Comparison of Pope and Swift Essay - 1676 Words

Alexander Pope and Jonathan Swift in their respective poems, The Rape of the Lock and The Progress of Beauty, offer opposite representations of the nature and function of cosmetics in eighteenth century society. In The Rape of the Lock, Pope gives a positive representation of cosmetic’s nature and function in eighteenth century society. On the other hand, Swift’s representation takes a very negative tone. Both poets clearly appreciate and admire the natural beauty of a woman and their opposite opinions and therefore representation of the nature and function of cosmetics, springs from this admiration. Pope, whilst slightly ridiculing cosmetics through his use of satire, represents cosmetics in a positive light through portraying it as†¦show more content†¦Swift opposes this representation, rather representing the nature of cosmetics as negative in The Progress of Beauty. As opposed to Pope’s representation of the function of cosmetics as an enhancer of na tural beauty, Swift represents the function of cosmetics as being a destroyer of natural beauty. A number of times in The Progress of Beauty, Swift alludes to the destructive power of cosmetics due to its poisonous elements. Swift writes that Venus â€Å"taught [women] where to find White lead and Lusitanian dish.† (Line 60) Swift represents these cosmetics as causing women to waste away; â€Å"So rotting Celia strolls the street.† (Line 103) All of Pope’s descriptions of cosmetics as applied to Celia’s face in the poem, are ones of hideousness and disgustingness. The make-up causes her lips to be cracked and her eyes to be gummy. (Line 15) She becomes a â€Å"mingled mass of dirt and sweat.† (Line 20) There is nothing appealing or attractive in the use of cosmetics as Swift represents it. Rather Swift represents the nature and function of cosmetics as a disgusting thing that destructs the beauty of women. Cosmetics are not represented by Swift sim ply as a temporary destruction of beauty, but also as having the function of permanently destructing beauty, of doing irreparable damage because of its poisonous elements. The nature of cosmetics as represented by Swift is negative, and its function is represented only as one of destruction. Pope’s representation of the nature and functionShow MoreRelatedEssay on Comparison of Pope and Swift1712 Words   |  7 PagesAlexander Pope and Jonathan Swift in their respective poems, The Rape of the Lock and The Progress of Beauty, offer opposite representations of the nature and function of cosmetics in eighteenth century society. In The Rape of the Lock, Pope gives a positive representation of cosmetics nature and function in eighteenth century society. On the other hand, Swifts representation takes a very negative tone. Both poets clearly appreciate and admire the natural beauty of a woman and their opposite opinionsRead More Comparison (J. Swift A. Pope) Essay562 Words   |  3 Pages Both acknowledge the view that man has dominion over the earth, as created and instituted by God. However, the difference is seen in their approaches to this subject. Pope primarily focuses on man’s pride and place in society, whereas Swift discusses how man deals with certain situations reasonably or unreasonably. Pope and Swift present situations that man has to face in conjunction with illogical conclusions. Besides exhibiting illogical conclusions, they also show the selfish, prideful, rebelliousRead MoreA Modest Proposal By Johnathon Swift801 Words   |  4 PagesJohnathon Swift employs no shortage of phrases that dehumanize the Irish people. He likens women and the poor to â€Å"breeders,† implying that the only thing they are good for in life is to procreate and profit from their offspring. He goes on to reference, â€Å"child dropped from its dam,† as if making a comparison between women and animals. Swift furthers that with talk of allowing a number of women for breeding reserves, and it being more than the allotted number to that of livestock. Swift continuesRead MoreSatire : A Modest Proposal And The Rape Of The Lock905 Words   |  4 Pagesattacked the accepted way of life or common belief in order to present their own opinion on the matter. What makes these two writings a good comparison is that although one is in essay form and the other in poetic form, they are both from the same time period; they were written 17 years apart in the beginning of the 18th century. This is advantageous for comparison because they both are attacking the same wealthy class in England, and it can be seen in the texts as their points are very similar. TheseRead MoreSatire In Gullivers Travels1455 Words   |  6 Pagesis used to make fun of something that the author disapproves of in a comical but hidden way. Widely considered as one of the greatest satirists to ever live, Jonathan Swift used satire in his works to express his disgust in society and the British Monarchy during the 18th century. One of the greatest satires ever written by Swift was Gulliver’s Travels. In Gulliver’s Travels, satire is evident through Gulliver’s voyage to Lilliput, his dialogue with Lilliput’s emperor, and his time spent withinRead MoreAlexander Pope And Jonathan Swift And Materialism Analysis1861 Words   |  8 Pagescosmetic alteration to natural beauty and materialism heightened, which resulted in a change in the way society viewed women. This change objectified women and scrutinized them more than in previous time periods. Authors such as Alexander Pope and Jonathan Swift convey these views throughout their writings. Pope’s Rape of the Lock exposes the materialism used in objectifying women, mainly in the upper-class societal levels. The plot of the story centers a materialistic goal, as the lock of hair thatRead MoreHidden Messages of the Dressing Room Satires on Jonathan Swift and Lady Mary Wortley Montagu1638 Words   |  7 PagesLiz Jansen From Dryden to Blake British English 10-01-2013 1415 words Hidden Messages of the Dressing Room Satires On Jonathan Swift and Lady Mary Wortley Montagu Jonathan Swift is one of the most famous poets from the eighteenth century. He has written many satires including â€Å"The Lady’s Dressing Room†. This poem is about a man named Strephon and a woman named Celia. In the poem, Celia tries to make herself presentable to society while Strephon sneaks in her dressing room and there discoversRead MoreMaterialism In Alexander Pope And Popes Rape Of The Lock1322 Words   |  6 PagesThe views of women have altered over time, but have always had objectifying tendencies. During the 18th century, cosmetic alteration to natural beauty peaked and materialism heightened throughout societal views. Authors such as Alexander Pope and Jonathan Swift vividly spew these views throughout their writings. Pope’s Rape of the Lock exposes the materialism used in objectifying women, mainly in the upper-class societal levels. The whole plot of the story centers around a cosmetic appearance creatingRead Morevicki hearne vs peter singer com parison essay782 Words   |  4 Pages A quick comparison to Vicki Hearne’s â€Å"What’s Wrong with Animal Rights?† to Peter Singer’s â€Å"Speciesism and Moral Status†, might indicate Hearne’s argument is stronger due to her strategic and effective use of emotional appeals (i.e. pathos). These appeals allow Hearne to connect quickly and easily with her audience. Hearne is also quite clever in terms of stressing her occupation as an animal trainer. However, after a swift comparison of the two articles, it is evident that Singer’s â€Å"SpeciesismRead MoreComparing Dulce et Decorum Est with The Charge of The Light Brigade922 Words   |  4 Pagesin different centuries and times. This time difference meant approaches to war were different and hence the tones of the poems are very dissimilar. Owen is responding directly to a poem written by Jessie Pope. He was outraged at the tone of her poem. Pope was encouraging people to go to war and fight for their country in with a glorified tone and ironically she was unaware about the atmosphere of the war. Owen, who was a soldier and fought on the front line during

Essay on Analysis of Anne Frank and Pride and Prejudice

Anne Frank: Diary of a Young Girl â€Å"Yes there is no doubt that paper is patient and as I dont intend to show this cardboard- covered notebook, bearing the proud name of â€Å"diary†, to anyone, unless I find a real friend, boy or girl, probably nobody cares. And now I come to the root of the matter, the reason for my starting a diary: it is that I have no such real friend.† Anne Frank divulges that she wants her diary to be a friend to her unlike her other friends, she feels isolated and alone sometimes, and wants her diary to be someone she can talk to openly and honestly about everything. So she calls her diary â€Å"Kitty† and addresses it as her friend. Anne was often emotional and insecure of herself. She felt as though she didnt†¦show more content†¦Anne Frank: Diary of a Young Girl â€Å"Yes there is no doubt that paper is patient and as I dont intend to show this cardboard- covered notebook, bearing the proud name of â€Å"diary†, to anyone, unless I find a real friend, boy or girl, probably nobody cares. And now I come to the root of the matter, the reason for my starting a diary: it is that I have no such real friend.† Anne Frank divulges that she wants her diary to be a friend to her unlike her other friends, she feels isolated and alone sometimes, and wants her diary to be someone she can talk to openly and honestly about everything. So she calls her diary â€Å"Kitty† and addresses it as her friend. Anne was often emotional and insecure of herself. She felt as though she didnt have any true confidants, which led her to feel lonely and misunderstood. â€Å"I hope I will be able to confide everything to you, as a great source of comfort and support.† A critical point about Anne Franks diary is that it was written during the years of her adolescence. She struggled with many typical teenage problems- yearning for her own space away from adult meddling, burgeoning sexuality, and the quest for her own identity- in a enclosed space with little privacy. Unplanned Anne and Peter Van Daan formed a friendship tinged with romantic desires. In the beginning Anne thought of Peter as lazy; weak character. He was also shy and awkward, hardly a person worth her notice. But a year and a half later in the hiding,Show MoreRelatedReading Like A Writer By Francine Prose880 Words   |  4 Pagesmade stands in the literacy world, her most notable ones being Blue Angel (2000); a finalist a for the National Book Award, and A Changed Man (2005) that had won the Dayton Literary Peace Prize. She has also recently written an acclaimed nonfiction Anne Frank: The Book, The Life, The Afterlife. Summary As the title already discloses Reading Like A Writer is, â€Å"A Guide for People Who Love Books and for Those Who Want to Write Them. 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This discussion willRead MoreBohlander/Snell-Managing Hr24425 Wor ds   |  98 Pages food, and so on, via the Internet, books, lectures, videotapes, and DVDs. The knowledge gained will at least help the participants have a better understanding of their assignments. Sensitivity training can also help expatriates overcome ethnic prejudices they might harbor. The Peace Corps uses sensitivity training supplemented by field experiences. 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Vampire Academy Chapter 12 Free Essays

