Lifebuoy Soap Advertisement free essay sample

In 1944, propaganda of World War II in America was almost part of daily pop culture; ranging from product advertisements to comic strips, it was all the rage in most parts of the United States. Many times propaganda would sway two opposite directions: pro-war and anti-war. Multiple mediums were used during this time to be more persuasive. Also using models, iconic symbols, and appealing colors and structured texts would help the sway of the audience (War, Propaganda†¦). There were multiple magazines during this time which allowed plenty of audiences to be confronted with propaganda ideas. A lot of these magazines provided products supporting troops and the war effort. For instance, the Lifebuoy Soap Advertisement starring Nancy Lee to the right of the advertisement in black and white, soaking in a bath tub surrounded by soap suds. She’s beautiful, eye catching, and in big, bold, black letters referring to â€Å"sailors† and how Lifebuoy gets rid of â€Å"B. We will write a custom essay sample on Lifebuoy Soap Advertisement or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page O. †( 2012 Paperdoll Convention). It is not a straightforward ad for propaganda, but it did support the war effort through product investment within the military. This advertisement medium was used as a magazine article in probably multiple naval magazines such as: â€Å"Our Navy Magazine† and â€Å"Our Army Magazine†. These magazines were typically distributed to the public and to the soldiers as informative about the American armed forces (The Future of our Past). When you would open one of these brilliantly colored magazines, you would probably read about the war front and the service. You would also get information about products being used by soldiers and sailors. This is where a lot of the war support would come from; the products being sold to support and help the troops. There are plenty of argumentative appeals to the audience, being the general troops and men who would want to join the service looking at the Lifebuoy soap advertisements. For instance, it would appeal greatly to pathos because of the use of a comic to the left and a beautiful model on the right. Her mischievous smile leaves the eyes to want more, and the comic would leave a nostalgic sense of what home would be like for the young men overseas.

Character Interpretation in Citizen Kane Essay Example For Students

Character Interpretation in Citizen Kane Essay Undoubtedly, the secret behind any good film lies within the director’s use of stimulating cinematic techniques. The following critical appraisal of the ‘Susan Alexander Kane’ sequence from the 1941 film Citizen Kane, explains how director Orson Welles makes use of apt cinematic techniques to set the scene at nightclub ‘El Rancho’, and to bring about Miss Alexander’s predicament in this particular sequence. The sequence immediately opens with a single flash of white lightning on the portrait of the scene’s protagonist, showgirl Susan Alexander Kane. Through suitable sound effects, the viewer is made aware that the scene begins outdoors, with heavy downpour and thunderous conditions in deep focus on screen. The portrait depicts the showgirl as happy, glamorous and attractive, which can be considered as dramatic irony here, as we are about to discover. The portrait vanishes and the director uses a sudden blackout before exercising the technique of tracking to approach the facade of ‘El Rancho’. Tracking is efficient here as it eases the viewer into the scene whilst effectively building suspense and anticipation. The use of a continuous flash of lightning proves a very effective lighting technique as it allows for the viewer to anticipate conflict and establishes an ambivalent atmosphere from the moment the adverse weather is captured. The harsh sounding thunder that accompanies the flashing lightning is particularly poignant as it allows for the roughness of both the weather and the scene to be conveyed. In this way it is through the cinematic technique of pathetic fallacy that the scene is set, whereby the mood of nature agrees with the mood of the scene. Using an effective crane shot and through startling, prying camera movement, the director succeeds in highlighting the setting of the scene. The blinding lightning repeatedly illuminates the rusty neon ‘El Rancho’ sign outside of the nightclub. The prevailing non-diegetic background music captures an unnerving atmosphere, with its haunting high-pitched chords played loudly on brass and stringed instruments, arousing distress in the viewer. The subjective camera bursts through the neon ‘El Rancho’ sign (almost as if the sign is sliced into two) and zooms through broken skylight to quickly travel down through the sunroof of the nightclub, using a continuity cut to distinguish outdoors and in, and to focus on the table indoors, where at showgirl Susan Alexander Kane sits with her head bowed drunkenly on her arms resting on the table before her. To accompany the continuity cut, the director uses a suitable fade-in to affirm its transition from outdoors to indoors. As the camera draws into focus, the viewer is also drawn in as a first-person witness of events. The movement of the camera is particularly smooth in order to ensure visual clarity. A close-up is offered and captures our scene’s protagonist as a lone, hopeless figure, drinking heavily and very irresponsive to those who try to approach her. The camera comes to a still at the sight of her in order to effectively capture her current state, coughing and spluttering one can only assume that she is inebriated. The waiter of the bar (John) enters and introduces Mr. Thompson. Deep focus is extensively used not only in this particular