North Richmond Street Essay Example for Free

North Richmond Street Essay The combination of emotions of loneliness, love, and the human condition of isolation will be the bridge by which the works, Araby by Joyce, Digging by Heaney, and The Stronger by Strindberg will be examined. Joyce’s story sets the reader up for a fantastical journey taking place at North Richmond Street. In Joyce’s personal style that mixes despondency and blindness. The story is set up to be themed after isolation, and the reader gets a sense of being ostracized. Joyce creates the scene by allowing the setting to have its own characterizations: such as the street being a blind street, the house being at the ‘blind end’. Even the two houses which Joyce disturbing includes in his personification seem conscious of their surroundings, so that the reader becomes fully aware of how eerily set is the landscape. Mangan’s sister is the obsession by which the narrator defines his daily routine. The description of this obsession allows the reader to forgo the likening to a sweetheart and delve into the less traveled trenches of a young boy’s heart and strike straight to love. The story however remains brilliant in its fantastical descriptions of the town, with violet skies, and the impatience of some of the characters. The ostracized nature of the story then becomes one of unrequited love which in its way begets loneliness, which is what troubles, and excites, the narrator, as Joyce writes, â€Å"†¦yet her name was like a summons to all my foolish blood. Her image accompanied me even in places the most hostile to romance. † It is in this power of speech which the narrator becomes entrapped. His lack of gumption defines his loneliness and yet he remains constant through his passion for her. Then, the conversation of going to Araby lights up the narrator’s life. It seems that the best and well thought out theme of the story is that of awe: awe of the girl he loves, and then awe of Araby, as Joyce writes, â€Å"I recognized a silence like that which pervades a church after a service. † However, this awe is short lived, and Joyce transports the reader back into that initial state of despondency and weariness of the human heart, as he writes, â€Å"Gazing up into the darkness I saw myself as a creature driven and derided by vanity; and my eyes burned with anguish and anger† and it is with this anger caused by lost determination, and love, that pervades the essence of the story. Along a similar vein, Seamus Heaney suggests in his poem Digging a slightly more cerebrally active loneliness. The danger in this poem becomes apparent in the first stanza in which the narrator suggests how the â€Å"pen rests; as snug as a gun†, which permits the reader to imagine a theme in the poem equivalent to Joyce’s isolation in Araby. The second stanza reveals an even more macabre scene in which the father of the poem is digging a grave: although the grave at this point may not be a literal grave but perhaps a grave built from years of a job digging potatoes, the essence of a son witnessing a father dig his own grave as it were suggests, not empathy for the parent but rather a gloomy sense of expectancy from the son. This expectancy allows the speaker to put the idea forth to the reader that acceptance of death can be met with anger and cynicism. This cynicism is highlighted by Heaney when he writes, â€Å"By God, the old man could handle a spade† and furthermore, â€Å"Just like his old man. † which tells the reader the speaker is seeing his own future played out from previous generations. Although hesitancy and awe are a bit twisted in this work of literature, the elements from Araby still remain the same; that of a mounting disparagement, in not gaining the things the speaker’s want and the feeling that they’ve met their limit and they fell short. In other words, both works created a world in which the main character in control of their fate was the lack of something: hope. There is no hope in either work; its essence is bashed away, especially in Heaney’s lines, â€Å"But I`ve no spade to follow men like them†. In the end of both stories, the theme of cynicism becomes apparent. The Stronger by August Strindberg is a play in which identity is the focus, and the human emotions which allow the characters to learn, advance, or perhaps share their life story, is trickled through to the reader through irony, and poor circumstances. The play begins with Frau X complaining about the other being alone on Christmas. Here the reader again is witness to the theme of isolation. Although in Araby the isolation was from the self’s inability to act in an emotional state, and in Heaney’s work the isolation was from breaking the tradition of digging, the speaker’s heritage passed from father to son, and ending in a grave, the isolation in The Stronger is one in which isolation is a choice. It is difficult at times to worry into the character’s psyche without knowing a background story of cause and effect but in The Stronger the feeling of choice in any given moment pervades the pages so strongly that the reader is left only with a feeling that the character’s purpose in wanting to be alone can only be given without a sense of despondency. It is with Frau X’s determination in becoming an identity outside of the personality of Mlle Y that best describes the climax of the play. There is action in this play as with the previous stories which suggest character development, whether or not it’s in a positive or negative way; it is progression in the character. Although love was an underscoring element in each story it is with the element of loneliness, and fear which allow each character to develop into themselves, and reveal their inner self to the reader that remains with the reader after the stories are told. In Joyce’s story the boy loves, but cannot act upon that love, being stultified by his emotional state, and driven into a type of fear of speaking, even to the woman who would have sold him a vase for his girl. In Heaney’s poem, the idea of escaping from a history of digging is troublesome, and yet he makes a choice to severe the bonds which could call him to the fate of his father, and father’s father. In The Stronger it is clear to the reader that choice is the main theme of the play; choice to become ones own person and not give into the demands of the other characters. Work Cited Portable Literature: Reading, Reacting, Writing. 6th Edition. Maryland: Kirszner and Mandell Publishing Co. , Thomson Wordsworth, 2007.

Kohlberg: Theory Of Moral Reasoning

Kohlberg: Theory Of Moral Reasoning Moral reasoning is a segment of social cognition that particularly aims at understanding the reason to why young people involve themselves in criminal offenses or behaviors. In most cases delinquency is associated with delayed maturation and development of moral reasoning. For minors when an opportunity for a crime arises, their underdeveloped cognitive ability to control and resist the urge or temptation to offend allows them to go ahead and commit the criminal act. In general this group of offenders lack self control and they tend to act impulsively. The strength of causation of crime varies from one individual to the other. In this paper I will discuss several theories in relation to the moral reasoning, evidence for and against moral reasoning. According to Kohlbergs theory of moral reasoning, the cognitive-development takes an assumption that the primary mental structure is as a result of relationships or interactions between certain organismic structuring tendencies and the general structure of the outside world. Kohlberg examines that moral reasoning is exercised in the mental structure; the structure refers to the general attributes of shape, pattern organization of response like rules that guide the processing of information, for connecting experienced events. He goes a head and explains that linkages are formed by both selective and active processes of attention, information-gathering tactics and motivated thinking. Kohlbergs structures of moral reasoning are synthetic due to the active processes between the human organism which is a self regulating system of cognitive and effective inclination and the social environment in which it is found. Moral Reasoning is a process that progresses through stages. The theory argues that moral reasoning catapults the cognitive growth, for instance the capacity to reason and think is basic for improved and high levels of moral reasoning. Advanced moral reasoning wholly depends on advanced logical reasoning, that is, ones logical stage demarcates the moral stage he can achieve. The moral stages should only be taken for what they are worth of. Morality is the foundation on which Kohlbergs theory is developed. In cognitive development, morality is a natural product of a universal human tendency toward empathy or role taking, and putting oneself in the conscious condition of another being. Consequently, moral reasoning is a product of a universal human advocacy for justice. Kohlbergs understanding of morality is primarily based on Piagets definition whereby all morality comprises of rules, and the core of morality as a whole is to be sought for in the reverence which a person acquires for these rules. Morality according to Kohlberg is judgment based on justice. However justice is a distribution of rights and duties governed by concepts of quality and reciprocity. Justice is identified and recognized by Piagets logic, the equilibrium of social action and relations. Moral Stages according to Kohlbergs theory are divided into Preconventional level, Conventional level and Postconventional level. Preconventional level Stage 1: Punishment and Obedience Orientation-the physical consequences of an action determines its goodness or badness regardless of human meaning or value. These consequences are weighed basing on the impact to the individual rather than based upon the consequences for all. Stage 2: Instrumental-relativism Orientation-a right action is that which instrumentally fulfills ones own needs and in some occasions the needs of others. These two stages have an