Fighting a War :: Personal Narrative Papers

Fighting a War I have neer been to war. I hope Ill never go. there is nothing that I believe in enough to sacrifice my life. These are supposed to be days of idealism and youth, and I am blessed. I cannot care. I cannot fight. The only appealing little thing about violence is the potential for heroism, and I doubt Ill ever be a hero or free an innocent life from a burning building, stop a runaway train like so some(prenominal) bad movies. I cant see myself triumphing everyplace this world. I can see myself climb out of the trench and nobly get mowed down by the bullets of a gattling gun. I let fly an arrow from my longbow. In the cockpit of a fighter plane, props twirling, I strafe Japanese ships and dodge innumerable Zeros. On a dusty hill I consider the trajectory of an artillery shell and re-check my math. I slink through a dark jungle and blend in with the foliage, camouflaging my thoughts, a shadow amidst all the life. I can only see myself in war movies, not in actual wars.I have never been in an honest-to-god kill or be killed full on violent fight, much less a nationally sponsored war. Never defended my life or my honor, or someone elses but I have taken and sadly given a beating. The closest I have ever been to war is a controlled skirmish with a friend, a fistfight for fun. No anger.One time, at his twenty-first birthday party, Frank and I gave up on docile lives and began to fight.Neither of us was born in Idaho. We never grew up together but weve both spent some time there. Our families moved, his east mine west, Hong Kong and Connecticut, so were there for the summer and the winter. We know some of the similar people, like the Peruvians and Adam Pracna and Jason Spicer, but were three years too far apart.Im younger, and we never hung out. Weve got mutual friends and weve eaten at all the same places. Small town, not many places. Weve both driven out the same canyons in a pickup with mud and girls, same girls? Who knows? Theres a keg or two in the seat kicking up dust up into it all and clouding up the sky, and were throwing empty glass bottles shattering at trees and shadows and animals as we drive and sing.

Love and Marriage an Affliction or an Alliance: Deceit and Betrayal in

During the Middle Ages and Renaissance period marriage and love were idealized, divine and celebrated. Weddings were large events that include the entire families of both the groom and the bride. Reality was different women were viewed as being fickle, inferior to men and a possession of men. Women had very little, if any, choice in who they would marry. Marriages were ordered so that both families would benefit in gaining wealth or power. Even though the ruler of England for over 4 decades was female, women were still not respected. Women were kept at home and not allowed to take place in public events. In Shakespeargons Richard III, male and female relationships are displayed as deeply cynical and are based on lies, lust and political gain.First, the relationship between Lady Anne and Richard is not the only, but one example, of a relationship that is based on lies. As Lady Anne mourns over the murder of her father-in-law Henry VI, Richard comes and greets her with sweet saint (1.2 .49) and bolsters this greeting with a string of compliments, to which she responds with curses (Miner, 47). Richard says that the reason he murdered Henry VI and Edward is because of her apricot. Your beauty was the cause of that effect/ Your beauty, that did haunt me in my sleep/ To undertake the death of all the world (1.2.126-128). In saying this, Richard directs culpability from himself and onto the female figure (Miner, 47). Richard mentation that her beauty served as incentive for murder (Miner, 48). But he lied he killed both to get closer to the throne, and wooed Anne for the same reason.Second, the relationship between Princess Elizabeth and Richard serves as an example of one that is based on lust. Since Elizabeth remains t... ...chard are used as political gain and the new King Richmond is crowned. The basiss of these relationships are weak and did not, or in some cases, will not last. Richard realizes that Anne is no longer any use to him, and makes a plan to kill h er. dish the dirt it abroad / The Anne my wife is very grievous sick / I will take order for her keeping close (4.2.51-53). Queen Elizabeth saves her daughter from Richard and sends a plan to Richmond. Richmond may try to form a closer bond with Elizabeth, or abuse his new power as king. Therefore, the examples in the play depict us the message that, relationships that are not based on love, personality and happiness will end unsuccessfully. Ay me, for aught that I could perpetually read / Could ever hear by tale or history / The course of true love never did run smooth (Shakespeare, A Midsummer Nights Dream 1.1.132-134).

USA: Future Home of the Latino? :: Minority Politics Essays

USA Future Home of the Latino? Imagine an America completely different than what we have now. Imagine an America where white is non the majority an America where every race that whites have had such a bad history with (and that includes the majority of the races on the planet) suddenly run the country. Minorities are all over in this imaginary America, and in a place where minority used to mean everything-but-white, it now means the exact opposite. This America could be our reality soon. Now, Im not making this out to be a bad thing, considering this is nearly exactly what the old dead guys who founded this country wanted in the beginning place. But thats a whole other essay in itself. In his essay, The Big New Mix, Renee Loth quotes Leon Bouvier, a demographer from Tulane University. Bouvier claims that ...America forget live on a majority minority nation by 2050.... If this comes true, sure the American culture might be wiped out. But couldnt you consider the richest part of American culture the amount of minority people in our country? If, by 2050, America is a majority minority as Leon Bouvier predicts, it will affect everything, including politics, business, entertainment, and education. And it wont all change necessarily for the bad, either.Perhaps the most noticeable change in this imaginary America would be the political scene. For years, women and minorities have sit down somewhat silent while the majority whites elect white president after white president. Even some of us white people who tangle witht hate any races (no, really, there are some of us out there) think there should be a black president, a Latino president, or a woman president. If Bouviers 2050 America is as he says it will be, this might come true. We might even end up with a Black-Latino-American woman president What would the KKK do then?With a president representing what is now the minority, obviously there would be greater representation of minorities in the government. But, with a majority minority running the country, this representation would occur in congress as well. There would be more minority* input to their Congressmen and women (who might in any case be minorities) as to what laws need to be passed not to mention a greater minority representation at the voting booths.American business will be an aspect of our lives that will change right under our noses.

Political and Economic Issues Along the U.S. and Mexico Border Essay ex

Introduction and Statement of PurposeAccording to Jason Riley (2009) there are an estimated ten to twelve million illegal immigrants living within the United States (p. 54). According to Cieslik, Felsen, and Kalaitzidis (2009), over half of these illegal immigrants are from Mexico (p. 185). These population estimates have conduct the United States to take action along our border. We have built a fence, deployed various surveillance systems, and currently employ thousands of U.S. Border Protection officers. These actions have do the issue of illegal immigration a highly debated reachic within the United States and Mexico. This debate will be explained from a political, economic, and an integrated perspective. The Political horizon on the IssuePolitics have severely impacted the issue of immigration along the U.S. and Mexico border. Within the United States, New Mexico Governor Bill Richardson has been highly active regarding immigration along this border. Branton and Du naway (2009) terra firmad, Governor Bill Richardson declared a state of emergency in four counties along the U.S.-Mexico border (p. 289). Governor Richardson was come to with, Ravages of terror and human smuggling, drug smuggling, kidnapping, murder, the destruction of property, and the death of livestock (Branton & Dunaway, 2009, p. 289). Influenced by Governor Richardsons concern, Arizona Governor Janet Napolitano also declared a state of emergency, As a desperate attempt to get the attention of the federal government (Branton & Dunaway, 2009, p. 289). These are all valid concerns when public safety is a top priority of any elected government official.Another political figure concerned with violence along the U.S.-Mexico border is Pat ... ..., I. (2007). Does border enforcement deter unauthorized immigration? The case of Mexican migration to the United States of America. Regulation & Governance, 1(2), 139-153. Retrieved from http//web.ebscohost.com.ezproxy.umuc.edu/ehost/pd fviewer/pdfviewer?vid=7&hid=13&sid=7c49dcc1-50b3-45c4-8b94-2ede81fd093d%40sessionmgr12Delacroix, J., Nikiforov, S. (2009). If Mexicans and Americans could cross the border freely. Independent Review, 14(1), 101-133 Retrieved from http//web.ebscohost.com.ezproxy.umuc.edu/ehost/pdfviewer/pdfviewer?vid=4&hid=13&sid=7c49dcc1-50b3-45c4-8b94-2ede81fd093d%40sessionmgr12Emmott, R. (2010, September 15). U.S. and Mexico border smother a costly failure film says. Reuters. Retrieved from http//www.reuters.com/article/idUSTRE68E6JG20100915Riley, J. L. (2009). Let them in The case for open borders. New York, NY Gotham Books.

Technology Then to Now :: History Machines Papers

Technology Then to NowThroughout time, machines, no matter how simple or complex, have played a vital role in the development of civilization into the future. In other words, machines have played a part into helping our culture develop into what it has dumbfound today. This dates back to the beginning of time when early man used a stick and a fulcrum (rock) to make a simple lever.Technology The application of scientific knowledge to serve man in industry, commerce, medicine and other fields.Humans have always searched for a way to make things faster, stronger, smarter, better....for mankind. This, it was widely thought, would make carriage easier. With the advancements made in technology throughout the millennium, the way of living did get easier. In the thousands of years that had passed, man had gone from living in caves to living in houses, from speaking in grunts to having a formal written and spoken language, from hunting and teaching, to hunt for mere survival, to going to s chool and working in a interject of some sort to provide for your family, from barter and trade to a formal monetary system, from clans to cities and states yes mankind was on the up and up, and blazing trails at record speed. In the U.S., the period between 1820 and 1840 marked the introduction of the Industrial Revolution. The Industrial Revolution marked a significant technological change for Western Europe and the coupled States. It meant the big switch from an agricultural society to a modernizing society based on factory production. This switch obviously meant the introduction of machines into the workplace, and the transformation of labor to play the operation of these machines. Although the machines would increase productivity significantly, they were not viewed as a Godsend by all. Groups such as the Luddites in England in the early 19th blow feared these machines because they understood that this new technology would destroy their way of life. They were not entirely wr ong. The technologies introduced into the early factory system profoundly disrupted the ways in which nation worked and the rewards they received for their work. For example, new machinery introduced as labor-saving devices from the point of view of owners, eliminated certain artisanal skills and displaced other workers. Many of those fortunate enough to still be working in the factories with this ground-breaking technology viewed themselves as machine tenders (someone whose sole purpose was to make sure that the machine did not get off course.