scene, but throughout the entire film, whereby the foreground, background and everything in between are equally in sharp focus, however a lamp does shine somewhat on Miss Alexander, drawing our attention away from the shadowy figures of John and Mr. Thompson, whose back is turned to the camera. As Mr. Thompson first approaches Miss Alexander in order to investigate her about Mr. Kane, his shadow is cast on her face. .ue556092ed40dff848d34f4f0098a1064 , .ue556092ed40dff848d34f4f0098a1064 .postImageUrl , .ue556092ed40dff848d34f4f0098a1064 .centered-text-area { min-height: 80px; position: relative; } .ue556092ed40dff848d34f4f0098a1064 , .ue556092ed40dff848d34f4f0098a1064:hover , .ue556092ed40dff848d34f4f0098a1064:visited , .ue556092ed40dff848d34f4f0098a1064:active { border:0!important; } .ue556092ed40dff848d34f4f0098a1064 .clearfix:after { content: ""; display: table; clear: both; } .ue556092ed40dff848d34f4f0098a1064 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ue556092ed40dff848d34f4f0098a1064:active , .ue556092ed40dff848d34f4f0098a1064:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ue556092ed40dff848d34f4f0098a1064 .centered-text-area { width: 100%; position: relative ; } .ue556092ed40dff848d34f4f0098a1064 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ue556092ed40dff848d34f4f0098a1064 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ue556092ed40dff848d34f4f0098a1064 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ue556092ed40dff848d34f4f0098a1064:hover .ctaButton { background-color: #34495E!important; } .ue556092ed40dff848d34f4f0098a1064 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ue556092ed40dff848d34f4f0098a1064 .ue556092ed40dff848d34f4f0098a1064-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ue556092ed40dff848d34f4f0098a1064:after { content: ""; display: block; clear: both; } READ: From the comparative study of the film EssayDark and domineering, it completely shields half of her front, helping to create the right balance to highlight eyes, clothing detail and hair definition. As Mr. Thompson sits, the shadow is withdrawn and the showgirl’s face is revealed in its entirety once again. It is significant to note that we only see Mr. Thompson in shadow or with his back turned to the camera in Citizen Kane, perhaps the director does this in order to characterise him as mysterious or incomplete. The mise-en-scene is significant. The room behind Miss Alexander is densely furnished, yet the camera frames an enclosed space, perhaps the director establishes this dichotomy in order to convey her suffocation. Miss Alexander refuses to be investigated concerning Mr. Kane’s death and demands to be left alone. We are aware that there is no other background noise other than the lingering brassy music that began at the scenes opening, which for the first time can be considered diegetic, as it becomes a part of the story-world, whereby there is a chance that the characters in the club can hear it. The camera can be referred to as omniscient as it captures all of the events taking place in the room. An attractive triangular composition between the three characters is utilised, making it easier to comprehend events in a straightforward, A-B-C fashion. Citizen Kane eschews the traditional linear, chronological narrative and tells Kanes story entirely in flashback using different points of view. If the scene as a whole is presented through anyone’s point of view, it would be through Mr. Thompsons, however, his back is turned on the camera, so one might believe that the scene isn’t given through a particular characters point of view, but is open to interpretation by the omniscient viewer. Mr. Thompson attempts to interview Miss Alexander, but instead of answering the curious reporter, she shouts hysterically at him, ordering him to â€Å"Get out of here. Get out! † Once again, a shadow is cast on Miss Alexander as Mr. Thompson apologises and raises from his seat, but this time the shadow shields her entire face as she draws her eyes to the ground beside her forlornly. The darkness cast on her character conveniently reflects her melancholy mood. This technique is particularly commendable because not only does it reflect Miss Alexander’s misery and Mr. Thompson’s fruitless efforts in investigating the truth about Mr. Kane’s dying words, It allows for the protagonist of the scene to be taken out of focus efficiently, without confusion and for the focus to be put elsewhere. The camera then tilts upward away from shadowed Miss Alexander and focuses on the waiter standing behind her, who nods at Mr. Thompson, ushering him to let her be. The camera then pans to the right along with the movement of Mr. Thompson and the waiter, creating immediacy. When they come to a halt, a dim, shadowy scene is framed as Mr. Thomson leaves the club, casting darkness once again on those he leaves behind. The scene conforms to expressionism throughout, a movement which evolved in the 1920’s in fields such as architecture, painting and cinema. Instead of depicting an ideal situation, whereby all characters get along and there is no tragedy, the director is concerned more with an unabashedly subjective experience of reality, not how others might see it. The expressionist director rejects tradition and deviates from accepted concepts of woman beauty in this particular scene because he desires self-knowledge and comprehension of the meaning of existence in its loneliness, horror, and threat of death. Miss Alexander, Kane’s second wife, is no longer the happy, dancing showgirl, but an alcoholic who so helplessly mourns the death of an enigmatic man who was â€Å"born poor and raised by a bank† (Welles). Events are depicted as they are, and not sugar-coated for the sake of appeasing an audience. .uf1a6cc081f36eba0765756febb8b76bf , .uf1a6cc081f36eba0765756febb8b76bf .postImageUrl , .uf1a6cc081f36eba0765756febb8b76bf .centered-text-area { min-height: 80px; position: relative; } .uf1a6cc081f36eba0765756febb8b76bf , .uf1a6cc081f36eba0765756febb8b76bf:hover , .uf1a6cc081f36eba0765756febb8b76bf:visited , .uf1a6cc081f36eba0765756febb8b76bf:active { border:0!important; } .uf1a6cc081f36eba0765756febb8b76bf .clearfix:after { content: ""; display: table; clear: both; } .uf1a6cc081f36eba0765756febb8b76bf { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .uf1a6cc081f36eba0765756febb8b76bf:active , .uf1a6cc081f36eba0765756febb8b76bf:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .uf1a6cc081f36eba0765756febb8b76bf .centered-text-area { width: 100%; position: relative ; } .uf1a6cc081f36eba0765756febb8b76bf .