Fair, , Lives of the Poets Six Stories and a Novella, a play entitled Drinks Before Dinner and of course his most recent work Billy Bathgate. Billy Bathgate is Doctorows most famous piece of literature. In fact, the book grasped so much attention that it was later made into a movie with an all supporter cast including Bruce Willis, Dustin Hoffman and Nicole Kidman. Although the film left out a lot of detail, as so many movies based on novels tend to do, it was interesting to see the enlarge detail given to the clothing, attitude, and backdrop that so accurately reflect the inner city Bronx in the 1930s. Doctorows explicit, graphic detail show his almost trance with crime and murder. He almost glamorizes the life of crime in Billy Bathgate.Critical AnalisysAlthough Billy Bathgate was written quite recently, there is an influx of critical perspicacity reflecting the ad miration of Doctorows artistry in literature. Critics marveled at Doctorows vivid description of New York City in the 1930s and of the horrific murders committed by Dutch and his gang.(CLC volume 65 Author Overview) Billy Bathgate is intended as pure myth, a sort of Robin Hood for grown-ups. Other novels may be more psychologically subtle or emotionally resonant. But few of those ... ...sting novel that I have ever had the pleasure of reading. It is one of those novels that you just can not put down if you try. Billy Bathgate is a vital American novel in its portrayal of a boys locomote to become a man.BibliographyBemrose, John. Growing Up in Gangland. in Macleans Magazine. March 1989 58-9. Vol. 102, No 12Clifford, Andrew. True-ish Crime Stories. in The Listener. September 1989 p.29.vol. 122, no. 3131.Eder, Richard. beleaguering Perilous in the Court of Dutch Schultz. in Los Angeles Times BookReview. March 1989. p. 3.Kazin, Alfred. Huck in the Bronx. in The New Republ ic. March 1989. Pp.40-2.Leonard, John. pass Bye Billy. in The Nation. April 1989. pp. 40-2. Vol. 200 no. 12Pease, Donald E. Billy Bathgate- a Review America. May 1989. P. 458-59Rubin, Merle. Bathgate Technique Surpasses Tale. The Christian Science Monitor. March 1989. p. 13Rushdie, Salman. Billy the with-it Kid. The Observer. September 1989. P.51Tonkin, Boyd. A Round Table Story. New Statesman & Society. September 1989. P. 37Tyler, Anne. An American Boy in Gangland. The New York Times Book Review. February 1989. P. 1, 46

20,000 Leagues Under The Sea :: essays research papers

After decoding a scrap of paper he found in an old book, Professor Hardwigg decides to take a journey. A "Journey to the Center of the Earth" that the paper says is possible. Brushing aside the concerns of his nephew Harry about the temperature of the earths interior, the professor makes Harry come with him on the journey. They gather the needed supplies and incite two days later for Mt. Sneffels in Iceland, the point through which they can gain access to the core of the earth. With the Icelander Hans as their guide, the party undertakes the rugged journey up to the mountain, stopping to rest along the way at the homes of Icelanders. Through these people, they learn much about the culture. Once they reach the mountain, the three descend into the crater and by and by several days figure out which of three shafts is the angiotensin converting enzyme through which they can make their journey. Aided by Hans s knowledge of how to use ropes, they conk downward more than a mile during the first day. The Professor explains that they are now at sea level and he real journey is except beginning. At the bottom of the shaft, they come upon four crossed paths that they can follow and the Professor quickly chooses one. After several days of trekking in search of water, they mustiness retrace their steps because the path dead-ends. Finally returning to the place of the four crossed paths, Harry collapses and thinks they will return to the surface. Although the Professor shows concern for Harry, he asks for one more day to aline water before they abandon the journey. They select a different route and soon discover water. Days later they find a well-like shaft through which they descend to twenty-one miles below the surface of the earth. Continuing to descend rapidly, Harry goes ahead of the others and soon finds himself alone. In desperation he retraces his steps but becomes hopelessly lost. It is only after much suffering four days later that Harry is reunited with his uncle. As Harry is recovering he hears the sound of waves and thinks he sees light. In act, the three have arrived at what they name the Central Sea, a vast underground body of water. At this point, scientific wonders come to the fore regularly. Exploring the area around the sea, the travelers find what looks like a forest but are actually forty-foot mushrooms.

Allen Ginsberg Essay -- Biography Bio Poet

Allen Ginsberg, Covert PatriotAllen Ginsberg is, without a doubt, most famous for his poem yammer which he published in October of 1956 through City Lights Books in San Francisco. bellow, like much of his other poetry, is an intensely personal and also very complex poetic expression abstracted rhyme and, to many people, also lacking reason. In actuality, however, Howl serves as an autobiographical sketch and it acts, in some ways, as a precursor to his lesser known poem from the same publication, America, which is his final articulation of his love for his country and his disillusionment with its current state of affairs. Together, both of these poems form a culmination (as of 1956) of the journals he had been keeping throughout his look and be the final howl of the simultaneous love and discontent with his situation as well as that of his country. Through Howl and America Ginsberg is expressing his disillusionment with American civilization and his own life by retelling his ow n life experiences however, he is also demonstrating a love of America and American culture that he has held throughout his life and which he, finally, was able to put down in poetic verse in his compilation Howl and Other Poems.From a very early age, Ginsbergs life was chaotic, and that, in turn, produced a disenchanted view of society. His parents were both extremely politically active and were not in political agreement. As a result government was a subject to which he became accustomed rather early because his mother, Naomi, was a member of the Communist part and his father, Louis, was a Democratic Socialist (Miles 6). Naomi and Louis fought often about politics and the situation, no doubt, left Ginsberg both passionate and confused about poli... ...sberg as a cynic, it is crucial to remember that, both as a poet and as a person, he is much more complex, as is his view of the country. Ginsberg was not anti-American, he loved a great deal about America and felt filthy about it s situation in the 1950s. Ginsberg was simply another man who wanted change.ReferencesCaveney, Graham. Screaming with Joy the Life of Allen Ginsberg. New York Broadway Books, 1999.Foster, Edward Halsey. Understanding the Beats. Columbia University of South Carolina Press, 1992.Ginsberg, Allen. Howl and Other Poems. 57th printing San Francisco City Light Books, 2001.---. Journals Mid-Fifties 1954-1958. Gordon, Ball Ed. New York HarperCollins Publishers, 1995.Merrill, Thomas F. Allen Ginsberg Revised Edition. Boston G.K. Hall & Co., 1988.Miles, Barry. Ginsberg A Biography. London Virgin publication Ltd., 2000.

Zinc and Hydrochloric acid :: essays research papers

Zinc and Hydrochloric-AcidAbstractWe observed the reaction between coat and hydrochloric acid and put down it in a table and learned wether the percentage of zinc is effected by the amounts of both substances added to the solution. IntroductionThe purpose of this look into is to determine if the amount of zinc and hydrochloric acid will effect the percentage of the zinc in the out coming solution. We are reacting zinc metal with hydrochloric acid to produce a unite of zinc and chlorine atoms. We are then recording our data and observations and place it in a logical data table.Purpose The whole purpose of this experiment is to determine wether or not the amount of the zinc and or hydrochloric acid effects the out coming percent of the solution after under red ink chemical reaction.Procedure$1. Weigh the zinc metal pieces and place them in a test tube$2. Pour some hydrochloric acid over the zinc pieces. Observe$3. Allow the zinc d hydrochloric acid to set over night to make sure that the reaction reaches completion.$4. Weigh a clean dry out evaporating dish.$5. Decant the liquid remain in your test tube into the evaporating dish.$6. Pour 2-3 ml distilled or de-ionized water into test tube and rinse any remaining zinc with water and decant the water into the evaporating dish also. If you have no remaining zinc pieces, rinse the test tube and decant the liquid into the dish.$7. oestrus the evaporating dish until there is no more liquid remaining in the dish. The solid remaining will have a puffy and waxy look. Do not overheat but remove from the springy plate and turn off the heat source because the product has a relatively low liquescent point and it will melt and evaporate away in a white cloud$8. When th evaporating dish has cooled sufficiently, weigh the dish with its contents.$9. Clean up by washing and drying your evaporating dish.$10. Calculate and report your % zinc in the compound to your teacher for comparison with other lab groups.Data and Ob servationsI observed that as the chemicals reacted together in the test tube the solution began to create bubbles while the zinc rested at the bottom and then the test tube became hot to the touch from the chemical reaction.

Zinc and Hydrochloric acid :: essays research papers

Zinc and Hydrochloric-AcidAbstractWe observed the reaction between atomic number 30 and hydrochloric point and recorded it in a table and learned wether the portion of coat is effected by the amounts of both substances added to the event. IntroductionThe purpose of this experiment is to determine if the amount of coat and hydrochloric acid will effect the percentage of the zinc in the out coming solution. We are reacting zinc metallic element with hydrochloric acid to produce a compound of zinc and chlorine atoms. We are then record our data and observations and place it in a logical data table.Purpose The whole purpose of this experiment is to determine wether or not the amount of the zinc and or hydrochloric acid effects the out coming percent of the solution after under going chemical reaction.Procedure$1. Weigh the zinc metal pieces and place them in a demonstrate tube$2. Pour some hydrochloric acid over the zinc pieces. Observe$3. Allow the zinc d hydrochloric acid to se t over night to make sure that the reaction reaches completion.$4. Weigh a clean dry evaporating salmon pink.$5. Decant the legato remaining in your test tube into the evaporating dish.$6. Pour 2-3 ml distilled or de-ionized water into test tube and rinse any remaining zinc with water and decant the water into the evaporating dish also. If you have no remaining zinc pieces, rinse the test tube and decant the liquid into the dish.$7. Heat the evaporating dish until there is no more liquid remaining in the dish. The solid remaining will have a puffy and waxy look. Do not overheat but remove from the raging plate and turn off the heat source because the product has a relatively low melting point and it will melt and evaporate out in a white cloud$8. When th evaporating dish has cooled sufficiently, weigh the dish with its contents.$9. Clean up by washing and drying your evaporating dish.$10. Calculate and report your % zinc in the compound to your teacher for comparison with other lab groups.Data and ObservationsI observed that as the chemicals reacted together in the test tube the solution began to create bubbles while the zinc rested at the bottom and then the test tube became hot to the touch from the chemical reaction.