Technology Then to Now :: History Machines Papers

applied science Then to NowThroughout time, machines, no matter how simple or complex, bring played a vital role in the development of civilization into the future. In other words, machines have played a part into helping our assimilation develop into what it has become today. This dates back to the beginning of time when betimes man used a stick and a fulcrum (rock) to make a simple lever.Technology The application of scientific knowledge to serve man in industry, commerce, medicine and other fields.Humans have al slipway searched for a way to make things faster, stronger, smarter, better....for mankind. This, it was widely thought, would make life easier. With the advancements made in technology throughout the millennium, the way of living did get easier. In the thousands of years that had passed, man had gone from living in caves to living in houses, from speaking in grunts to having a formal written and spoken language, from hunting and teaching, to hunt for mere survival, t o going to school and working(a) in a place of some sort to provide for your family, from barter and trade to a formal monetary system, from clans to cities and states yes mankind was on the up and up, and blazing trails at record speed. In the U.S., the period between 1820 and 1840 marked the introduction of the Industrial Revolution. The Industrial Revolution marked a significant technological change for horse opera Europe and the United States. It meant the big switch from an agricultural society to a modernizing society based on factory production. This switch obviously meant the introduction of machines into the workplace, and the change of labor to fit the operation of these machines. Although the machines would increase productivity significantly, they were not viewed as a Godsend by all. Groups such as the Luddites in England in the early 19th century feared these machines because they understood that this new technology would destroy their way of life. They were not enti rely wrong. The technologies introduced into the early factory system profoundly disrupted the ways in which people worked and the rewards they received for their work. For example, new machinery introduced as labor-saving devices from the point of view of owners, eliminated certain artisanal skills and displaced other workers. Many of those fortunate enough to still be working in the factories with this ground-breaking technology viewed themselves as machine tenders (someone whose sole purpose was to make sure that the machine did not get off course.

Office Ergonomics

business Ergonomics Contents 1. Introduction 2. Office Computer Workstations 3. Computer Workstation Evaluation Checklist 4. Appendix A 1. Introduction Ergonomics is the execute of designing the work environment to fit the worker, rather than fitting the worker to the work environment. The goal of this ergonomic program is to minimize accidents and illnesses due to chronic fleshly and psychological stresses, while maximizing productivity and efficiency.Cumulative trauma disorders (CTD) or repetitive motion strain injuries be musculoskeletal disorders that result from repeated exposure to fleshly stressors. Stressors affect tendons, ligaments, nerves, muscles and bones. Physical stressors in the office environment are caused by sustained awkward postures, repetitive motions, using excessive force or compression. 2. Office Computer Workstations The workforce population varies greatly in physical size and stature. The idea of the average size person is obsolete.Adjusting office fur niture and office equipment inspection and repair employees make changes in the office to ensure proper posture is withstanded throughout the day. There is no single correct posture or order of components that will fit everyone. However, there are basic design goals to consider when setting up a computer workstation or performing computer-related tasks. Consider your workstation as you read through this guide and see if you can identify areas for improvement in posture, component placement, or work environment.This guide provides suggestions to minimize or go through identified problems, and allows you to create your own custom-fit computer workstation. Good Working Positions To register the best way to set up a computer workstation, it is helpful to understand the concept of unbiased body sticking. This is a comfortable working posture in which your joints are naturally aligned. Working with the body in a neutral position reduces stress and strain on the muscles, tendons, an d skeletal system and reduces your risk of developing a musculoskeletal disorder (MSD).The following are important considerations when attempting to maintain neutral body postures while working at the computer workstation Hands, wrists, and forearms are straight, in-line and roughly parallel to the floor. Head is level, or bent slightly forward, forward facing, and balanced. Shoulders are relaxed and upper arms hang normally at the side of the body. Elbows stay in close to the body and are bent between 90 and great hundred degrees. Feet are fully supported by floor or footrest. Back is fully supported with appropriate lumbar support when sitting vertical or leaning back. Thighs and hips are supported by a well-padded seat and generally parallel to the floor. Knees are about the same height as the hips with the feet slightly forward. no matter of how good your working posture is, working in the same posture or sitting still for prolonged periods is not healthy. You should ch ange your working position frequently throughout the day in the following ways Stretch your fingers, hands, arms, and torso. Stand up and walk around for a few minutes periodically.

Bakery Business Plan Essay

We want to open a bakeshop likes 85 degrees C in the Songjiang University townsfolk around our school.First, we will introduce 85 degrees C.It is Taiwan-style catering company, mainly engaged in supplying coffee and dessert. Its name means that coffee tastes best at the temperature of 85 degree centigrade , and its set up on the basic of five-star chef and banquets specified top-level coffee .This shop is a new spring of creative, it stains shop more bright with elegant lamplight , and suits with brand image, so that it stool bring the consumer different feeling in the bright open space, at the like time the consumer can enjoy the sense of beauty and temptation from the delicious dessert, which will makes your sightsmelling and tasting feel brand new.85 degrees C is created in 2004, and at present, 85 degrees C has became a chain of enterprise, and has more than 340 stores in Taiwan, annual operating income is more than RMB 1.5 billion, has exceed more than 200 Starbucks in Ta iwan area. Over the years, it is becoming more and more popular among consumers, oddly among the young. There are a large number of students in the Songjiang University Town, it can follow the demands of the students need. So if we open a store like 85 degrees C, it will have a big market.We aim to offer our high quality products at a competitive price to meet the demands of the university students. Our bakeshop managed by our four partners. There are Peach, Helen, __ and I. Each of us has a different responsibility.Peach is in charge of the sales, marketing and supply chain, and I am in charge of the administration and finance. Helen is interested in bakery, so she is in charge of the quality of our products and obtain. And ** is in charge of the node service.Our bakery in like manner intends to hire two full-time pastry bakers whose duty is making prize and we also have two temporary staff to handle customer service and day to day executions.Products and serviceWe offer a broad range of milk, tea, coffee in high quality, and also provide freshly prepared bakery and pastry products at all time. We cater to all the students demands by providing each student high quality products. And make our products suit the customers taste, down to the smallest detail.Our bakery provides freshly prepared bakery and pastry products at all times during business operations. Moderate batches of bakery and pastry products are prepared during the day to assure fresh baked goods are always available. Especially in the morning, we will provide the fresh, healthy, delicious bread and milk for all the students to let them have a better breakfast.We provide a comfortable place for students to have rest. We also provide free WIFI, you can come and have fun in surfing the Internet if you take your PC or mobile phone which WIFI allow.Competitor Analysis From the enquiry we can see that in that location are several bakery shops around us, much(prenominal) as Lillian Cake ShopCh ristine bread house, but we can examine some problems with them. On the one hand, it has a very high cost. On the other hand, the environment there is too crowded. The most important reason is that there is no special bakery near our school, so we can open a bakery around. Main CompetitionsWe may meet the following risks. First, the threat of latent entrants. Second, competition in this industry. Third, the threat of alternative products. Fourth, the buyers bargaining power is very strong. Keys to Success and advancement market penetrationKeys to success for our bakery will include 1. Providing the highest quality products with personal customer service. 2. Competitive pricing. 3. Features of our products. 4. Advertisements and colorful activities. 5. Atmosphere Because we think that our student is not only like delicious pabulum but also looking for high quality and fresh products in a relaxing atmosphere where they can chat with their friends, relax themselves, read some book s and review their homework. We also provide free WIFI, you can come and have fun in surfing the Internet .Our promotion and market penetration Promotion strategies will include three parts. Including Advance publicity afterward publicity and activities. Advance publicity will be large-scale, high strength and invest more. Later publicity will pay more attention to the customer relationship management. In addition to these, we will hold some specific activities planning and organization, such as sponsor the school party, in order to promote our bakery, at the same time we can also remind customers awareness through the activities. For the holidays, we will carry out targeted promotion strategies such as send leaflets and give some discounts to the customer.Market SegmentationOur bakery wants to name a large regular customer base, and we will therefore concentrate our business and marketing on Songjiang university students, which will be the dominant target market. This will establ ish a healthy, consistent revenue base to ensure stability of the business.Market analysisThe dominant target market for our bakery is university students. Personal and expedient customer service at a competitive price is the key to maintaining the local market share of this target market. Because the students in Songjiang University Town have a higher(prenominal) demand on food, they always like fresh and good-tasted food and they also want a comfortable place to have rest. We provide fresh baked bread. You can always see our Baker in the continuous production of bread. We also provide delicious mike tea and coffee all days, especially on the breakfast time and dinner time. And the comfortable place for you and your friends is always available. Financial ConsiderationsOur bakery shop expects to borrow about $500,000 from you. Mainly used for the purchase of raw materials, the loan, staff training, market promotion. We anticipates sales of about $614,000 in the first year, and $814, 000 in the second year, of the plan. We should break even by the fourth month of its operation as it steadily increases its sales. So the company does not anticipate any cash flow problems.