egocentric point of view where ones choices are based on the fear of punishment and a desire to be rewarded. Conventional level Stage 3: The Interpersonal concordance Orientation: good manners and behavior is that which pleases or helps others and is acknowledged by them. The person progresses to consider the approval or disapproval of other and not only after fulfilling ones own interests. The intention of self and others are considered. Stage 4: Law and Order orientation: the progress is made with regard to looking at the society at large rather than yourself and approval of others. Generally it is the orientation towards law, fixed rules and maintenance of social order. Doing ones duties while showing respect to the authority and maintaining the given social order for its own sake. The conventional stage requires one to make choices from a societys perspective, considering the good of others, positive relation maintenance taking into consideration the rules of the society. Postconventional level Stage 5: Social Contract Orientation: Right actions are defined in terms of an individuals rights and standards rather than those that have been examined and agreed upon by the society at large. The individual see the current rules and regulations as subordinate to the needs of the society instead of instructing them. Stage 6: Universal-Ethical-Principles Orientation: Right is defined by a decision of conscience in accordance with self chosen ethical principles attractive to the logical comprehensiveness, universality, and consistence. Principles are abstract and ethical; universal principles of justice, reciprocity and quality of human rights with respect of human beings as individual persons. In the Postconventional level, prior to the societys perspective, personal ideals take precedence over particular societal laws. Literature review Evidence for Moral Reasoning Eysenck Personality Theory Psychologies the world over assume that behavioral consistence relies or depends primarily on the determination of ones underlying attributes to act in a particular way in a certain situation. These tendencies are mainly personal traits like impulsiveness, assertiveness, excitement seeking, dutifulness and modesty. According to Eysenck, offending is a normal and rational basing on the assumption that human beings were hedonistic, sought pleasure and avoid pain. He also identifies that criminal acts like theft, vandalism, and violence were generally pleasurable to the offenders. Eysenck also gives the reason to why all people are not criminals to be as a result of build up conscience (conditioned fear response). Nevertheless, people who commit offenses have no strong conscience build up because they have poor conditionality. To Eysenck, poor conditionality is associated with personality dimensions: Extraversion (E), Neuroticism (N) and Psychoticism (P). He defines that people with high E build up respond poorly as they have lower levels of cortical arousal. Those with high levels of N condition less well as their high resting levels of anxiety obstructs their conditioning. In addition N stimulates and anchors the existing behavioral tendencies, for instance neurotic extroverts are criminals. High P levels individuals particularly tend to be offenders; they are emotionally cold, have high hostility, inhuman with low empathy. Studies relating to Eysenck personality dimensions reported that people with high N were official offenders while those with high E levels self-reported offending. High P level was found to be related to both. The study of 400 boys in London, reported that those found with high levels of both E and N were juvenile self-reported offenders, adult official offenders and adult self-reported offenders. No juvenile official offender was reported. In addition to these, there are other factors like low family income, low intelligence, and poor parental child rearing behavior that contributed to the malice. From individual questionnaires, it was established that impulsiveness was key causing these criminal acts amongst the minors. There is a big linkage between impulsiveness and offending. Impulsive Theories Doing things without thinking is the most vital and crucial personality dimension that envisages offending. Some individuals are unable to control behavior; they are always hyper-reactive, impulsive, and unable to consider consequences before acting, sensation-seeking, risk-taking, poor ability to plan ahead and poor ability to control gratification. A study of 400 boys in London, three categories of the boys ended up offenders in their later life: a) boys nominated by teachers to be lacking concentration or exhibited restlessness, b) boys nominated by parents, peers, and teachers to be most daring or risk taking, and c) boy who were highly impulsive on psychomotor tests at ages eight to ten. In essence, daring, poor concentration, and restlessness predicted both self-reported delinquency and official convictions; daring being the independent predictor. The Pittsburgh Youth Study by Jennifer White found out that self-reported delinquency of males between ten and thirteen years were teacher rated impulsiveness, self-reported under-control, motor restlessness and psychomotor restlessness. In general, most theories suggest that impulsiveness reflects the deficiency in the executive function of the brain, located in the frontal lobe (Moffitt). Individuals with neuropsychological shortage are likely to commit crimes as they have poor moral control over their behavior. There is also an indirect connection between neuropsychological deficiency and offending whish is propagated by hyperactivity and inattention in schools thus resulting into school failures. Some related assumptions suggest that low cortical arousal produces impulsive and sensational seeking behavior. The benefits of offending include material gain, sexual gratification, and peer approval. Despite these benefits, there are diverse consequences in relation to offending or committing a crime like being caught and punished, pangs of conscience, and disapproval by onlookers. Wilson and Herrnstein (1985) describes and emphasize conscience as the key to prevent offending or crime, and that conscience is built up in asocial learning perspective regardless of parental punishment in childhood transgressions. Individual difference is also another factor according to Wilson-Herrnstein theory as it provides the extent to which peoples behavior is influenced by the immediate as opposed to delayed consequences. People vary in their ability to think about or plan for the future. Highly impulsive individuals are poorly influenced by the likelihood of the future repercussions thus they are more likely to offend or commit a crime. Evidence against Moral Reasoning From practical arguments, morality is a rational enterprise. In Moral despair and Moral discouragement we are told that if there is no source for moral, order morality will collapse; it will cease to be a sustainable enterprise. Kant for instance argues that if the highest good cannot be attained then the moral law which bids us to seek it must be fantastic and directed to imaginary ends must therefore in itself be false (Kant 1996/1962, 231; 5/114). In relation to this, if morality ends are unattainable, then there would be no obligations and duties. In general it would be demoralizing believing that there is no moral order to the universe because demoralization in itself is morally undesirable. For instance, Theism acts as a source of moral order which then implies that there is an advantage in believing that there is moral order in the universe that governs all activities and duties of human beings. For this matter there is a moral advantage of accepting theism (Adams 1987, 151). Morality demands that we become as good as we can be, this then means that if there is no source of moral order in the world then the need for us becoming as good as we can be is faced with many difficulties. And the only way these difficulties can taken or driven away is by us accepting theism. In essence we have a moral reason for driving ourselves into a situation where we can come to believe in the truth of theism. In most cases truth is demoralizing and there is no reason for one to think that it is false. People are after organizing the world so as to meet our deepest human needs. With this in mind, such a hypothesis would be null and void if existence of God who gives us a divine source of moral order. In addition Kant appeals that individuals should believe that there is God but there are also needs of reason. Drabkins take is that the moral ills that afflict or would afflict us if there were no God give us ground, not for the belief that there is a God, but for undertaking the project of becoming to believe that there is a God (Drabkin 1994:171). This is evidence enough to go against moral reasoning.   Conclusion Moral reasoning helps in establishing the real causes of criminal behaviors amongst the young individuals. Kohlbergs theory is key and funder mental in establishing the behavioral characteristics and traits of and individual through his developmental stages. For instance Kohlberg explains different stages of behavior development starting with Preconventional level, conventional level then lastly the Postconventional level. Evidence for moral reasoning are provided using two theories; Eysenck personality theory where offending is considered to be normal and pleasurable to the offenders. The theory also tells us that criminals have no strong conscience build up because of their poor conditionality. Impulsive theories explains to a great extend what causes one to offend; for example the theories explains that some individuals are unable to control their behavior, are hyperactive, impulsive and unable consequences before acting, they are sensation-seeking, apt in risk-taking, and poor ab ility to control gratification. The evidence against moral reasoning provides us with the existence of God who is the source of moral order of the universe. Morality is the key to having a good and cohesive society the world over.