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .uf1a6cc081f36eba0765756febb8b76bf .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .uf1a6cc081f36eba0765756febb8b76bf .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .uf1a6cc081f36eba0765756febb8b76bf:hover .ctaButton { background-color: #34495E!important; } .uf1a6cc081f36eba0765756febb8b76bf .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .uf1a6cc081f36eba0765756febb8b76bf .uf1a6cc081f36eba0765756febb8b76bf-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .uf1a6cc081f36eba0765756febb8b76bf:after { content: ""; display: block; clear: both; } READ: Blanche's Dubois as a Tragic Character EssayExpressionism prevails throughout Citizen Kane in its entirety, making the film all the more original and riveting. In conclusion, it is through clever cinematic techniques such as shadowing, deep focus, tracking, composition, point of view, tilting, fading, cutting, blackout, flashback, omniscient camera, panning and the conformity to expressionism that director Orson Welles succeeds in making Citizen Kane a â€Å"uniquely American masterpiece of the 1940’s† (Marion Davies). Bibliography: Citizen Kane. Dir. Orson Welles. Perfs. Orson Welles, Dorothy Comingore, William Alland. RKO Radio Pictures, 1941. Film. Davies, Marion, The Times We Had: Life with William Randolph Hearst; foreword by Orson Welles, May 28, 1975. Indianapolis and New York: The Bobbs-Merrill Company, Inc., 1975. Print.

Value Essay Topics

Value Essay TopicsThere are several value essay topics that you can use to express your ideas. These topics may be about how the economy is affected by global warming or the policy choices that will affect the quality of life for a certain group of people. Whatever your subject, this is a topic that will help you to explain why something has value to you.One of the value essay topics that you can use is the one that deals with the ingredients of health. This topic deals with the health and well-being of a person and the way that their lifestyle can affect the quality of their life. It is an idea that you should always keep in mind when you are creating a value essay because it has a lot of depth. A good thing to consider when you are working on this topic is that you do not have to state anything in the essay that you do not want to be out in the public.Another one of the value essay topics that you can use to give a deeper meaning to the content of your essay is the topic of educati on. You can write a health essay about the health effects of environmental issues that impact people who are involved in different parts of the world. You can also make a climate change essay about how changing weather patterns are changing the quality of life for people who live in certain parts of the world.As long as you are not using these topics to express your politics, then you should be able to be honest with your reader. When you are writing, try to look at other people and ask yourself if they would be able to relate to what you are writing about. If you find that other people will understand what you are trying to say, then you can move on to another value essay topic.Another of the value essay topics that you can use is the one that you can use to express your ideas about how the world can benefit from the use of solar energy. The concept behind this is that people will use this energy in order to power their homes. The use of solar energy can lower the prices of electri city and can also lower the amount of pollution that is present in the air. It is also better for the environment than using fossil fuels because there is less danger of the Earth being turned into an atmosphere full of smoke and dust.You will find that there are many other value essay topics that you can use. However, you need to know that some of them are not exactly the same as the others. If you have decided that this is the topic that you want to use, then make sure that you spend some time on researching so that you can find the topic that is going to be easier for you to write about.To help you in your research, make sure that you take advantage of resources that are available to you on the Internet. There are some great eBooks that will tell you how to create value essay topics that will be useful to you. All you have to do is simply click the links that are provided and you will find that you can easily create essay topics that will be useful to you. In addition, there are also some great online tools that will help you identify the keywords that you will use to find articles about certain topics and then you can use these keywords to get your essay writing.When you are ready to write your essay topics, make sure that you do not forget about the value essay topics that you have already researched. You will be happy that you spent some time to do your research when you are able to write your essay in a matter of minutes!