TWELVE SLEEP CAME RELUCTANTLY THAT NIGHT and I tossed and turned for a long time before finally going under. An hour or so later, I sat up in bed, trying to relax and sort out the emotions coming to me. Lissa. We will write a custom essay sample on Vampire Academy Chapter 12 or any similar topic only for you Order Now Scared and upset. Unstable. The night’s events suddenly came rushing back to me as I went through what could be bothering her. The queen humiliating her. Mia. Maybe even Christian – he could have found her for all I knew. Yet†¦none of those was the problem right now. Buried within her, there was something else. Something terribly wrong. I climbed out of bed, dressed hastily, and considered my options. I had a third-floor room now – way too high to climb down from, particularly since I had no Ms. Karp to patch me up this time. I would never be able to sneak out of the main hall. That only left going through the â€Å"appropriate† channels. â€Å"Where do you think you’re going?† One of the matrons who supervised my hall looked up from her chair. She sat stationed at the end of the hall, near the stairs going down. During the day, that stairwell had loose supervision. At night, we might as well have been in jail. I crossed my arms. â€Å"I need to see Dim – Guardian Belikov.† â€Å"It’s late.† â€Å"It’s an emergency.† She looked me up and down. â€Å"You seem okay to me.† â€Å"You’re going to be in so much trouble tomorrow when everyone finds out you stopped me from reporting what I know.† â€Å"Tell me.† â€Å"It’s private guardian stuff.† I gave her as hard a stare as I could manage. It must have worked, because she finally stood up and pulled out a cell phone. She called someone – Dimitri, I hoped – but murmured too low for me to hear. We waited several minutes, and then the door leading to the stairs opened. Dimitri appeared, fully dressed and alert, though I felt pretty sure we’d pulled him out of bed. He took one look at me. â€Å"Lissa.† I nodded. Without another word, he turned around and started back down the stairs. I followed. We walked across the quad in silence, toward the imposing Moroi dorm. It was â€Å"night† for the vampires, which meant it was daytime for the rest of the world. Mid-afternoon sun shone with a cold, golden light on us. The human genes in me welcomed it and always sort of regretted how Moroi light sensitivity forced us to live in darkness most of the time. Lissa’s hall matron gaped when we appeared, but Dimitri was too intimidating to oppose. â€Å"She’s in the bathroom,† I told them. When the matron started to follow me inside, I wouldn’t let her. â€Å"She’s too upset. Let me talk to her alone first.† Dimitri considered. â€Å"Yes. Give them a minute.† I pushed the door open. â€Å"Liss?† A soft sound, like a sob, came from within. I walked down five stalls and found the only one closed. I knocked softly. â€Å"Let me in,† I said, hoping I sounded calm and strong. I heard a sniffle, and a few moments later, the door unlatched. I wasn’t prepared for what I saw. Lissa stood before me†¦ †¦covered in blood. Horrified, I squelched a scream and almost called for help. Looking more closely, I saw that a lot of the blood wasn’t actually coming from her. It was smeared on her, like it had been on her hands and she’d rubbed her face. She sank to the floor, and I followed, kneeling before her. â€Å"Are you okay?† I whispered. â€Å"What happened?† She only shook her head, but I saw her face crumple as more tears spilled from her eyes. I took her hands. â€Å"Come on. Let’s get you cleaned – â€Å" I stopped. She was bleeding after all. Perfect lines crossed her wrists, not near any crucial veins, but enough to leave wet, red tracks across her skin. She hadn’t hit her veins when she did this; death hadn’t been her goal. She met my eyes. â€Å"I’m sorry†¦I didn’t mean†¦Please don’t let them know†¦Ã¢â‚¬  she sobbed. â€Å"When I saw it, I freaked out.† She nodded toward her wrists. â€Å"This just happened before I could stop. I was upset†¦Ã¢â‚¬  â€Å"It’s okay,† I said automatically, wondering what â€Å"it† was. â€Å"Come on.† I heard a knock on the door. â€Å"Rose?† â€Å"Just a sec,† I called back. I took her to the sink and rinsed the blood off her wrists. Grabbing the first-aid kit, I hastily put some Band-Aids on the cuts. The bleeding had already slowed. â€Å"We’re coming in,† the matron called. I jerked off my hoodie sweatshirt and quickly handed it to Lissa. She had just pulled it on when Dimitri and the matron entered. He raced to our sides in an instant, and I realized that in hiding Lissa’s wrists, I’d forgotten the blood on her face. â€Å"It’s not mine,† she said quickly, seeing his expression. â€Å"It†¦it’s the rabbit†¦Ã¢â‚¬  Dimitri assessed her, and I hoped he wouldn’t look at her wrists. When he seemed satisfied she had no gaping wounds, he asked, â€Å"What rabbit?† I was wondering the same thing. With shaking hands, she pointed at the trash can. â€Å"I cleaned it up. So Natalie wouldn’t see.† Dimitri and I both walked over and peered into the can. I pulled myself away immediately, swallowing back my stomach’s need to throw up. I don’t know how Lissa knew it was a rabbit. All I could see was blood. Blood and blood-soaked paper towels. Globs of gore I couldn’t identify. The smell was horrible. Dimitri shifted closer to Lissa, bending down until they were at eye level. â€Å"Tell me what happened.† He handed her several tissues. â€Å"I came back about an hour ago. And it was there. Right there in the middle of the floor. Torn apart. It was like it had†¦exploded.† She sniffed. â€Å"I didn’t want Natalie to find it, didn’t want to scare her†¦so I-I cleaned it up. Then I just couldn’t†¦I couldn’t go back†¦Ã¢â‚¬  She began to cry, and her shoulders shook. I could figure out the rest, the part she didn’t tell Dimitri. She’d found the rabbit, cleaned up, and freaked out. Then she’d cut herself, but it was the weird way she coped with things that upset her. â€Å"No one should be able to get into those rooms!† exclaimed the matron. â€Å"How is this happening?† â€Å"Do you know who did it?† Dimitri’s voice was gentle. Lissa reached into her pajama pocket and pulled out a crumpled piece of paper. It had so much blood soaked into it, I could barely read it as he held it and smoothed it out. I know what you are. You won’t survive being here. I’ll make sure of it. Leave now. It’s the only way you might live through this. The matron’s shock transformed into something more determined, and she headed for the door. â€Å"I’m getting Ellen.† It took me a second to remember that was Kirova’s first name. â€Å"Tell her we’ll be at the clinic,† said Dimitri. When she left, he turned to Lissa. â€Å"You should lie down.† When she didn’t move, I linked my arm through hers. â€Å"Come on, Liss. Let’s get you out of here.† Slowly, she put one foot in front of the other and let us lead her to the Academy’s medical clinic. It was normally staffed by a couple of doctors, but at this time of night, only a nurse stayed on duty. She offered to wake one of the doctors, but Dimitri declined. â€Å"She just needs to rest.† Lissa had no sooner stretched out on a narrow bed than Kirova and a few others showed up and started questioning her. I thrust myself in front of them, blocking her. â€Å"Leave her alone! Can’t you see she doesn’t want to talk about it? Let her get some sleep first!† â€Å"Miss Hathaway,† declared Kirova, â€Å"you’re out of line as usual. I don’t even know what you’re doing here.† Dimitri asked if he could speak with her privately and led her into the hall. I heard angry whispers from her, calm and firm ones from him. When they returned, she said stiffly, â€Å"You may stay with her for a little while. We’ll have janitors do further cleaning and investigation in the bathroom and your room, Miss Dragomir, and then discuss the situation in detail in the morning.† â€Å"Don’t wake Natalie,† whispered Lissa. â€Å"I don’t want to scare her. I cleaned up everything in the room anyway.† Kirova looked doubtful. The group retreated but not before the nurse asked if Lissa wanted anything to eat or drink. She declined. Once we were alone, I lay down beside her and put my arm around her. â€Å"I won’t let them find out,† I told her, sensing her worry about her wrists. â€Å"But I wish you’d told me before I left the reception. You’d said you’d always come to me first.† â€Å"I wasn’t going to do it then,† she said, her eyes staring blankly off. â€Å"I swear, I wasn’t going to. I mean, I was upset†¦but I thought†¦I thought I could handle it. I was trying so hard†¦really, Rose. I was. But then I got back to my room, and I saw it, and I†¦just lost it. It was like the last straw, you know? And I knew I had to clean it up. Had to clean it up before they saw, before they found out, but there was so much blood†¦and afterward, after it was done, it was too much, and I felt like I was going to†¦I don’t know†¦explode, and it was just too much, I had to let it out, you know? I had to – â€Å" I interrupted her hysteria. â€Å"It’s okay, I understand.† That was a lie. I didn’t get her cutting at all. She’d done it sporadically, ever since the accident, and it scared me each time. She’d try to explain it to me, how she didn’t want to die – she just needed to get it out somehow. She felt so much emotionally, she would say that a physical outlet – physical pain – was the only way to make the internal pain go away. It was the only way she could control it. â€Å"Why is this happening?† she cried into her pillow. â€Å"Why am I a freak?† â€Å"You aren’t a freak.† â€Å"No one else has this happen to them. No one else does magic like I can.† â€Å"Did you try to do magic?† No answer. â€Å"Liss? Did you try to heal the rabbit?† â€Å"I reached out, just to see if I could maybe fix it, but there was just too much blood†¦I couldn’t.† The more she uses it, the worse it’ll get. Stop her, Rose. Lissa was right. Moroi magic could conjure fire and water, move rocks and other pieces of earth. But no one could heal or bring animals back from the dead. No one except Ms. Karp. Stop her before they notice, before they notice and take her away too. Get her out of here. I hated carrying this secret, mostly because I didn’t know what to do about it. I didn’t like feeling powerless. I needed to protect her from this – and from herself. And yet, at the same time, I needed to protect her from them, too. â€Å"We should go,† I said abruptly. â€Å"We’re going to leave.† â€Å"Rose – â€Å" â€Å"It’s happening again. And it’s worse. Worse than last time.† â€Å"You’re afraid of the note.† â€Å"I’m not afraid of any note. But this place isn’t safe.† I suddenly longed for Portland again. It might be dirtier and more crowded than the rugged Montana landscape, but at least you knew what to expect – not like here. Here at the Academy, past and present warred with each other. It might have its beautiful old walls and gardens, but inside, modern things were creeping in. People didn’t know how to handle that. It was just like the Moroi themselves. Their archaic royal families still held the power on the surface, but people were growing discontent. Dhampirs who wanted more to their lives. Moroi like Christian who wanted to fight the Strigoi. The royals still clung to their traditions, still touted their power over everyone else, just as the Academy’s elaborate iron gates put on a show of tradition and invincibility. And, oh, the lies and secrets. They ran through the halls and hid in the corners. Someone here hated Lissa, someone who was probably smiling right to her face and pretending to be her friend. I couldn’t let them destroy her. â€Å"You need to get some sleep,† I told her. â€Å"I can’t sleep.† â€Å"Yes, you can. I’m right here. You won’t be alone.† Anxiety and fear and other troubled emotions coursed through her. But in the end, her body’s needs won out. After a while, I saw her eyes close. Her breathing became even, and the bond grew quiet. I watched her sleep, too keyed up with adrenaline to allow myself any rest. I think maybe an hour had passed when the nurse returned and told me I had to leave. â€Å"I can’t go,† I said. â€Å"I promised her she wouldn’t be alone.† The nurse was tall, even for a Moroi, with kind brown eyes. â€Å"She won’t be. I’ll stay with her.† I regarded her skeptically. â€Å"I promise.† Back in my room, I had my own crash. The fear and excitement had worn me out too, and for an instant, I wished I could have a normal life and a normal best friend. Immediately, I cast that thought out. No one was normal, not really. And I’d never have a better friend than Lissa†¦but man, it was so hard sometimes. I slept heavily until morning. I went to my first class tentatively, nervous that word about last night had gotten around. As it turned out, people were talking about last night, but their attention was still focused on the queen and the reception. They knew nothing about the rabbit. As hard as it was to believe, I’d nearly forgotten about that other stuff. Still, it suddenly seemed like a small thing compared to someone causing a bloody explosion in Lissa’s room. Yet, as the day went on, I noticed something weird. People stopped looking at Lissa so much. The started looking at me. Whatever. Ignoring them, I hunted around and found Lissa finishing up with a feeder. That funny feeling I always got came over me as I watched her mouth work against the feeder’s neck, drinking his blood. A trickle of it ran down his throat, standing out against his pale skin. Feeders, though human, were nearly as pale as Moroi from all the blood loss. He didn’t seem to notice; he was long gone on the high of the bite. Drowning in jealousy, I decided I needed therapy. â€Å"You okay?