Wicked And Messy Environmental Problems

Wicked And Messy Environmental Problems Some environmental problems have taken on a new nature; they have become wicked. These wicked problems defy classification and have no clear-cut solutions. They are associated with a high degree of uncertainty and deep disagreement of values. They have become immune to the conventional approach to problem solving and pose a major challenge to effective natural resource management. This essay examines four challenges that wicked problems present: complexity, conflict, change and uncertainty. It suggests that to develop effective policies and management responses, a combination of adaptive management, carefully designed participatory processes and the precautionary principle must be used in a way that enhances social learning. A case study of Canadas Model Forest program is used to illustrate how the adaptive and participatory processes have been effective in dealing with uncertainty and complexity in Forest Management. Human activities over the decades have undoubtedly affected the environment. Industrialization and technological progress is one such activity that has been argued as the cause of great damage to the natural environment. Coupled to the increasing need to provide for the growing populations around the world, this has led to a myriad of environmental problems some of which have been described as messy or wicked. Rittel and Webber (1973) describe wicked environmental problems as defying classification and devoid of clear cut solutions. They have also been associated with radical uncertainty and plurality of legitimate perspectives (Funtowicz and Ravetz, 1991).They pose a great challenge to governance structures, knowledge and skills base as well as our organizational capacity. Amidst the vast technological advancements, these wicked problems still remain unraveled and elusive. What does this mean for natural resource management? This suggests that natural resource management has been plunged into an era of turbulence with diminishing effects of the conventional approach to problem solving. Policymakers and environmental managers will need to realize that there are no quick fixes or simple solutions as is the experience in dealing with tame problems. There is no single correct formulation of a particular problem since the definition of a wicked problem is subject to the beholder (Allen and Gould, 1986).In view of that, decision makers will have to implement policy without exploring all the feasible or possible options. Learning must become a central theme policymakers and natural resource managers may need to incorporate into their daily administration. Quite imperative also, is the realization that management approaches for dealing with wicked problems can only be optimal but never true or false. This essay attempts to suggest ways by which policymakers and natural resource managers can deal with the challenges that wicked and messy problems pose to natural resource managers. It begins by discussing four challenges that wicked problems present: change, conflict, complexity and uncertainty. It argues that since no single approach or model is sufficient for dealing with these problems, a combination of approaches that have proven to be helpful in mitigating the wickedness of these problems in the past must be used. Thus, a social learning network that combines the adaptive, participatory and precautionary approach is proposed. Its applicability is illustrated using Canadas Model Forest Program as a case study. One challenge that has been associated with wicked problems is complexity; a trait Gunderson (1999) suggests is inherent in natural resource problems. Complexity implies a difficulty in establishing cause and effect patterns due to the presence of interdependencies and multiple variables and is determined by the degree of uncertainty and social disagreement on a particular issue (Patton, 2011). For example, the condition and trend exhibited by wildlife populations are as a result of the interactions between factors such as prior population, weather, predators, habitat, disease, off-site factors and chance events. If there is species decline in a population, which of these factors can be blamed for this outcome? The answer is not as simple as solving a mathematical problem since the problem may be caused by one or many of the factors acting in concert. Complexity is seen to exist in two forms: technical and social complexity. The former is linked to limitations in quality of information and a deficiency in knowledge systems. This makes problem-diagnosis very hectic and introduces high levels of uncertainty. The social aspect on the other hand, emanates from difficulties in the coordination of information, activities and stakeholders across several disciplines. The differences in views, values, perception and beliefs of various stakeholders introduce conflict: another challenge in resolving wicked environmental problems. The diversity and range of stakeholder values is normally a recipe for conflict in decision-making. There is often little consensus on what the problem is, let alone a general solution (Ritchey, 2005).This brings into sharp focus the issue of problem-framing. Disagreements on what the problem may be is often commonplace and arguably a major contributor to conflicts. For example, a water resource controversy in Colorado started over a proposed dam (Bingham, 1986).Some parties declined to participate in the discussion until the question of whether or not a dam was needed was answered. Others thought, a dam was the only way to solve the water shortage problem. However, asking the question how much water do we need? is crucial to understanding the problem at hand. The assumption of knowing the solution before exploring the problem further has mainly been associated with experts who may see new problems as exactly as old ones (Kaplan and Kaplan, 1982). Also, the difficulties in reconciling the different values and perception of stakeholders have left most environmental management issues engulfed in appeals and litigation. For example, Cape plc. and RTZ have been sued in British courts for environmental damage and for breach of employment rights in Africa. The growing disputes and litigation in environmental issues has made conflict resolution quite an important concept in environmental management. However, the presence of conflicting values, risk and uncertainty does not mean a definite decision cannot be taken. It only stresses the managers need to think beyond the traditional approach to problem framing and problem solving. As discussed earlier, the various interdependencies and multiple variables in wicked environmental problem makes change an inevitable phenomenon. Horst Rittel in his paper Dilemmas in General Theory of Planning explains that when dealing with wicked problems one must recognize that every wicked problem is a symptom of another problem. Considering the fact that ecosystems, societies, knowledge, technologies and public attitudes are so dynamic it is reasonable for management strategies and practices to be dynamic as well. Policies must continually be adapted to change as well as constructed for local application.Lindbloom (1979) suggests that the only way to ensure consistent progress in dynamic and uncertain situations is to take incremental steps that are bold enough to leave room for possible errors that enhance learning. Contributing to more wickedness is the challenge of uncertainty. Unfortunately, the complexity encountered in environmental and resource management leaves little or no choice than to make decisions in the face of uncertainty. In a complex open system like the environment, knowledge has limits and certainty is far-fetched. Wynne (1992) differentiates among four types of uncertainty: risk, uncertainty, ignorance and indeterminacy. Uncertainty plays outs in situations when the odds are not known. For instance, the contribution of greenhouse gases to global warming has been established however, the precise relationships and potential feedback mechanisms between parameters such as clouds, global air circulation, heat absorption by water, land and so on remain uncertain due to complexity. In essence, the recognition of the kinds of uncertainty may help to identify which plans or approaches are most appropriate. In view of the challenges wicked problems present, environmental management and policymaking must build resilience if it must be effective in mitigating the impact of wicked problems. Policymaking and practice must be adaptive to keep up with their ever changing nature. The complexity, uncertainty and conflict component must be catered for by carefully designing participatory processes that enhance learning. The next section of this essay will shed light on the management responses that must be considered to make policymaking and natural resource management effective for dealing with wicked problems. Adaptive management is one management strategy that can deal with scientific uncertainty and real world examples of its applicability are evident. The adaptive approach has been described as a learning approach that continually improves policy and practice in the face of uncertainty and a tool to frame philosophical, methodological and practical challenges that come with natural resource management (Holling, 1978). This approach has been recognized by international interdisciplinary efforts such as the sustainability science program (Clark and Dixon, 2003), the Millennium Ecosystem Assessment (2005) and the Equator Initiative of the United Nations Development Programme (UNDP, 2005) as having the potential to deal with the complexity of socio ecological processes while enhancing learning. The effectiveness of adaptive management in some cases is not fully realized due to short term project frames, rigid targets and a focus on success prompt managers who use conventional methods thoug h encouraged by government rhetoric to make use of adaptive approaches (Allan and Curtis, 2005). To enhance the practicality of adaptive management, co- management has been brought in to cater for the social uncertainties and institutional barriers that may rise. This has led to adaptive co-management, an approach that combines adaptive and collaborative management. Here, rights and responsibilities are jointly shared to better combat the challenges that wicked problems may bring. Collaboration in essence, demonstrates the need for carefully designed public participation. Public participation has become an entrenched concept in the formulation, implementation and management of environmental issues owing to its suitability for addressing the interests of multiple stakeholders and reducing conflict. It is quite common to see National and subnational governments require the input of the public in managing and developing of environmental policy. An example being the US National Environmental Policy Act and the US Federal Advisory Committee Act. Thus, participation in decision-making is increasingly being regarded as a democratic right (Reed, 2008). Increasing calls for public participation rests on many factors including growing distrust of public institutions and officials, increasing legislative requirements for public participation, the complexity and uncertainty of contemporary problems, different risk perceptions and a growing recognition that decisions are not entirely scientific but social values and politics are inherent in all administrative deci sions. Participatory processes also have a challenge of identifying groups of stakeholders and bringing these interests together in an environment conducive for learning (Gray, 1989).It has also been associated with intensive resource commitments (money, time and human capital), prolonged decision making, reduced decision quality, increased conflict and diminished likelihood of a successful outcome (Steelman, 2001). However on the whole, participatory processes are assets rather than liabilities. A case study that demonstrates the ongoing success of adaptive management and participatory approach in Forest Management is Canadas Model Forest Program. To reduce uncertainty and complexity while promoting the development of innovative ideas and sustainability, the Federal government initiated Canadas model Forest Program in 1992. The Program consists of eleven model forests across Canada, selected to reflect the diversity of ecosystems and social systems present in Canadas Forest environment. Each model forest is designed to function as a living laboratory where novel integrated forest management techniques are researched, developed, applied and monitored in a transparent forum that engages and partners with stakeholders from environmental organizations, industry, native groups, educational and research institutions, community based associations, recreationists and landowners as well as all levels of government The success from this adaptive approach have been many and includes t he development of voluntary wetland conservation programs for private lands; establishment of protocols for reporting on socio economic indicators based on Statistics Canadas census data; developing an ecosystem-integrated resource management plan for the Province of Saskatchewan, production of a code of forestry practice to help landowners understand and apply the principles of sustainable forest management; establishment of the Grand River Reserve to protect three eco-regions and habitat for the endangered Newfoundland pine marten. The Precautionary approach is one possible response that proves very essential for dealing with wicked problems in the face of uncertainty and risk. Some scholars assert that it is a powerful tool for protecting human health and the environment under uncertain conditions (Cameron and Aboucher, 1991) whiles other think it is ill- defined, unscientific and of little value to policymaking (Manson, 2002). Still many nations have some form of precautionary principle in place when confronted with uncertain health risks though they may not explicitly refer to it (Zander, 2010). Under the precautionary principle, the absence or lack of evidence concerning the harmful nature of a substance or practice cannot serve as a justification for delaying action to regulate them (Raffensperger and Tickner, 1999). For example, the issue of global warming usually includes arguments that either favour business-as-usual or the precautionary principle. Opponents against the principle base their arguments on scientific uncertainty regarding how humans have contributed to climate change and the severity of effects that may occur. They generally advocate for further research to reduce the uncertainties before costly emission-reduction policies are implemented. Advocates of the precautionary approach on the other hand argue that the likely adverse effects of the accumulation of greenhouse gases in the atmosphere are serious enough to justify potentially costly regulation despite remaining uncertainties. Today, based on the precautionary principle various moves are being made to reduce the carbon footprint by investing in green technology. Though we do not know the outcome of these actions, it is prudent to try to mitigate its impact on future climatic conditions than do nothing at all. Indeed, the challenges wicked environmental problems present may seem overwhelming and daunting. However to combat these challenges, environmental managers must first realize that wicked problems have no single correct formulation and hence quit searching for one. They must also develop long term learning networks through adaptive management and carefully designed participatory processes that are truly flexible. Lastly, precaution must be utilized in planning processes to avoid creating more wicked problems in the future.