Artifact Speech Essay

4-H is a program set up by the United States Department of Agriculture originally in rural areas to help young people become productive citizens by instructing them in useful skills, community service, and personal development. To me 4-h is not only that, but it is a lifestyle. 4h is not something a person can just chose to do one day and become the outdo, they would have to have the passion and commitment for the lifestyle. The 4h clover is the principal(prenominal) symbol for 4-H. The four Hs represent the words head, heart, hands, and health. This coincides with the 4h pledge which states, I pledge my head to clearer thinking, my heart to greater loyalty, my hands to larger service, and my health to better living, for my club, my community, my country and my world. This pledge is a constant reminder in my life that everything I do is affecting everyone around me. I have participated in 4-h since I was nine, being part of such an amazing program has made me who I am today.4-H ta ught me how to become responsible, independent, and a leader. 4h has helped me form bonds with people that will goal a lifetime. Responsibility is something every parent exigencys their child to learn, through 4-h I learned how to take care of an animal, I had to make sure my animal was aright fed and always had water, I was to make sure the environment he was living in was clean and kept the way a human would want it. That animal was my child for the 6 months I had him. As a nine year old, I was not able to do everything I needed to do to keep my animal alive on my own, but as the years went on and I grew older I was able to become independent and in conclusion teach younger members of 4-h how to take care of their animals and become independent as well. 4-h has a lot of opportunities that can help you grow, one opportunity that is offered is Junior reasonable Board.JFB is a group for 4-h members between the ages of 15-18 who come together as one and run all of the shows and a ctivities that happen during the week of the County Fair. Learning how to run livestock shows and stressful to meet the needs of every person that attends the Hartford Fair is just the beginning of this wonderful opportunity. Putting in countless hours and losing nights of sleep with some of your best friends is all worth it in the end. This program is something that has taught me how to grow as a person and given me countless options to better my future. Throughout these 10 years I have found confidence, independence, and leadership within myself. 4h is not just an organization that allows me to take care of animals, it is a lifestyle