Taoism And Buddism Essays - Taoism, Reincarnation, Shabda

Taoism And Buddism Taoism and Buddhism are the two great philosophical and religious traditions that originated in China. Taoism began the sixth century BCE. And Buddhism came to China from India around the second century of the Common Era. These two religions have shaped Chinese life and thought for nearly twenty-five hundred years. One dominant concept in Taoism and Buddhism is the belief in some form of reincarnation. The idea that life does not end when one die is an integral part of these religions and the culture of the Chinese people. Reincarnations, life after death, and beliefs are not standardized. Each religion has a different way of applying this concept to its beliefs. This paper will discuss the reincarnation concepts as they apply to Taoism and Buddhism, and then provide a comparison of both. Taoism The goal in Taoism is to achieve Tao, to find ?the Way?. Tao is the ultimate reality, a presence that existed before the universe was formed and which continues to guide the world and everything in it. Tao is sometimes identified as ?the Mother?, or the source of all things. That source is not a god or a Supreme Being, as Taoism is not monotheistic. The focus is not to worship one god, but instead to come into harmony with Tao. Tao is the essence of everything that is right, and complications exist only because people choose to complicate their own lives. Desire, ambition, fame, and selfishness are seen as hindrances to a harmonious life. One can only achieve Tao if he rids himself of all desires. By shunning every earthly distraction, the Taoist is able to concentrate on the self. The longer the person's life, the more saintly the person is presumed to become. Eventually the hope is to become immortal, to achieve Tao, to reach the deeper life. This is the after life for a Taoist, to be in harmony with the universe, and to have achieved Tao. The origin of the word Tao can explain the relationship between life, and the Taoism concept of life and death. The Chinese character for Tao is a combination of two characters that represent the words as head and foot. The character for foot represents the idea of a person's direction or path. The character for head represents the idea of conscious choice. The character for head also suggests a beginning, and foot, an ending. Thus the character for Tao also conveys the continuing course of the universe, the circle of heaven and earth. Finally, the character for Tao represents the Taoist idea that the eternal Tao is both moving and unmoving. The head in the character means the beginning, the source of all things, or Tao itself, which never moves or changes; the foot is the movement on the path. Taoism upholds the belief in the survival of the spirit after death. Taoist believes birth is not a beginning, and death is not an end. There is an existence without limit. There is continuity without a starting point. Applying reincarnation theory to Taoism is the belief that the soul never dies, a person's soul is eternal. In the writings of the Lao-Tzu Te-Tao Ching, Tao is described as having existed before heaven and earth. Tao is formless, it stands alone without change and reaches everywhere without harm. The Taoist is told to use the light that is inside to revert to the natural clearness of sight. By divesting oneself of all external distractions and desires, only then can one achieve Tao. In ancient days a Taoist that had transcended birth and death, achieved Tao, was said to have cut the Thread of Life. In Taoism, the soul or spirit does not die at death. The soul is not reborn, it simply migrates to another life. This process, the Taoist version of reincarnation, is repeated until Tao is achieved. The following translation from the Lao-Tzu Te-Tao Ching summarizes the theory behind Tao and how a Taoist can achieve Tao. The Great Tao flows everywhere. It may go left or right. All things depend on it for life, and it does not turn away from them. It accomplishes its task, but dies not claim credit for it. It clothes

Reason and Emotion in Hamlet

Reason and Emotion in Hamlet Free Online Research Papers Shakespeare stresses the point that humans can be polarized by reason and emotion. These two poles differ in all aspects, while both are gathered in man. Hamlet, the protagonist of Shakespeare’s greatest work, is the sample of this polarization. The emphasis in Hamlet on the control or moderation of emotion by reason is so insistent that many critics have addressed it. A seminal study is undertaken by Lily Bess Campbell in Shakespeares Tragic Heroes, Slaves of Passion. John S. Wilks, in a masterful of examination of conscience, explores the subsidence in Hamlet of virulent passion, and notes his accession to a renewed temperance achieved through chastened self-control (The Discourse of Reason: Justice and the Erroneous Conscience in Hamlet 139, 140). Shakespeare, thorough this character, tries to introduce and show this great feature of man which had been, is, and will be with human beings. As we shall find, though Hamlet is filled with references to the need for rational control of emotion, the play probes much deeper into the relation between reason and emotion-particularly with respect to the role of reason in provoking as opposed to controlling emotion. In this paper, it’s going to be noted how the task of controlling emotion by reason is problematized by Hamlet and other characters in the play. The concept of the sovereignty of reason over emotion derives from the classical definition, adopted by medieval Scholasticism, of man as the rational animal whose reason has the ethical task of rationally ordering the passions or