Sony Corporation :: essays research papers

Sony Corporation-Company Information Sony was founded in Tokyo in 1946 by engineer Masaru Ibuka and Akio Morita, a physicist. They started the company with 20 employees repairing electrical equipment and attempting to build their own products. The company’s success started in 1946 when Sony launched Japan’s first transistor and the first â€Å"all-transistor† radio in 1955. In the more than 50 years since the company first began trading, it has grown from 20 employees to over 160,000 people around the world. The name Sony was chosen from the Latin word sonus, which is the root of sonic and sound, and the English word â€Å"sunny.† Sony Corporation of America was established in the United States. Today, Sony Corporation develops and manufactures consumer and industrial electronic equipment. The Company's products include audio and video equipment, televisions, displays, electronic components, computers and computer peripherals, and telecommunication equipment. The Company is also active in the worldwide music and image-based software markets. Since the 1980’s, Sony had transformed itself from an electronics company to a global entertainment company with such products. Some of this company’s major competitors include Matsushita, Philips, and Sanyo. The world’s first CD player was launched in October 1982. Sony conducts insurance operations through Sony Life, a Japanese life insurance subsidiary, and Sony Assurance Inc., a Japanese non-life insurance subsidiary. Sony is engaged in a leasing and credit financing business in Japan through Finance International Inc. It also conducts an internet-based banking business in Japan through Sony Bank Inc. which is an eighty percent directly owned subsidiary of Sony Financial holdings. Sony acquired Columbia records from CBS and it was named Sony Music Entertainment. Sony has been historically notable for pushing its own in-house standards for new recording and storage technologies, which are often different from those of other manufacturers or of market trends and standards. On July 20th, 2004, the European Union approves a 50-50 merger between Sony Music Entertainment and BMG. The new company will be called Sony BMG, and will control 60 percent of the world wide market.

The Chocolate War by Robert Cormier :: The Chocolate War

The Chocolate War by Robert Cormier   Ã‚  Ã‚  Ã‚  Ã‚  The Chocolate War by Robert Cormier was a book that we read in class, it was about good and evil. It is about how the to forces battle for superiority over one another. The book tells how one of the sides over powers the other to claim its spot on top. The people are like pawns to two of the characters, Archie and Brother Leon because they use the people to get what they want from them, and will stop at nothing to get it. Both of characters will stop at nothing to have what they want, which is to have the power over the school.   Ã‚  Ã‚  Ã‚  Ã‚  The good characters even though few in number are willing to go the distance (especially for Jerry). Jerry is the main character of the story. He has a struggle with in himself to do the right thing. He mess with the wrong people in the school and they make him pay for it, because no one can mess with the Vigils and get away with it. He was to refuse to take chocolates for ten days. However he still refuses to take the chocolates after the ten days. Brother Jacques is another one of the good guys because he sees that Brother Leon is truely an evil man and abuses his power the power that he has over the kids. He saves Jerry at the of the story from the boxing match. Goober is a good person with a big heart, but is not to smart to get out when in to deep helping Jerry to get out. All that he wanted to do was to play football and to run.   Ã‚  Ã‚  Ã‚  Ã‚  There is more of a power struggle among the evil side for them to want to work together. Archie is the Vigils’ Assigner giver. Archie has a struggle with Brother Leon and Carter. First a struggle with Leon because both are trying to carrie the power of the school. Second with Carter both trying to control the Vigils. Carter the president of the Vigils puts Archie on probation tries to stab him in the back at the boxing match using the black box. He smashes Jerry in practice every day just because he can do the. Brother Leon is a sadistic teacher because of the things that he does to the kid in his class, like when he put Bailey in front of the class and smacked him on the cheek with a pointer.

Fate in Tess of the D’Ubervilles Essay

In Tess of the D’Ubervilles Thomas Hardy creates a sense that fate is guiding each of the characters, often for the worst, to an inevitable end. From the beginning of the novel Tess shows a thorough understanding of her shortcomings and an acceptance that she is destined to lead a difficult life. Hardy uses societal circumstance and fate to create the powerfully tragic story of Tess, her family and her relationships, and how she chooses to play to the hand that she is dealt. From the beginning of the story we understand that Tess is fully aware of her shortcomings in life and that she is destined to walk a path of hardship. When speaking with her brother in the fourth chapter of the book she speaks of this awareness, â€Å"Did you say the stars were worlds, Tess?† â€Å"Yes.† â€Å"All like ours?† â€Å"I don’t know, but I think so. They sometimes seem to be like the apples on our stubbard-tree. Most of them splendid and sound – a few blighted.† â€Å"Which do we live on – a splendid one or a blighted one?† â€Å"A blighted one† (33). Tess’s early understanding of the tragic life she is meant to lead foreshadows the situations waiting for her. For the remainder of the novel, almost every single time something good happens to Tess it is snatched away from her on the next page. In more than one way it seems that fate is conspiring against Tess throughout the novel. Hardy almost completely takes away the characters’ abilities to change their circumstances, imprisoning them by the harsh Victorian societal structure. From the beginning Hardy uses recurring themes to illustrate that Tess’s death has been pre-determined, giving us the notion that whatever path she chooses she will end up where Hardy wants her to. While it could be argued that her choices are the only influence in her life, I feel that from the moment her character was developed her end was virtually decided. Or, at least, this is what Hardy wants us to feel. While she could be considered responsible for her actions, she manages to co me out with the worst in nearly every situation. Her character is destined to drag her down even though she constantly endeavors to be the best she can be, a few examples include: going to the market when her father is too drunk to do so, consequently killing their horse; telling the truth to Angel Clare, despite her mother’s warning not to do so; and many further situations. This is undeniably the reason why, despite the indignation of people who held more conventional views at the time, Hardy called it the story of â€Å"a pure woman.† Tess’s highly developed sense of responsibility, strong conscience, and duty to her family further promotes the idea of a malevolent fate: someone this conscientious should surely have someone or something working against her to come into so much ill fortune. In fact, her conscience and honesty seem to add on to the tragedy of her life. But over and over again Tess is fated to almost supernaturally tragic coincidences. A pivotal example of fate getting in the way of Tess’s happiness occurs when she tries to explain her past to Angel, in particular the incident that happened with Alec before they met at the dairy. She is very sincere and quite adamant in her attempt to tell Alec of the devastating event during which her virginity was taken away from her. But as fate decides, the letter detailing Tess’s past when slipped under the door of Angel’s room also slipped under the rug on his floor. Angel never gets to read the letter and therefore does not know about Tess’s past. Angel and Tess go ahead with their marriage with both of them unaware each other’s pasts, eventually ruining their marriage and leading to Tess’s death. Hardy is very good at dropping hints throughout the novel, which helps to link preceding events with the final outcome. This, in particular, adds to the sense that the character’s fate is predetermined, teasing the reader along the way with often-exaggerated images, symbols or phrases from unsuspecting characters, including Tess herself when she states, â€Å"all this good fortune may be scourged out of me afterwards by a lot of ill. That’s how heaven mostly does† (252). Here Hardy uses Tess to convey a sense of fate with her being painfully aware that good and bad usually go together in some form. She is still blissful, though, and can hardly believe that things could turn as bad as they do in the end, but it is an example of Hardy creating the theme of pre-determined fate in this story. Overall, I feel that Tess’s actions and those of the characters surrounding her constantly affect her, but that Hardy wants us to feel that they are all part of an imminent fate. It is undeniable that this story hinges on many unfortunate coincidences. Throughout the novel there is an overriding presence that imprisons Tess and takes away every opportunity she gets to be truly happy and that disregards the pure nature of her being. Despite constantly striving to do the right thing she never seems to get â€Å"what she deserves but a great deal worse† (211).

