The Fundamental Nature Of Work Essay - 802 Words

It is becoming obvious that the fundamental nature of work is changing as we transition into a post-job economy. The major driver of this change is the automation of procedural work, especially through software, but increasingly with robots. The drivers behind the post-job economy are also changing our work structures. Organizations will need to become more networked, not just with information technology, but how knowledge workers create, use, and share knowledge. This new workplace also will require different leadership that emerges from the network and temporarily assumes control, until new leadership is required. Giving up control will be a major challenge for anyone used to the old ways of work. An important part of leadership will be to ensure that knowledge is shared. But moving to a knowledge-sharing organizational structure will be difficult, because of the knowledge sharing paradox; which is that the more control is exerted, the less knowledge is shared. All of these challenges need to be addressed, and rather quickly, as software continues to eat jobs, and income disparities get wider. CHICAGO--It once took weeks to send a letter across the country. Today it takes just seconds to send an e-mail. Just as technology and communication have evolved, so too should the ways in which human resource professionals approach how their employees work. In his Monday session at the Society for Human Resource Management (SHRM) Annual Conference Exposition, â€Å"TheShow MoreRelatedThomas Hobbes And John Locke911 Words   |  4 Pagessovereign. Thomas Hobbes published his most famous work, Leviathan, during the height of the English Civil War. This was possibly the most violent and chaotic time in all of British history, and is certainly reflected in Hobbes’ writing. He introduces his view on the state of nature, that is, society without government, as a state of war, in which the lives of men are â€Å"solitary, poor, nasty, brutish, and short.† (Hobbes 89) From this state of nature he describes natural laws, which help to form theRead MoreThe Physics Of Mathematics And Mathematics Essay1236 Words   |  5 Pages Introduction There are reasons to doubt the physical nature of reality, tenets taught by society through heredity and ones’ own consciousness, simply because of the fallacies and imperfections of the human condition. Thus, it is reasonable that any human thought can be questionable. However, Mathematics is not to be doubted. Although, limitations, paradoxes and problems exist in mathematics and is a product of human intelligence, Nevertheless, Mathematics is a continuum of understanding of the universeRead MoreCoors Beer Essay712 Words   |  3 Pagesinto four main fundamental activities that Coors must constantly engage to achieve success. The four fundamentals of the Coors Vision statement are: 1. Improving quality 2. Improving service 3. Boosting profitability 4. Developing employee skills The seven planks cover each of these fundamental visions for success. The four fundamentals are broad-scoped goals, with no specific details on how or what will help the company maintain these fundamentals. These fundamentals may be inherentlyRead MoreThes Equations Of The Universe1749 Words   |  7 Pagesfamous for his equations of the forces of the universe, has been put to the test by Einstein himself. Although Newton has found the numbers and equations to describe gravity and the way nature is, he has not figured out how it really works. Einstein noticed this, and learned that space, gravity, and time work together like a Spiral Wishing Well. He says that space is flat with no matter, but when there is matter, like the earth, the fabric of space warps and curves. One must imagine the holeRead MoreThe Critique Of Karl Marx Essay1549 Words   |  7 Pagesarchival research and contemporary analysis to defend the assertion that Karl Marx was one of the first urban anthropolo gists and a progenitor of emic ethnography in western culture. Patterson also aims to correct prior misinterpretations of Marx’s work in a polemic manner, addressing deficiencies in early analyses through careful argumentation and relevant evidence to contrary inferences. Patterson’s stated purpose is to answer the question â€Å"What would Marx’s anthropology look like today?† and doesRead More Locke Vs. Locke Essay examples1174 Words   |  5 PagesLockeamp;#8217;s state of nature, meaning it was present since the beginning. quot;Thus labor, in the beginning, gave a right of property, wherever anyone was pleased to employ it upon what was common, which remained a long while the far greater part, and is yet more than mankind makes use of.quot; (Locke, 27). In order for property rights to exist, they must be recognized by other individuals through the act of mixing physical labor with nature. The most fundamental and natural forms of the propertyRead Mor eThe Mill s Greatest Happiness Principle1543 Words   |  7 PagesKant, the role the Categorical Imperative plays in ethical reasoning is that it involves y (rational will) and z (Universal Law of Nature). In the Categorical Imperative you calculate then choose the actions that satisfies y and z.   