Greek drama Essay

In this essay, a companion piece to The handling of set and costume design in modern mental processs of ancient classical drama, I de jump discuss the importance of star sign outer station in contemporary productions of Hellenic drama. Of necessity, I stir limited my choice of productions to a set of ( round) a dozen fashion models all of these burn down be found catalogued in the database. It is hoped that the reader will be able to apply the basic ideas expounded present to a gas-filled range of productions than those alluded to in the text. Live execution encounters place in a three-dimensional lieu.The study of any(prenominal) period of study history will wear that there has always been a constructed evolution of theatre plaza, both courtly and informal. In all cases, the listening member, the spectator, becomes part of the performance, and is therefore an integral part of the plaza itself for contemporary performances, the theatre topographic point and t he spectators family relationship to that pose cigaret range from a strictly formalized proscenium- impish horizontal surface to a make-shift performance quadriceps in a busy street or in an aband unmatchabled w ar domiciliate.Whatever the logistics of the playacting space, there is always some kind of ocular setting in operation in the case of the temporary and impromptu street performance, the visual setting might just be a isthmus or semi-circle of passers-by with carrier bags and the back reason of a shopping-centre it might be a green lawn and shady trees set before a betrayle wall for a more formal adequate to(p)-air production the visual setting might be the black walls of an indoor neutral theatre space, so touristy at the moment with postmodern stage productions or it might be the glitzy painted scenery of a West End stage.The concept of space is a real important one in the theory of theatre practice, and is used to identify very different aspects of performanc e. The purpose of space can be broken down into several(prenominal) categories there can be a dramatic space an abstract space of the imagination, i. e. , a fictionalization there is stage space, which is literally the strong-arm space of the stage on which the actors move (this can include extending the acting space into the reference welkin). Another concept of space can be termed gestural space, which is created by the actors and their movements.Finally there is theatre space, the theatre of operations occupied by the auditory sense and the actors during the course of a performance and which is pieceized by the theatrical relationship fostered between the twain. The theatre space is product of the interplay between stage space, gestural space and dramatic space and, according to Anne Uberseld, it is constructed, on the basis of an architecture, a (pictorial) passel of the world, or a space sculpted essentially by the actors bodies. The focalise of this essay is with t his fourth definition of space.What I am not concerned with here is the idea of diegetic or narrative space, certainly not in the strictest sense of the term narrative (for example, a messengers speech in cataclysm which often narrates an event which has taken place off stage). The narrative cannot take on too much importance in the body of the play without running game the risk of destroying its theatrical quality therefore narrative is often confined to static monologues. However, in recent years there has been an escalating trend in Hellenic tragic performance for re-thinking the concept of narrative in visual and spacial terms.This usually employs the dramatic staging of an event which properly should only form a narrative recitation, an idea most fully developed in Katie Mitchells version of the Oresteia in which the long choral narrative recounting the death of Iphigeneia was vie out in abstract form in the theatre space (and employing that space to its best advantage too ( DB id nos. 1111 and 1112)). The figure of the mute Iphigeneia a character who is, after all, absent from Aeschylus cast-list was integrated into the main exertion of the drama throughout, silently commenting on or endorsing the narrative element.THEATRE SPACE On entering a theatre of any kind, a spectator walks into a specific space, one that is designed to produce a certain re run or series of responses. The receipt of that space becomes part of the total theatrical experience. in that respect are several dimensions that affect the reference entering into a space for the graduation exercise time and several questions need to be asked. How, for example, is the space entered by the hearing? Do they enter through grand wide- at large(p) doors or do they climb narrow stairs? Moreover, where has the audience come from before entering this specific space?In other words, is there a space before this space? Once the audience has entered into the theatre space it becomes important t o note how is the space divided. Where do the audience sit (or stand) in relation to the performance area, if such a formal space exists? Bearing these points in mind, let us now examine the relationship of theatrical space, design concept and audience reception in modern productions of Greek tragedies, for it is evident that several contemporary directors have utilized theatrical space to full advantage in enact to manoeuvre audience reactions in special ways.The French company Le Theatre du Soleil, under the leadership of director Arianne Mnouchkine, famously created in the early 1990s a remarkable production of the Oresteia which was preceded by Euripides Iphigeneia at Aulis and performed under the banner-title Les Atrides (DB ref. no. 152). Mnouchkines vision was to create a theatrical experience where past and present intermingled seamlessly she realized that the audience had to be transported to other(prenominal) conception of reality.. Her concept of mis-en-scene was of a kind of historical construction-site, and this was realized as soon as the spectator stepped into the theatre itself, at least in its captain staging at Vincennes. In a large(p) reception hall outside the auditorium, a huge map of the ancient Mediterranean world, highlighting the voyages of Agamemnon, was hang up against a deep blue wall. Around the room there were books and photo displays of ancient Greek life in addition, Greek food was traild, s elderly and eaten on site. In this way the audience was prepared, nurtured, and coerced into accepting the other world waiting for them beyond the foyer.On their way into the performance area, the audience had to walk through an manor hall and along a path above what appeared to be (on first sight) an unfinished archaeological dig which was filled with recently unearthed life- size of itd terracotta human figures, resembling the famous Chinese terracotta army. The audience walked past this archaeological site and entered the performa nce space from behind steeply raked set-blocks below the structure, the actors sat in little booths, fully visible to the audience, and employ their make-up and tied on their elaborate costumes.As they walked by, audience members were stopped by the performers who frequently engaged with them in some light conversation in a conscious effort to break the us and them barriers of courtly Western theatre practice. Having crossed the excavated transition space and the actors dressing area, the audience took their seats in the raised seating-blocks and waited for the performance to begin. They were aware of a low hum of gongs and other exotic instruments, and they could smell the perfume of burning incense.When the lights dimmed, the sound of a kettle drum come up to a thunderous roar and suddenly the terpsichorers of the chorus rushed on from the back of the stage with exuberant shouts in a whirling blaze of red, black, and yellow costumes, as if the terracotta army had come to life and had found its way up and onto the stage. The effect (and I experienced it myself) was breathtaking. Mnouchkine had succeeded in bridging the intermission between the two worlds of past-theatrical and present-mundane and had persuaded her audience to accept the overtly theatrical conventions of her production.She also succeeded in transforming the theatrical space into a ritual space. Katie Mitchells productions of two Greek tragedies, one for the RSC (Phoenician Women, 1995 DB ref. no. 211) and one for the Royal National Theatre (The Oresteia, 1999 DB ref. nos. 1111, 1112) have been noted for their cutting and minimalist use of theatre space. The audience entering Stratfords The early(a) Place for the first performance of Phoenician Women were ushered into a bare black box and seated on hard low-cut benches.They were not provided with programmes, so that a familiar aspect of twentieth-century theatre-going was denied to them instead they were handed simple sprigs of thyme, a kind of ritualistic gesture which was presumably intended to prepare the audience for the spiritual dramatic experience that awaited them. They were seated on three sides of the performance area which was backed on one side by a rudimentary kind of skene decorated with little lamps and terracotta figurines of ancient Greek and Near Eastern deities. This decorated back wall helped to transform the space into a place of holy ritual.Unfortunately, numerous audience members found the experience less than mystical, and critics voiced a common complaint that the design decisions about the use of the theatrical space were badly made. Nick Curtis of the Evening Standard noted that, There is little concession to comfort the stringently minimalist design of Rae Smith and Vicki Mortimer extends to low-cut benches for the audience. For the Stratford Herald critic, Paul Lapworth, the emotional agony experienced by the characters in the tragedy was matched by the physical suffering of the aud ience,The pain . . . was . . . matched by the discomfort of the seating arrangements, the audience perched on blocks like tiers from a Coliseum. It was the least satisfactory adaptation in an otherwise fascinating renewal of an ancient dramatic experience. Others beside Lapworth attempted to discharge Mitchells decisions to terrace the audience on un comfy benches by alluding to ancient theatrical tradition. Charles Spencer of The Daily Telegraph wrote a particularly virulent attack on the design decisions, but attempted to make sense of themIt would be dishonest to pretend that this is an enjoyable or even a physically comfortable evening. Euripides stark tragedy lasts more than two hours (sans interval) and the RSC has mysteriously decided to make the seats in the theatre even more uncomfortable by turning them into backless benches. I was all set to work up an indignant head of steam about this when a thought occurred. It cant have been comfortable on the match seats of Greek a mphitheatres sic and in those days audiences sat through four different plays.Nevertheless, the use of theatre space in Mitchells Phoenician Women seriously marred the productions other qualities. It was the discomfort of the performance that was remembered by most audience members, not the play itself. The public dissatisfaction with the use of space was clearly registered by the director who, despite any pretensions to artistic vision, was compelled to adjust her ideas when the production moved to The Pit at the Barbican in capital of the United Kingdom in June 1996. As The Times critic Jeremy Kingston noted,Katie Mitchells . . . production is more audience- informal in the basin-like pit than on the level story in The Other Place. Learning from past mistakes, perhaps, Mitchells RNT production of The Oresteia was self-consciously more conventionally theatrical in its use of the theatre space. The black box of the Cottesloe Theatre was unbroken in its regular traverse stage orien tation, with seating blocks erected on raised platforms on both sides of the acting space and mounted by black (comfortable) chairs.The on a higher floor gallery surrounding and over verbal expressioning the stage consisted of padded benches and high chairs. So theatre space is a very important element of the design wreak. It can successfully create a mood (as witnessed by Le Theatre du Soleil), but it must remain functional and comfortable. Directors and designers who do not acknowledge this are imprudent. An audience is prepared to undergo a transformation as it walks from foyer to auditorium, but there is little doubt that an audience will not come in up with physical discomfort for too long.To justify pain by saying it was the common experience of the ancient Greek theatre-goer is perverse it is probable that Greek audience members came fully prepared for a whole festive day at the theatre with cushions and blankets besides which, audience etiquette, like that inherited by us from our Victorian ancestors, probably did not force the Greek audience to sit in reverential silence or stillness throughout the entire continuance of four plays.Each director and designer responds to space differently famously, Peter Brook calls for an Empty Space, Josef Svoboda calls for a gigantic space, and Jerzy Grotowski calls for an intimate space. The use of space has a profound effect on the audience in orthodox theatre, the lit proscenium stage contrasts with the darkened space of the auditorium and the effect is one of delirium the audience is aware of a barrier between themselves and the performers, a concept that was entirely absent from the ancient Greek theatre experience.Interestingly, directors often toy with the notions of audience visibility and the breeching of the invisible us and them barriers. Peter Halls famous 1981 National Theatre production of the Oresteia (DB ref. no. 207) climaxed with the Furies (transformed into the Eumenides) progressing up the st eps of the Olivier auditorium as the lights rose to incorporate both masked performers and the audience into the ritual as the audience found themselves cast in the role of Athenian citizens.This was also the case in Katie Mitchells Oresteia (1999). In the second of the two parts, The Daughters of Darkness, the theatre space was transformed into the Athenian Areopagus and, accordingly, Athene addressed the seated and visible audience (lit by the house lights) as Citizens of Athens and instructed them, This is the first case of homicide To be act in the court I have established. The court is yours. From today every homicide Shall be tried before this jury Of twelve Athenians.And this is where you shall sit, on the hill of Ares. Not all uses of theatre space or conscientious attempts to break down audience boundaries are as successful. The (2000) production of Aristophanes Peace by Chloe Productions at Londons Riverside Theatre (DB Ref. no. 877), in the scene in which the chorus drag s international the stone that keeps Peace hidden in spite of appearance her cave, encouraged audience participation by handing them lengths of rope and asking them to haul along with the masked cast.As the cast moved among the audience and coaxed them into action, there arose (from personal experience) a distinct feeling of unease among the passive spectators. In this sense, the attempt to open up the use of theatre space unfortunately failed. In conventional modern theatre performances, the lit proscenium stage or other eccentrics of organization of space often drop out for a broad visual perspective, but any communication within that space is usually one-directional from stage to auditorium.The audience members sit next to one another in the darkened auditorium, but there is no communication between them, nor do they necessarily see one another. Interestingly, Katie Mitchells use of live idiot box images in her Oresteia frequently highlighted blocks of the audience or even individual spectators and projected their images onto a giant screen, reminding other audience members that they were part of a wider group of spectators sharing a common theatrical experience. Unlike the audience of ancient Athens in the Theatre of Dionysus, modern audiences rarely sit within the scenic environment.The notion of environmental theatre is taken to its furthest extent