Art history

Romanticism began in Germany and England in the early 19th century and spread throughout Europe by the 1820. The Romantic Movement was caused by the sudden social changes that occurred during the French Revolution as a revolt against Neo- classicism and its emphasis on order, harmony and balance. (Britannica Online Encyclopedia) The movement began as an artistic movement that rejected the traditional values of social structure and religion and encouraged individualism. Romantic artists valued imagination over reason and beauty.They loved nature and ere dedicated to examining personality and moods. Their paintings represented celebration of the heroic struggle of common people. Some of the well-known Romantic artists are John Constable, Thomas Cole, Francisco De Soya and Henry Fusels. (The Art World, n. D. ) Some of the characteristics of paintings of this period are their focus on heroic subjects, use of intense colors, loose brush strokes and dense texture of the painting. With the Industrial Revolution came new technology and machine power that changed the social condition.People had to move away from mom to crowded cities to find Jobs and work long hours. Romantic artists painted to get away from the cruel struggle of common people and for yearning for idealized rural pastoral life. AY. Realest: (1850- 1880) The Realist artists in France revolted against romantic ideals of distorted beauty and imagination. Realists believed in objective reality, seeking to represent the truth and accuracy of ordinary world. They wanted to show the natural truth of their subject and chose from everyday life around them, often painting images of the poor working class and displaying human misery and poverty.Paintings of realism often carried a moral or social message portraying the drudgery of everyday life. Some of the artists who represent realism period are Gustavo Courier, Jean-Francis Millet, Eduardo Meant (The Art World, n. D. ) and also American artists who studied in F rance, Thomas Skins and Henry Tanner and characterized by accurate portrayal of ordinary working people without personal bias or interpretation. Social condition that contributed to this art movement was France Revolution that began during the 1848 and lasted until 1880 which was a consequence of the industrial revolution.With the implementation of machine power, factory owners grew wealthy while the common workers labored long hours for low pay. Anger and resentment fueled strikes and revolts. AY. Analysis During the middle of the sass, Romanticism began to show signs of being extreme partly because of the fact that most art works were becoming increasingly opulent. Art lovers and enthusiasts who were accustomed to this form of art began to find it rather dull. Therefore, there was a need to introduce another form of art that was different from romanticism. People wanted to see the world in realistic point of view. Gnocchi, n. . ) This is how Realism was introduced. European nation s were engaged in wars, for example Russia had dominated Poland. People who had been crushed had a need to express a sense of patriotism and devotion to their traditions. Artists used their paintings to express the importance of their own culture. Revolution was also an element in paintings of the romantic era, but Realism focuses on practical subjects. AAA. Similarities or Differences Both movements were reactions to social conditions resulted by the industrial revolution.The industrial revolution caused the building of large factories and the wieners got wealthy while the lower working classes labored long hours for low pay. Workers' attempts to fight for better pay were often suppressed. Anger and resentment at capitalism often resulted in strikes and revolts. Romanticism and realism were two competing styles of artistic and practice. Romanticism emphasized heroic achievement and the power of the emotions whereas realism focused on individuals, work and social Justice portraying the actual living conditions of common working people, and often used gloomy color in their paintings.Romantic painting is nearly characterized by an imaginative and a dreamlike quality and strives to express feeling intense, mystical, or elusive. Realism, on the other hand, is an attempt to accurately describe human behavior and objects precisely as in real life. Babe. Explanation By deviating from earlier tradition of idealizing situation of Romantic artists' imagined beauty, the realists were attempting to capture the actual experience and struggle of common people in hope that it would spur social and economic reform. Babe. Reference to Work of Art John Constable and Jean Millet represent the difference in these two art periods.John Constable was an English painter who painted his landscape in the romantic style. â€Å"The Hay Win† is a countryside scene with romantic and dreamy features like streams and county cottages. He used luminous colors and bold thick brushwork an d focused on the qualities of light and sky rather than details of a scene. (The National Gallery, n. D. ) Jean- Franà §ois Millet was a French painter who focused on realistic things of everyday life and painted ordinary working people. In his painting â€Å"The Gleaners†, Millet displays the hard working peasants removing the last bits of the rain from a wheat field.He used dark, muted colors instead of luminous colors like Constable. There is no fanciful imagination, Just a painting of everyday life. Babe. Relation of Later Work to Earlier Work Again, the realist artists used their work to portray the actual living conditions of common people in contrast to romantic view of earlier works. John Constable's cottage scene with a tranquil stream represented the yearning nostalgia for idealized pastoral life of the lowly desperate fame's who must glean every last grains of wheat in Millet's painting. AC. Art History In not more than 300 words, write a descriptive account of Harmen Steenwyck's: Still Life: An Allegory of the Vanities of Human Life ( Illustration Book, Colour Plate 10), paying particular attention to the organisation and lighting of the composition and to the effects of tone and colour. Harmen Steenwyck illustrates an eclectic mix of objects in this fine oil painting. The objects are placed close to the picture plane, as within reach of the spectator, drawing the eye from left to right as the clustered objects increase in height. This suggests that this is the way that Steenwyck wanted the spectator to view them. His skilful use of light draws us to the principal object, the illuminated skull, bringing out the richness of its golden colour whilst depriving the hollows of the eyes to add depth. Many of the objects have spherical parts to them that again are highlighted through the use of light. Steenwyck manipulates light and shade through gradual transition to form the illusion of their roundness. Not only do these contrasts produce a striking illustrative effect but they also help to define the objects from one another. The fine brushwork picks up the finest detail, such as the leaves of the well thumbed books, the dial on the watch and the fraying rope on the urn. Harmen has organised the majority of his objects to the right side of the piece leaving the left feeling rather vacant, with our attention drawn to the pearlescent shell that stands almost solitary. The painting depicts objects of grandeur, inducing the idea of wealth and travelling through such choice objects as the Japanese sword, Grecian style urn and the shell, those these are overshadowed by the objects with the most emotional quality, the skull and the waning lamp symbolising death and the frailty of life. The skull seems out of place sharing a table with such other splendid objects, leaving the spectator questioning the choices Steenwyck has made, perhaps these symbols of death serve as a warning to those who seek happiness in the â€Å"Vanities of Human Life†. TMA 02 Part 2 Literature Read also History Quizzes Read John Keat's Sonnet, â€Å"When I have fears that I may cease to be† ( resource book 1, A39). In not more than 300 words, write an analysis of the sonnet basing your response on the questions below. 1. Comment on the use of repetition. (e.g. â€Å"when†, â€Å"before†, â€Å"never†.) 2. What is the relationship between the octave and the sestet? 3. What part do the different rhymes, including the final couplet, play in conveying the meaning of the sonnet? Keats begins by setting the tone for the sonnet, â€Å"When I have fears†¦Ã¢â‚¬ , indicating the major theme that is to run throughout. In the first two quatrains he writes about the fear of dying young, fearing he will not have the time he needs to fulfil himself as a writer and the third quatrain fearing that he will lose his beloved. Farming metaphors, â€Å"rich garners the full-ripen'd grain†, emphasize how he sees his imagination and creativity, like a fertile field waiting to be sown, with the alliteration in garners and grain highlighting this further. Keat's emotive language draws attention to his love poetry, â€Å"before my pen has gleaned my teaming brain†, believing the world to be full of material he can create countless poetry from, devoting more lines to his love of verse than his beloved. Enchanting imagery illustrates his philosophy on love, â€Å"faery power† a mystical and supernatural force that he has no control over. Alongside this immense fear of death, is the concern with time, the repetition of â€Å"When I† beginning both quatrains of the octave and introducing the sestet, stresses Keats preoccupation with time and the fear of it consuming him. This sense of time running out is emphasized through the enjambment in the third quatrain; the final line runs into the closing couplet, urging the reader on. The rhyming scheme, abab cdcd gg, helps to intensify the poems train of thought and has great effect in the closing couplet as Keats resolves his fears by declaring the triviality of love and fame, â€Å"love and fame to nothingness do sink.