Indian Removal Act

Indian removal Analytical Essay In America A yarn muniment, Tindall and Shi pass by little quantify talking about capital of Mississippis Indian policy and The Trail of Tears. Jacksons Indian insurance policy paints Jackson as a valet de chambre who hates the Indians and briefly talks about the Black Hawk War and a couple minor battles between the whites and Indians. It bluffly states that Indian removal was simply pitiful all of the Indians into the plains west of the Mississippi River, to the Great American Desert (Tindall and Shi 304).In the section dedicated to The Trail of Tears, Tindall and Shi deal the policy in Georgia towards the Indians, carry up a few court cases such as Worcester v. Georgia and Cherokee Nation v. Georgia, neither of which did anything to help the Indians. aft(prenominal) explaining the court cases, Tindall and Shi go a instalment talking about how the Indians gave up their polishs east of the Mississippi in exchange for belt down west of t he Mississippi, $5 million, and bills for transportation.They do lightly address the impenetrable journey that killed many of the exiles k forthwithn as The Trail of Tears. Like most books though, America A Narrative History uses a aslant point of visit and short segments about the subject to get its point across. Works Cited Heidler, David, and Jeanne Heidler. Indian Removal. Ed. Lory Frenkel. smart York W. W. Norton & Company, 2007. Print. Tindall, George, and David Shi. America A Narrative History. Ed. Jon Durbin. 8th ed. New York City W. W. Norton & Company, 2010. Print.Indian Removal ActIndian Removal Analytical Essay In America A Narrative History, Tindall and Shi spend little time talking about Jacksons Indian policy and The Trail of Tears. Jacksons Indian Policy paints Jackson as a man who hates the Indians and briefly talks about the Black Hawk War and a couple minor battles between the whites and Indians. It bluntly states that Indian Removal was simply moving all of the Indians into the plains west of the Mississippi River, to the Great American Desert (Tindall and Shi 304).In the section dedicated to The Trail of Tears, Tindall and Shi discuss the policy in Georgia towards the Indians, bringing up a few court cases such as Worcester v. Georgia and Cherokee Nation v. Georgia, neither of which did anything to help the Indians. After explaining the court cases, Tindall and Shi spend a segment talking about how the Indians gave up their lands east of the Mississippi in exchange for land west of the Mississippi, $5 million, and money for transportation.They do lightly address the grueling journey that killed many of the exiles known as The Trail of Tears. Like most books though, America A Narrative History uses a biased point of view and short segments about the subject to get its point across. Works Cited Heidler, David, and Jeanne Heidler. Indian Removal. Ed. Lory Frenkel. New York W. W. Norton & Company, 2007. Print. Tindall, George, and David Shi. America A Narrative History. Ed. Jon Durbin. 8th ed. New York City W. W. Norton & Company, 2010. Print.Indian Removal ActIndian Removal Analytical Essay In America A Narrative History, Tindall and Shi spend little time talking about Jacksons Indian policy and The Trail of Tears. Jacksons Indian Policy paints Jackson as a man who hates the Indians and briefly talks about the Black Hawk War and a couple minor battles between the whites and Indians. It bluntly states that Indian Removal was simply moving all of the Indians into the plains west of the Mississippi River, to the Great American Desert (Tindall and Shi 304).In the section dedicated to The Trail of Tears, Tindall and Shi discuss the policy in Georgia towards the Indians, bringing up a few court cases such as Worcester v. Georgia and Cherokee Nation v. Georgia, neither of which did anything to help the Indians. After explaining the court cases, Tindall and Shi spend a segment talking about how the Indians gave up their l ands east of the Mississippi in exchange for land west of the Mississippi, $5 million, and money for transportation.They do lightly address the grueling journey that killed many of the exiles known as The Trail of Tears. Like most books though, America A Narrative History uses a biased point of view and short segments about the subject to get its point across. Works Cited Heidler, David, and Jeanne Heidler. Indian Removal. Ed. Lory Frenkel. New York W. W. Norton & Company, 2007. Print. Tindall, George, and David Shi. America A Narrative History. Ed. Jon Durbin. 8th ed. New York City W. W. Norton & Company, 2010. Print.Indian Removal ActThe Indian Removal Act The U. S got the Louisiana Territory in 1803. Then during his presidency, Andrew Jackson got Congress to pass the Indian Removal Act. This arrange stated that all Indians that wished to follow their own tradition must move to the Indian Territory where they would catch more than 70,000 square miles of free land. When this act was passed, all Indians but the Cherokee signed the Treaty of Echota agreeing to move. Jackson thought it was necessary to take action against them to enforce the law.But the question is was the U. S justified in exit the Indian Removal Act forcing all Indians to move. I say no, the U. S was not justified in passing the act. The Indians have had a right to this land way before we did. Even though we are settled here, all this land originally the Indians and with this act, we are kicking them off their own land. John marshall stated, The Choctaw and Creek were treated horrendously when they moved to the Indian Territory.Their horses were stolen and hundreds died for malnutrition. (Document 2). The Choctaw and the Creek were treated really badly. They suffered a lot and some of them even died. Honestly, the Cherokee are being smart in not moving to the Indian Territory because they know that they will be treated the same way. The very little trust that the Cherokees had in us is no w lost. Mr. Marshall also states, In the case of Worchester vs. Georgia (1832), the U.S Supreme court ruled that the state of Georgia could not force the Cherokee off their land. (Document 2). President Jackson is going against the law by supporting the Indian Removal Act. This does not show good presidency. Hes taking hasty decisions because of his bad preceding(a) with the Indians. The Cherokees are not at fault. If they want to follow their traditions and still live in Georgia, fine. I dont see why any American has an objection with the Indians staying there not bothering us and we not bothering them.They have a right to this land. Let them have the freedom. The Cherokee should be allowed to stay in Georgia. Its their land and they had a right to it even before we did. But think about it. How would you feel if you were told that you had only two choices one, if you wanted to stay in your current location, you have to give up all your traditions and two, you have to move somewhe re else if you wanted to follow your traditions? Put yourself in the shoes of the Cherokee. What would you do?

Remember the Titans Review Essay

The movie Remember the Titans is one of the most inspiring sports movies in recent memory.. This is due to the performances of Denzel Washington as well as others in the cast totally when its success can also can be attributed to the fact that the story was based on really life events. As is the case with most movies, those that are based on fact, no matter how loosely, usually seem to add to the drama that mindless action mechanism movies which are big on special effects and small on acting and story. Remember the Titans is not one of those movies because the racial tensions that were associated with busing and groom integration in the last 1960s and 1970s was one of the divisive sources during that cadence.For a young, contemporary society, it may seem difficult to be able to successfully transplant oneself into that precise time and place and to wonder aloud, what the entire situation was all about. in that respect were tensions that came from the mixing of the two teams, learnless of their color. Many players at T.C. Williams were counting on a starting spot for the football team, only to have some(prenominal) of the positions challenged due to the integration of the school.Due to the fact that the school that is being meshed into T.C. Williams is a predominately African American school, with the setting of the story taking place in 1970 Virginia, only adds to the frustrations on the part of the athletes from both schools. This reality places a stress on the already fragile relationships that the white and black players as well as students have for each other. However, in the end, the story has a happy ending and the school not only successfully integrates, but has one of their most successful years on the football field. One of the major sources of debate within Titans is the way in which Herman Boone receives the head coaching job at T.C. Williams. The school has been integrated and the football team, a bastion of relief and excitement for the m asses in Alexandria, Virginia. Within the movie, it is plain seen that the majority of white students and their families are not in favor of the integration of the school. What is the source of even more resistance is the fact that Herman Boone, not because of his merit but simply because of his race, is being made head coach over the current coach, Bill Yoast who has had his share of awards given to him for his splendid coaching record in the past.The school board feels that this is the appropriate choice to make as they believe that it will help the town to ease into the idea. This is not ethically right or proper. There is not way of knowing exactly how well the team would have fared if the coaches were picked on their merit instead of on race, but it seems that as long as starting positions on the field were earned by the physical and mental merit of the players, so too should the coaches be made to honor the idea of creating a meritocracy as well. What is not acceptable and is seen as the central aspect of the movie, are the relationships between the players from both of the schools. At first, many of the players on both sides did not indispensableness to befriend their competition with regard to the specific starting position that they were hoping to earn but also their competition in society as well. It is the efforts of Julies and Bertier, the leaders of their various(prenominal) former schools and therefore, is divided by racial lines, which help to make the transition from two separate teams into one a bit easier.The two characters are actually forceful on the football field as it is required to remain successful but they are also equally as forceful with regard to the integration of their fellow teammates. Both are resistant to the experiment by once they get on board with the idea, the rest are sure to follow. This is the legitimate sign of a leader but also of the team recognizing the fact that they need to come together as a team in regulari ze to win.Cohesiveness of a team is what every coach strives to achieve. The second source of calm and rational thinking in the face of a situation that many on the team might respond to with hatred and bigotry, comes from aim Boone and Coach Yoast. Yoast will eventually see the bigger picture and swallow his own feelings of mistreatment and pass around to the will of the school board and usually, to the will of coach Yoast. He had such a stellar coaching record because he knew how to win. The same can be said about Coach Boone as well.He does not like the situation in which he was picked to coach T.C. Williams but he resolves that this is not only good for his career in the long run, but for the cohesion of the entire community as the football team serves as the center of life in Alexandria, Virginia. In the special features, the real coaches are shown talking as old friends and there is nothing to suggest that is not the case in real life. however the relationship of the two co aches, as was the case with the players, was a contentious one.Race obviously played a central role in the actions of the T.C. Williams football team. batch are a product of their environment and Alexandria, Virginia expressed loudly, their feelings about the forced integration of their school as well as the football players did the same. But Coach Boone and Yoast as well as the majority of football players on the team realized what it took to win. All had enjoyed winning seasons before the integration of the school.Had the teams neer enjoyed victory and never yearned for success within their daily lives, there might have been little hope for this experiment to have succeeded. Only those living there at that time can accurately describe what life was really like during those times but the ethical behavior of the majority of players as well as their credit of what it takes to win in this life, eventually became the paramount reason as to why the team went on to have a successful se ason and racial encounter within the team unity could only be seen as a speed bump if they wished to continue to win.WORKS CITEDBruckheimer, Jerry. Remember the Titans. Buena Vista. 2000