† I asked her later, on our way to class. She wore long sleeves, purposefully obscuring her wrists. â€Å"Yeah†¦I still can’t stop thinking about that rabbit†¦It was so horrible. I keep seeing it in my head. And then what I did.† She squeezed her eyes shut, just for a moment, and then opened them again. â€Å"People are talking about us.† â€Å"I know. Ignore them.† â€Å"I hate it,† she said angrily. A surge of darkness shot up into her and through the bond. It made me cringe. My best friend was lighthearted and kind. She didn’t have feelings like that. â€Å"I hate all the gossip. It’s so stupid. How can they all be so shallow?† â€Å"Ignore them,† I repeated soothingly. â€Å"You were smart not to hang out with them anymore.† Ignoring them grew harder and harder, though. The whispers and looks increased. In animal behavior, it became so bad, I couldn’t even concentrate on my now-favorite subject. Ms. Meissner had started talking about evolution and survival of the fittest and how animals sought mates with good genes. It fascinated me, but even she had a hard time staying on task, since she had to keep yelling at people to quiet down and pay attention. â€Å"Something’s going on,† I told Lissa between classes. â€Å"I don’t know what, but they’re all over something new.† â€Å"Something else? Other than the queen hating me? What more could there be?† â€Å"Wish I knew.† Things finally came to a head in our last class of the day, Slavic art. It started when a guy I barely knew made a very explicit and nearly obscene suggestion to me while we all worked on individual projects. I replied in kind, letting him know exactly what he could do with his request. He only laughed. â€Å"Come on, Rose. I bleed for you.† Loud giggles ensued, and Mia cut us a taunting look. â€Å"Wait, it’s Rose who does the bleeding, right?† More laughter. Understanding slapped me in the face. I jerked Lissa away. â€Å"They know.† â€Å"Know what?† â€Å"About us. About how you†¦you know, how I fed you while we were gone.† She gaped. â€Å"How?† â€Å"How do you think? Your ? ®friend’ Christian.† â€Å"No,† she said adamantly. â€Å"He wouldn’t have.† â€Å"Who else knew?† Faith in Christian flashed in her eyes and in our bond. But she didn’t know what I knew. She didn’t know how I’d bitched him out last night, how I’d made him think she hated him. The guy was unstable. Spreading our biggest secret – well, one of them – would be an adequate revenge. Maybe he’d killed the rabbit, too. After all, it had died only a couple hours after I’d told him off. Not waiting around to hear her protests, I stalked off to the other side of the room where Christian was working by himself, as usual. Lissa followed in my wake. Not caring if people saw us, I leaned across the table toward him, putting my face inches from his. â€Å"I’m going to kill you.† His eyes darted to Lissa, the faintest glimmer of longing in them, and then a scowl spread over his face. â€Å"Why? Is it like guardian extra credit?† â€Å"Stop with the attitude,† I warned, pitching my voice low. â€Å"You told. You told how Lissa had to feed off me.† â€Å"Tell her,† said Lissa desperately. â€Å"Tell her she’s wrong.† Christian dragged his eyes from me to her, and as they regarded each other, I felt such a powerful wave of attraction, it was a wonder it didn’t knock me over. Her heart was in her eyes. It was obvious to me he felt the same way about her, but she couldn’t see it, particularly since he was still glaring at her. â€Å"You can stop it, you know,† he said. â€Å"You don’t have to pretend anymore.† Lissa’s giddy attraction vanished, replaced by hurt and shock over his tone. â€Å"I†¦what? Pretend what?†¦Ã¢â‚¬  â€Å"You know what. Just stop. Stop with the act.† Lissa stared at him, her eyes wide and wounded. She had no clue I’d gone off on him last night. She had no clue that he believed she hated him. â€Å"Get over feeling sorry for yourself, and tell us what’s going on,† I snapped at him. â€Å"Did you or didn’t you tell them?† He fixed me with a defiant look. â€Å"No. I didn’t.† â€Å"I don’t believe you.† â€Å"I do,† said Lissa. â€Å"I know it’s impossible to believe a freak like me could keep his mouth shut – especially since neither of you can – but I have better things to do than spread stupid rumors. You want someone to blame? Blame your golden boy over there.† I followed his gaze to where Jesse was laughing about something with that idiot Ralf. â€Å"Jesse doesn’t know,† said Lissa defiantly. Christian’s eyes were glued to me. â€Å"He does, though. Doesn’t he, Rose? He knows.† My stomach sank out of me. Yes. Jesse did know. He’d figured it out that night in the lounge. â€Å"I didn’t think†¦I didn’t think he’d tell. He was too afraid of Dimitri.† â€Å"You told him?† exclaimed Lissa. â€Å"No, he guessed.† I was starting to feel sick. â€Å"He apparently did more than guess,† muttered Christian. I turned on him. â€Å"What’s that supposed to mean?† â€Å"Oh. You don’t know.† â€Å"I swear to God, Christian, I’m going to break your neck after class.† â€Å"Man, you really are unstable.† He said it almost happily, but his next words were more serious. He still wore that sneer, still glowed with anger, but when he spoke, I could hear the faintest uneasiness in his voice. â€Å"He sort of elaborated on what was in your note. Got into a little more detail.† â€Å"Oh, I get it. He said we had sex.† I didn’t need to mince words. Christian nodded. So. Jesse was trying to boost his own reputation. Okay. That I could deal with. Not like my reputation was that stellar to begin with. Everyone already believed I had sex all the time. â€Å"And uh, Ralf too. That you and he – â€Å" Ralf? No amount of alcohol or any illegal substance would make me touch him. â€Å"I – what? That I had sex with Ralf too?† Christian nodded. â€Å"That asshole! I’m going to – â€Å" â€Å"There’s more.† â€Å"How? Did I sleep with the basketball team?† â€Å"He said – they both said – you let them†¦well, you let them drink your blood.† That stopped even me. Drinking blood during sex. The dirtiest of the dirty. Sleazy. Beyond being easy or a slut. A gazillion times worse than Lissa drinking from me for survival. Blood-whore territory. â€Å"That’s crazy!† Lissa cried. â€Å"Rose would never – Rose?† But I wasn’t listening anymore. I was in my own world, a world that took me across the classroom to where Jesse and Ralf sat. They both looked up, faces half smug and half†¦nervous, if I had to guess. Not unexpected, since they were both lying through their teeth. The entire class came to a standstill. Apparently they’d been expecting some type of showdown. My unstable reputation in action. â€Å"What the hell do you think you’re doing?† I asked in a low, dangerous voice. Jesse’s nervous look turned to one of terror. He might have been taller than me, but we both knew who would win if I turned violent. Ralf, however, gave me a cocky smile. â€Å"We didn’t do anything you didn’t want us to do.† His smiled turned cruel. â€Å"And don’t even think about laying a hand on us. You start a fight, and Kirova’ll kick you out to go live with the other blood whores.† The rest of the students were holding their breaths, waiting to see what we’d do. I don’t know how Mr. Nagy could have been oblivious to the drama occurring in his class. I wanted to punch both of them, hit them so hard that it’d make Dimitri’s brawl with Jesse look like a pat on the back. I wanted to wipe that smirk off Ralf’s face. But asshole or not, he was right. If I touched them, Kirova would expel me in the blink of an eye. And if I got kicked out, Lissa would be alone. Taking a deep breath, I made one of the hardest decisions of my life. I walked away. The rest of the day was miserable. In backing down from the fight, I opened myself up to mockery from everyone else. The rumors and whispers grew louder. People stared at me openly. People laughed. Lissa kept trying to talk to me, to console me, but I ignored even her. I went through the rest of my classes like a zombie, and then I headed off to practice with Dimitri as fast I could. He gave me a puzzled look but didn’t ask any questions. Alone in my room later on, I cried for the first time in years. Once I got that out of my system, I was about to put on my pajamas when I heard a knock at my door. Dimitri. He studied my face and then glanced away, obviously aware I’d been crying. I could tell, too, that the rumors had finally reached him. He knew. â€Å"Are you okay?† â€Å"It doesn’t matter if I am, remember?† I looked up at him. â€Å"Is Lissa okay? This’ll be hard on her.† A funny look crossed his face. I think it astonished him that I’d still be worried about her at a time like this. He beckoned me to follow and led me out to a back stairwell, one that usually stayed locked to students. But it was open tonight, and he gestured me outside. â€Å"Five minutes,† he warned. More curious than ever, I stepped outside. Lissa stood there. I should have sensed she was close, but my own out-of-control feelings had obscured hers. Without a word, she put her arms around me and held me for several moments. I had to hold back more tears. When we broke apart, she looked at me with calm, level eyes. â€Å"I’m sorry,† she said. â€Å"Not your fault. It’ll pass.† She clearly doubted that. So did I. â€Å"It is my fault,† she said. â€Å"She did it to get back at me.† â€Å"She?† â€Å"Mia. Jesse and Ralf aren’t smart enough to think of something like that on their own. You said it yourself: Jesse was too scared of Dimitri to talk much about what happened. And why wait until now? It happened a while ago. If he’d wanted to spread stuff around, he would have done it back then. Mia’s doing this as retaliation for you talking about her parents. I don’t know how she managed it, but she’s the one who got them to say those things.† In my gut, I realized Lissa was right. Jesse and Ralf were the tools; Mia had been the mastermind. â€Å"Nothing to be done now,† I sighed. â€Å"Rose – â€Å" â€Å"Forget it, Liss. It’s done, okay?† She studied me quietly for a few seconds. â€Å"I haven’t seen you cry in a long time.† â€Å"I wasn’t crying.† A feeling of heartache and sympathy beat through to me from the bond. â€Å"She can’t do this to you,† she argued. I laughed bitterly, half surprised at my own hopelessness. â€Å"She already did. She said she’d get back at me, that I wouldn’t be able to protect you. She did it. When I go back to classes†¦Ã¢â‚¬  A sickening feeling settled in my stomach. I thought about the friends and respect I’d managed to eke out, despite our low profile. That would be gone. You couldn’t come back from something like this. Not among the Moroi. Once a blood whore, always a blood whore. What made it worse was that some dark, secret part of me did like being bitten. â€Å"You shouldn’t have to keep protecting me,† she said. I laughed. â€Å"That’s my job. I’m going to be your guardian.† â€Å"I know, but I meant like this. You shouldn’t suffer because of me. You shouldn’t always have to look after me. And yet you always do. You got me out of here. You took care of everything when we were on our own. Even since coming back†¦you’ve always been the one who does all the work. Every time I break down – like last night – you’re always there. Me, I’m weak. I’m not like you.† I shook my head. â€Å"That doesn’t matter. It’s what I do. I don’t mind.† â€Å"Yeah, but look what happened. I’m the one she really has a grudge against – even though I still don’t know why. Whatever. It’s going to stop. I’m going to protect you from now on.† There was a determination in her expression, a wonderful confidence radiating off of her that reminded me of the Lissa I’d known before the accident. At the same time, I could feel something else in her – something darker, a sense of deeply buried anger. I’d seen this side of her before too, and I didn’t like it. I didn’t want her tapping into it. I just wanted her to be safe. â€Å"Lissa, you can’t protect me.† â€Å"I can,† she said fiercely. â€Å"There’s one thing Mia wants more than to destroy you and me. She wants to be accepted. She wants to hang out with the royals and feel like she’s one of them. I can take that away from her.† She smiled. â€Å"I can turn them against her.† â€Å"How?† â€Å"By telling them.† Her eyes flashed. My mind was moving too slowly tonight. It took me a while to catch on. â€Å"Liss – no. You can’t use compulsion. Not around here.† â€Å"I might as well get some use out of these stupid powers.† The more she uses it, the worse it’ll get. Stop her, Rose. Stop her before they notice, before they notice and take her away too. Get her out of here. â€Å"Liss, if you get caught – â€Å" Dimitri stuck his head out. â€Å"You’ve got to get back inside, Rose, before someone finds you.† I shot a panicked look at Lissa, but she was already retreating. â€Å"I’ll take care of everything this time, Rose. Everything.† How to cite Vampire Academy Chapter 12, Essay examples