† The octave and the sestet share the continuity of rhyme, and underlying theme of death, though there is a clear change in the range of emotions as the sonnet develops. The octave concentrates on the emotions of confusion and fear whilst the sestet focuses on the fear of loving and being loved until reaching a feeling of acceptance over his fears. TMA 02 Part 3 Music For this part of the TMA you will need to listen to Track 10 on the TMA CD. You will hear the â€Å"First Tableau: The Shrovetide Fair† from Petrushka by Stravinsky. Listen to the track a few times and then answer the question below in up to 300 words on continuous prose. How does Stravinsky combine the elements of music, introduced to you in Unit 3, to establish the atmosphere of the fair? Stravinsky begins the piece with a high-pitched flourish of woodwind instruments, such as the flute and clarinet and is then accompanied by the strings which increase in volume to meet with a fanfare of trumpets, it sounds like the fair is opening. Rhythm plays a key role throughout the entirety of the piece, fluctuating sounds are created as the fluttering of the woodwind section meet with the loud sharp sounds of the strings. Stravinsky manipulates this rapidly changing rhythm to establish the excitement and commotion of the fair. The choice of instruments, and concentration on certain sections of the orchestra in particular parts adds colour to the piece, perhaps representative of the colours and vibrant images of the fair. In the same way, the fullness of the orchestra may relate to the busy crowds at the fair and at the same time sounds very grand. Full use is made of the orchestra, to create great noise and effect, where the strings are concentrated on, the music is very grand and striking; whereas the effect the woodwind has on the piece is fleeting and soft. The gradual change in tempo is marked by drum rolls which introduces adagio and accelerando, the timbre of the drum is loud and echoes briefly creating the feeling of suspense at the fair. Each movement brings its own highlight, from the strong trumpet blasts to the precise beats of the triangle, which accompanies the softer woodwind section at the end of the piece. The atmosphere of the fair is lively and upbeat as Stravinsky ends his â€Å"First Tableau†, he employs a melody of sounds that are reminiscent of Russian dance and manages to shift effortlessly from establishing excitement, commotion and suspense throughout the piece to this buoyant finale. TMA02 Part 4 Philosophy Answer these questions in not more than 300 words in total. 1. Here are some claims. If possible, give a sound argument for each claim. Where this is not possible, give a valid argument anyway. Do indicate those cases where you believe your argument is sound. A.) The Queen is a mother B.) The rain in Spain falls mainly on the plain C.) The earth is flat. D.) Eating people is wrong. E.) Oranges are not the only fruit. All women who give birth are mothers. The Queen has given birth. The Queen is a mother. Rain clouds can only form over plains. It rains in Spain. The rain in Spain falls mainly on the plain. People cannot walk any other surface than horizontal. People walk the earth. The earth is flat. Eating people is illegal. If something is illegal, it is wrong. Eating people is wrong. Every morning I eat fruit. I never eat oranges. Oranges are not the only fruit. Arguments A and E are both sound arguments, as the premises for both are al true, and it follows that if the premises to an argument are true then the conclusion must be true. Arguments B and C fail at being sound arguments as the information used can be disproved. Argument D is not sound, as in some countries and within some cultures cannibalism is legal. 2. Give an example of an inductive argument, and explain why it is not deductive. I've owned lots of cars. All the cars I've owned have had four wheels. All cars have four wheels. This argument cannot be deductive because it is based purely on assumption. I'm assuming that all cars have four wheels because I've only owned cars with four wheels; however the volume of cars I've owned is minute in comparison to the variety of models and makes. Therefore, I cannot presuppose that every car follows the same rule. Art History Compare and Contrast Essay Ancient Egyptian and Ancient Aegean art are both great influences to what we call art today. Egyptian art emphasized engravings, sculptures and paintings while Aegean art emphasized sculptures, paintings and decorations. One piece I chose to compare and contrast from the Egyptian art was Sekhmet. Another piece I chose to compare and contrast from the Aegean art period is the Snake Goddess. These two beautiful artworks are alike and similar in many ways.The Snake Goddess and Sekhmet are alike because they are both sculptures that show signs of power. The Snake Goddess is a sign of power because she has a form-fitting outfit that exposed her breasts and a flounced skirt with many layers that covered her feet. She is holding two snakes tightly in each arm. Some researchers claimed that Minoans worshipped the Snake Goddess as â€Å"Mother Goddess†. In Aegean culture they believed snakes were good and that they showed a sign of water.This also indicated f ertility, health and wealth. She also had a panther on top of her head, which shows that she is in touch with nature and that was a sign of power as well. Not only is she in touch with nature but her elaborate headdress and extravagant outfit shows wealth. Sekhmet also shows many signs of power. Her name is derived from the Egyptian word â€Å"Sekhem† (which means â€Å"power† or â€Å"might†) and is often translated as the â€Å"Powerful One† This ancient Egyptian goddess Sekhmet is known as the Eye of Ra.She is the power that protects the good and gets rid of the wicked. Sekhmet is the wrathful form of Hathor who is the Goddess of joy, music, dance, sexual love, pregnancy and birth. She is also Goddess of the sun and one of her powers is intense blinding heat. Her weapons were arrows, which were supposed to pierce hearts. Also Sekhmet would get a fiery glow from her body when she got upset and hot desert winds came from her breath. She was also a goddes s of healing. When people became ill, she was capable of healing them with her powers.The Snake Goddess and Sekhmet are also very different in many ways. One way they are different is the rolls of women in their time period. Egyptians and Aegean people both believed that women held power but they weren’t similar. For example in Aegean time women were a powerful symbol of fertility and having a connection with the earth and animals easily fits in with what they worshipped. On the other hand, Sekhmet showed a different view on women. The woman's body that was Sekhmet carried was for birth and new life.The head of the lioness that was Sekhmet showed a sign of destruction, danger and death and reflected the steady and piercing gaze of the hunter that she is. Sekhmet also represents the presence of good and evil, creation and destruction and the ability and willingness to nurture and protect life, and the ability to take it away in a blink of an eye. Not only are their rolls in so ciety different but how the pieces of arts were worshipped also contrasted. The Snake Goddess was used to show rebirth, resurrection or renewal of life.They believed this because the snake was a sign of power and symbolized the purification by water in the funeral cult, so the snake became a protector of the pharaohs in their death. On the other hand, Sekhmet was worshipped Sekhmet was worshiped throughout Egypt, particularly wherever a wadi opened out at the desert edges. This is the type of terrain that lions are often found. Many of them came to the desert to be able to drink and to prey upon cattle in that area. Art History Compare and Contrast Essay Ancient Egyptian and Ancient Aegean art are both great influences to what we call art today. Egyptian art emphasized engravings, sculptures and paintings while Aegean art emphasized sculptures, paintings and decorations. One piece I chose to compare and contrast from the Egyptian art was Sekhmet. Another piece I chose to compare and contrast from the Aegean art period is the Snake Goddess. These two beautiful artworks are alike and similar in many ways.The Snake Goddess and Sekhmet are alike because they are both sculptures that show signs of power. The Snake Goddess is a sign of power because she has a form-fitting outfit that exposed her breasts and a flounced skirt with many layers that covered her feet. She is holding two snakes tightly in each arm. Some researchers claimed that Minoans worshipped the Snake Goddess as â€Å"Mother Goddess†. In Aegean culture they believed snakes were good and that they showed a sign of water.This also indicated f ertility, health and wealth. She also had a panther on top of her head, which shows that she is in touch with nature and that was a sign of power as well. Not only is she in touch with nature but her elaborate headdress and extravagant outfit shows wealth. Sekhmet also shows many signs of power. Her name is derived from the Egyptian word â€Å"Sekhem† (which means â€Å"power† or â€Å"might†) and is often translated as the â€Å"Powerful One† This ancient Egyptian goddess Sekhmet is known as the Eye of Ra.She is the power that protects the good and gets rid of the wicked. Sekhmet is the wrathful form of Hathor who is the Goddess of joy, music, dance, sexual love, pregnancy and birth. She is also Goddess of the sun and one of her powers is intense blinding heat. Her weapons were