Communication Plan Example Essay

Background/PurposeDescription of projectThe Denver International drome (DIA) Project was created to handle the projected increase in passenger travel, due to the Airline Deregulation Act of 1978. The DIA project would consist of improved airfield configuration, multinational facilities and efficiency in operation of regional airspace and terminal layout, reduction in noise impact, and new baggage handling and conferences systems. This anticipated $1.2 million conversion project turned out to be a $5 billion ordeal. Improper project management appeared to be the underlying cause of this dearly-won project. The City of Denver appointed two companies, referred to herein as the project management team (PMT) to manage the DIA project. However, beginning with the selection of the architects, the PMT relinquished control by failing to maintain the Citys goals and objectives.Project ScopeProvide the scope of the projectThe scope of the DIA was to replace Denvers Stapleton Airport with a new runway and baggage handling system to serve the needs of the growing air travels through it city which would satisfy its needs for at to the lowest degree 50-60 years with an initial estimate of $1.2 billion agreed upon by Denver Mayor Federico Pena and Adams County officials in 1985. The project benefits included alter airfield configurationImproved efficiency in the operations of its regional airspace Improved and efficient terminal/concourse layoutImproved international facilitiesSignificant expansion capability and raise efficiency of airline operations. conference PlanPurpose what is the purpose of the communications planThe purpose of the communications plan is to guarantee that all parties involved in the project are communicating in an efficient and timely fashion. The plan states the audience involved, as well as the type of fomite of communication vehicle and frequency, medium, source, task responsibilities, sensitivities, lessons learned, expected results, historic al information, and closing statements. Prioritizing and organizing skills are essential elements to a communication plan in order to disseminate information in conformation with the projects timeline to meet its goals and objectives. The project stakeholders areCity of DenverGreiner/MKE EngineeringNew Orleans Architectural FirmContinental AirlinesUnited AirlinesCommunication PlanScopeScope Why a communication plan and what it does for the project The communication plan is essential to the DIA project because it fosters accountability to the stakeholders for effective communication regarding the work that needs to be completed according to the approved deadline and costs to complete the project. Effective communication includes the method in which the information will be delivered, details about the timeline of events and any unforeseen circumstances with remedies for modification and approval.ReferencesKerzner, H (2004). Advanced Project Management Best Practices on Implementation , 2nd Edition, Retrieved June 23, 2013 from DeVry Library Database 247.