Ã‚  Ã‚   According to Hobbes, the ‘State of Nature’ is how humans are before an organized society. Hobbes thinks that people in the ‘State of Nature’ are more evil, because they have a natural right to everything and they are greedy. Their life is nasty, brutish, and short, becauseRead MoreThe Relationship Between Aristotles Conception of Metaphysics Epistemology and Mans Desire to Know664 Words   |  3 Pagesforms of mathematics, there is a fundamental form of science that can explain the root cause of these other events and proclivities. The most important thing to understand regarding the philosophers tenet of being as being is that it is essentially at the core of his notion of metaphysics, and plays a significant role in development of epistemology. What Aristotle is actually referring to in the quotation men by nature have a desire to know is mans basic nature which is of material substanceRead MoreContemporary Theory: Stratification Essay examples1245 Words   |  5 Pages(1945) establish a main function of stratification; which can be explained by the â€Å"requirement faced by any society of placing and motivating individuals in social structure[s]† (242). Through this, the basis of stratification arises from the fundamental works of the forefathers of sociology, Marx, Weber, and Durkheim. Marx, Weber, and Durkheim each establishes a foundation as â€Å"almost all contemporary stratification theory and research in sociology traces itself back, in some fashion, to one of theseRead MoreDrawing During t he Renaissance1023 Words   |  5 Pagesworld b going out and studying how nature functioned. Leonardo da Vinci is a primary example for the use of drawing to develop his understanding of nature. Once he was able to understand these concepts of drawing and nature, he was able to apply it to later works in other mediums. Drawing served as a stepping stone to creating artwork later on in artists careers. But like any artist, they had to start somewhere, where better place to start than with the fundamentals. Painting, sculpture, and architecture

Sequence Analysis of the Third Man Free Essays

10/7/12 The Third Man Sequence Analysis In Carol Reed’s The Third Man, the sequence in which the police and their bait, Holly, anxiously wait for the arrival of their target, Harry, is full of suspense and displayed through over 25 shots in less than 3 minutes. The sequence captures the anxiousness and suspense experienced by all the characters through its quick cuts of empty streets, destroyed buildings, and dark shadows. The score of this sequence heavily influences the mood and different thematic elements of the scene. We will write a custom essay sample on Sequence Analysis of the Third Man or any similar topic only for you Order Now Through this nearly silent (almost no dialogue) segment, Reed brings the viewers into the scene through the perspectives of different characters surveying the empty, quiet and dark city of Vienna for the man they are trying to capture, Harry Lime. The first shot of this sequence is a fade-in of the cafe in which Holly is settling down while waiting for Harry. The signature zither music picks up again to indicate the suspense of patiently waiting to complete a set-up that will allow the police to arrest a criminal. It then cuts to inside the cafe where Holly anxiously sits and begins to look outside the window examining the ominous, empty streets of Vienna. This shot is a prime example of the unique askew camera placement used throughout the entire film. In this shot, like several others, the frame is angled quite awkwardly. This technique embodies the creation of a dark, odd and intense world in which noir films took place. The next shot takes us outside with a long pan from left to right. This shot puts us in the perspective of Holly as he slowly scopes out an empty street. This zoomed in pan accurately conveys Holly’s anxiety of Harry’s arrival, as he attentively searches the street for any signs of Harry. This cuts back to Holly who is moving closer to the window in order to get a better look down the streets. Then a quick cut puts us back to Holly’s perspective of the street and yet again we see a vacant, dark street. However this shot is still and focuses on the Vienna statuary. The next cut is of a policeman hiding among these statues. The juxtaposition of these two shots is a prime example of Carol Reed’s montage and genius editing choices. Holly closely looks at this landmark, which happens to be the police’s hideout. This allows the viewer to see the elaborate plan the police have created and be placed right in the middle of it. We are unable to see the police from the viewpoint of the meetings location but once zoomed in we can see them hidden in the depths off the shadows created by these large statues and columns. The shot of the policeman hidden along the statue cuts quickly to a shot of a still, dark street. The perspective then switches to that of the policeman. The next cut shows another policeman, this time zoomed in on his face. This shot has much more light on the policeman’s face. It is a close up shot from a lower viewpoint. This allows us to understand the different placements and hiding spots of these police officers that are waiting to capture their target. This then cuts again to this policeman’s view of the street. This rapid crosscutting of straight shots juxtaposed with angled shots of the policemen and their vantage points, alongside the portentous