arrows, which were supposed to pierce hearts. Also Sekhmet would get a fiery glow from her body when she got upset and hot desert winds came from her breath. She was also a goddes s of healing. When people became ill, she was capable of healing them with her powers.The Snake Goddess and Sekhmet are also very different in many ways. One way they are different is the rolls of women in their time period. Egyptians and Aegean people both believed that women held power but they weren’t similar. For example in Aegean time women were a powerful symbol of fertility and having a connection with the earth and animals easily fits in with what they worshipped. On the other hand, Sekhmet showed a different view on women. The woman's body that was Sekhmet carried was for birth and new life.The head of the lioness that was Sekhmet showed a sign of destruction, danger and death and reflected the steady and piercing gaze of the hunter that she is. Sekhmet also represents the presence of good and evil, creation and destruction and the ability and willingness to nurture and protect life, and the ability to take it away in a blink of an eye. Not only are their rolls in so ciety different but how the pieces of arts were worshipped also contrasted. The Snake Goddess was used to show rebirth, resurrection or renewal of life.They believed this because the snake was a sign of power and symbolized the purification by water in the funeral cult, so the snake became a protector of the pharaohs in their death. On the other hand, Sekhmet was worshipped Sekhmet was worshiped throughout Egypt, particularly wherever a wadi opened out at the desert edges. This is the type of terrain that lions are often found. Many of them came to the desert to be able to drink and to prey upon cattle in that area. Art history Romanticism began in Germany and England in the early 19th century and spread throughout Europe by the 1820. The Romantic Movement was caused by the sudden social changes that occurred during the French Revolution as a revolt against Neo- classicism and its emphasis on order, harmony and balance. (Britannica Online Encyclopedia) The movement began as an artistic movement that rejected the traditional values of social structure and religion and encouraged individualism. Romantic artists valued imagination over reason and beauty.They loved nature and ere dedicated to examining personality and moods. Their paintings represented celebration of the heroic struggle of common people. Some of the well-known Romantic artists are John Constable, Thomas Cole, Francisco De Soya and Henry Fusels. (The Art World, n. D. ) Some of the characteristics of paintings of this period are their focus on heroic subjects, use of intense colors, loose brush strokes and dense texture of the painting. With the Industrial Revolution came new technology and machine power that changed the social condition.People had to move away from mom to crowded cities to find Jobs and work long hours. Romantic artists painted to get away from the cruel struggle of common people and for yearning for idealized rural pastoral life. AY. Realest: (1850- 1880) The Realist artists in France revolted against romantic ideals of distorted beauty and imagination. Realists believed in objective reality, seeking to represent the truth and accuracy of ordinary world. They wanted to show the natural truth of their subject and chose from everyday life around them, often painting images of the poor working class and displaying human misery and poverty.Paintings of realism often carried a moral or social message portraying the drudgery of everyday life. Some of the artists who represent realism period are Gustavo Courier, Jean-Francis Millet, Eduardo Meant (The Art World, n. D. ) and also American artists who studied in F rance, Thomas Skins and Henry Tanner and characterized by accurate portrayal of ordinary working people without personal bias or interpretation. Social condition that contributed to this art movement was France Revolution that began during the 1848 and lasted until 1880 which was a consequence of the industrial revolution.With the implementation of machine power, factory owners grew wealthy while the common workers labored long hours for low pay. Anger and resentment fueled strikes and revolts. AY. Analysis During the middle of the sass, Romanticism began to show signs of being extreme partly because of the fact that most art works were becoming increasingly opulent. Art lovers and enthusiasts who were accustomed to this form of art began to find it rather dull. Therefore, there was a need to introduce another form of art that was different from romanticism. People wanted to see the world in realistic point of view. Gnocchi, n. . ) This is how Realism was introduced. European nation s were engaged in wars, for example Russia had dominated Poland. People who had been crushed had a need to express a sense of patriotism and devotion to their traditions. Artists used their paintings to express the importance of their own culture. Revolution was also an element in paintings of the romantic era, but Realism focuses on practical subjects. AAA. Similarities or Differences Both movements were reactions to social conditions resulted by the industrial revolution.The industrial revolution caused the building of large factories and the wieners got wealthy while the lower working classes labored long hours for low pay. Workers' attempts to fight for better pay were often suppressed. Anger and resentment at capitalism often resulted in strikes and revolts. Romanticism and realism were two competing styles of artistic and practice. Romanticism emphasized heroic achievement and the power of the emotions whereas realism focused on individuals, work and social Justice portraying the actual living conditions of common working people, and often used gloomy color in their paintings.Romantic painting is nearly characterized by an imaginative and a dreamlike quality and strives to express feeling intense, mystical, or elusive. Realism, on the other hand, is an attempt to accurately describe human behavior and objects precisely as in real life. Babe. Explanation By deviating from earlier tradition of idealizing situation of Romantic artists' imagined beauty, the realists were attempting to capture the actual experience and struggle of common people in hope that it would spur social and economic reform. Babe. Reference to Work of Art John Constable and Jean Millet represent the difference in these two art periods.John Constable was an English painter who painted his landscape in the romantic style. â€Å"The Hay Win† is a countryside scene with romantic and dreamy features like streams and county cottages. He used luminous colors and bold thick brushwork an d focused on the qualities of light and sky rather than details of a scene. (The National Gallery, n. D. ) Jean- Franà §ois Millet was a French painter who focused on realistic things of everyday life and painted ordinary working people. In his painting â€Å"The Gleaners†, Millet displays the hard working peasants removing the last bits of the rain from a wheat field.He used dark, muted colors instead of luminous colors like Constable. There is no fanciful imagination, Just a painting of everyday life. Babe. Relation of Later Work to Earlier Work Again, the realist artists used their work to portray the actual living conditions of common people in contrast to romantic view of earlier works. John Constable's cottage scene with a tranquil stream represented the yearning nostalgia for idealized pastoral life of the lowly desperate fame's who must glean every last grains of wheat in Millet's painting. AC. Art History In not more than 300 words, write a descriptive account of Harmen Steenwyck's: Still Life: An Allegory of the Vanities of Human Life ( Illustration Book, Colour Plate 10), paying particular attention to the organisation and lighting of the composition and to the effects of tone and colour. Harmen Steenwyck illustrates an eclectic mix of objects in this fine oil painting. The objects are placed close to the picture plane, as within reach of the spectator, drawing the eye from left to right as the clustered objects increase in height. This suggests that this is the way that Steenwyck wanted the spectator to view them. His skilful use of light draws us to the principal object, the illuminated skull, bringing out the richness of its golden colour whilst depriving the hollows of the eyes to add depth. Many of the objects have spherical parts to them that again are highlighted through the use of light. Steenwyck manipulates light and shade through gradual transition to form the illusion of their roundness. Not only do these contrasts produce a striking illustrative effect but they also help to define the objects from one another. The fine brushwork picks up the finest detail, such as the leaves of the well thumbed books, the dial on the watch and the fraying rope on the urn. Harmen has organised the majority of his objects to the right side of the piece leaving the left feeling rather vacant, with our attention drawn to the pearlescent shell that stands almost solitary. The painting depicts objects of grandeur, inducing the idea of wealth and travelling through such choice objects as the Japanese sword, Grecian style urn and the shell, those these are overshadowed by the objects with the most emotional quality, the skull and the waning lamp symbolising death and the frailty of life. The skull seems out of place sharing a table with such other splendid objects, leaving the spectator questioning the choices Steenwyck has made, perhaps these symbols of death serve as a warning to those who seek happiness in the â€Å"Vanities of Human Life†. TMA 02 Part 2 Literature Read also History Quizzes Read John Keat's Sonnet, â€Å"When I have fears that I may cease to be† ( resource book 1, A39). In not more than 300 words, write an analysis of the sonnet basing your response on the questions below. 