by Grotowski, who often has his performers address the spectators directly as they walk and sit among them in a space that is totally devoid of theatrical formality. This may not be an appropriate way to best stage Greek tragedies (although it could work well for comedies), where a formal distance of time and space between the actors and audience is often necessary. Of course, there are numerous other spaces for performance the apron stage, the thrust stage, the bowl stage and the surround stage.The apron stage format is one in which the audience sits on three sides of the acting area or part of the ac ting area. This type of organization was utilized by the Glasgow-based theatre babels five-hour triple bill, Greeks (DB ref. nos. 2510, 2524 and 2521), and by Katie Mitchells Phoenician Women. The thrust stage is an acting space located in the middle of the audience who are placed on two opposite sides of the theatre space, as used by Katie Mitchell in her National Theatre Oresteia. An arena stage is one in which the audience entirely surrounds the acting space.This can be an effective way of mounting tragedy, but it is not often utilized. An arena stage was adopted by the National Theatres production of The Darker Face of The Earth (DB ref. no. 1089), at the Cottesloe in 1999 where the audience was seated on four sides of the acting space, which consisted of a central pit surrounded by movable wooden boardwalks. In a surround stage, on the other hand, the audience sits in the middle and the dramatic action occurs around them. To a certain extent, this (brave) staging was attempted by Nick Ormerod in his design for a production of Antigone in 1999 (DB ref. no. 1091).Here the extensive set elongated into the auditorium of the Old Vic while additional members of the audience were seated at the rear of the stage. Additionally, performances can take place in a found space, such as a church, a storage warehouse, or any other space which does not have any other major specifically designed theatrical pieces (sets, etc) imposed upon it, or in a converted theatre space. These are specially found theatre spaces which are transformed by adding designed seating and/or architectural or scenic pieces that help locate the action of the performance. Mnouchkines Les Atrides is an excellent example of the use of such a space.The Cardiff-based Welsh language theatre company Dalier Sylw produced its 1992 production of Bakkhai (directed by Ceri Sherlock DB. Ref. no. 2604) in a sparse, largely plain, warehouse with no specific audience seating areas the audience was promenaded around the space which was scattered into different (often elaborately designed) locations (the palace at Thebes was a parched stone harem building, Mount Parnassus was a vast mound of wet earth and grass) and was only settled into fixed seating towards the end of the performance in order to witness the Bacchic frenzy.Increasingly, highly specialized spaces for hosting athletic events are being temporarily converted for theatre performances. A Cambridge student production of Trojan Women in 1998 (DB ref. No. 952), for example, set the action in an empty swimming pool, which was awash with blood by the end of the production. Purcaretes Les Danaides (DB ref. no. 153) was staged in vast exhibition halls in Vienna, Avignon, Amsterdam and Birmingham.Because theatre space dictates so much of the emotional and sensory impact on the spectator, directors seek the most appropriate space possible for each production. When considering a space a director must address a number of important issue s, deciding, for example, if the audience and performers should be formally separated from each other and whether the spectators should be observers of or participants in the performance. The director must decide upon the number of entrance and exit locations to be used and whether the entrances will be the same for actors and audience.In addition, a director will engage with the emotional and psychological feel of the space and decide if it should feel open or confined, friendly or hostile. Once the guidelines for these spacial elements have been developed, the director is ready to explore the other visual sign systems proxemics, picturization and blocking. PROXEMICS Proxemics is a recent discipline of American subscriber line wherein the organization of human space is systematically analysed. As a study of space as it relates to physical distances, notions of proxemics are of fundamental importance to the director.In the theatre, the first step towards designing the productions m is-en-scene is to determine the nature of the space that the performers will use. The ground broadcast of the space determines the possible movement of the actors and the special relationships of the characters, since the physical distance between people can relate to social, cultural, and environmental factors. Changes in those spaces can therefore stress character and plot development. A director uses proxemics in his/her manipulation of space and spacial relationships among the setting, objects, and actors.A stage space that is enclosed and cluttered with objects and performers creates a very different mood and atmosphere from one that is open and contains only one simple piece of setting and few performers. Together with the designer, the director will draw up a production ground plan to indicate the proxemic potential of the actors and the theatre space. The ground plan has to be a pictorial representation of the acting space, indicating entrances and exits it must outline the set, indicate the location of doors, the floor area, any ramps, platforms, pits or trapdoors.The ground plan should also indicate the whereabouts of freestanding props and furniture. Below, a ground plan for the second part of Katie Mitchells Oresteia at the National Theatre, indicates her proxemic use of theatre space The theatrical space consisted of a thrust stage measuring 9. 9m x 12m, with seven main entrance/exits for the actors one main entrance through the huge steel door at the far end of the acting space and six entrances dispersed around the audience seating-blocks.At the opposite end of the performance area from the great door was a high and narrow platform reached by a stepladder. A trapdoor in the stage covered with a metal drain cover served as the grave of Agamemnon. In the Eumenides section of the play, a section of the stage screening was removed to reveal an oblong pool of water. Behind this was a raised rostrum with steps on which stood the statue of Apollo. The acting space, seating blocks and surrounding curtains were coloured black.There were several set pieces upstage left of door was a piano and piano stool. There was a long table (actually composed of two tables) which was unadorned in The Home Guard but surrounded with dining chairs in the opening half of The Daughters of Darkness. In Act II the same two tables were placed together to form a square. Ten chairs (which had first been set upstage, below the high platform, into neat rows and which had been used to seat the sleeping Furies) were placed around the edges.According to Edward Hall (The Father of Proxemics) there are three types of space fixed-feature space, semifixed-feature space and informal space. In the case of fixed-feature space, the parameters of the acting space are specify by permanent features such as walls, columns, and doorways. A good example of fixed-feature space is, of course, the ancient Greek theatre itself, which had an open thrust acting area (the orkhes tra), two fixed levels above (the stage and the roof of the skene) and fixed entrances (into the skene by one or more doors and into the orkhestra via the two paradoi).Furniture and scenic pieces appear to have been kept to a minimum in the Greek theatre, and the playwright often created a change of dramatic location (i. e. scene) through dialogue alone. The acting space used in Les Atrides was also a fixed-feature space, consisting of a bare and sparse open acting area which had no curtains, no flies, and no wing-space, just a huge expanse of a dry, parched-looking sandy floor surrounded by a crumbling blood-splattered wall which was broken up by recesses and a double-doored gate upstage.It looked very much like a bullring. In fact, the acting space was an enclosure within an enclosure the crumbling wall that enclosed the stage was itself enclosed by a huge wooden wall painted blue like sky or sea, in the middle of which was another big gate that sporadically undefendable to revea l an expanse of blackness beyond. John Napiers set design for John Bartons RSC production of The Greeks at the Aldwych Theatre in 1980 (DB. Ref. no. 138) can also be classified as a fixed-feature space.Enclosed within a fixed proscenium arch, his set was a permanent structure, which comprised of, A large black platform with a scooped-out area in the middle, worn by sun and usage. The Times Education Supplement critic, Bernard Crick, described the permanent structure as, A clean, uncluttered, open and steeply raked stage, basically a rectangle with a circle in it that can suggest, at different times, an arena, a meeting place, a secret grove. . . . There was a bare stage, except for a few bushes by a golden mask of bloody Artemis mounted on a totem pole.Dionysis Fotopoulos also created a fixed-feature space for the design of Tantalus (DB. Ref. no. 2578). Also enclosed behind a formal proscenium arch, a basic circle (or pit) of sand surrounded by slue metallic walls served to functio n as a modern-day beach on a Greek island, the palace of Mycenae, the Greek camp, the city of Troy, the corn fields of Phthia and many other locations. For The Clytemnestra Project (a working of Iphigeneia at Aulis, Agamemnon, and Electra. DB ref. no.1029) at the Guthrie Theatre in 1992, set designer Douglas Stein created a proscenium arch fixed set that consisted of a sixteen-foot curved rake that resembled a hill or cupped saucer which was backed by two simple semi-circles of white starched curtains that extended the concentric circles of the stage up to the fly tower. Together they created a strong notion of a horizon. The inner circle at the center of the stage was minded(p) a polished black gloss so that it shone and contrasted to the white curtains.The overall effect was of restrained, almost Japanese, elegance. As Dramaturg Jim Lewis noted in his production notebook, There will be no mistaking this environment for a realistic setting. It is a sacred space in which actors wil l perform the audience is included in this space, invited to observe the action of the plays along with the chorus. A semifixed-feature space identifies a performance area in which there are design elements (furniture, props, scenery pieces) that have size and/or bulk but which can be moved during the performance.This was a noticeable feature of Katie Mitchells Oresteia, in which a simple trestle table became the focus of major dramatic action in The Home Guard it became a catwalk for Agamemnon and a place of sanctuary for Cassandra, while in The Daughters of Darkness, as the action moved into the palace at Argos, the table was placed downstage (in the same position that it had occupied in The Home Guard) so that it dominated the action of the following scenes. It was surrounded with dining chairs and covered with a dazzling white tablecloth and napkins and set with elegant crockery, glass and silverware.The table played a vital part in the staging of the latter half of the Choephor oi section of the play since it was here that the royal family sat to receive their foreign guests (Orestes and Pylades) and it was here that the ghosts of the dead Agamemnon and Iphigeneia (and the murdered old man of the chorus of The Home Guard) joined their living relatives for supper. When the bloodlust began, the order of the dining table was literally overturned and glasses, crockery and furniture were strewn across the acting area.The corpse of Clytemnestra was laid on the table and it was from this position that her ghost was reanimated at the end of Act I. In direct contrast to the fixed-feature and semifixed-feature spaces, an informal space is an open space with no structural definition at all. Open-air and promenade productions fall under this heading. An example of this kind of staging would be the Australian director Greg McCarts production of Oidipus the King set within a basalt quarry and played at sunset (DB ref. no. 156).PICTURIZATION AND BLOCKING The theatrical p rocess comes to life for the audience when they observe stage pictures, all in movement or in static formation in other words, the audience witnesses either a series of frozen moments or a flowing sequence of movements which results in a constantly changing and developing significance to characterization and/or plot. Frozen moments can be classified under the heading picturization (although the terms tableau or tableau vivant may be just as applicable).This is a major feature of Oriental theatre, particularly Japanese Kabuki productions, where the formalized frozen pose is addicted the name mie. Not surprisingly, picturization has been a major visual prospect of Orientalist productions of Greek tragedy, in particular Mnouchkines Kathakali-inspired Les Atrides and Ninagawas Kabuki-style production of Medea (DB ref. no. 177) and Suzukis Noh-style Trojan Women (DB ref. no. 1086), his Kabuki Dionysus, and his hybrid East-West Clytemnestra (DB ref. no. 1028).The nature of Greek drama, given the inherent elements of the chorus, is especially given to the creation of moments of picturization. The movement of actors around the stage is known as blocking. It is important that the director, sometimes in collaboration with the designer(s) and choreographer(s), using the ground plan as a tool and visual aid, blocks the play in the early stages of rehearsal. Good blocking should allow the actors to be visible to the audience and change characters to move around and on and off the stage.Blocking should also contribute to the communication of emotion and to plot development by tracing character relationships and stress the action to give emphasis to an event or series of events. For Greek drama, the notion of blocking is intimately connected to the issue of choreography in fact, the two are almost inseparable. This merging can take the form of strict dance routines such as the powerfully evocative Kathakali steps employed by the stunning chorus of Les Atrides, the Oxfor d Playhouse corps de ballet of young girls in Helen Eastmans production of Iphigenia at Aulis (DB ref.no. 966), and the Aboriginal chorus in Greg McCarts Oidipous the King. Alternatively, the merging of blocking and choreography can result in carefully controlled movement utilized for comic effect, such as the Keaton and Chaplinesque slapstick routines of Dictynna Hoods 1997 Birds (DB ref. no. 854), or the controlled wheel-chair manoeuvrings of Katie Mitchells chorus of war veterans in The Home Guard. Donald McKayle, the choreographer for Tantalus, recalls that movement, gesture, blocking and dance were indistinguishable and that,There are no set dance pieces in Tantalus. The dance is part of the dramatic fabric. It gives colour and weight and variety to the words. There are so many words. Sometimes the dance extends to one or two minutes but often it lasts just a moment or two. Sometimes I give movement a vocabulary to the actors to utlize within a scene. Its a fascinating experien ce of underscoring dialogue with gesture as well as sound. As we have seen, space is central to the performances meaning(s).Directors acknowledge that the size, shape and layout of a theatre space directs, even dictates, a performances mise-en-scene. Some directors, like Greg McCart and Ceri Sherlock, even choose to look outside the traditional theatre space for an appropriate place to bring a concept, a script, performers and audience together. For others, like Katie Mitchell and Nick Ormerod, a more conventional theatre space is chosen, but used in imaginative new ways. In either case, however, space is seen as a pivotal element in the directorial relationship between the performance and its spectators.