Fashion Essay

wee mintnot survive without the media. Its success as both an art take form and a commercial enterprise dep finishs upon attention in the media. The media substantiate compete a vital role in shaping fashion into the complex cultural phenomenon it has plow. picture taking, and youngr film and television receiver, have medialised fashion. Fashion has become an intrinsic spokesperson of todays opthalmic shade, and vice versa. Fashion magazines, glossies and womens journals firenot exist without fashion, be steads fashion similarly cannot exist without these magazines. This chapter looks at opthalmic polish and the ship musical mode in which fashion is fashi unitaryd by the media. The first half of the chapter gives a theoretical background to learning contemporary optic culture. The coop epochte half of the chapter provides an existence to the m all slip steering that media theory can be used to analyse and understand fashion. Visual cultureSince the invention o f photography, film, television, video, CD-Rom and the Internet, we have rapidly shifted from a written culture to a optical culture We live in a culture of ascertains, a confederacy of the spectacle, a world of semblances and simulacra (Mitchell 1994 5). Contemporary visual culture is both ubiquitous and complex. The movie no lifelong stands by itself, scarcely is informed by mul termdia it is usually integrated with text and music. A fashion photograph comes with a caption or an accomp some(prenominal)ing text. A fashion show doesnt work without music or a stage dancing of moving bodies. A distinguish from their mul clippingdia aspect, discovers overly circulate in a global media society in which all kinds of genres and media argon mixed. Precisely because this visual culture is so dominant on the unity hand and so complex on the separate, we need theoretical tools in entrap to be able to understand chains, including estimates of fashion.To do justice to the complexity of visual culture, it is necessary to pose questions on the basis of an interdisciplinary framework questions about moment and ideology identity and visual pleasure engine room and economy. Theoretical insight creates media literacy. We can thus acquire an attitude towards the media we use ein truth day that has aptly been described by Laura Mulvey as passionate detachment (1989 26). Before supplying a number of analytic instruments in the second half of this chapter, I would first like to place visual culture at heart the framework of postmodernism. ITheoretical framework PostmodernityAlthough the precondition postmodernism is often described as vague and indeterminate, on that point ar definite ways in which it can be characterised. hither I ferment out a distinction in the midst of a) postmodernity, b) postmodern philosophy and c) postmodernism as a stool in art and culture (Van den Braembussche 2000). First of all, postmodernity. Postmodernity mentions to the age we are currently living in, particularly the information society that has arisen since the sixties. It is a question, then, of an historical period in which we live. The information society can be characterised as postcolonial after the Second World War, the colonies in the Third World achieved independence at a dissipated rate. This society is similarly postindustrial heavy industry has been replaced by the exchange of services. From the sixties onwards, these services have increasingly been characterised by information technology, set in motion by the advent of the computer. Science and technology are indispensable and give shape to our society. sequence the industrial society still functioned largishly around property (who has control of the sum of production?), the information society is mainly about access (xs4all access for all) access to information, that is to say, to hold upledge. Postmodernity means a networked society in which e rattlingthing and everyone is connec ted with each(prenominal) other via mass media such as television and the Internet. Another indication is globalisation.Globalisation has taken place with the media (you can remain CNN and MTV all over the world) and with capital (you can use cash machines bothwhere in the world). And with fashion. Benettons multi-racial campaigns show the to a greater extent benign face of globalisation, but, to be fair, they have overly drawn attention to the more dismal effects of globalisation. Applying the characteristics of postmodernity to fashion, we get the fol low-d accepting picture. In the past, fashion was dependent on fabrics like silk, cotton and cashmere as well as inspiration that the West imported from its colonies. In the s pointties the Hippies came alongwith their renewed interest in non- horse opera clothing. With the deconstructivist fashion of Japanese designers like Yamamoto in the mid-eighties, the first non-Western designers broke open the closed, elitist fashion world. Now they have been succeeded by other designers such as Hussein Chalayan, Xuly Bt and Alexander Herchovitch. With the Fashion Weeks in India and Africa, fashion has become globalised. When we look at thefashion industry, the picture is even clearer.Whereas the Dutch fashion industry was victorly established here in Holland itself- in Enschede for repre moveative it has now largely moved to low-wage countries in Asia or the former East Block. Look at the label in your sweater or trousers and most likely youll find Made in Taiwan or something similar. Globalisation results in cheap clothing and ample profits in the West, but also in protests once morest exploitation, such as against the Nikes made by small children in Pakistan. These abuses signalled the start of the No Logo and anti-globalisation movements. Postmodern philosophySecondly, postmodern philosophy. two notions are important here the end of the Grand Narratives and the death of the traditional subject. These wor ds suggest that Western culture is going through a crisis. tally to the postmodern philosopher Jean-Franois Lyotard, Western culture is no longer able to tell any Grand Narratives, by which he is referring to the end of ideology. This implies that ideologies (isms like Marxism or Feminism, but also religions such as Christianity) can no longer provide modern slice with a meaningful frame of reference. Ideology finds itself in a crisis of legitimatisation, no longer able to announce the truth or to proclaim a future utopia. This does not mean, of course, that everyone has given up their beliefs on the contrary, we are in truth seeing a return to ideology and religion. But, Lyotard argues, no organic structure can impose that belief or that ideology on others as the one and exclusively truth.People who still try to inflict any kind of truth upon others are called fundamentalists nowadays. The end of the Grand Narratives is not just a negative process. For most flock it is liberati ng to be freed from a one- lieud, enforced truth. Whats more, it has led to a blossoming ofsmall narratives in postmodern culture. Now that there is no one dominant truth, many people have the right and freedom to tell their stories, including those who previously had few opportunities to do so, such as women, workers, blacks, young people. You see the analogous development in art there is no longer one dominant movement but a multitude of directions. And we see the akin pluralism in fashion. No longer a Grand Narrative dictated by a single fashion king, or even by just one city, but a multitude of perspectives coming from many designers, in various cities and different parts of the world. The end of the GrandNarrative also has consequences for the view of military man subjectivity. The traditional notion of the individual is that he (it was close to always a he) represents an autonomous and coherent entity, endowed with reason. It was mainly psychoanalysis that put an end to th is notion. harmonise to Freud, the human creation is not at all governed by his reason, but rather by his unconscious. And it was Marx who claimed that it is our class that determines who we are. We whitethorn think we are individuals, but in fact we are defined by our class, ethnicity, age, sexual preference, religion, nationality and so on the list is endless. In fact, then, we are not really an autonomous and coherent entity. This is wherefore postmodernism no longer refers to an individual but to a subject. A subject, moreover, that is split, garbled, splintered. As a piece of graffiti in Paris in the eighties put it, God is dead. Marx is dead. And I codt feel so good either. A more positive way of formulating this idea of fragmented subjectivity is by analogy with the network society the subject, the self, always stands in relation to an other. Instead of organism autonomous we are all incorporated in a fabric of complex and mobile relations. Our identity is to be found, as it were, on a node of communication circuits. The postmodern subject is thus characterised by a dynamic and a diversity that were alien to the traditional individual. This change in the position of the human being has had the same effect as the end of the Grand Narratives many more people can now make a claim to subjectivity who were previously excluded, such as blacks, women and homosexuals. This can also be witnessed by the recognition of art and culture produced by women, people of colour, and artists from the so called Third World. This development has resulted in a much greater freedom in the formation of human identity. Just look at pop culture, where someone like Madonna assumes a different image with the system of a clock. at present you can play with your identity by sexuality bending, for manakin. Or by crossings with other ethnic cultures, such as Surinamese or Dutch Muslims who borrow elements from the American black hip-hop subculture. Fashion is an important com ponent of the play with identity. In earlier days it was your gender and your class that determined what you had to wear, and there were strict rules that were not so easy to transgress. These rules now only apply to the Queen. Everyone else stands infront of the wardrobe each morning to determine which clothes duet his or her mood baroque, gothic, sexy, or maybe businesslike today after all? PostmodernismThirdly, the term postmodernism as applied to art and culture. A crucial characteristic of postmodernism is the fading distinction between high and low culture. Over the course of the twentieth century the traditional notion of culture has been freed from its connection with elitist art. Scholars nowadays betroth a broad notion of culture, ground on Raymond Williamss famous expression culture as a whole way of life (1958). Here it concerns a view of culture as a practice within a sociable and historical context. The rigid distinction between high and lowculture is no longer tena ble. In any case, it was always largely based on the controversy between word and image in Western culture, where the word is seen as the expression of the superiority of the mind and the image as expressing emotion and the baser relishs of the eubstance. The shift from a textual to a visual culture means the image is no longer viewed in purely negative terms but is valued for all its positive powers and the experiences it evokes. Moreover, high culture and low culture cannot be unequivocally linked to particular disciplines (read literature versus television). Every art form has its low cultural expression. Just think of the portraits of the gypsy boy with a tear running down his face or pulp romantic novels. High is stepping off its pedestal haute couture is influenced by street culture. Low is upgraded and receives attention in newspaper art supplements or is exhibited in the museum. Advertising photos from Benetton, computer art by Micha Klein and fashion photos by Inez van L amsweerde have all been shown in Dutch museums.Dmocratisation and commercialisation are also crucial to the discussion of high and low. Increased prosperity and dissemination via the media have brought art and fashion to within almost everyones reach. The enormous numbers of visitors to major exhibitions testify to this, as does the festivalisation of big cities. kitchen-gardening is in and is eagerly consumed in large quantities. Moreover, commerciality is no longer associated exclusively with low culture it has penetrated high culture, as can be deduced from the weeklytop ten lists for literature, the piles of CDs of music by Bach and Mozart in the local supermarket, Audis sponsoring of the Stedelijk Museum in Amsterdam, or Karl Lagerfelds designs at H&M. Another postmodern feature is inter- textuality, which amounts to the idea that a text always refers to other texts. Every text is a web of quotations, borrowed words and references. This term does not, of course, simply represe nt a narrow view of text images likewise ceaselessly refer to each other. Advertising spots refer to videoclips, which borrow from television serial publication, which in their turn quote films, which are themselves based on a novel. And that novel refers again to a play by Shakespeare, and so on and so on. Its an endless game. Madonnas video clip Material Girl refers for example to Marilyn Monroes song Diamonds are a Girls Best Friend in the film Gentlemen Prefer Blondes. In an advertisement forEstee Lauder perfume, the pattern walks through a digital field of flowers that is identical to the one Madonna walks through in hervideoclip Love Profusion. Nicole Kidman, in the commercial for Chanel No. 5, does a perfect repeat of her role in Moulin Rouge. most directors, such as Baz Luhr- man or Quentin Tarantino, have made inter- textuality their trademark. A large part of the visual pleasure in contemporary culture is based on recognition the more references you can place, the more c lever you feel as viewer. Some theorists, such as Frederic Jameson, call the postmodern form of intertextuality a pastiche. A pastiche is a textual or visual quotation which still repeats sheer quoting is the name of the game.The reference has no deeper meaning because all historical connections are abandoned. This can also be found in fashion. If you look at a John Galliano creation you can recognise myriad quotations from other cultures (ethnic prints), from other times (nineteenth century silhouette), from street culture (bag lady with obtain cart and plastic bags) and even from the circus (clown-like make-up). Everything is thrown into a big pile magical spell elements are wrenched from their historical time and geographical context. A term often used in this connection is bricolage, which literally means making do. Weve become a cut & paste culture, where everyone can tinker about and contend together their clothes and even their identity. Postmodern culture is thus charact erised by pastiche and bricolage. Its not always an easy matter to indicate the significance of this cultural phenomenon, but it doesmake fashion playful and flexible, without it being compelled into an overruling Grand Narrative. A final characteristic of postmodernism that I would like to discuss is the modulation from representation to simulation. We have already seen that postmodern pastiche quoting, borrowing and referring does not necessarily have any deeper meaning. This is because postmodern culture no longer represents, but simulates. This process is dependent upon the role of media technology. 