IMF And The Foreign Exchange Market Samples †MyAssignmenthelp.com

Question: Discuss about the IMF And The Foreign Exchange Market. Answer: Introduction The assignment highlights on the association between the foreign exchange, the International Monetary Fund (IMF) and the international economic environment. The IMF and the foreign exchange market are inextricably connected to each other in the global market. This study also explains about IMF and the foreign exchange market impact international economic environment. The Foreign Exchange, the IMF and the International Economic Environment The IMF is the organization of total 189 nations that work towards fostering monetary corporation, facilitating international trade, securing financial stability, promoting higher employment, reducing poverty and improving economic growth. The main objective of IMF is to assure stability in foreign monetary system, which consists of foreign exchange rate system and the international payment. This in turn enables the nations to tackle transaction between one another. One of the related concepts to IMF is the foreign exchange market (FOREX) that aims to oversee as well as manage trading of foreign exchange of some of the major currencies (Hodrick, 2014) . Under the FOREX, the nations monetary policy becomes no longer dependent on value of currencies of other nations but becomes dependent on both demand and supply of currencies. The IMF also affects the international economic environment as they advises several member nations on financial as well as economic policies that decreases vulnerability to crisis, motivates sustained growth as well as higher standard of living and promotes international economic stability (The IMF and the Environment., 2018). Besides this, this institution also monitors international economic trends as well as developments that impact the performance of international monetary as well as financial system. In addition to this, they also provide these countries technical assistance in order to help them strengthen institutional capacity and also give availability of resources to them. Furthermore, they helps in balanced growth as well as expansion of international trade and also contribute to promotion of increased employment level and real income of the nation (The IMF at a Glance., 2018). Apart from this, IMF also helps the nations adopt sound policies through their vital functions o f surveillance and lending. However, the IMF has also supported the policy reforms including price, foreign exchange rate, taxes and subsidies, which in turn tends to promote more utilization of resources and thus discouraged waste. This in turn benefits the international economic environment and thereby stabilizes the global economy. IMF periodically reviews the economic policies of the member nations including their system of exchange rate. The IMF operations also help these countries to counter volatility in market. Moreover, they also criticize unrelenting intervention, which in turn prevents the foreign exchange rate to adjust for reducing imbalances in trade as well as payments. Conclusion From the above study, it can be concluded that IMF plays huge role in the foreign exchange market and international economic environment. The three main operations of IMF are- surveillance, capacity development and financial assistance. These operations help to stabilize foreign exchange and enhance the growth of global economy. References Hodrick, R. (2014).The empirical evidence on the efficiency of forward and futures foreign exchange markets(Vol. 24). Routledge. Oatley, T. (2015).International political economy. Routledge. The IMF and the Environment. (2018).Imf.org. Retrieved 24 March 2018, from https://www.imf.org/external/pubs/ft/exrp/environ/ The IMF at a Glance. (2018).IMF. Retrieved 24 March 2018, from https://www.imf.org/en/About/Factsheets/IMF-at-a-Glance