Developmental Delays Essay

1 in every 6 U.S. children be diagnosed with a developmental harm, according to a new Centers for Disease authorization (CDC) and Prevention study published online in the journal Pediatrics Monday. The represents an increase of 17% mingled with 1997 and 2008 alone. Child development refers to the process in which children go with changes in skill development during predictable clip periods, called developmental milestones. Developmental baffle spends when children take a shit no reached these milestones by the expected time period. For example, if the normal frame for learning to walk is between 9 and 15 months, and a 20-month-old child has still non begun walking, this would be con attitudered a developmental delay. Developmental delays can occur in all five aras of development or may just happen in one or more of those areas. Also the growth in each area of development is related to growth I the other areas. So if at that place is a difficulty in one area, such as sp eech and langu bestride, it is likely to influence development in other areas like social and emotional. Children are placed at catching risk by existence born with a genetic or chromosomal abnormality. A good example of genetic risk is Down syndrome, a disorder that causes developmental delay because of an abnormal chromosome. Environmental risk results from exposure to harmful agents either before or after(prenominal) birth, and can include things like poor maternal victuals or exposure to toxins like lead or drugs or infections that are passed form a incur to her baby during pregnancy. Environmental risk also includes a childs life experiences. For example, children who are born prematurely face grave poverty, mothers depression, poor nutrition, or lack of care and are at increased risk for developmental delays. Risk factors have a cumulative uphold upon development. As the number of risk factors increases, a child is lay out at greater risk for developmental delay. There are several general model signs of viable delay. These include* Behavioral* Does not pay watchfulness or stay focused on an activity for as long a time as other children of the similar age * Focuses on droll objects for long periods of time enjoys this more than interacting with others * Avoids or rarely makes eye contact with others* Gets unusually bilk when trying to do simple tasks that close children of the same age can do * Shows aggressive behaviors and acting out and appears to be very stubborn compared with other children * Displays violent behaviors on a daily basis* Stares into space, rocks dead body, or talks to self more often than other children of the same age * Does not look to love and approval from caregiver or parent * unadulterated motor* Has stiff arms and/or legs* Has a floppy or limp body posture compared to other children of the same age * Uses on side of body more than the other* Has a very clumsy manner compared with other children of the same age In addition, because children usually acquire developmental milestones or skills during a specific time frame or window, we can predict when most children will learn unlike skills. In the world nowadays there are many programs for children who are experiencing developmental delays.These programs help the children catch up if it is possible and improve the skills they have. Examples of such programs include * IEP (individualized education plan)* Early treatment services* IFSP (individualized family service planAccording to the CDC the percentages of U.S. children in the age group of 3-17 old age of age, 1997-2008 are as follows * Any developmental disability* 13.87%* Learning disability* 7.66%* ADHD* 6.69%In conclusion I would say there are a cluster more options today for children with developmental delays then there were years ago. We are making progress in helping our especial(a) needs children and this will prolong to help them improve the quality of life that these children have in their future. Ialso believe that all children develop at a slightly different pace and some of the more recent diagnosis susceptibility be to quick to hand out. I am a parent of 2 special needs children one mild and one more severe so I can relate to this subject more and have a diverge opinion on both sides of the discussion.1 in every 6 U.S. children are diagnosed with a developmental disability, according to a new Centers for Disease Control (CDC) and Prevention study published online in the journal Pediatrics Monday. The represents an increase of 17% between 1997 and 2008 alone. Child development refers to the process in which children go through changes in skill development during predictable time periods, called developmental milestones. Developmental delay occurs when children have no reached these milestones by the expected time period. For example, if the normal range for learning to walk is between 9 and 15 months, and a 20-month-old child has still not begun wa lking, this would be considered a developmental delay. Developmental delays can occur in all five areas of development or may just happen in one or more of those areas. Also the growth in each area of development is related to growth I the other areas. So if there is a difficulty in one area, such as speech and language, it is likely to influence development in other areas like social and emotional. Children are placed at genetic risk by being born with a genetic or chromosomal abnormality. A good example of genetic risk is Down syndrome, a disorder that causes developmental delay because of an abnormal chromosome. Environmental risk results from exposure to harmful agents either before or after birth, and can include things like poor maternal nutrition or exposure to toxins like lead or drugs or infections that are passed form a mother to her baby during pregnancy. Environmental risk also includes a childs life experiences. For example, children who are born prematurely face severe poverty, mothers depression, poor nutrition, or lack of care and are at increased risk for developmental delays. Risk factors have a cumulative impact upon development. As the number of risk factors increases, a child is put at greater risk for developmental delay. There are several general warning signs of possible delay. These include* Behavioral* Does not pay attention or stay focused on an activity for as long a time as other children of the same age * Focuses on unusual objects for long periods of time enjoys this more than interacting with others * Avoids or rarely makes eye contact with others* Gets unusually frustrated when trying to do simple tasks that most children of the same age can do * Shows aggressive behaviors and acting out and appears to be very stubborn compared with other children * Displays violent behaviors on a daily basis* Stares into space, rocks body, or talks to self more often than other children of the same age * Does not seek love and approval from ca regiver or parent * Gross motor* Has stiff arms and/or legs* Has a floppy or limp body posture compared to other children of the same age * Uses on side of body more than the other* Has a very clumsy manner compared with other children of the same age In addition, because children usually acquire developmental milestones or skills during a specific time frame or window, we can predict when most children will learn different skills. In the world today there are many programs for children who are experiencing developmental delays.These programs help the children catch up if it is possible and improve the skills they have. Examples of such programs include * IEP (individualized education plan)* Early intervention services* IFSP (individualized family service planAccording to the CDC the percentages of U.S. children in the age group of 3-17 years of age, 1997-2008 are as follows * Any developmental disability* 13.87%* Learning disability* 7.66%* ADHD* 6.69%In conclusion I would say ther e are a lot more options today for children with developmental delays then there were years ago. We are making progress in helping our special needs children and this will continue to help them improve the quality of life that these children have in their future. Ialso believe that all children develop at a slightly different pace and some of the more recent diagnosis might be to quick to hand out. I am a parent of 2 special needs children one mild and one more severe so I can relate to this subject more and have a bias opinion on both sides of the discussion.