emotional disturbances of what is formally termed the sensitive appetite (referred to by the Ghost as nature [1.5.12]) with which man, like all other animals, is endowed: All the passions of the soul should be regulated according to the rule of reason . . . (Aquinas, Summa Theologica I-II, question 39, answer 2, ad 1). Hamlet concurs, when praising Horatio [w]hose blood and judgment are so well commeddled (3.2.69): Give me that man / That is not passions slave 11 (3.2.71-72). Moreover, on other occasions Hamlet also emphasizes the need to control passion. For example, he censures both Gertrude and Claudiu s for improper surrender to the passions of concupiscence. He faults the Queen for allowing her judgment (3.4.70) to succumb to compulsive ardour (3.4.86). Through reference to the bloat King (3.4.184), Hamlet censures Claudius gluttony. Through the epithet, bawdy villain (2.2.576), Hamlet deplores the Kings lust. Indeed, Hamlet censures himself for succumbing, in the graveyard, to the irascible passion of anger: But sure the bravery of his grief did put me / Into a towring passion (5.2.78-79). Ironically, in reacting to Laertes excessive display of grief, Hamlet confronts a passion or emotion with which, through his own melancholy, he himself has been intimately associated, and whose influence on reason he recognizes, as when speculating whether the Ghost is the devil (2.2.595): . . . and perhaps, / Out of my weakness and my melancholy, / As he is very potent with such spirits, / Abuses me to damn me 12.2.596-99). There is a central paradox in Hamlets character. On the one hand, he allows emotion to provoke him to unthinkingly violent action, as when stabbing blindly at the figure hidden behind the arms or grappling with Laertes. But on the other hand, Hamlet so little trusts emotion to prod him to action that he even invokes the opposite tactic of exploiting thought as a goad of emotion: My thoughts be bloody or be nothing worth (4.4.66). Here blood and judgment are to be commeddled not, as in Horatios case, by the rational control of emotion, but by the rational arousal of emotion. Instead of disciplining emotion, here the function of thought is to excite emotion so that irrational violence results. Moreover, in Hamlet, the moral requirement to control emotion by reason is undermined in other contexts, with the result that the relation between thought and emotion is radically problematized. Levy Eric notes in Nor thexterior nor the inward man: The Problematics of Personal Identity in Hamlet that one undermining context concerns the deliberately exaggerated display of emotion demanded by the terms of honour (5.2.242), dominant in the world of the play. In this context, to be worthy is to indulge in the conspicuous expression of emotion, [w]hen honours at the stake (4.4.56). Indeed, as he admires the Players emotionally charged recitation, Hamlet berates himself for not similarly responding to the motive and the cue for passion (2.2.555), with respect to the circumstances of his fathers death: Yet I, A dull and muddy-mettled rascal, peak / Like John-a-dreams, unpregnant of my cause (2.2.561-62). Yet, the obligation to display emotion to which Hamlet here refers ironically requires intense rational control by which the character in question can convincingly force his soul to his own conceit (2.2.546), for the sake of the approval his or her performance evokes. Here the notion of rational control of emotion is reinterpreted-one might almost say parodied-to entail not the ordering or limiting of emotion, as enjoined by Christian-humanism, but the deliberately exaggerated enactment of emotion (711-716). Recourse to desperate appliance, where thought conceives emergency measures to relieve emotional distress, recurs in the world of the play. The tentative suicide project in the To be soliloquy, designed to escape heart-ache (3.1.62) is an example of this issue. The investigation of the ways in which the role of reason in controlling emotion is problematized in the world of the play can now proceed to direct consideration of relevant Aristotelian-Thomist doctrine. The purpose of the research here is first to acquire and then to apply a set of concepts which, like lenses, will allow important ideas to stand out clearly from the text so that they can be effectively analyzed. In the Aristotelian-Thomist paradigm, each entity or existent tends toward an end or purpose: Every agent, of necessity, acts for an end (1-11, q. 1, a. 2, resp.). This tending toward an end is called inclination, and it follows the nature of the being concerned. In beings with no power of apprehension or perception, inclination is governed by inherent form. Aquinas elucidates: some inclination follows every form; for example, fire, by its form, is inclined to rise, and to generate its like (I, q. 80, a. 1, resp.). In beings with apprehensive powers, inclination presupposes both an apprehensive or knowing power and a corresponding appetitive power or faculty of desire. In animals, the apprehensive power involves sense perception (what Aquinas terms sensitive apprehension) and the corresponding appetitive or desiring power is called the sensitive appetite, through which the animal is able to desire what it apprehends, and not only that to which it is inclined by its natural form (I, q . 