Actions Speak free essay sample

Gesture is the use of such movements to express thought, emotion, etc (Gesture). A gesture can be many things. Every action or gesture, no matter how small, says a thousand words. Slamming a book shut shows anger and frustration. Opening a door for someone shows kindness. Gestures go much beyond small actions. My friend once told me a story of when he was in high school. He was on the basketball team and was walking down the hall one day. A girl that was on the girls basketball team was walking in the opposite direction. He said hello, gave her a hard handshake and told her good luck since she had a game later. He later came to find out he saved that girl’s life. She had planned on committing suicide and by shaking her hand and saying good luck, he made her realize someone really cared about her. I’m not saying all actions are going to change someone else’s life that much, but it may make their day better. We will write a custom essay sample on Actions Speak or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Gestures can be negative too. My senior year of high school a guy on my football team was late and was walking down the field to practice. Everyone on the team knows our coach hates when people are late and he hates when people walk on the field. He was walking in like he owned the place and had no care of what his teammates were thinking. Half the team was yelling at him to hurry up, the other half just hoping our coach wouldn’t kill us for his actions. I just kept stretching andthought of things like laziness, careless, lack of dedication. This being my second year on the team with this guy, I was not surprised. His body language has never been good. The other players on the team had never liked him because of his body language. Gestures before, after, and during practice and games determine the words that describe a person as a teammate. I once watched a video of the University of Connecticut womens basketball coach in an interview. He was talking about body language and how it affects his team. He said if a girl has bad body language, she will never play. Every since I saw that video, I have tried to always carry myself in a good manner. I come to practice and I am there to work. When we are running for football and other kids aren’t running hard, I don’t go yell at them. I try to lead by example. I want my gestures to say â€Å"I want to be a great athlete and a better person.† If life was football a nice gesture might be the turnover needed to make a late game comeback. Gestures can often say more than a person wants. One day I was mad at my parents for some pointless reason. All day I stayed down stairs. When one of them would walk by to do laundry I would just stare at the tv or my phone and hope they wouldn’t try to start a conversation. When they would try to talk to me I would have one word answers and mumble a lot. Eventually they would get sick of fighting for a conversation and go back upstairs. My gestures that day said stay away I want to be by myself. That day I could’ve probably had a good conversation with my parents but my actions didn’t allow it. Sitting on the couch and watching tv by myself all day was not my intent but that is what my gestures told my parents. One simple gesture can change a person’s thoughts, day or maybe even save their life. Words can brighten a person’s dark day, although they are not a gesture. If everyone made a nice gesture to someone else every day our school, town, and world would become a better place. As Evan Baxter said in Evan Almighty when asked how to change the world â€Å"One single act of random kindness at a time† or a kind gesture.

Altruism and Kin Selection Essays

Altruism and Kin Selection Essays Altruism and Kin Selection Essay Altruism and Kin Selection Essay Within nature Darwin has proposed the notion of natural selection as the driving force of evolution. Individuals acquiring traits solely designed for their survival and reproductive fitness. Accordingly, animals act selfishly to survive and pass along their genes to future generations. Since then, controversy has circled around the idea of organisms acting out in a selfless manor decreasing their fitness for the success of another member’s fitness. Its puzzling to assume individuals will sacrifice themselves for the benefit of another member when Darwin’s assumptions were predominately associated with the survival of the fittest. Explanations to this issue have been observed amongst kin where family members will help the survival of its relatives in order to increase the success of the group; this is otherwise known as kin selection and is one explanation of altruism. Similarly, cooperation in nature has been viewed as a form of altruism where collaborative efforts will benefit the survival of the species versus selfish actions. A study done by Mr. Allee found planarian worms likely to survive 1. 5 times longer if they grouped together under intense conditions versus groups who exhibited no grouping. Favoring kin selection and cooperation altruism enhances survival of the group level in turn leaving better fitness rates rather than individualistic behavior. But does each theory demonstrate true altruism in nature? In this paper I will present two opposing theories on true altruistic behavior in nature, one based upon alternative explanations for altruistic actions, while the other emphasizes selfish behavior induced for survival and proves altruism to be based on selfish implications too. What is altruism? Altruism is defined as a social behavior that decreases the fitness of the actor in turn increasing the fitness of the recipient. (West). While Darwin believed in natural selection he was also aware of many functional help services amongst animals. Therefore, Darwin presumed natural selection to favor socially interactive animals by enabling advantageous traits that indirectly benefit the species at the group level. According to Mr. Domondon’s review, Darwin presented a theoretical species where some monkeys will inherit a gene that permits alarm singling when predators are spotted, while others will not. Essentially the species that contain monkeys with this trait will sacrifice themselves, or engage in costly behavior causing a greater amount of its group members to survive and pass down the alarm-signaling gene. If such genes are generating a higher reproductive success then groups who do not possess the gene, then this altruistic trait will become inherited; fundamentally causing more altruistically modified individuals. Hamilton presented kin selection as an alternative solution to altruism. Behaviors operating between close relatives where an individual will act in a manor costly to oneself in order to help its kin. This is otherwise known as inclusive fitness, consists of both the actors fitness in addition to the fitness of each group member. (West). Inclusive fitness will be highest amongst closer related members in turn creating stronger kin selection. Such instances can be observed where sibling allomothers sacrifice time and effort to care for the offspring of a mother, greatly increasing the survival of the infant; given that the offspring shares a third of the genes of the sibling allomothers, this will increase their inclusive fitness. Simply put, kin selection will succeed if the indirect benefits outweigh the direct cost inflicted upon the actor. So, species displaying altruistic behavior to help their relatives will increase the survival of the community. Furthermore, reciprocal altruism additionally gives resolution to the issue of altruism. It is associated with individuals beneficially providing services toward members while accepting costs and expecting this treatment in return later. This can develop into long lasting relationships between individuals where benefits will be higher than temporary costs as the behavior is returned in a tit for tat sense (Silk 2007). Also, game theories provide insight into this behavior; for example, the Prisoner dilemma involves two unrelated individuals in a situation given the opportunity to cooperate with one another to gain a beneficial outcome. On the other hand one may act selfishly to gain individual benefits and the other will acquire the costs entirety. The idea is to achieve equal cooperation and to obtain maximum fitness benefits to each participator. For example, if two monkeys come across a predator they are given two opportunities, flee and leave the other monkey as prey, or jump the leopard in an attempt to overpower the leopard and equally flee. At this point the monkeys will have to decide the best method that will likely be at the individuals best interest. However if both monkeys jump the leopard and survive, it is likely that this trait will be passed down. Hence, cooperation and reciprocal altruism may deem some costs but again benefits outweigh the costs and greatly provide better fitness. Does true altruism exist in nature? Altruism fundamentally presumes an individual to be sacrificing its own time and resources to benefit another member’s success, posing a huge problem in evolution. Individuals gain beneficial traits by natural selection for the selfish purpose of enhancing their own survival rate. Also, evolution acting at the individual level allows genetic traits unfit for survival to die out. If deleterious genes cause a mutation within a species, perhaps a discoloration unpleasing to the opposite sex, this individual is likely to have a lower fitness, and natural selection will weed this trait out. Thus, animals with successful traits that increase reproductive fitness and survival will continue passing down so that they will surpass proximate competitive species or conditions benefiting the survival of its kind. Mr. Allee has suggested altruistic genes to act selfishly throughout a community, in this case the species should be equally cooperating and engaging in selfless behavior benefiting the species as a whole. However, scientists have brought forth notions of potential cheaters, individuals who will receive benefits from actors and will not return the benefits and or will not display a case of altruism toward individuals. In this case selfish genes will return to the population weeding out altruistic genes. Above all, individuals acting selfishly will gain higher benefits toward their own survival without adhering to any costs. Moreover, while many examples provide solutions to the issues pertaining to altruism it can be argued altruism simply acts in the interest of the actor not solely the recipient. In kin selection the actor is behaving to increase the fitness of its kin by decreasing its own fitness, however it can be argued that the actor is acting selfishly to increase his own genetic heritability. It would be smart to sacrifice myself to save 4 brothers and sisters or ten cousins, thereby increasing a greater amount of genetic fitness embedded in our relatives. Moreover, the acts of altruism are associated only within kin selective communities fundamentally assuming every costly action benefiting a group member will in fact still benefit the actor’s genotypic construction and ultimately fitness. Although kin selection poses a relationship where the actor engaging to benefit another while accepting costly sacrifices, the actor also maintains motives to increase his own genetic survival. In spite of this, kin selection is not a supporter of true altruism. Ordinarily if true altruism were to exist in nature this would profoundly require only the interests of the recipient, rather than an individuals own. However, kin selection theory explains altruistic behavior as a strategy devised by selfish genes, increasing the reproductive success of the recipient. Yet, the genes of the benefiting member from the act of altruism are indirectly benefiting the genetic survival of the actor. Reciprocal altruism theory also seems to contradict the idea of behaving selfless, when the actor is expecting the behavior in return; this is merely delayed selfishness. Although, interestingly enough altruistic traits may attribute at a group level, however this will still drive individual selfishness; an individual acting selfishly will still benefit at a higher level than those altruistically taking costs, and in turn will reintroduce the selfish behavior back into the population. So does altruism exist in nature? Yes there are forms of altruistic behavior were individuals will help others improve their fitness will succumbing to costs of their own, however these acts are not done selflessly. Therefore, true altruism does not exist in nature. True altruism are acts that do not require benefits back toward the actor, instead only choose to behave supportively with no gains, and this does not exist in nature.