Natural Law and Sexual Ethics by Janet Smith Essay

I am honored to be among the lecturers in this series on instinctive faithfulnessfulness. Many of the speakers argon among my heroes and friends. unmatchable of my heroes, Alasdair MacIntyre, used unity of his favorite terms in his address he spoke of force field persons and their grasp of honorableity and indispensable truth in contradistinction to the experts and professional philosophers and their grasp of these matters. A few years ago in Dallas he gave a talk entitled Do cobwebby persons need to be chaste philosophers? When I was asked to give the response to his talk, I was most honored because I considered Prof.MacIntyre one of the foremost moral philosophers in the instauration and it was a thrill to comment on his work. I felt dreadfully underqualified I felt like nigh high school kid way out up against Larry Bird until I realized that I need not serve as an expert, as a moral philosopher of his caliber, but that I could move as the quintessential plain p erson for that is what I am. After all, I am Janet Smith, daughter of John and Anne Smith I grew up at 5 Hill Street and went to Home Street School I could go on but it is all very plain.The point I am do here(predicate) is not merely a flip one designed to ease us into more serious matters through an attempt at humor. thither is a serious point here natural law, is the plain persons morality in a sense it is simply plain doddering common sense. There are profound and sophisticated shipway at explaining natural law, but the pr stageiceof reasoning in gibe with natural law principals, agree to the theory itself, is natural to plain persons that is, natural to all mankind for natural law holds that many of the most fundamental principles of moral reasoning are obvious, that is slow k straightwayn by all.Yet, in spite of the plain commonsensicalness of natural law, it gutter seem shocking and provocative in many ways, for like natural law, plain old common sense does not command a lot of followers these days and can be shocking when juxtaposed to the values of our times. My talk is going to be very canonic in several respects. It will review slightly of the basic principles that other speakers have covered, some in depth, some more in passing. It will also be very basic in being the one talk that attempts to identify an application of natural law to concrete moral issues issues in the realm of sexual ethics.My job is not to justify natural law ethics but to explain it and apply it. As did many of the earlier speakers I will largely be following the thought of Thomas doubting Thomas on these matters and of Aristotle from whom Aquinas learned many of the principles that assured his teaching on natural law. I shall also incorporate into my arguments the thought of another stellar natural law theorist, still alive and hygienic I shall make use of the work of Karol Wojtyla, now known as Pope John Paul II.I will refer to him as Wojtyla simply becaus e I do not want to be thought to be invoking his authority as Holy Father I cite him simply as a philosopher who has made great advances of our understanding of natural law, particularly in regard to sexual ethics. So let me begin with a review of the principles of natural law. As several other speakers have noted, Aquinas maintains that the first principle of natural law is do inviolable, ward off evil. As he notes, that is a axiomatic principle and obvious to all if we want to be moral we should do best and avoid evil.No controversy here. The question is, of course, what is good and what is evil and how to we travel along to know which is which? Some entail we cant know what is good and evil so the best we can do is live by the conventions of our times. Others think it best to let our passions be our guide to whatever we want to do. Others think lone(prenominal) revealed religion can give us absolutes. These three positions capture the prevalent views of our times. Aquinas holds none of these positions.He argues that reason should be our guide to morality. Not only does he hold that the first principle of natural law, do good, avoid evil is self-evident, he argues that there are other self-evident first principles, such as harm no man. These he says are imprinted in the minds of all by God I believe other precepts such as provide responsibly for your offspring, give to each man his overdue and seek knowledge would qualify as precepts that Aquinas thinks all men know.Men (and I use the term generically here and throughout) may feign against these precepts out of passion or because ignorance of some fact operative in a situation, but all would agree that such principles are moral truths. Aquinas goes on to say that what he calls primary precepts of natural law are naturally and immediately known by man he cites the 10 commandments as examples of these types of precepts. These precepts are justified by the primary principles.From the most general prin ciple give to each man his due, from an understanding of what one owes to ones mother and father, it is clear that one should honor ones father and mother. Now this is not to say that one discovers the moral law by discovering these precepts in a deductive manner moving from the most general to the more particular. Rather, it seems that often moral discovery, as the discovery of other general truths, moves from the particular to the universal.That is, an unmarried could witness or participate in a transaction and quite immediately make the moral judgment that the act is good or bad. That is, for instance, an soulfulness could witness someone honoring or dishonoring his parents and judge the action to be good or bad from this action and others of the same sort one may come to formulate the law that one should give each man his due. But it is because we already naturally know in an unexpressed and unformulated way that one should give each man his due, that we are able to see read ily that honoring ones parents is good.Much in the same way that we, without musical comedy training, can judge indisputable tones to be off pitch, we have moral perceptions that some actions are good and some bad, without having any explicit training just approximately such kinds of actions. I speak of these as moral perceptions not because they are equivalent to sense perceptions, but because of their immediacy and their unformulated quality indeed, I believe them to be noetic in several important respects, not least because they are cognitive acts and they are in accord with candor.Let me speak now slightly sagaciousity and the Thomistic claim that one should act judiciously. Indeed, one could formulate the first principle of natural law not only in the most basic formula do good, avoid evil in Thomistic terms, several formulas serve to express the same truth for Aquinas, the following phrases are synonymous act in accord with nature act in accord with reason or act rat ionally act in accord with virtue act in accord with the dignity of the human person act in accord with a well formed conscience indeed, act in a agreeable way, properly understood, serves as well.While it would be of great profit to elaborate how each of these phrases is synonymous with the other, I want to devote most of my efforts here to explaining how act in accord with nature and act in accord with reason are synonymous and worthy guides to moral bearing. First we must turn out to blend as clear as we can what it means to say act in accord with reason or act rationally. In our day, reason often gets a bum rap. This is a fault not of Aristotle or Aquinas but of Descartes and Kant and their followers.Since they retreated into the mind and abandoned the senses and emotions and nature as guides to truth, they made reason seem like something coldly logical, impersonal, abstract and completely devoid of experiential and emotional content. In their view, mathematics and geometry are seen as the quintessential rational acts to be rational is to operate totally within ones mind and to be completely unemotional. Another view of rationality that dominates new(a) times is the view that only that which can be measured scientifically deserves any recognition as objective truth.No truths other than those substantiated by scientific proofs truths that can be quantified largely in the laboratory count as truth. No proof other than scientific proofs count as truth only science and that which approximates to scientific truth is truly rational. Neither view is the view of reason and rationality held by the ancients and medievalists those who defined the view of natural law I am defending here. The ancients and medievalists did not think rationality was possible without the senses and the emotions for both are tools to reading reality they provide the intellect with the material needed to make a good judgment.The etymology of the word rational is rooted in the word r atio which means measure or proportion. One is being rational when ones thought and action are measured to, are proportionate with, or when ones thought and action correspond with reality (which itself is measured or governed by discernable laws more about this momentarily). The thought that leads to acting in accord with reality is called rational. Now this thought need not be and perhaps only rarely will be the kind of abstract, cold, logical reasoning of a Descartes, Kant, or research scientist.This thought can be intuitive, creative, poetic, inductive, deductive, indeed, whatever human thought can be. It is all called rational thought not because it proceeds by syllogism or because it is subject to certain scientific tests it is called rational because it corresponds with reality and this includes all of reality, the spiritual and the transcendental as well as the logically provable and the scientifically measurable reality. Such thought cannot proceed without broad data from our senses and our emotions.The intellect processes such data and outranks it it determines what values are important in the data and decides on the appropriate response. If one acts rationally, one then acts in accord with the ordering done by the intellect. While the intellect should govern the emotions, it is not a natural law teaching that all rational behavior will be devoid of emotion. Again, the emotions can provide essential data to the intellect. Emotions that are well-habituated may lead one quite spontaneously to respond in good order to situations.One may spontaneously get angry at witnessing some act of injustice and, if one knows ones emotions to be well-ordered, one could respond quite immediately and correctly to the situation and even angrily to the situation. Indeed, at times it may be an appropriate response to reality to rant and rave. One doing so, is properly called rational, in spite of our common parlance. This talk of the mind and of rationality as someth ing that is measured to reality suggests, as mentioned above, that reality is a thing that can be grasped. Natural law depends upon such.It rests upon the claim that things have natures and essences that we can know and correspond our actions to. There are many reasons for making this claim. One is the fact that things act in a predictable fashion when we learn the properties of oil and water, for instance, we can predict certain things about their behavior. The fact that we build bridges which stand, that we make false hearts that work, that we put men on the moon, also indicates we are able to measure our thoughts to the external world and to act in accord with it.Moreover, natural law operates on the premise that nature is good that is, that the way things naturally are is good for them to be it holds that the operations of things and parts of things contribute to the good of the whole. The wings of divergent birds are shaped in certain fashions because of the sort of flying th at they must do to survive different digestive systems work in different ways because of what is being digested. Indeed, natural law holds that the natural instincts of natural things are good they lead them to do what helps those things function well and helps them survive.Since natural things have an order there is said to be a ratio or order to them not one of which they are conscious but one that is written into their functioning. Natural law holds that we live in a universe of things that have a ratio to them and that we shall get the best out of these things if we act in accord with the ratio or nature that is written into them. Now, man is a natural thing. He, too, has parts and operations and instincts that enable him to function well and to survive.Man differs from other creatures in that he has big will that is, he can either cooperate with his nature or act against his nature, whereas other natural things have no such freedom. What enables man to be free is his reason, h is rationality he is able to weigh and measure different courses of action and to determine which actions are good or bad. According to natural law, those actions are good which accord with his nature and with the nature of other things. Since man is by nature a rational animal, it is good for him to act in accord with his reason.By acting rationally he is acting in accord with his own nature and with a reality that is also ordered. When he acts rationally, he acts in accord with his own nature and reality and in accord with the nature and reality of other things. Now, lets get concrete. Lets talk about acting in accord with the nature of a few specific things. Take love apple plants, for instance. Tomato plants have a certain nature. In order to have good tomato plants one must act towards these plants in accord with their nature one must water them, give them sunlight and good soil if one wants to produce good tomato plants.Such is acting in accord with nature in respect to tomato plants, such is rational behavior in respect to tomato plants. If ones tomato plants fail to produce tomatoes, one knows that one is doing something wrong if ones tomato plants produce good tomatoes, one knows one is doing something right. Prof. Charlie Rice, whose book Fifty Questions on Natural Law that I understand several of you are reading, speaks of the rationality of place oil and not molasses in the engine of a car. One needs to act in accord with the nature of things if one wishes them to perform well.So now let us, moving quickly, move to human nature. If a human being wishes to function and perform well, what does his nature require of him? Let us begin with his visible nature. There is a considerable consensus about what makes for physical health and what is conducive to physical health. Those who dont get sick, who are able to function well in their daily activities, who are not overweight, we call healthy. We know how to produce such individuals. We are regularly an d rightly advised to eat well, exercise regularly, and to get plenty of sleep.Those who do so generally flourish physically because they are acting in accord with nature, with reason, and with reality. Psychological health is also understood to some extent we know we need friends and rest and interests to sustain our psychological health that is our nature that is reality. Nor are we in the dark about what makes for moral health or moral goodness. We recognize the goodness of the various virtues such as self-discipline, reliability, justice and fairness, kindness, truthfulness, loyalty, etc. those who exhibit these qualities we generally recognize to be good that is morally good human beings.Parents who have children who display such qualities are rightly proud of them their tomato plants turned out well. So, in regard to sexual behavior, to sexual moral health, so to speak, what qualifies as acting in accord with nature, with reason? How do we determine what it is? Now, for Aqui nas, these are not difficult questions, though, apparently, they are extremely difficult questions for ultramodern times. We are terribly confused about what proper sexual behavior is.College newspapers are filled with news of campuses that are devising codes of moral sexual behavior codes that are designed primarily to stop or reduce the incidence of date rape on campus. These codes suggest, mandate, require I am not certain what is the correct word that in sexual activity neither individual proceed to the next level of sexual activity without obtaining the permission of the other individual.These codes rebound what has been the principle governing sexual behavior in modern times for sometime whatever one feels comfortable with and whatever one agrees to is morally o. . This is basically what we are teaching to our young people and they are doing much what one would expect given that teaching. As long as it feels good, and they have consented to it, there is no reason for th em not to do it. Is this working is this principle leading to moral health or moral sickness? What can we say about the moral sexual health of our society? What does the fact that 68% of African-American babies are born out of wedlock suggest? The figure is now 22% in the white community and rapidly growing.

Long-term Negative Effect of Breatharianism

A reason behind I became a breatharian is to principal(prenominal)tain a slim figure, living healthy, and happy. Unfortunately, any of those my wish doesnt come true. Thats why I decided to inform the vice squad for further investigation into the organization. The breatharian diet neither includes food nor water. However, after seeing several YouTube telly and commercial on flyer, I was convinced by the specious way to live life. Once I enrolled, I came to know many things, for example, some of the main people of the organization not even follow their own instruction which is not to eat or drink.I would like to sh be my personal mother and that is I am completely unsatisfied with diet plan and even their promises. They said to me that, if you live only on light and air, you became healthier and happier more than you are right now. Nevertheless, just following there instruction I became ill. I had to visit an emergency room of hospital twice a month. Now, I am suffering from high blood pressure. Thats just my experience. One of my friends also enrolled in this program and she is suffering from renal disease.I want to submit this write up against the organization, because I feel their only purpose is to make m one and only(a)y out of people like us. They are making this money by enrolment and seminar fees. In addition to that, after one month experience of being part of their program, I feel that they not follow their own instruction. I saw one of them eating outside the Taco Bell. The diet plans they provide are dangerous and lead many lives in danger. After all its our moral craft to save local citizen. Its my humble request to take a step towards the organization.

Economics of Transportation Essay

Transport is usually the movement of goods and people from one destination to another and merchant vessels economic science is the study of the allocation of the resources used to move freight and passengers from destination to destination. The passengers and freight are moved all the way through a fascinate vogue because a transport order delineate as the means of moving passengers and also freight. The largest parts of transport modes are rail, road, air, sea, and pipelines. Transport system normally helps in defeating the effects that arise as a result of distance.Transport system trick also provide other benefits such as enhanced opportunities for worldwide trade and the economic assimilation, enlarged volume of market by making sure that domestic goods are sold worldwide as salubrious as promoting the Just in Time (JIT) production techniques. In the economics of transportation components are delivered when required thus reducing a firms entrepot level therefore saving the unit bells. There is an improved mobility of labor because workers lot live many miles from work and commute (young 3-4).Transport infrastructure is defined as the social overhead capital that can be used to give support to the movement of freight and people. In any developed economy, a considerable sum of social capital is usually set aside to develop the transport infrastructure. Transport infrastructure generates both negative and positive externalities. Investments make in the local transport infrastructure are seen as the primary stimulus for the regional economic development. This is seen when roads unlock employment opportunities and market that can benefit the third parties which whitethorn include workers and local businesses.Any time there is a channelize in the infrastructure, there are changes in the cost of travel and as a result the producer and consumer behavior becomes influenced (young 6). Economics of transportation comprises of transport operations which ar e considered as the assessments that dictate the type of transport mode that has to be employed. Transport operations decisions falls into two most important categories and they include supply side and demand side. The demand side decisions helps in choosing what journey to make, using what mode, and at what time can it be taken by firms and consumers.In the other hand the supply side decisions deals with what transport mode to provide. Transport operators normally take an account of various types of elasticity in the arrangement of prices and predicting the output. This price elasticity of demand usually predicts the outcome of a change in charges on quantity demanded and also the effect of change in charges on total revenues and expenditure, the effect of change in indirect tax that may comprise road changing and the fuel duty on price and the quantity demanded as well as the effects of price unfairness (young 11).Does transport generate externalities that can cause market failure ? Literature Review According to Rodrigue transport sector is an equally important component of the economy that can bring impact to the welfare and the development of populations (para. 1). He argues that when transport systems are well-organized they are in a position of providing economic opportunities and social opportunities as well as benefits that lead to positive multipliers effects that comprise of improved accessibility to market, additional investment and employment.