80, a. 1, resp.; I, q. 80, a. 1, resp.). In man, the apprehensive power is reason, and the corresponding appetitive power is the will or intellectual appetite. Aquinas summarizes these distinctions compactly: in the intellectual nature there is to be found a natural inclination coming from the will; in the sensitive nature, according to the sensitive appetite; but in a nature devoid of knowledge, only according to the tendency of the nature to something (I, q. 60, a. 1, resp.). Hence, in the Aristotelian-Thomist paradigm, appetite (whether sensitive or intellectual) is moved by some mode of apprehension: The movement of the appetitive power follows an act of the apprehensive power (I-II, q. 46, a. 2, resp.). That is, inclination or appetitive movement toward an end presupposes prior awareness (whether through sense perception or thought) of the end to be approached. This point is crucial to understanding the relation between reason and emotion. For as we shall now clarify, in the Aristotelian-Thomist paradigm the task of reason to control emotion is complicated by its role in provoking emotion. The researcher takes the first step toward understanding this dual role of reason with respect to emotion by noting that emotion or passion is here defined as a movement of the sensitive appetite: Passion is a movement of the sensitive appetite when we imagine good or evil; in other words, passion is a movement of the irrational soul, when we think of good or evil (Aquinas quoting Damascene in Summa Theologica I-II, q. 22, a. 3, resp.). Thus construed as a movement of the sensitive appetite respectively toward or away from whatever is suitable (Aquinas generic definition of good) or whatever is repugnant (Aquinas generic definition of evil), emotion entails an appetitive response which, to interpolate Gilsons masterful phrasing, itself presupposes the apprehension of an object which is of interest to the life of the body (I-11, q. 29, a. 1, resp.; Gilson, Christian Philosophy 272).4 In the case of animals other than man, this apprehension of the appetitive object entails such faculti es as sense perception and estimation (a power of rudimentary judgment). But in man, the sensitive appetite is ultimately moved by reason or the cogitative power: the cognitive power moves the appetite by representing its object to it (II-II, q. 158, a. 2, resp.). In the Aristotelian-Thomist paradigm, reason not only controls emotion but also provokes it. The role of reason in provoking emotion appears most clearly in the Aristotelian-Thomist notion of sorrow, a passion which Aquinas generically defines as pain which is caused by an interior apprehension for act of mental awareness] (I-II, q. 35, a. 2, resp.). Aquinas distinguished two kinds of pain-outward and inward. The first is sensory; the second (which causes sorrow) is mental: outward pain arises from an apprehension of sense, and especially of touch, while inward pain arises from an interior apprehension, of the imagination or of the reason (I-II, q. 35, a. 7, resp.). Since outward pain is apprehended by the senses (a faculty which all animals possess), while inward pain is perceived by the mind (the distinguishing attribute of man), inward pain is more intense than outward: inward pain surpasses outward pain because the apprehension of reason and imagination is of a higher order tha n the apprehension of the sense of touch (I-II, q. 35, a. 7, resp.). That is, the greater intensity of inward pain, in comparison with outward pain, results from the fact that, unlike outward pain, inward pain is not a sensory, but a mental event. Construed as a feeling, inward pain is registered in the heart: And I am sick at heart (1.1.9). But it is equally appropriate to locate inward pain in the mind (3.1.57); for without thought (i.e. the operation of reason or imagination), there is no inward pain. In Hamlet, thought or interior apprehension not only engenders inward pain (as postulated in the Aristotelian-Thomist system), but tends also, as we have seen, to brood on the need to terminate that pain. An emphasis on the need to understand inward pain appears in Hamlets allusion to his melancholy: I have of late, but wherefore I know not, lost all my mirth . . . (2.2.295-96). In contrast to the AristotelianThomist dispensation where inward pain results from thought, Hamlets inward pain provokes him to focus his thought on understanding inward pain in order to eliminate it. But ironically, insofar as inward pain, by definition, derives from thought, the only way to eliminate the pain is to recognize and consequently change the mode of thinking which causes it. That is, to understand inward pain is to understand how thought contributes to it. The implications of the relation between inward pain and thought can be deepened by reference to the To be soliloquy. The great irony of that speech concerns the pale cast of thought (3.1.85). Hamlet castigates thought for inhibiting the implementation of an enterprise (suicide) designed to eliminate inward pain. But as the examples just cited suggest, the proper means of allaying inward pain is not recourse to desperate appliance (Claudius term), conceived by thought under the influence of emotional pain, but modification of the mode of thought creating that pain. Further consideration of the To be soliloquy will clarify this point. For according to the argument (3.2.227) there presented, to be involves inevitable and varied modes of heart-ache (3.1.62) which problematize the value of life, and make death seem more appealing. In this context, to restore value to life-to make life worth living for its own sake, and not merely for the sake of avoiding the ills in death we know not of (3.1.81)-is to adopt a mode of thought which does not maximize inward pain. A further problem arises with respect to preoccupation with inward pain. In the Aristotelian-Thomist synthesis, inward pain seeks relief through outward expression; for without such release, inward pain intensifies: Tears and groans naturally assuage sorrow because a hurtful thing hurts yet more if we keep