Landfills Essay Example | Topics and Well Written Essays - 3750 words

Landfills - Essay Example This paper includes the history and development of property type of landfills in Australia. The story of how the Australian comes up with this method is also discussed in this paper. The development and application of various methods for this property type is also described. This paper shows the comparison of landfills in Australia with other countries such as the USA, Canada and New Zealand. Graphs and tables are included in this study as your reference about landfills in Australia. The management of wastes is an important environmental issue. Some wastes are toxic and can harm living organisms and their disposal is of particular importance. Other wastes, while not directly toxic, can physically harm the environment. Effective maintenance of waste can help us a lot. Landfills were introduced in England in 1912. It was formerly called as the Controlled Tipping and involves natural fermentation brought about by microorganisms. Waste materials or refuse are deposited in shallow layer, compacted and covered within 24 hours with earth or other chemically inert material from an effective seal. (Britannica, 2006). United States of America and New Zealand are among the countries that use landfills and experienced controversy in using landfills as waste management. Below are some details about the history and development of landfills in both countries. United States of America At the end of World War II, urban growth accelerated. With this growth came increased refuse generation. The impacts of open-burning dumps on public health became a concern. Experience in the military with sanitary fill methods and the interests by some local governments in eliminating open dumps led to increased efforts to dispose of refuse in a sanitary manner, but what prescribed a sanitary manner was unknown. Many local governments that bragged about using the "sanitary landfill" method were actually using modified open dumps. The landfill in 1940 was described in a report prepared by the Sanitary Engineering Research Project of the University of California in 1952.1 The landfill studied in 1949 was described as a refuse dropped and spread out over a large to allow scavengers easy access. At the end of day pigs were allowed on the spread-out refuse for overnight feeding. It is in this year that the landfills made their appearance. Most of the landfills were located on former wetlands. This 1 Sanitary Engineering Research Project. "An Analysis of Refuse Collection and Sanitary Landfill Disposal." practice does not take long and was subjected to change because of obvious reasons. Open burning of refuse created air pollution. Allowing the pig to eat raw garbage was not a sanitary . During this time there were no minimum requirements set as to what constituted a sanitary landfill. Like the landfills in Australia, most of the landfills in USA where also subjected to closure because of the following reasons; it can cause air pollution, the leak is unsafe for the residents that surrounds the area, groundwater contamination and others that affect the health of the people. The commitment of the US Public Health Service (USPHS) to provide national leadership to eliminate open-burning dumps and replace them with sanitary landfills also served as the basis for a broader national strategy to improve the management

Social Change Essay Example | Topics and Well Written Essays - 750 words - 3

Social Change - Essay Example Supply and demand for dangerous drugs is international and global. An important source of world opium, for example, is Afghanistan and the United Nations Office on Drugs and Crime is anticipating that cultivation of opium in the Northern and North-Eastern regions of Afghanistan will likely increase â€Å"strongly† this 2011. For Cocaine, an important source is Columbia and the cocaine goes through several routes by various means of transportation and through several countries before going to Europe and, of course, the United States. Some of the transnational routes for cocaine are shown in Figure 1. Drug use is not only a problem of law enforcement. Several studies confirm that it is a social problem. Several studies of the US National Institute on Drug Abuse in 1980, for example, pointed out that the drug problem arose because of social factors. On the other hand, a 1995 study of the United Nations International Drug Program indicated that the drug problem will have social consequences. Addressing the use of illegal drugs and narcotics require more than a cloak-and-dagger and police work approaches as it is a social problem in the first place. There is a need to work on both the supply and demand sides of the social problem. On the supply side, there is a need for at least five initiatives. First, there is a need to strengthen international cooperation and sharing of intelligence towards exposing and destroying the international networks engaged in illegal drugs and narcotics. This means that current efforts on the sharing intelligence must be supported. Most likely, the world has the technological capability to identify the plantations that are likely being used as the raw materials for producing drugs. This is one important piece of intelligence that must be shared worldwide. Volumes of drug transports require large ships, planes, and the like for international transport. In some of the

Professional Journal Paper Essay Example | Topics and Well Written Essays - 500 words

Professional Journal Paper - Essay Example During the course of reading of the article, it seems that in spite of comprehensive review of literature; the author failed to provide a proper framework of study. The article missed the quality of coherence. The author discussed the patterns of crimes in logical manners. He, even, did not ignore the nature of crimes in different states of the United States. In his opinion, these crimes can be rooted out from the society after the elimination of the causes of the crimes. However, he did not discuss reasons in proper context. For example, he considers the increasing cases of theft as the natural consequence of ‘split families’, but he ignored the view of biologists who traced the roots of theft in human genes. The author conducted a survey to ascertain the problems of judicial system. Open ended questions have been included in the questionnaire of the survey which enhanced the scope of the research. The respondents of the questions are mainly adolescents, which raised a figure at the credibility of the research as mature opinion is missing in the research. The writer explained the social phenomenon of crimes in good context. He traced the roots of crimes in the social problems of the society. For example, commenting upon the recent mass shooting incident at a college of New York, he blamed stress and depression of the teen agers as the major cause and stressed upon the need of the promotion of more recreational activities to develop competition among teen agers. While analyzing, he ignored the efforts of the rehabilitation department and analyze the incident superficially. The suggestions for the overhauling of the criminal justice system can be declared as old wine in new bottle. (Sameul 1977) However, the article carries new information for the practicing lawyers. They can use this angle of information for the benefits of their clients. He discussed the various clauses and articles of the constitution in different contexts thus contributed to the