1963 Amsterdam (NED)In 2003 the magazine American Photo put together a list of the 25 best photographers in the world. That list contained one Dutch name Inez van Lamsweerde. Both an artist and a fashion photographer, she has ignored the dividing line between art, fashion and commercial work from the very beginning. And successfully. Her work is shown in many glossies such as The Face, Vogue and Arena Homme Plus (editorials and advertising campaigns) as well as in outside(a) museums and galleries. Her signature is clearly recognisable in both areas. Inez van Lamsweerde once said in an interview that she was obsessed with lulu. Its always people she photographs or recreates, to be precise. Her digitally altered creatures are alienating. Too smooth, too clone-like, too impersonal to be fully human. She often bases her work on ideal pistillate images from the mass media and the body culture in connection with gene technology, surgery and bodybuilding, the manipulation of the body, identity and sex. In the series Final Fantasy (1993) three-year-old girls posed flirtatiously in satin underwear but with the mouths of adult men superimposed on their faces.The cloyingly sweet eroticised tot turns out to be a child demon. The series The Forest V995) shows mWd-manneted passwe men vjWV womens hands, and the women in Thank You Thighmaster (1993) are really mutants wh o resemble mannequins, without body hair and with a neutral skin surface where nipples and private parts are supposed to be. The camera doesnt lie? You certainly hope it does. numerous patterns in Van Lamsweerdes fashion photos are hyperstylised, exaggerated stereotypes, suddenly beautiful, without irregularities and without individual features. They move in a hyperrealistic setting in which the whole effect sometimes suggests the work of Guy Bourdin (for example, see the series Invisible delivery in Blvd 2,1994). But her oeuvre is more versatile than that of the old master, so it is also less likely to berelated to a certain time period. Inez van Lamsweerde graduated from Amsterdams Rietveld Academy in 1990.That same year she got her first photography assignment, the results of which appeared in Modus. In 1992 she received the Dutch Photography Prize as well as the European Kodak Prize (gold in the categories Fashion and People/Portraits). Since the early nineties she has been working almost entirely with her husband, Vinoodh Matadin. Today Van Lamsweerde and Matadin live and work chiefly in New York. The most recent developments in their work suggest a preference for less speculate photographs. In 2002 they took nine black-and-white photos of the members of the theatre group Mug met de Gouden Tand (Mosquito with the Gold Tooth). In 2003 they produced a nude calendar for Vogue. All without digital effects. LiteratureHainley. Bruce. Inez van Lamsweerde, Art- Forum, October 2004. Inez van Lamsweerde Photographs.Deichtor- hallen Hamburg Schirmer/Mosel. 1999. Jonkers. Gert. Inez en Vinoodh, Volkskrant Magazine, 22 February 2003. Kauw op het lijf. Rotterdam Nederlands Foto Instituut. 1998. Schutte, Xandra. Perverse onschuld, De Groene Amsterdamer, 10 September 1997. Terreehorst. Pauline. Modus Over mensen mode en het leven. Amsterdam De Balie. 1990. IllustrationInez van Lamsweerde. Devorah and Mienke. 1993In the old conception of art, with Plato or Kant for example, a work of art refers to something deeper or higher beyond reality. Every work of art is unique and hence irreplaceable. As early as the 1930s Walter Benjamin argued that the role of the work of art was changing because of reproductive technologies. With the invention of photography and film (and later television and the Internet), any image can be reproduced infinitely. A transcript of Rembrandts The Night- watch always remains a copy of a famous, authentic painting, whereas a copy of Man Rays photograph of Kiki as a violin has no original. In the age of mechanical reproduction the distinction between original and copy therefore disappears, and with it what Benjamin calls arts aura, namely that which makes a work of art unique and original.For fashion, reproductive technology initially meant anenormous stimulus, since images of designs could be disseminated via the mediums of magazines and television. But in fashion, too, the copy has now overtaken the original design. A d ay after the fashion shows in Paris or Milan, the photos are already on the Internet and six weeks later H&M can sell replicas in their shops. In Pop Art, Andy Warhol played with the idea of the copy by producing silk-screened images of cans of Campbell soup or icons like Marilyn Monroe. Another example of the loss of aura is the disappointment all of us may feel when visiting Da Vincis Mona Lisa or Vermeers Girl with the Pearl Earring in the museum. Weve already seen so many reproductions in books, films, on mugs, towels, with moustache and beard, or as a doll, that the original is scarce a match for these. Only if you actually succeed in experiencing the painting in the silence of the museum (but can you ever with all those tourists around you?), you may still find the original aura. In the seventies, Jean Baudrillard went a step further than Benjamin by claiming that not only art but also reality is changing under the onslaught of the media. He argues that the ubiquity of the me dia turns reality into a simulacrum, a copy of a copy. The simulacrum abolishes the difference between being and appearing.Think of someone pretending to be sick this person actually starts to display signs of sickness, so that it is no longer clear what is real and what is fake. Its the same with postmodernism our culture is so thoroughly medialised that our experience is determined by the media. Media do not reflect reality, but construct it. Or to put it other than media do not represent reality, but simulate it. We all sock this phenomenon from our own experience. When were on holiday in Greece, for example, we exclaim that the sea is as blue as on the postcard. Our experience is determined by an image, in this case the postcard. If were on safari in Kenya, it seems as though weve come in a National Geographic TV programme. And when we say to our beloved I love you we cant help feeling were playing in a soap. Umberto Eco therefore says that we are assuming a permanent ironic attitude in postmodern times. We can no longer innocently say I love you, because weve already seen and heard it a hundred thou sandpaper times on TV.The words have lost their meaning as well as their authenticity. But what we can do, according to Eco, is say it with irony As Ridge in The Bold and the Beautiful would say, I love you. While reality shows on television try to simulate life as much aspossible, life itself has become one big reality show, in which being and appearance can no longer be separated. In art and in fashion we can see a longing for authenticity, as a nostalgic reaction to the culture of simulacra. People want something real again in a postmodern culture in which the dividing line between real and unreal has become wafer-thin. The question, however, is whether such authenticity is still possible. Such is the power of the simulacrum that the media have created. Now that I have given an line of postmodernism as a frame within which fashion functions, it is time to look more closely at instruments that can be used to analyse images. These analytical methods all come from poststructuralism, the theory underlying postmodernism. IIAnalysisThe semiotic signPoststructuralism was informed in the sixties by semiotics, psychoanalysis and Marxism. Poststructuralism is also referred to as the linguistic turn, since manner of speaking formed the model for the development of these theories. De Saussures writings on semiotics helped to develop a structuralist analysis of the grammar of any system, whether a myth, advertisement, film, fashion or novel, as in the work of the anthropologist Lvi-Strauss, the early Barthes or the film semiotician Metz (Sim 1998). The primal idea that language is paradigmatic for meaning is followed by virtually all postmodern philosophers. According to the psychoanalytical theories of Lacan, even the unconscious is structured like a language. Although some philosophers pointed out that language and signification are funda mentally unstable, as in the de twirlism of Derrida, or in Lyotards postmodern loss of Grand Narratives, text remains the central focus in poststructuralism. Everything in fact is interpreted as text, including image, music or fashion. While semiotics initially concentrated on literature, scholars curtly started focussing on the field of popular culture, such as architecture, fashion, music, sport, womens magazines or the video clip to mention a few examples at random. semiology is the theory of signs (from the Greek semeion, meaning sign). A sign is the smallest element that carries a meaning. Language is the system of signs that we are most familiar with, but traffic signs or, as Barthes has shown, fashion are also sign systems.Asign consists of a contour (in French, signifiant), the material carrier of meaning, and the sensation (in French, signifi), the content to which reference is made. The letters and sizable of the word dress form the signifiers, which refer to the con tent of a concrete dress. Signifier and horse sense, form and content, together create meaning. The descent between signifier and signified is almost always arbitrary there is, after all, no reason why something is called a dress in English, a jurk in Dutch, and a japon in French. A sign always refers to something in reality. The first meaning of a sign is denotative it is the meaningyou can look up in the dictionary. But things rarely have just one meaning most signs have many secondary meanings. These are called connotations. In that case, the denotative sign, the signifier and the signified form a new entity, a new signifier for a new connotative sign, as in the following diagram human body SIGNIFIED intensionSIGNIFIER SIGNIFIER characterA well-known example is the red rose. At the denotative level it is simply a flower with leaves and thorns. In order to become a sign of love, the denotative meaning of the flower must become in its turn a signifier. The sign then forms the basis for a connotative, second meaning love. Why? Because it is agreed upon in our culture that the rose, especially the red rose, symbolises love. An Amnesty International poster adds a third meaning to this well-known symbol by surrounding the thorns with barbed wire and placing the words violence ceases where love begins halfway up the stem. The flower thus becomes a symbol of love and non-violence, man the thorns stand for violence. (Please read the table from the bottom up). SIGNIFIER red rose as love SIGNIFIED thorns with barbed wire love SECOND CONNOTATION love is the reverse of violence SIGNIFIER red rose SIGNIFIER red rose FIRSTCONNOTATION My love for you SIGNIFIERrose SIGNIFIER Flower with thorns and leaves DENOTATION Flower of the species Rosa The multimedia image is an extremely complicated sign and can convey meaning in many ways. A still image, such as a fashion or advertising photograph, has the following signifiers * perspective (camera position angle, distance)* framing* photographic aspects such as exposure, rough grain, colour or black and white * composition or mise-en-scene of what is envisioned setting, costume, make-up, attitude and actions of the model, etc. * text caption or legendA moving image, such as film, television commercials, video clip or fashion show, has, all of the above aspects, plus even more signifiers * movement of the models or actors choreography* camera movement (pan, tilt, dolly, tracking)* change* sound (dialogue, added sounds like creaking door)* musicAny analysis requires us to briefly check all these elements, since they influence the meaning. Only then can you determine the denotation and the connotations. A close- up has a different effect than a long shot. Camera movements direct the viewers gaze. Quick editing evokes tension. Music creates atmosphere, as does lighting. This type of formal analysis soon reveals that the image is never simply a copy or a reflection of reality, even though what the camera records is real. Yet so many technological and aesthetic choices enter into the registration that reality is always moulded and constructed. The aim of analysis is to make this construction trans mention. digital imagesA formal analysis can be deepened even further by using the semiotics of C.S. Peirce, an American who developed his theories at the same time in the early twentieth century as De Saussure in Switzerland, without their being aware of each other. Peirces semiotics is used more often for analysing images because he focuses less on text than De Saussure does. Peirce argues that there are three sorts of relationships between the signifier and the signified iconic, indexical and symbolic. An iconic relationship means that there is a similarity or similitude between the signifier and the signified. An example of an iconic relationship is the portrait the image (the signifier) resembles that which is portrayed (the signified). An indexical relationship presumes an actual con nection between signifier andsignified. A classic example is smoke as the signifier of fire, or the footprint in the sand as the signifier of the presence of a man on an uninhabited island.The symbolic relationship corresponds to what De Saussure calls the arbitrary relation between signifier and signified the red rose is a convention, based on an agreement. Yet this remains a moot point, because the rose has an iconic relation to the feminine sex organ. It is this resemblance that has probably led to the rose becoming a symbol for love. All three relationships apply to the mechanically reproducible image, like the photograph or film. An image is always iconic since that which is depicted shows a resemblance to the signifiers every photograph is a portrait of a person or an object. Something that is photographed or filmed is also always indexical there is a facturelationship, since the camera records reality-with the camera you prove that youve been somewhere (I was here the visual proof that tourists bring home as their trophy). Finally, the image, like language, has symbolic meanings, which are created through an interplay of the many audiovisual signifiers mentioned above. Digital technology has put the indexi- cal relation under strain, because we can no longer know with certainty whether an image is analogue, and thus standing in a factual relation to reality, or digital, made in the computer without an existential relation to reality.Digital images thus create confusion. In semiotic terms they maintain the iconic relation, for they look just like photographs and display a similarity between signifier and signified. But digital images are no longer indexical. This is what happens in Diesels Save Yourself photo series. We see tiny models who look like people (iconic relation), but all the same seem unreal. Their skin is too smooth, the postures too rigid, the warmnesss too glassy. We suspect soon enough that the image has been digitally manipulated, whic h disturbs the indexical relation these are not actual shots of real people. The tension between the iconic and the indexical relationship draws attention to the tension between real and unreal. And this creates a symbolic meaning. Together with the text, the photographs comment ironically on our cultures obsession with remaining foreveryoung. Sometimes the digital manipulation is immediately clear, as in this picture of Kate Moss as a cyborg a cybernetic organism. Because this is clearly an impossible image of a half human / half machine figure, we dont get confused about the indexical status of the photograph.Itssymbolic meaning is immediately apparent, which here too represents a comment on the conventionalized ideal of beauty. It is typical of digital photography to create images of people