it shut up, because the soul is more intent on it; but if it be allowed to escape, the souls intention is dispersed as it were on outward things, so that the inward sorrow is lessened. This is why when men, burdened with sorrow, make outward show of their sorrow, by tears or groans or even by words, their sorrow is assuaged (I-II, q. 38, a. 2, resp.). But recourse to outward expression for the relief of inward pain can subject its audience to tremendous strain and can moreover, if sufficiently forceful, become inflammatory. A relevant example concerns the emotional upheaval provoked by the deliberately exaggerated display of emotion demanded by the theatrical imperative dominant, as earlier noted, in the world of the play: Make mad the guilty and appal the free, I Confound the ignorant, and amaze indeed / The very faculties of eyes and ears (2.2.558-60). Another example concerns Hamlets false madness. Through it, he gives unrestrained vent to inward pain regarding moral corruption, regardless of the shattering effect of his words on his auditors. YET, Lily Bess explaines that Hamlets thinking process also has positive implications. For through it, on many occasions, he moves beyond the mode of thought causing inward pain. The most remarkable expression of positive development in Hamlets thinking concerns his frequent association with a higher power of intellection than that which mere thinking can achieve. For example, on hearing from the Ghost the secret of Claudius crime, Hamlet responds: O my prophetic soul (1.5.41). Later, when Claudius hints of purposes of which Hamlet is ignorant, Hamlet responds: I see a cherub that sees them (4.3.50, 51). This situation implies the inverse of the Freudian notion of the unconscious. For here the crucial level of mental activity operates, not beneath conscious awareness, but above it. In other words, Hamlets cognitive activity recalls what the Augustinian epistemological tradition (continued in High Scholasticism by St. Bonaventure) calls illumination, wherein a higher power of rational ity informs or illumines a lower one, enabling it to know that which is beyond its proper power of intellection (Shakespeare’s Tragic Heroes, Slaves of Passion 80-83). According to Aquinas, inward pain which is caused by the apprehension of an unforeseeable evil or source of harm is called anxiety: because [they] cannot be foreseen . . . future misfortunes are feared, and fear of this kind is called anxiety (I-II, q. 42, a. 4, resp.). Another name for this type of inward pain is perplexity: anxiety which weighs on the mind, so as to make escape seem impossible is also called perplexity (I-II, q. 35, a. 8, resp.). The first scene of Hamlet dramatizes a world charged with precisely this kind of anxiety or perplexity, with respect to the omen coming on ( 1.1126). Here, that which is unforeseeable pertains to future misfortunes (to requote Aquinas term), which are independent of the mind, and can be neither anticipated nor deflected by it. But the most celebrated expression in the play of anxiety or perplexity regarding the inability to escape future misfortunes is the To be soliloquy, which concerns the inward pain caused by apprehending the inevitability of outrageous fortune (3.1.58). In that soliloquy, anxiety or perplexity (in the Thomist sense of these terms) regarding future misfortunes in life is compounded by anxiety or perplexity regarding future misfortunes in death: For in sleep of death what dreams may come (3.1.66). Perhaps the most spectacular instance in the play of thought provoking emotion concerns Hamlets stratagem to catch the conscience of the King (2.2.601) through performance of a drama which duplicates the crime of which the Ghost has accused him. In Thomistic doctrine, conscience is construed as nothing else than the application of knowledge to some action, and as such can provoke powerful emotion, such as remorse (I-11, q. 19, a. 6, resp.). Claudius reaction after watching a truncated performance of The Murder of Gonzago is a case in point: O, my offense is rank, it smells to heaven (3.3.36). Insofar as thinking moves the appetite and thus provokes emotion, it is crucial that thinking itself be properly ordered. The highest task of conscience in Hamlet concerns the moral evaluation not only of the objects of thought or apprehension, but also of the act of thinking about those objects. Indeed, Hamlet foregrounds this problem when criticizing his own thinking about revenge: Now whether it be / Bestial oblivion, or some craven scruple / Of thinking too precisely on thevent (4.4.39-40). Thus, the relation between reason and emotion in the play cannot here be summed up in the Thomistic dictum, quoted earlier, that [all the passions of the soul should be regulated according to the rule of reason . . . (I-II, q. 39, a. 2, ad 1). There remains the responsibility of thought to recognize the emotional consequences of its own activity. Aquinas, St. Thomas. Summa Theologica. Trans. Fathers of the English Dominican Province. New York: Benziger Brothers, 1952. Aristotle. Nichomachean Ethics, The Basic Works of Aristotle. Ed. Richard McKeon. Trans. W. D. Ross. New York: Random House, 1941. Campbell, Lily Bess. Shakespeares Tragic Heroes, Slaves of Passion. New York: Barnes Noble, 1961. Levy, Eric P. Nor thexterior nor the inward man: The Problematics of Personal Identity in Hamlet. University of Toronto Quarterly 68.3 (1999): 711-27. Shakespeare, William. Hamlet. Ed. Cedric Watts. London: Wordsworth Classics, 1992. Wilks, John S. The Discourse of Reason: Justice and the Erroneous Conscience in Hamlet. Shakespeare Studies 18 (1986): 117-44. Research Papers on Reason and Emotion in HamletHonest Iagos Truth through DeceptionComparison: Letter from Birmingham and CritoAssess the importance of Nationalism 1815-1850 EuropeThe Effects of Illegal ImmigrationCapital PunishmentResearch Process Part OneMoral and Ethical Issues in Hiring New EmployeesBionic Assembly System: A New Concept of SelfAnalysis Of A Cosmetics AdvertisementBringing Democracy to Africa