Mannerism in art: An analysis

Mannerism in art: An analysis The stylistic categories are an important aspect of the history of art. Gombrich (1985) suggests that classification is a necessary evil that if taken as a tool that is also flexible and modifiable, can be valuable for art historians. Gombrich notes that while useful, categorisation has also been prone to critical abuse (p81). In other words derogatory nomenclature was often used when naming an art historical era. Baroque, which I would consider a very refined phase of technically crafted dramatic art, in fact was defined by the Oxford pocket dictionary of 1934 as grotesque (p81) as this was the immediate summary of its worth in the seventeenth century. Kaufman (2010) indicated that the categories mark historic periods of individual artists, however art critical analysis has always made it difficult to distinguish the categories and this has led to individual historians describing the categories or styles differently. To establish a permanent and agreed name to a genre or era of art could only happen successfully after that period had expired and time had lapsed for thorough deliberation it requires time and broadmindedness to deal with (Gombrich,1985, p81). Gombrich also states that such categories help us in the mastering an unstructured reality that is to say that as long as criticality in our application of such categories is maintained, new insights about what constitutes them can be gained. Categorisation is limited by language, complex concepts cannot always be expressed by words, and categories are often oversimplified into opposites: good/bad, visual/haptic, left/right etc. This system of opposites allows a range of values in between. In order to create an art category a style must be distinct and unique, therefore necessitating a term to describe it. If a style is neither unique nor distinct it would not require classification. Kaufmann (2010) believed that despite numerous stylistic terminology (p2) all art can be categorised into two major categories which are classical and non-classical. For example, Gothic art is classified as non-classical, while Barbaric and Barocco were described as post classical and degenerate at that time. However irrespective of this norm, there were exceptions to some styles like Mediaeval which was regarded as less beautiful but had some worthy attributes such as being more devout, more honest or more strong which according to historians of the time counted for more than mere orderliness (Gombrich,1985, p86). As Gombrich points out, the problem underlying the categorisation of art is the claim that arose in the 19th century that art historians can look at the historical development of styles in an objective and unbiased manner. That is to say without being influenced by their own agendas, political standpoints, need for oversimplification or cognitive biases. This is the proble m underlying all art categorisation, and through this understanding we can now go on to analyse the topic of mannerism as a historical art category. This essay will first of all attempt to offer a definition of mannerism, pointing out some inherent difficulties in doing so, it will then go on to look at some of the benefits of describing the historical period conventionally labelled as mannerist in this way, before looking at some of the drawbacks. Finally conclusions will be made about how helpful it is as a concept in the categorisation of historical art. 2. Mannerism as an art category 2.1 What is Mannerism, and why is the term controversial as an art category? Mannerism as it has been conventionally described in modern interpretations of historical art, is a style which came between the high Renaissance and the Baroque (1510-20 to 1600) periods and is sometimes was referred to as the late Renaissance (Wundram1985). One of the first issues when discussing Mannerism, is identifying exactly when it started, and when it finished, as while in Italy, it is thought to have ended in around 1580, but Northern Mannerism is thought to have extended into the early 17th century in Europe (Freedberg,1971). However according to Smyth (1992, p13) this set of stylistic conventions began to be adopted in around 1530, before becoming the norm in the 1540s and 1550s in the work of Vasari and his contemporaries. This highlights one of the first difficulties art historians have with the broad category of Mannerism. Deriving from the Italian maneriera, Mannerism refers to a style or manner and what exactly constitutes Mannerism has also been a matter of debate in art history. The term has been widely used in literature and architecture as well as in art. Vasari as a central Mannerist himself used the term to discuss an artists manner or method, in describing a particular artists style, and in attributing praise. However, the term has also been used according to Franklin (2001) by Vasari himself to criticise the work of Perugino as mannered meaning that his style was repetitious and this was thought to be unaturalistic and therefore negative (p14). Miedima (1978-79) points out that the term was originally used as a term of opprobrium (p20). As illustrated through these examples the term Mannerism and what is meant by it may have given rise to great deal of confusion as successive art historians used the term. What constitutes mannerism as a style is also not without its problems. Miedema (1978-9) defines the stylistic features thought of as Mannerism as artificiality, affectation, the stereotype and monotony furthermore these were interpreted arbitrarily as: anti-classicism, subjectivity, torment, anxiety and doubt, and violent emotionality (p21). Problematic is that fact that a term used to express what was negative about some art in the sixteenth century until around the nineteenth century has now been expanded to characterize the style of what we speak of as representing the entire period (ibid). The style of the period can also be seen as contravening the high Renaissance classical rule rooted more on visual perception and scientific naturalism. Rather mannerism is thought to be based more on intellectual preoccupation as evident in the late works of Leonardo da Vinci, Raphael and mid-career works of Michelangelo Mannerism as a style is not easy to categorise because of its diversity (Smith, 2007). The label defined a significant change in social behaviour and a noticeable brilliance in techniques of works of some artists. The term Mannerism itself is quite a profound indicator of the perception of general aesthetics. It denotes the acknowledgement of Style- the recognition of stylization integral to any art work and the implications this brings: Manipulation, adaption, abstraction. This in turn may have also have taken some of the devout piety away from the function of art works. Elongated forms, precariously balanced poses, and collapsed perspective; irrational settings and theatrical settings were reflected amongst characteristics of mannerists works. Parmigianos Work Madonna (1534-40) Florence, Uffizi, is a good example of the change of style and it was greatly believed to have been influenced by Raphael, but gave a great anti-classic character. Smith (2007, p) described the Madonna: Proportions are lengthened so that forms are attenuated; perspective is exaggerated, and there is great discrepancies of scale between the virgin and her attendants. Again a feeling of disquiet is produced by the column beautifully finished, but like a ruin supporting nothing, or* the enigmatic gentleman who opens a great scroll but instead of reading it turns his head in the opposite direction. The Madonna with the Long Neck is a very good example of divergent style from naturalism. The distorted proportion exemplified by elongated neck and arms brings about the concept of abstraction which was not the norm with the previous style. Smiths (2007) description concurs with the definition of Mannerists being advocates of tension and ambiguity as opposed to the rounded harmony of high renaissance. Mannerist composition lacks the balance and legibility that would have been necessary for art to be considered a complete, where all the relative parts played a role and reason was prominent. The whole perception of the entire work brings about an attitude of laziness or lack of seriousness especially to those used to high renaissance. The argument for the distortions would be that the artist was trying to heighten the notion of elegance and grace to express these famous historical figures. The mother of Christ therefore, was rendered larger than life or with an unrealistic perfection in certain anatomical features. A further example of Mannerists works is provided by the Scupture of Bologna (1581-83) The Rape of the Sabines. Matsui describes it as: Three figures twisting upwards in such a way as to form a Spiral, allowing, if not demanding, a 360 degree view of the work. Bolognas sculpture took on a flamboyant self-confidence, which clearly proved him to have at least one foot firmly placed in the next era, the Baroque. This goes to show how hard Mannerist artists are to defineà ¢Ã¢â€š ¬Ã‚ ¦. Though the works reflects aspects of Michelangelos, Bologna went further than the usual forms of Michelangelos works by being more extravagant in terms of executing his shapes, which were more prominent in terms of their three dimensional nature, as described by Matsui. Such an approach went beyond the traditional boundaries of High renaissance, and was seen as a new phenomenon and probably the represented the foundation of a new style. High renaissance art being what it was at the time; an art style at peak in terms of its innovation, needed to be built on. Up-coming artists would have viewed the creative arena before them and may have seen invention as the most positive way forward. Another characteristic of mannerism worth noting is the use of space by the mannerist artists. Unlike the Renaissance where the space was definite and the view was provided with a fixed view point, in mannerism the space was extended to infinity and the side boundaries were removed (Wundram, 1985). Many of the themes used in Mannerist work paid homage previous masters works, styles and themes, as opposed to the norm of naturalism. Wundram (1985) points out that the movements focal point was for the first time considered to be in painting. This change in style can be seen as maturation from the high Renaissance and an extension of its qualities. The qualities displayed were anti classism and the move was seen to be a natural progression from High Renaissance. None of these descriptions and examples of what we now describe as Mannerism, solve the issue that the category became the term for defining the style of sixteenth century art, or at least part of that art (Miedema, 1978, p20), and that whether art can be qualified as Mannerist or not has depended on which criteria different authors applied and which were accordingly dismissed (ibid). The issue boils down to the debate around whether Mannerism is a style, a movement, or a period and the fact that it is commonly used to identify the European art and culture of the 16th century (Mobile reference, nd). 2.2 What led to the emergence of Mannerism? Mannerism as an art style emerged during a period of political unrest which includes the reformation, the plague and the sack of Rome in 1527. The style was more popular in Florence and Rome but spread all over Italy and northern Europe (Matsui, 2010). Although the origins of Mannerism have been attributed to the early sixteenth century, in 1555 a more radical style emerged which deviated from the masters in what was described as lazy ignorance or vain rashness, it was regarded as a complete philosophy and method of art (Smyth 1992). It was alleged that, these students became addicted to weak (not incorrect) design and feeble washed out colours, far from the truth and at the same time too resolute (ibid). The exact historical period of mannerism has been a subject of controversy; however it is generally seen to come between High Renaissance and Baroque. It is normally seen as the extension of the High Renaissance though it is mostly seen as Renaissance anti-classicism due to the natu re of works produced which are more abstract and do not reflect nature realistically. Mannerist artists were associated with great intellect and were no longer seen as crafts persons but rather scholars with great admiration of elegance and complexity. They could now stand apart from crafts men and be on equal terms with poets allowing for self-conscious interpretation of the events they recorded. With this freedom came great responsibility especially for visual artist. Poets could record the world with a degree of ambiguity and abstraction, but painters were limited in their presentation to a definite subject matter within the parameters of the four corners and flat nature of the canvass. Given the expectations that the art of the time would accurately represent its subject matter, it would have been extremely difficult to present an image with any degree of distortion or artistic licence. 