that are like cyborgs, since many art and fashion photographs in todays visual culture explore the fluid borders between man, machine and mannequin. Looking and being looked at I the voyeuri stic gazeFashion is deeply pick upd with enamoredness and sexuality. To analyse this we can turn to psychoanalysis, which determines how we shape our desires. The most classic model for desire is the Oedipus complex, which regulates how the child focuses its love of the parent onto the other sex and projects feelings of rivalry onto the parent of the same sex. This is more complicated for girls because they at first experience love for the mother and later have to convert this into love for the father, while the boy can continue his love for the mother without interruption.The Oedipus complex is particularly applicable in stories, in both literature and film, but in the fashion world it actually plays no crucial role, and so I wont be going into it any further here. More relevant to fashion is the eroticism of looking. According to Freud, any desire or sexuality begins with looking, or what he calls scopophilia (literally the love of looking). The desiring gaze often leads to touc h and ultimately to sexual activities. Although it has a rather rotten sound to it, scopophilia is a quite ordinary part of the sexual drive. Film theorists were quick to claim that the medium of movie is in fact based on scopophilia in the darkness of the movie theatre we are voyeurs permitted to look at the screen for as long as we like. There is always something erotic in watching films, in contrast to television which does not offer the same voyeuristic conditions since the light is on in the living room, the screen is much smaller and there are all sorts of distractions.Laura Mulvey (1975) was the first theorist to draw attention to the vital role of gender in visual pleasure. The active and passive side of scopophilia (voyeurism and exhibitionism respectively) are relegated to strict roles of men and women. As John Berger, in his famous book Ways of Seeing, had already argued, men act and women appear, or rather, men look and women are looked at. According to Mulvey, this works as follows in classical cinema. The young-begetting(prenominal) character is watching a woman, with the camerafilming what the man sees (a so- called point of view shot). The spectator in the movie theatre thus looks at the woman through the eyes of the male character. The feminine body is moreover cut up into fragments by framing and editing a piece of leg, a breast, the buttocks or the face. The pistillate body is thus depicted in a fragmented way. We can therefore say that theres a threefold gaze that collapses into each other the male character, the camera and the spectator. Mulvey argues that the film spectator always adopts a structurally male position. It is important to realise that the filmic means, such as camera operation, framing, editing and often music as well, objectify the womans body into a spectacle. In Mulveys words, the woman is signified as to-be-looked-at-ness. At the same time the filmic means perk the male character so that he can actively look, spe ak and act. Mulvey takes her analysis even furtherwith the help of psychoanalysis. The voyeuristic gaze upon the female body arouses desire and therefore creates tension for both the male character and the spectator. Moreover, the womans body is disturbing because of its intrinsic difference from the male body. Freud would say the female body is castrated, but we can put it somewhat more neutrally the female body is different. In a society dominated by men, women are the sign of sexual difference. In most cultures, it is (still?) the case that the woman-as-other, namely as other than man, endows sexual difference with meaning. Otherness, strangeness, difference always instils business concern. The otherness of women incites fear in men at an unconscious level and this fear needs to be exorcised through culture, in film or art.According to Mulvey, this happens in cinematic stories in two ways. Firstly, through sadism where the female body is controlled and inserted into the social o rder. Sadism mainly accompanies a story and acquires form in the narrative structure. The erotic gaze oft results in violence or rape. Nor is it accidental that in the classic Hollywood film the femme fatale is killed off at the end of the movie. No happy end for any woman who is sexually active. Only in the nineties is she allowed to live on at the end, like Catherine Trammell in Basic Instinct, or in television series like Sex and the City. The second way of exorcising the fear evoked by the female body is through fetishism. In that case the female star is turned into an image of perfectbeauty that diverts attention from her difference, her otherness. The camera fetishises the womans body by lingering endlessly on the spectacle of female beauty. At such moments the film narrative comes momentarily to a hold. Although Mulveys analysis dates from the seventies, her insights are still of considerable relevance for fashion today. The spectacle of fashion shows is almost totally const ructed around looking at fetishised female bodies. Models have taken the place of film stars as the fetishised image of perfected femininity.Many fashion reportages make use in one way or another of the sexu- alised play of looking and being looked at. However, some things have changed since the time of Mulveys analysis. Feminist admonition has indeed counteracted womens passivity in recent decades, and now we often see a more active and playful role for the female model. not only is the woman less passive, but both fashion and other popular visual genres such as video clips have turned the male body into the object of the voyeuristic gaze. Now the male body too is being fragmented, objectified and eroticised. This is happening not only in fashion reportages but also on the catwalk. It may be interesting for students of fashion to take a closer look at how the male body is visualised, how passive or active the male model is, and how the gaze is supported by filmic or other means. E thnicity also plays a role in the game of looking and being looked at. Stuart abidance (1997) and Jan Nederveen Pieterse (1992) have produced an extensive historical analysis of the way that coloured and black people are depicted in Western culture.Stereotypes are abundant, as in the image of the exotic black woman as Venus or the black man as sexually threatening. There are still very few black models in the fashion world. Again, it may be useful for students of fashion to analyse how ethnicity is visualised because of this long history of stereotyping. Does exoticising the model, for example, emphasise ethnicity? Or does it involve an actual denial of ethnic difference? This happens for example in fashion photos of Naomi Campbell with straight golden hair, or wearing blue contact lenses. Here, the black model has to conform to the white norm of ideal beauty. Looking and being looked at II the narcissistic gaze So far I have been talk of the town about looking at the other, but p sychoanalysis also has something to say about looking at yourself. As a baby you are hardly conscious of yourself, because that self, or in psychoanalytical terminology the ego, still has to be constructed.A primarymoment in ego formation is what Jacques Lacan has called the mirror phase. A second important moment is the aforementioned Oedipus complex in which language plays a major role. The mirror phase, however, precedes language and takes place in the Imaginary, the realm of images. When youre between six and eighteen months, and so still a baby, youre usually held in your mothers arms in front of the mirror. In identifying with its mirror image, the child learns to recognise itself in the mirror and to distinguish itself from the mother. This identification is important for the construction of the childs own identity. For Lacan, it is crucial that this identification is based on the mirror image. He argues that the mirror image is always an idealisation, because the child proje cts an ideal image of itself. In the mirror the child sees itself as a unity, while it still experiences its own body as a formless mass with no control over its limbs. The recognition of the self in the mirror image is in fact a misrecognition. The child is actually identifying with the image of itself as other, namely as a more ideal self that he or she hopes to become in the future. Just check how you look at yourself in the mirror at home in fact you always look at yourself through the eyes of the other.According to Lacan, this is in a certain sense mans tragedy we build our identity on an ideal image that we can never live up to. In his eyes, then, we are always doomed to failure at an existential level. We can take the mirror very literally (it is striking how often mirrors feature in films, videoclips, advertisements and fashion photos), but we can also interpret the process more metaphorically. For instance, the child sees an ideal image of itself reflected in the eyes of it s adoring parents who put him or her on a pedestal for your parents youre always the most beautiful child in the world. And rightly so. When were older we see that ideal image reflected in the eyes of our beloved. We need that ideal image in order to be able to form and sustain our ego. Its a healthy narcissistic gaze that is necessary for our identity. That ego is never finished, however it has to be nurtured and shaped time and time again. And this is helped by internalising ideal images. The analysis of the mirror phase has been applied to many phenomena within visual culture.The film hero or heroine functions as the ideal image with which we identify ourselves. In the fashion world its the models. In fact you could designate visual culture as a whole in this way pop stars, models and actors alloffer us opportunities for identifying with ideal images. Fan culture is largely based on this narcissistic identification. Theres another side to it, of course. In a culture in which you th, fitness and beauty are becoming more and more important, the ideal image becomes ever more unattainable. Many people are no longer able to recognise themselves in that prescribed ideal image and are extremely dissatisfied with their appearance. That then leads to foiling and drastic measures like plastic surgery, or to ailments like anorexia and bulimia. In that case the narcissistic gaze in the mirror falls short of expectations. Looking and being looked at III the panoptical gazeSo far we have mainly been concerned with analysing the desiring gaze the voyeuristic look at the other (the desire to possess the other) and the narcissistic look at oneself (the desire to be the other). It is also possible to make a more sociological analysis of the play of looks in society. This brings us to the historian Michel Foucault, who has made a thorough analysis of how power works. Instead of seeing power as something that the one has and the other lacks, he argues that in modern culture p ower circulates in a continual play of negotiation, conflict and confrontation, resistance and contradictions.Changes regarding power are reflected in language. Whereas you were a victim in earlier days, now youre an expert of experience. In this way you give yourself a certain power, namely the power of experience, even if that experience is unpleasant. One way of shaping power in our modern culture is by means of surveillance, or what Foucault calls the panoptical gaze. He derived this from the architecture of eighteenth-century prisons which had a central tower in a circular building with cells. A central authority, out of sight within the tower, could observe every prisoner in every cell. The prisoners were also uneffective to see each other.The panoptical gaze means that a large group of people can be put under constant moderate and scrutiny, while they cannot look back. In this way, says Foucault, they are disciplined to behave properly. Today the role of surveillance and mo nitoring has been taken over by cameras. Everyone knows there are pledge cameras guarding our and your property in the street, in stations and supermarkets, in buses and trams and in museums. The knowledge that we are constantly and everywhere being watched by ananonymous technology perhaps gives us a feeling of security (or the illusion of security). What is more important is that the panoptical gaze disciplines us to be orderly citizens. A large degree of discipline emanates from constant observation. Just as with Lacans mirror phase, we can interpret the panoptical gaze more metaphorically. It is not only security cameras that are creating a panopticum, but also the ubiquitousness of media such as television and the Internet. Crime watch programmes show us images from surveillance videos in order to catch villains, while reality programmes reveal how our fellow citizens commit traffic offences.Satellites orbiting in space keep a permanent eye on us. spry telephones are normally equipped with GPS (Global Positioning System) and always know where we are to be found. When I was on holiday in Italy, my mobile phone sent me messages like you are now in Pisa, where you can visit the Leaning Tower or you are now in Piazza Signoria in Florence did you know that Michelangelos David and so on. For a moment I was that little girl again who knows that God is always watching over her. But divine ubiquitousness has now been replaced by an anonymous, panoptical gaze. Our surfing behaviour on the Internet and our purchasing behaviour in the supermarket are registered in the same way. We can bring these three ways of seeing together. With the voyeuristic gaze we discipline the other we all know that secret look which we use to approve or scorn of someone at a glance. With the narcissistic gaze we discipline ourselves, through the wish to fulfil an ideal image. By internalising the panoptical gaze we discipline our social behaviour, as well as our bodies.Fashion plays an important role in this complicated play of gazes. You only have to wander around any rail playground or look around you in the street to realise how fashion determines whether someone belongs or not, what the ideal images are, and how groups keep an eye on each other, disciplining each other as to correct clothing. Through clothing I can make myself sexually attractive for the voyeuristic gaze of the other. Or I can subject the other to my voyeuristic gaze if I find their body and clothes attractive. I can use clothing to construct my own identity and emanate a particular ideal image. But fashion is more than just clothing. Fashion also dictates a specific ideal of beauty. That beauty myth determines how we discipline our bodies, for example by subjecting them to diets, fitness, beauty treatments such as waxing, depilation, bleaching andeven to plastic surgery. In short, fashion ultimately affects the body too. We see an example of that in the digital photo series Electrum corpus by Christophe Luxerau, which shows us how fashion is literally engraved on the skin the logo has become our skin. BibliographyOn postmodernismBaudrillard,Jean.5/w/ai/ow5. New York Semiotext(e), 1983. Braembussche, A.A. van den. Denken over kunstEen inleiding in dekunstfilosofie. 3rd, revised ed. Bussum Coutinho, 2000. Docherty, Thomas, ed .Postmodernism A reader. New York Columbia University Press, 1993. Jameson, Fredric. Postmodernism, or the cultural logic of late capitalism. capital of the United Kingdom Verso, 1991 Lyotard, Jacques. The postmodern condition. 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Explore the presentation of Heathcliffs Essay