HBS Case Innovation and Collaboration at Merrill Lynch Essay

In a rapidly changing world, organizations need to continually tell apart new opportunities beyond existing competencies if they are to survive and prosper. Customers also increasingly want customized products. Customer service has become a hygiene factor and node loyalty is now being driven by faster innovation, rapid concept-to-market and product co-creation. This has led to the extension of the collaboration paradigm to customer facing functions in the supply chain, namely the product design and prototyping phase. Collaboration is becoming a new and important source of competitive advantage.Historically, analysts in the investment bank tended to flow independently. Especially, in the beginning of 1990s, the globalization overwhelmed the market and investor became to think that they should not just invest in the local market, but invest in the international market. With this turn of clients attitude, the investment bank became to feel the need of innovation of their working st yle. Under these situations, Merrill kill decided to create totally different style of research report, the jacket structure report which was only possible with the collaboration of international-market, cross-sector, and cross-asset analysts.The First Capital-Structure report about the U.S. Cable Industry covered seven companies. It was the first try of cooperative work in Merrill Lynch, so it didnt take over any clear guide lines for the telling aggroup up work. There was no clear goal of team work, and also in that location was no motivation for the participant. Analysts from different sections were asked to get together one day, and asked to make a capital structure report. Without any clear goal, and without the structure and system of team work, the whole procedure proceeded rattling inefficiently. It took rafts of time to get the final report, but the quality of report was not satisfied. In otherwise words, its try to change was innovative, but the team work itsel f was not so much value-addable.The second Capital-Structure report about U.S. Utilities covered 5 companies. This time, it seemed like there were clear goals The idea from get-go was that lot would be able to pick up this thing and start generating tradesfrom it. That was goal number one. The second goal was to have the report sitting on peoples desks for a good period of time as a reference guide to how different split of the capital structure impacted each other and affected valuations and potential opportunities In addition, the participants in this project worked pretty closely together already.However, these were not sufficiency for the effective collaboration. They were still not motivated to the project a lot, and the more commitment mogul have been called for. This means that they still didnt have particular proposition goal to head for. Absence of specific goal naturally brought lots of debates which slow the progress. When the team finished the project, the report got a lot of positive feedback from clients. And it seems that Merrill Lynch met its goal in the beginning. However, without the specific goal of what they should achieve, and with the lots of schooling they should mix all together, it was a grinding exercise to reach on the final result.The leash Capital-Structure Report was about auto companies. At this time U.S. specialists and Europe specialists worked together. Analysts did not need much convincing because they already knew the need for this collaborative work. There were lots of energy and enthusiasm already. In addition, this third project started with a plan they knew what they want to achieve specifically and they also had the clear deadline. The whole procedure was progressed very smoothly from this step to the next. As a result, Sales heard from a client that the value-added ideas contained in the report are original, differentiate Merrill from the rest of the Street, and seduce them another(prenominal) reason to pay Merri ll commissions.Even though Merrill Lynch learned lots of things undergoing the upper three cases, there still are many issues remained. The project might have been more timely and had a clear attraction. To achieve the further successful innovation and collaboration, there are many important things Browning as the director of the research department should have thought about.As a leader for change, Browning should set the theme by communicating shake up visions, which give a picture of the future combining poetry and prose, imagination and pragmatism, drawing on destination, dream, prize,target, message, and first step. So, first, as a leader Browing must be untroubled about teams charter, mission, goals and objectives to team members. And employees must believe a certain level of individual effort entrust lead to achieving the corporations standards of performance. So Browing should set stretch goals which they energize people. And Browing must confront the key questions that must be answered and then communicate the inherent truth that inspires.The communication of that inspiring vision is arguably the indispensable condition. So For this, he should launch internal website for his innovative project and this website will help team members expedite projects vision communication as well as timely information access. To be specific, formally, the analysts can share information about each sector regularly through email, e-news letter, and regular cross-sector meeting. For example, the equity analyst can have the summary about received bond market or derivative market every week or biweekly. Also, through inner-information session for cross-asset collaboration report the analyst could have a chance of analyzing pros and cons of the collaboration report.Second, for effective communication, Browning has to build the trust and think of in the innovative project team. Informally, just as Fleishman insisted, through casual lunch or regular dinner, cross-asset analysts could be close to each other, and all-of-sudden they could be collaborating. And this interaction would encourage meaningful dialogue around issues of compelling importance to analysts. To develop solid foundation and mutual trust, face-to-face interaction is needed. In addition, just as Hezig recommended, having new hires rotate for a period of time before getting allocated to do research might be a useful tool for effective communication. New employees not only could be comfortable with cross-asset resources, but also could have close relationships with cross-asset colleagues.Third, Browing has to build the culture which voluntarily stimulates voluntary collaboration. So he has to pay attention to structure a collaborative innovation team which can add flexibility to planning and control systems. Without flexibility, analysts can stop their seminal and productive ideas. So Browing need to consider this flexibility in a long term goal. Creative collaboration respects an d honors the talents andcontributions of each person involved, irrespective of rank, seniority or expertise. Organizations that are serious about collaboration make sure there is a safe environment for victorious the risks that are required for creative collaboration.Fourth, Browing should create atmosphere where stimulates breakthrough ideas. It means that he should create norms to promote creativity. Collaborative Innovation is a new practice that improves on current practice or responds to new opportunities and challenges. Actually, many organizations are trying to build their own culture for innovation. Thus Browing needs to focus on risk taking for change. Risk taking is no punishments for failure and freedom to try things and fail. For example, laughing at those who suggest new approaches can stop sharing information each other.Another norm to promote creativity is openness. Openness includes open communication and help share information, open access, willingness to consult others. Browing should be careful of companionship evaporation. He should build up internal knowledge database as an instrument at the corporate level for collecting ideas and then promoting them. And also he has to give all the relevant employees to access the database. As a result, employees who are interested in any relevant subject can give negative or positive feedback and the subject can develop in a better way. Innovation is a process, not just an output. Time out is as important as time in. If we have a problem, our brains continue to search for the solution even while we are doing other things.Fifth, Browing should celebrate accomplishment making everyone hero. Celebrating accomplishments provides aliveness for staff undergoing change. Just as Casea said, Browining has to convince analysts that collaborative project is additive to their franchise, that its not just an extracurricular activity. Financial rewards do encourage people to produce results. But the kind of owner ship that really generates energy is not financial. It is emotional. Employees must feel that the rewards offered are attractive. Providing adequate pay, at the same time he could compliment the effort and result whenever he encounters. This will impart a motivatingsense of personal accomplishment and little by little will build commitment to the collaboration. A solid performance management system requires due respect to both intrinsic and extrinsic rewards. So Browing should be arch(prenominal) at communicating instrumental and expressive messages concurrently.The last suggestion for Browning is to decide or delegate the suitable leader and make him control the team under strong leadership. Just as Casesa indicated, non-hierarchical relationships across divisions among analysts complicated the task since there was also no actual leader when analysts made the third capital-structure report. To preserve this innovation, Browning also has to consider human side of innovation, becau se even the most technical of innovations requires strong leaders with great relationship and communication skills. The good leader might pull human resource to the collaboration when needed. Just as Haggerty brought an editor in meeting to help them structure the report, the environment which makes analysts easy to fall in would also promote the positive image of collaboration. Under good and respectful leader, the future collaboration would create more successful capital-structure report.BIBLIOGRAPHYAMBLER, S. (1995) USING USE CASES lessen DEVELOPMENT COSTS WITH USE-CASE SCENARIO TESTING, SOFTWARE DEVELOPMENT, 3 (6), JULY.BILOW, S. C. (1995) DEFINING AND DEVELOPING USER INTERFACE INTENSIVE APPLICATIONS WITH USE CASES, REPORT ON OBJECT ANALYSIS AND DESIGN. 1 (5) 28-34.INNOVATION THE CLASSIC TRAPS ,SKILLS LESSONSTHE NOT-SO-SECRET INGREDIENT OF HIGH PERFORMANCE, BE A GOOD BOSSLEADERSHIP FOR CHANGE ENDURING SKILLS FOR CHANGES MATERS, WRITERROSABETH MOSS KANTERTHE NOT-SO-SECRET INGRE DIENT OF HIGH PERFORMANCE, innate REWARDS GENERALLY MOTIVATE BESTCORPORATION, CULTURE, AND COMMITMENT MOTIVATION AND SOCIAL CONTROL IN ORGANIZATIONS, WRITERCHARLES OREILLYINNOVATION, WRITERROSABETH MOSS KANTERBUILDING AN EFFECTIVE GLOBAL note TEAM, CULTIVATING A CULTURE OF TRUSTTitle Leadership for Change Enduring Skills for Changes Maters, WriterROSABETH MOSS KANTER, Page4See Building an Effective Global melodic line Team, Cultivating a Culture of Trust, page 69TitleInnovation, WriterRosabeth Moss Kanter, Page10Title Leadership for Change Enduring Skills for Changes Maters, Writer ROSABETH MOSS KANTER, Page3TitleCorporation, Culture, and Commitment Motivation and Social Control in Organizations, Page15, WriterCharles OReillyTitleCorporation, Culture, and Commitment Motivation and Social Control in Organizations, Page15, WriterCharles OReillyTitle Leadership for Change Enduring Skills for Changes Maters, WriterROSABETH MOSS KANTER, Page14See Motivation The Not-So-Secret Ingredien t of High Performance, intrinsic Rewards Generally Motivate Best, page 5-7See Innovation The Classic Traps ,Skills Lessons, page 4See Motivation The Not-So-Secret Ingredient of High Performance, Be a in force(p) Boss, page 17-18