3 Advantages of using Mannerism as a historical art category The Mannerist era heralded a new period of innovation. The period fostered creativity, through a lack of adherence to the particular principles of the time. There was also a distinctness and sharpness which showed a lot of independent thinking. The structure of work is well defined and well balanced and highly stabilised to support its own particular aesthetic qualities. Using examples of Mannerist art, this section will give evidence to support the notion that in order to communicate about the period, a category such as Mannerism is more helpful than unhelpful. EL Greco, The Annnuncial (1576) (see appendix) is an exceptional work which exemplifies the creativity and beauty of what is thought to be Mannerist art. The theme of the work is religious based, as religion or erotic nature themes were popular due to the upheaval of the period of that time. El Greco personifies successful mannerists art because he engages both exaggerations in his painterly application and his distortions of figures. He leaves out any attempt to render the scene in naturalistic terms; thereby entering fully into the realm of stylistic invention. The work depicts the announcement of birth of Christ, it shows Angle Gabriel appearing before the Virgin Mary accompanied by many other angles above the two figures, a dove painted in glowing white , which spread all the way towards the virgin signifies the presence of the holy spirit. The painting is more congested as figures are juxtaposition to fit in the limited space. Colour contradictions and elongated figures give the painting a general view of uncertainty and menace. But everything about the painting is contrived and makes no attempt to conceal the artifice. El Greco has defied the odds, and has demonstrated some compositional brilliance of the style. EL Greco used elements of design to harmonise the entire work making it aesthetically interesting. The distorted figures and pallet of variety of cool colours gives the work mystical view augmenting the theme. It might have been that El Grecos art was misunderstood during his time (especially the later work), but he was to have a significant impact on later artists. He gains influence amongst the modernist era especially with artists such as Picasso and The German Expressionists. This era of art was more aligned to self-conscious manipulations and personal sensibilities, and it is surprising to see a 16th Century artist stand up to this genre of extreme modernism. In hindsight one could say that El Greco was far beyond his time, and helped influence some of the most extreme and drastic changes in aesthetic awareness that still inform the art world today. It is helpful therefore to have a least a general category of association in which to place El Greco. He may not be noted as an obvious exponent of Mannerism but he falls heavily into its influence, and not by his association with High Renaissance. It is by the particular general detail of categories that we are reliant on placing artists in context to their historical time, and agreeing on the traits that identify them with that genre and not another. The intellectuality that is attributed to the Mannerist period embraced liberal ideologies that allowed for much more creative freedoms in arts and literature. This allowed a whole body of work to flourish that embraced these new liberties. Such work represented a clear departure from previous works represented by High renaissance and clearly showed that the beginning of something very new was happening in terms of stylistic categories. Clearly then, a stylistic category delineating the two periods is necessary. It might not be a coincidence that the first historically recorded female artist Sonofisba Anguissola (a student of Michelangelo) gained acclaim and significant success during these times. Although not a mannerist, she transcended limitations placed on her gender at the time to be considered equal amongst her male counterparts in a male dominated discipline. Did this freedom for intellectual curiosity exhibited by the Mannerists also extend to other disciplines? For instance, Galileos (1564-1642) accurate observations on planetary orbits and scientific theory that contradicted the Roman Catholic Churchs assertions also came towards the end of the Mannerist period. Thus the credit for these advancements needs to be justified under a general label that identifies the era, and the influences that brought about prevalent features of arts and culture at the time. Clearly the artistic paradigm shift represented by Mannerist art deserves a label. It is sometimes useful to have a historical category which reflects the origins of such an important change of convention and under which the collective achievements of a generation can be contextualised. 4 The disadvantages of using the term Mannerism as a Historical art category. Although it is useful to delineate the changes from High renaissance to Mannerism how a particular piece of art can be analysed into one category or another can sometimes present methodological difficulty without a common and agreed frame of reference. Such a conceptual tool is yet to be perfected. The painting Christ before Pilate (Tintoretto, 1565-1567) clearly illustrates this issue, as it has always been controversial whether it is Mannerist or not even though it can be dated to a period thought of as High Mannerist. Some have referred to it as an anti-classical style as it ran counter to High Renaissance, some prefer to look at it as it as late Renaissance while others did not give it any specific category (Smyth,1992). This illustrates the point that if we are to think of Mannerism as a period, rather than an identifiable style as it is commonly viewed then we may find ourselves in difficulty. Likewise if we look at Mannerism as a style rather than a period, a painting such as Tintorettos presents classification difficulties. This illustrates a clear disadvantage of using the term mannerism as a historical art category. However, in a discussion of Christ before Pilot Curtis (in Akker, 2010) looked at Mannerism as a neutral term, that can be seen as a legitimate art category depending on the painting and the argument put forward by the art historian. Furthermore Shearman (1961) also puts forward and argument to defend Mannerism as a good art category, he describes it as decorative stylisation which illustrates meaning of form and called it a stylish style. To illustrate this point he cites the work of Perino del Vaga, Vertumnus and Ponoma (1527) as a good example of Mannerist work. Akker (2010) describes the work: being almost that of the whole design, we are more immediately aware of the freedom in the distribution of their parts, as if they were abstract and not figurative material; for the figures, interlaced one with the other, are also deployed in a remarkably decorative way over the whole surface. This freedom of disposition is obtained by manipulations of considerable torsion, achieved, however, with perfect ease in the figures themselves. Grace, not tension, is the resultà ¢Ã¢â€š ¬Ã‚ ¦ But overall though there is still a confusion as to Mannerisms identity as a specific category or a flexible term to reference work that is not quite High Renaissance, nor accessible as Baroque. Franklin, (2001) believes that this leaves it as a rather redundant term in the canons of art classification, and in Mannerisms particular case it is often ignored or goes unnoticed as an art category altogether. The critical view at the time of deemed that Mannerism did not fall or fit well within the contemporary notion of what art was supposed to be (Akker, 2010, p28), and there was said to be a decline in art after the High Renaissance. Painting was said to have reached its peak during the time of Raphael and drastically declined after his death. This decline was attributed to the departure of artists from the then current style, which was based on the study of Nature rather the more intellectual approach based imagination and artifice. These were further described by Lanzi (C.1800) (cited in Akker, 2010) as imitating previous masters work in a literal and servile manner. He believed that the style represents a cultural shift that can be considered an inevitable phase in culture that could be considered normal in any society. He further describes it as a sort of fatality that: seems to prevail in all human things, rendering their duration in the same state of short continuance; so that after attaining their highest elevation, we may assuredly at no distant period look for their decline But the issue of interpretation and accessibility lies only with that time that mannerism was in affect; for in hindsight, with the advantage of noticing succeeding generations of art development, Mannerism looks now like a bold attempt to challenge perceived notions and shock a conditioned establishment into reconsidering its values, or at least speculate on other innovations in visual art. The fact that it was noted for its discrepancies with the established order means it only attracted more attention, and thus necessitated being a category in its own right. The problem of Mannerism being its own distinct category leaves another issue; that of a dual allegiance of those artists who were in part indulging in High Renaissance styles and yet who were also involved with Mannerist tendencies. Michelangelo is one such an artist. His early career paid much attention to copying the old masters; Giotto for instance, but always without complete reverence. He would analyse the drawing but the final rendition would be adopted and altered for his own pursuit in technique (Nagel, 2000). Michelangelos career was spurred by the need to adapt, change, and be inventive. It is not surprising then that he ended up belonging to both camps, and by the later stages of his career was implicated as Mannerist. It is possibly the failure of historical labelling that causes confusion, and indicates a weakness in Mannerism as a historical art category. Mannerism had another very identifiable feature that is, over simplification of forms. This approach has led to many misconception about the style, some view the unrealistic aspects of the work produced as sign of laziness or rushed work done without much consideration technical details (such as correct proportion) or that it lacked serious attention. Friedlaenders(1957) however defended this aspect of Mannerism and stated that such over simplification is due to the distinct character of the artistic and cultural movement in specific places at specific times. Friedlaenders also pointed out that any form of refinement through stylization tends to result in simplification of form. This was very much part of Michelangelos agenda in his later years. His late work often looked unfinished; the Rondanini Pieta (1564) being a prime example. If we did not know it, one would not recognise it as a work of Michelangelo due its rough appearance. Nagel (2001) explains Michelangelos choices as being more to do with process than final appearance. The artists himself is noted for being intrigued about the process of sculpting. He did not anticipate a finished piece, but was open to a sense of discovery that that lay within a block of stone. For Nagel it appears as a reversal of the usual process, where excavation enables the artist to merely discover what already lay within. For this reversal of attitude to take place is a big upheaval in historical terms and requires distinction and categorization. The problem occurs when you have to refer to one artist; who is so well esteemed, as being a practitioner of both these disparate practices. However, there is no reason that the category of Mannerism should be ignored or brushed under the carpet by art historians because of this discrepancy, as will be discussed further in the next section. 5 Discussion The problem with the classical period was that the concept of what constituted an art form was too prescriptive. It was formalised into proportional figures, accurate perspective, round 3 dimensional composition, and naturalistic colour scheme. Under this strict regimen of constructing a painting the artist had little subjective input. It is not surprising that during this era the artists turned to a Mannerist style which allowed room for invention. This change in style marks a change in the perception and the function of an art work. Without a rigid system of application art elements and principles could be explored with a broader and bolder sense of creative design. Suddenly a dynamic quality of rhythm and symmetry evoked more imaginative possibilities in a picture surface, where elongated figures had more potential for movement in themselves. Renaissance art itself was a new achievement at a time of critical self-questioning in: religion, politics and culture. It was a tendency of artists to always be searching for different forms of expression. Mannerism appears to be a consequence of these introspective circumstances, as much as any modern art movement would have been a response to drastic changes to material and social upheavals. Categories seem easier to apply during the twentieth century than during the sixteenth Century due to the rapid succession of various movements that reacted to each other. But Mannerism was just as much a reaction to its predecessor, and a bridge in the historical continuum that leads to the Baroque. A land mark (and thus a historical art history category) therefore applies as well for Mannerism as it does for Cubism. Although mannerism is often over looked as a category in art development, it is in fact a very crucial dividing line in the history of art. It draws a definite line between scientific naturalism and more elaborate creative tendencies. This is very relevant and definitive moment in the transitional annals of art development. It defines a moment when the hierarchy of the art establishment was challenged and superseded to allow choice and alternative applications. As Kaufmann (2010) notes, although there may have been disagreement about whether a work of art should be labelled a particular label, such debates were often productive and new period concepts, like Mannerism, were discussed. As stated in the introduction as long as such historical debates continue critically, labels such as mannerism are a helpful term of reference, and enable opportunities for new scholars to become aware of the issues involved in art classification. In fact it could be the existence of art history courses that reinforce or necessitate such labels (Kaufman, 2010), in order to enable such debates to have a common terms of reference however problematic. 6 Conclusion There are always going to exceptions when classifying art historical epochs. We have seen how Michelangelo might be deemed as the greatest practitioner of High Renaissance, but also reverted to an anti-classic methods leaving speculation that is difficult for some art historians to reconcile. Perugino was also hard to classify in historical reference. The problems with classification have probably got a lot to do with the nature of language, especially written language. Until Vasari oral tradition had prevailed where information is temporal not material. The following tradition of written history meant the emergence of the Historian/analyst and the specific discipline associated with this practice. Most art historians like the debate to be simple, rounded and clearly articulated without confusion. Mannerism does not work as a perfect narrative and is hard to present conclusively as a period without contradiction. But it would be hard not to stumble across contradictions considering t he length of time spanned by this era; nearly one hundred years. Meidema (1978) certainly believes that it is inadequate to tie up this amount of time with one simplistic label. The problem probably accrued as there was only a few chroniclers recording the achievements of that time, and so large generalisations occurred. But given that there was a discernable shift in the collective intellectual imagination during that time it needs to occupy its own identifiable place in reference to written history. The term Mannerist is useful for a general referral to an art practice from 1510-1600, but also deplete and extremely awkward if you wish to investigate certain aspect of that era in more detail. One might say that the term Mannerism is no less stigmatizing than the term Fauvism used to describe modern European colourists comprising of that group. But whilst even here there may be some confusion and artists that do not fit the description comfortably as the time scale for the Fauves wa s reduced to four years.