Contract Law Essay Example | Topics and Well Written Essays - 2000 words - 1

Contract Law - Essay Example If the seller does not deliver the goods as promised and the buyer has to seek alternative sources to acquire the same goods with perhaps a higher price than the earlier agreed upon price, then the buyer has legal redress because his expectations have been compromised and the contract was aimed at protecting his interests in terms of a future rise in the price of the goods he intended to acquire (Feldman and Teichman 46). On the other hand, the seller’s interests of safeguarding against reduction in price are also protected at the time of making the contract. Any failure to meet the terms of the agreement by the two parties is against the provisions of Contract Law and calls legal compensation through court or arbitration process. The drafting of doctrines of Contract Law and the subsequent operationalization in England and USA1 began in the middle of the 19th century when rules of contract law were first put in place in cases such as Hadley v. Baxendale2 in 1894, Raffles v. W ichelhaus3 in 1864 among others. These are historic legal cases that law students all over the world read to better understand contract law. With the development of free markets and expansion of free economies together with laissez faire management, the legal framework of the free market4 was predominantly the contract principles (Hunt 695). Common law is the chief source of the law of contract, and is a makeup of many judicial decisions by courts on similar disputes over a long time in the past. Courts use earlier precedents as sources of law as input to determine the principles of present and future decisions on similar or related disputes. Another source of contract law in the USA has been the restatements of the law promulgated by the American Law institute5, which are a mixture of past cases and predictions of future cases together with prescriptive pronouncements from different fields such as Contracts, Torts, Property, Agency, Employment, Franchising relationships, constructi ons and others. Closely related to contract law and specific to a myriad of commercial subjects is the Uniform Commercial Code (UCC) which is yet another source of contract law and which contains separate articles like bank deposits and collections, negotiable instruments and letters of credit and security interests. Article 2 in this code governs transactions in the sale of goods. The other source is the CISG6 or the Vienna Convention which governs international sales transactions thus applying to sale of goods and services between parties who operate in different countries but both countries must have agreed to the provisions of the convention (Marquez-Escobar 122). The UCC has not received Federal legislation attention because it is still being enacted separately by different states with no notable effort to unify it at national level. Features of Contract Law Offer and acceptance, consideration and an intention to create legal relations are the key elements to the creation of a contract in common law. Offer and acceptance which may be written, oral or implied is the most important feature where one party offers a bargain that is accepted by the other party, a scenario also referred to as concurrence of wills for which concrete

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

Individual Paper - Essay Example It is the responsibility of the project manager to ensure that the organization selects the right project. For the survival of the project, adequate resources are vital which will ensure its sustenance to the final stage. The projects should be in line with the organizational goals. Periodical review of the program is necessary for the achievement of its set goals. In case, the planned outcome and the actual outcomes are not in unity, the program management reviews the entire project regarding the allocation of resources and carries out necessary changes to ensure the achievement of major objectives (Butler, 2012) The program management office assists in the formulation and the enforcement of different policies and standards that govern the implementation of the program. It monitors the progress of the project and reports to the project management team for necessary actions. This is one of the best practices in project management due to the active monitoring of the projects. Project portfolio management and the project management office are essential for the success of a project. The project management team outlines the resource requirements for the completion of the projects and seeks necessary funds to finance the expenses. Every stage of the project lifecycle is important for its success from its conception, planning, implementation, evaluation, and control. For these reasons, many organizations formulate the project portfolio management and project management departments within their organizations (Mustafa, 2012). The program management office provides the foundation for portfolio management. They provide project management guidance to the project managers. It is the responsibility of the project management office to establish a project management process for the organization. Project management office is necessary throughout the project life. The office sets the standards that it uses for comparison and the