Hemmingway

Ameri evoke Novel 8/04/2013 Q) Hemmingways depiction of the condition of slice in a society that has been upset by the violence of struggle, in light of The Sun in any case Rises and A F bewell to weapons system. No Ameri stooge writer is to a greater extent associated with writing about warfare in the early 20th century than Ernest Hemingway. He experienced it firstborn hand, wrote dispatches from innumerable frontlines, and used war as a backdrop for many of his most memorable works. Com manpowerting on these experience years later inMen at War,Hemingway wrote When you go to war as a boy you ingest a great illusion of immortality.Other people get killight-emitting diode non you. . . . Then when you be worsely wounded the first time you lose that illusion and you know it can happen to you. afterward being severely wounded two weeks earlier my nineteenth birthday I had a bad time until I figured out that nonhing could happen to me that had not happened to all in all men before me. Whatever I had to do men had always done. If they had done it then I could do it excessively and the best thing was not to worry about it. Many persons whose outward lives do not in the least resemble that of a typical Hemingways character are still conscious of the disruption due to war, and of which he has made himself the outstanding fictional spokesmen of our time. Hemingways characters are soldiers, sportsman, Prize fighter and his domain of a function of fiction swarm with ferrets, drunkards and prostitutes. He is greatly pre-occupied with death and violence. A Farewell to Arms targets Hemingways tycoon to create life like character, both male and female, in such a way as to make us feel that we have actually met them.The first World War plays an important use of goods and services in the fabrications of Ernest Hemingway. He has depicted all real war experience in his novel. The war led up to a deep distrust of all established institutions and values religio ns, i loves, society, patriotisms etc. Only concrete experiences were valued. Thus, Hemingway emphasized the sense and the experience based on them. The Sun excessively Rises is one of his such novels. It is a story of a few American expatriates who were living in Paris after the War. in that respect were all wounded either physically or psychologically by the war. I got hurt in the war, I said. Oh, that dirty war. We would probably have gone on and discussed the war and agreed that it was in reality a calamity for civilization, and perhaps would have been better avoided. I was bored enough. Just then from the other elbow room someone called Barnes I say Barnes Jacob Barnes (3. 9) The banal discussion of the war that Jake and Georgette narrowly escape is one thats unsatisfactory and not comprehensive. We get the feeling that on that points a fortune more to be said about the war, but nobody knows how to communicate it yet. My dear, I am sure Mr.Barnes has seen a lot. codt th ink I dont think so, sir. I have seen a lot, too. Of draw you have, my dear, Brett said. I was tho ragging. I have been in seven wars and four revolutions, the count said. Soldiering? Brett asked. Sometimes, my dear. And I have got arrow wounds. Have you ever seen arrow wounds? (7. 18) The counts definition of seen a lot is associated with war as though war is the only real experience a man can have. The old pre-war values cannot give them the direction that they are looking for and in this lost being they are all lost souls.They drink heavily to quieten their inner distressed voices. Jake Barnes is a casualty of the First World War. He has been made impotent due to his injury and thus is now half the man than he was before. His physical impairment has made it impossible for him to consummate his recognize and thus this commences the tragedy of his love for Brett Ashley. Although there is no mention of it in the novel directly, it has been implied in certain scenes. As Br ett is not spontaneous to settle for less, Jake is drowned in the ocean of unrequited love.Thus, Jake then becomes a tragic hero, one of the most praised heroes of Hemingways books. We see that the war has taken away his masculinity from him leaving him incomplete for life. As Jakes war doctor remarks on his loss, He has given much more than his life. As the title of the novel makes clear,A Farewell to Armsconcerns itself primarily with war, namely the process by which Frederic enthalpy removes himself from it and leaves it behind. The few characters in the novel who actually support the effortEttore Moretti and Ginocome across as a dull raggart and a truthful youth, respectively. The majority of the characters remain ambivalent about the war, resentful of the terrible destruction it causes, doubtful of the glory it supposedly brings. The novel offers masterful descriptions of the conflicts senseless brutality and violent chaos. The scene of the Italian armys crawfish remains on e of the most profound evocations of War in American Literature. As the neat columns of men begin to crumble so does the soldiers nerves, minds, and capacity for rational thought and example judgement.Henrys shooting of the engineer for refusing to help free the car from the mud shocks the reader for two reasons, first, the violent effusion seems at odds with Henrys detached character, and secondly, the incident occurs in a setting that robs it of its moral import, the complicity of Henrys fellow soldiers legitimizes the killing. The murder of the engineer seems justifiable because it is an inevitable by-product of the spiralling violence and incommode of the War.I had seen nothing sacred, and the things that were glorious had no glory and the sacrifices were like the stockyards at Chicago if nothing was done with the stub except to bury it. There were many expressions that you could not stand to hear and finally only the name calling of places had dignity. Certain numbers were the same way and certain dates and these with the names of the places were all you could say and have them mean anything. Abstract words such as glory, honour, courage, or hallow were obscene beside the concrete names of villages, the numbers of roads, the names of rivers, the numbers of regiments and the dates.To Henry, such abstractions as honour, glory, and sacrifice do little to explain or assuage the unbelievable destruction that he sees a about him. What matters, he decides, are the names of villages and soldiers, the concrete facts of decimated walls and idle bodies. He believes that in order to discuss the war honestly, one must dismiss artificial concepts and deal with terms grounded in the reality of the war. He tarnishes the romanticized ideal of the military hero by equating the sacrifices of valet lives in war with the slaughter of livestock.He further compares romantic riffs about honor and glory to burying substance in the ground. Nothing can be sustained or nurtu red by such pointlessness. Hemingway believed that in this corrupt human race it is no longer possible to have a decent, self-respecting and dignified life. It is the abate of love, end of human dignity, end of personal relationships and a realisation that man is all alone in the world and he has to fend for himself. It is the realisation that the ultimate reality is nothing but nada, a Spanish word which means nothingness. Nada, someone said. Its nothing.Drink up. Lift the bottle. (The Sun in like manner Rises, chapter15) The Sun Also Rises portrays a few American and British young men whose experiences of the war are qualitatively not different from those of Nick Adams and Jake Barnes and they are lost in a world which they do not understand. Their nonsensical wanderings in Paris and later in Pamplona are the equivalents of their confused minds which have failed to find any maneuver principles in life. Bull-fighting for them becomes a symbol of life in which the matador dem onstrates how a man facing death can retain dignity.As a matter of fact it is in the face of danger and confrontation with death that they show courage, so that they can lead a life in which they can respect themselves. There is a vague realisation on the articulation of these expatriates that they cannot implement the matadors code in their lives because of the wounds inflicted by the war leave behind take quite some time to heal. In A Farewell to Arms Henry realizes that his idealism which had guided him into the front is meaningless in the face of total destruction symbolized by the war.Whether he performs his duties or not, it does not make any material difference to the unit to which he belongs. The endless round of drinking and brothels is equally futile because he cannot find any object to which he could align himself and adjudicate some sort of satisfaction that would give some meaning to his life. His love affair with Catherine Barkley is a impermanent relief from the i nner disquiet and finally with the death of Catherine he is no better off than the get over nosing in the dust bin for something to eat but where there is nothing for him to find.His own wound had also but killed him. This feeling of nada then led to the lost genesis. The term lost generation is generally applied to those who had actively participated in the First World War and as a payoff of this realised that life was meaningless. As a result of the domination of machine over man, man had mat that they were extremely helpless. This disillusionment could have taken either the shape of nihilism or a hunt for enduring values and absolutes. In the mechanised war there was no room whatsoever for the assertion of manhood or courage and gory.In a famous passage in A Farewell to Arms Hemingway brings out this disillusionment. In the rain, the words like honour, glory, patriotism seemed obscene to him and what was real were the names of the regiments, streets and towns. The Sun also R ises and A Farewell to Arms celebrate the conditions that led to this disillusionment and how man sought desperately to batch at straws in this meaningless and valueless world. There is no sentiment whatsoever about the bow out ion A Farewell to Arms or the adventures of Brett Ashley.They are delineated with the realism of a scientist but with the spirit of an artist. There is a feeling of boredom and disgust with the half-truths and sentiments of the earlier generations. Hemingway has, along with Remarque, revealed the grotesque and the animal character in man. Worship of instinct instead of rationality became the order of the day. The world that Hemingway has portrayed is unrecognizably part of the modern world. The violence of war is still with us. And added to it is the anxiety and fear of the cold war that seems to have become part and parcel of the Twentieth Century life.His preoccupation with violence, decay and death may be psychoneurotic but are still part of the twenti eth century temper. The lack of morality is with us to stay. There are no religious values that can provide balm to the troubled mind. As Jake Barnes states in The Sun also Rising, Im a rotten Catholic. In the words of Philip Young, It is a nut house of a world, and we should protest it. But on the other hand we should be hard-pressed to prove that it is not the one we inhabit While other writers were watching the side acts, Hemingways eyes were from the start center on the main show. The devout ask for peace in our time but ironically there is no peace in our time. This is the vision that Hemingway presents in his works and it is difficult to refute its authenticity so long as our world is going to be haunted by the fear of a thermo-nuclear war. As Hemingway wrote in A Farewell to arms, If people bring so much courage to this world the world has to kill them to break them, so of course it kills them. The world breaks everyone and afterward many are strong at the broken places.Bu t those that will not break it kills. It kills the very good and the very gentle and the very brave impartially. If you are none of these you can be sure that itll kill you too but there will be no special hurry. Work Cited http//onviolence. com/? e=313 http//www. hrmars. com/admin/pics/1043. pdf http//www. amazon. com/Hemingway-War-Ernest/dp/0743243293 http//en. wikipedia. org/wiki/Ernest_Hemingway http//www. archives. gov/publications/prologue/2006/spring/hemingway. html Book Hemingway on War