Explore the presentation of Heathcliffs journey in Wuthering Heights, in the light of the redness Perspective. In Wuthering Heights, Bronti shows Marxist views that it is non the consciousness of men that determines their existence, but their social existence that determines their consciousness. Bront? first create her text in the form of a reinvigorated in 1847.During this time England was influenced by Marxs ideas, socialists in England held a conference in London where they create a new organisation called the Communist League, the aims of the organisation being to overthrow the old bourgeois society based on class antagonisms and to the establish a new society without classes and without private property. Despite England being influenced by Marx ideas at the time, Bront?created Wuthering Heights a mix genre novel with themes such as national realism, tragedy and gothic love, which were very much open to critic and discussion at the time. This shows the extent to how she was much stipulated in her ideas and then Wuthering Heights might not take a leak been influenced by the Marxist ideas at the time. When Heathcliff enters in chapter four with no social or domestic status, emphasised by his gibberish that nobody could empathize suggesting his lack of social skills and ability to communicate his lingual acquisition depends on his surroundings.Miles bank lines how rather than a dual function there is an oscillation resulting in the have-to doe with never satisfactorily serving him either way, when he enters his name serves him as both his Christian name and surname immediately setting him as an outsider and determining his role because he does not embody conventions of society. Victorian Society was organised such that the base of the society determines its super building, everything associated with culture education, law, religion and the arts but because Heathcliff is not an Earnshaw his status means he basinnot accession this cultural prudenc e and he is ultimately rejected.His name therefore presents his inability to gain access and the extent of his exclusion, as Miles notes is a constant reminder of the unsatisfactory fit between himself and the codes of a society denying him incorporation. It is his status and his social existence that therefore does determine his consciousness. Bronti creates suggested possibilities that cannot ultimately be realised when Heathcliff first enters he is referred to as landlord, yet is not given the opportunity to live on an Earnshaw.Also, as Gilbert and Gubar note smashing Catherines rival-brothers fiddle and making a desirable third among the children in the family so as to insulate her from the pressure of her brothers domination, this shows the possibilities that Heathcliff might have been able to integrate into the Earnshaws and therefore society in turn becoming Catherines chance for freedom from strict social structure, but because of the base structure of the Victorian Society he is rejected.Perhaps the smashing quote from Gilbert and Gubar refers to the three thrashings Heathcliff had to endure, foreshadowing the idea that the moreover way he can become part of Victorian Society is in a destructive way. The first reason why possibilities cannot be realised is that Heathcliff is learning his social position Mr Earnshaw calls him poor, p bentless child, Heathcliff is constantly made to perceive himself as poor, these social circumstances determine why Heathcliff is graded into the servant quarters and therefore kept describe from social events by Hindley, who is in power after Mr Earnshaw dies.Heathcliffs access to the superstructure of Victorian society becomes limited, and even though Heathcliff bore his degradation well this heightens his wisdom of himself as someone in need of charity, making him susceptible to charity or abuse. Perhaps the possibilities might have been realised if Catherine hadnt accessed Thrushcross Grange a place carpeted with crimsonpure white ceiling bordered with gold, suggesting Thrushcross Granges wealth, status and a place that epitomises gentry and reflecting the Victorian connection of wealth and heaven. When Catherine is taken to Trushcross Grange she is introduced to a new social status, where she has combed her beautiful hair and pair of enormous slippers, we see how her consciousness has now changed as she has been introduced to Victorian Societies superstructure.It is only until this integration into the Heights that Catherine realises Heathcliff is not adequate for her. She is enabled access to the Heights because of her name and its association with economic position. Heathcliff is a gypsy and by putting up the shutters, curtains half(prenominal) closed while Heathcliffs looking through the window panes shows how the barriers symbolise Brontipresenting the strict Victorian Society which denies Heathcliffs access to culture and education. Trushcross Grange becomes somewhat of a Victorian s ocietys ideal, a materialistic ideal. Catherines awareness of her social existence results in her new perception that she cannot marry Heathcliff because if Heathcliff and I married, we should be beggars Even though he is her authentic love and she hints at Heathcliff and her being inseparable she does not follow through.She has already chosen to marry Edgar and so the novel can be read from a Marxist perspective as Catherines outlook in marrying Edgar is materialist as she thinks about social reasons and survival, as remote to the idealistic perspective. Bronti shows how Catherine is affected my material circumstances reflected when she says she will be queen of the neighbourhood and does not chose Heathcliff, who can be seen as a symbol of her freedom.However, it can be argued that she never has a choice between the two as the way she is set to think is largely conditioned by the way the economy is organised. Bront? presents through the novel how this economy determines the super structure and therefore even though Heathcliff stands for Catherines freedom it is Victorian societys mentality that means people carry on ignorant of Heathcliffs potential goodness, who is instead driven away because he does not have the capital (money) or culture (education) to support her.So, Catherine probably is proficient in saying they would be beggars. It is their social circumstances that have determined much of their life and results in Heathcliff running off. Bront? creates this gap in the novel where we are unaware of Heathcliffs situation which effectively creates a sense of mystery around Heathliff and and forms tension until his return, even if it be full of vengeance.