strumming of the zither creates a very ominous and suspenseful setting and mood. It places the viewer inside the set-up as if we too are silently and anxiously surveying the war-torn streets of Vienna for Harry Lime. This cuts to a shot that display’s Reed’s undeniable element of lighting. A police officer is placed in the center of the frame in profile. As he exhales, the low-key lighting picks up the fog created by his warm breath. This cuts again to the policeman’s vantage point down a dim alley. This cuts to another shot of a policeman with unique lighting. The lighting only allows the viewer to see the policeman’s nose and below. His eyes and forehead are hidden by the shadow of his hat, until he moves his eyes. The lighting allows us to see the whites of his eyes as they move from right to left across the frame. Only seeing his eyes as they move force us to follow his eyes and look into his vantage point that is seen in the next shot of another empty road. This cuts to a close up of another policeman’s face, where again the lighting picks up and reflects off of the fog. This quickly cuts to another empty street view, which then quickly cuts back to Holly. This shot of Holly is still angled awkwardly, only now we see Holly impatiently playing with his cup. The shot is important because it again shows us Holly’s fickle feelings towards the situation he is in. Throughout the film he has had difficulty deciding on whether or not to help the police bring in his friend Harry. This shot of Holly shows the internal debate he is experiencing in the mere three seconds it is seen. We then cut back to the first police officer in the statuary. His shadow is beautifully cast on the column next to him and our eyes are drawn to it. We see his shadow move as he notices something. This cuts to his vantage point of a street that is finally no longer empty. A giant shadow is emerging alongside a building. The menacing shadow stands two stories high. This creates a strong feeling of suspicion and fear, yielding an expectation by viewers and the police that the shadow will be Harry. The sight of a humongous shadow approaching sufficiently increases the suspense of the sequence. This cuts back to the policeman in what proves to be one of the most significant and well-filmed shots of the movie. It cuts to the same police officer who makes the first sound of the sequence; a simple â€Å"pssst†. This is to signal that Lime is approaching to someone below. The camera pans down below the officer, and zooms into a dark corner of the statuary covered by shadows. The lighting of this shot is incredible. As the shot zooms in to its closest point, the lighting reveals the hiding Calloway and Paine as they merge from the shadowy depths of the statuary. Not only is this shot brilliantly lit, but it also displays the film’s mise-en-scene of corruption. The two unscrupulous officers are standing underneath what was once beautiful religious statuary. Post-war Vienna is nothing like what it was and is now a depressing, crumbling, and corrupt city. Before the war, these officers would have been standing in beautiful religious architecture. Their emergence from the murky shadows represents the post-war ruin and corruption of the once beautiful city of Vienna. This then cuts back to the approaching giant shadow, as it closes in on the intersection, signifying the end of anticipation. The next shot is of a policeman leaning in to catch a view of to whom this shadow belongs. This quickly cuts to a short shot of Holly also leaning in to try and get a glimpse. The shot reinforces the suspense and anxiety, and moral dilemma Holly is experiencing while waiting to set up his friend. As the shadow makes the final steps before being revealed, the zither tone changes from the usual haunting strumming to a comical, upbeat, high-pitched progression. It is then revealed that this shadow is a simple balloon salesman. The sudden change in music completely rids all previous tension as the balloon vender makes his way around the corner. This shot symbolizes Reed’s fantastic visual language. All of the shots leading up to this leave the viewer with nothing but certainty that this approaching shadow will be Lime. We have chased him down before through his shadows so there is no reason to believe that the camera is playing a hoax on us. The viewer undoubtedly trusts the visual storytelling, due to Reed’s fantastic imagery and shots. Carol Reed’s rapid crosscuts are a unique tactic that delays the plot of the film, solely to shift all focus to the increase in tension. The quick, oddly angled shots bring the viewer into the elaborate set-up, following each police officer and Holly, along with their respective vantage points of the streets of Vienna as if we too are searching for Lime. This sequence proves to be powerful and suspenseful, as well as a direct reflection of Carol Reed’s brilliance. He is able to intensify the suspense of the film significantly through his elaborate camera work, montage, lighting, mise en scene and sound. This short sequence proves to be a noteworthy piece in the cinematic world, and embodies the genre of film noir in just two minutes. 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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. 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