1. Comment on the use of repetition. (e.g. â€Å"when†, â€Å"before†, â€Å"never†.) 2. What is the relationship between the octave and the sestet? 3. What part do the different rhymes, including the final couplet, play in conveying the meaning of the sonnet? Keats begins by setting the tone for the sonnet, â€Å"When I have fears†¦Ã¢â‚¬ , indicating the major theme that is to run throughout. In the first two quatrains he writes about the fear of dying young, fearing he will not have the time he needs to fulfil himself as a writer and the third quatrain fearing that he will lose his beloved. Farming metaphors, â€Å"rich garners the full-ripen'd grain†, emphasize how he sees his imagination and creativity, like a fertile field waiting to be sown, with the alliteration in garners and grain highlighting this further. Keat's emotive language draws attention to his love poetry, â€Å"before my pen has gleaned my teaming brain†, believing the world to be full of material he can create countless poetry from, devoting more lines to his love of verse than his beloved. Enchanting imagery illustrates his philosophy on love, â€Å"faery power† a mystical and supernatural force that he has no control over. Alongside this immense fear of death, is the concern with time, the repetition of â€Å"When I† beginning both quatrains of the octave and introducing the sestet, stresses Keats preoccupation with time and the fear of it consuming him. This sense of time running out is emphasized through the enjambment in the third quatrain; the final line runs into the closing couplet, urging the reader on. The rhyming scheme, abab cdcd gg, helps to intensify the poems train of thought and has great effect in the closing couplet as Keats resolves his fears by declaring the triviality of love and fame, â€Å"love and fame to nothingness do sink.† The octave and the sestet share the continuity of rhyme, and underlying theme of death, though there is a clear change in the range of emotions as the sonnet develops. The octave concentrates on the emotions of confusion and fear whilst the sestet focuses on the fear of loving and being loved until reaching a feeling of acceptance over his fears. TMA 02 Part 3 Music For this part of the TMA you will need to listen to Track 10 on the TMA CD. You will hear the â€Å"First Tableau: The Shrovetide Fair† from Petrushka by Stravinsky. Listen to the track a few times and then answer the question below in up to 300 words on continuous prose. How does Stravinsky combine the elements of music, introduced to you in Unit 3, to establish the atmosphere of the fair? Stravinsky begins the piece with a high-pitched flourish of woodwind instruments, such as the flute and clarinet and is then accompanied by the strings which increase in volume to meet with a fanfare of trumpets, it sounds like the fair is opening. Rhythm plays a key role throughout the entirety of the piece, fluctuating sounds are created as the fluttering of the woodwind section meet with the loud sharp sounds of the strings. Stravinsky manipulates this rapidly changing rhythm to establish the excitement and commotion of the fair. The choice of instruments, and concentration on certain sections of the orchestra in particular parts adds colour to the piece, perhaps representative of the colours and vibrant images of the fair. In the same way, the fullness of the orchestra may relate to the busy crowds at the fair and at the same time sounds very grand. Full use is made of the orchestra, to create great noise and effect, where the strings are concentrated on, the music is very grand and striking; whereas the effect the woodwind has on the piece is fleeting and soft. The gradual change in tempo is marked by drum rolls which introduces adagio and accelerando, the timbre of the drum is loud and echoes briefly creating the feeling of suspense at the fair. Each movement brings its own highlight, from the strong trumpet blasts to the precise beats of the triangle, which accompanies the softer woodwind section at the end of the piece. The atmosphere of the fair is lively and upbeat as Stravinsky ends his â€Å"First Tableau†, he employs a melody of sounds that are reminiscent of Russian dance and manages to shift effortlessly from establishing excitement, commotion and suspense throughout the piece to this buoyant finale. TMA02 Part 4 Philosophy Answer these questions in not more than 300 words in total. 1. Here are some claims. If possible, give a sound argument for each claim. Where this is not possible, give a valid argument anyway. Do indicate those cases where you believe your argument is sound. A.) The Queen is a mother B.) The rain in Spain falls mainly on the plain C.) The earth is flat. D.) Eating people is wrong. E.) Oranges are not the only fruit. All women who give birth are mothers. The Queen has given birth. The Queen is a mother. Rain clouds can only form over plains. It rains in Spain. The rain in Spain falls mainly on the plain. People cannot walk any other surface than horizontal. People walk the earth. The earth is flat. Eating people is illegal. If something is illegal, it is wrong. Eating people is wrong. Every morning I eat fruit. I never eat oranges. Oranges are not the only fruit. Arguments A and E are both sound arguments, as the premises for both are al true, and it follows that if the premises to an argument are true then the conclusion must be true. Arguments B and C fail at being sound arguments as the information used can be disproved. Argument D is not sound, as in some countries and within some cultures cannibalism is legal. 2. Give an example of an inductive argument, and explain why it is not deductive. I've owned lots of cars. All the cars I've owned have had four wheels. All cars have four wheels. This argument cannot be deductive because it is based purely on assumption. I'm assuming that all cars have four wheels because I've only owned cars with four wheels; however the volume of cars I've owned is minute in comparison to the variety of models and makes. Therefore, I cannot presuppose that every car follows the same rule. Art History Compare and Contrast Essay Ancient Egyptian and Ancient Aegean art are both great influences to what we call art today. Egyptian art emphasized engravings, sculptures and paintings while Aegean art emphasized sculptures, paintings and decorations. One piece I chose to compare and contrast from the Egyptian art was Sekhmet. Another piece I chose to compare and contrast from the Aegean art period is the Snake Goddess. These two beautiful artworks are alike and similar in many ways.The Snake Goddess and Sekhmet are alike because they are both sculptures that show signs of power. The Snake Goddess is a sign of power because she has a form-fitting outfit that exposed her breasts and a flounced skirt with many layers that covered her feet. She is holding two snakes tightly in each arm. Some researchers claimed that Minoans worshipped the Snake Goddess as â€Å"Mother Goddess†. In Aegean culture they believed snakes were good and that they showed a sign of water.This also indicated f ertility, health and wealth. She also had a panther on top of her head, which shows that she is in touch with nature and that was a sign of power as well. Not only is she in touch with nature but her elaborate headdress and extravagant outfit shows wealth. Sekhmet also shows many signs of power. Her name is derived from the Egyptian word â€Å"Sekhem† (which means â€Å"power† or â€Å"might†) and is often translated as the â€Å"Powerful One† This ancient Egyptian goddess Sekhmet is known as the Eye of Ra.She is the power that protects the good and gets rid of the wicked. Sekhmet is the wrathful form of Hathor who is the Goddess of joy, music, dance, sexual love, pregnancy and birth. She is also Goddess of the sun and one of her powers is intense blinding heat. Her weapons were arrows, which were supposed to pierce hearts. Also Sekhmet would get a fiery glow from her body when she got upset and hot desert winds came from her breath. She was also a goddes s of healing. When people became ill, she was capable of healing them with her powers.The Snake Goddess and Sekhmet are also very different in many ways. One way they are different is the rolls of women in their time period. Egyptians and Aegean people both believed that women held power but they weren’t similar. For example in Aegean time women were a powerful symbol of fertility and having a connection with the earth and animals easily fits in with what they worshipped. On the other hand, Sekhmet showed a different view on women. The woman's body that was Sekhmet carried was for birth and new life.The head of the lioness that was Sekhmet showed a sign of destruction, danger and death and reflected the steady and piercing gaze of the hunter that she is. Sekhmet also represents the presence of good and evil, creation and destruction and the ability and willingness to nurture and protect life, and the ability to take it away in a blink of an eye. Not only are their rolls in so ciety different but how the pieces of arts were worshipped also contrasted. The Snake Goddess was used to show rebirth, resurrection or renewal of life.They believed this because the snake was a sign of power and symbolized the purification by water in the funeral cult, so the snake became a protector of the pharaohs in their death. On the other hand, Sekhmet was worshipped Sekhmet was worshiped throughout Egypt, particularly wherever a wadi opened out at the desert edges. This is the type of terrain that lions are often found. Many of them came to the desert to be able to drink and to prey upon cattle in that area.