The Revolutionary War and the War of 1812 essays

The Revolutionary War and the War of 1812 essays The Revolutionary War in 1775 and the War of 1812 are both similar and at the same time different. The Revolutionary War and the War of 1812 are similar in that, they both were fought mainly by the British and the North American colonist. At the same time, the two wars are different because they were influenced by different factors. As soon as the colonist got settled in North America, Britain began interfering with economic and political affairs of the colonies. Laws such as the Quarterly Act were examples of Britain influencing in the political affairs. Laws such as the Stamp Act were examples of economic interference in the colonies. The colonists were outraged by such events and started to rebel against their mother country. Soon people began to boycott British goods, which aggravated the situation even more. After the several boycott attempts, such as the Boston Tea Party incident, an event in time known as the Boston Massacre occurred. Though only a few people were killed, it was much exaggerated. Soon enlightened ideas were spread throughout the colonies. Ideas like, natural rights, encouraged people to break off from England. To ensure the majority of the colonial citizens, colonial leaders brought in an English writer named, John Locke, to write a pamphlet to encourage nationalism and to break off fro m the British. In 1775, The North American colonist and the English engaged in a massive war in North America to determine who would control the thirteen colonies. Future political leaders such as Washington, Hamilton, Jefferson, and Adams bravely led the Minute Men. Many battles were lost, and many were won. Battles such as the Battle of Saratoga, and Bunker Hill, helped inspire the colonists to keep fighting the British and eventually defeating the British. When the Revolutionary War was over, the colonies were in a high state of nationalism and were in a huge debt to others. At the same time, the Rev. War had many positiv...

Biography of Francesco Clemente, Neo-Expressionist Artist

Biography of Francesco Clemente, Neo-Expressionist Artist Francesco Clemente (born March 23, 1952) is an Italian artist most closely associated with the Neo-Expressionist movement. His work reacts against Conceptual and Minimalist Art by returning to figurative ideas and techniques from the past. His work is influenced by other cultures, most strongly that of India, and he frequently collaborates with artists and filmmakers. Fast Facts: Francesco Clemente Occupation: ArtistKnown For: Key figure in the Neo-Expressionist artistic movement Born: March 23, 1952 in Naples, ItalyEducation: University of RomeSelected Works: Name (1983), Alba (1997), The Sopranos (2008)Notable Quote: When I look at a drawing of a person, I look at that person as living. Early Life and Career Born into an aristocratic family, Francesco Clemente grew up in Naples, Italy. He studied architecture at the University of Rome. He has spoken about a philosophical crisis that he experienced as a student. He felt deeply the fact that all people, including himself, would eventually die, and he believed he had no specific separate identity or consciousness from others. He said, I believe there is such a thing as an imagination shared by the different contemplative traditions. Self-Portrait (1991). Sally Larson (CC BY-SA 3.0) Clementes first solo exhibition took place in Rome in 1971. His works explored the concept of identity. He studied with Italian conceptual artist Alighiero Boetti and met American artist Cy Twombly, who lived in Italy. Boetti and Clemente traveled to India in 1973. There, Clemente encountered the Indian Buddhist concept of anatman, or lack of self, which became a central thematic element in his work. He opened a studio in Madras, India, and created his 1981 series of gouache paintings titled Francesco Clemente Pinxit while working with painters in the Indian states of Orissa and Jaipur. In 1982, Clemente moved to New York City, where he quickly became a fixture of the art scene. Since then, he has lived primarily in three different cities: Naples, Italy; Varanasi, India; and New York City. Neo-Expressionism Francesco Clemente became part of what was known as the Transavanguardi or Transavantgarde movement among artists in Italy. In the U.S., the movement is considered part of the broader Neo-Expressionist movement. It is a sharp reaction to Conceptual and Minimalist Art. The Neo-Expressionists returned to figurative art, symbolism, and an exploration of emotions in their works. Neo-Expressionism emerged in the late 1970s and began to dominate the art market for the first half of the 1980s. The movement received sharp criticism for the omission or marginalization of female artists in favor of all-male shows. Clemente was at the center of sometimes-heated discussions about Neo-Expressionism and its authenticity. With its relative lack of political content, some observers criticized the movement for being inherently conservative and market-focused instead of concerned with the creation of art itself. Clemente responded that he didnt feel it was necessary to tamper with reality in his work and said that he preferred to present the world as it truly exists. One of Clementes best-known Neo-Expressionist works is his 1983 piece entitled Name. The vividly-colored painting depicts a man, who looks similar to Clemente, staring out at the viewer. There are small versions of the man inside his ear, eye sockets, and his mouth. Another significant portrait in Clementes career is his 1997 painting titled Alba, featuring the artists wife. She is a frequent subject for his paintings. In the portrait, she is reclining in a slightly uncomfortable pose. The image feels like it is squeezed into the frame, giving the viewer a claustrophobic sensation. Many of Clementes portraits have a similarly distorted, almost uncomfortable style. Collaborations In the 1980s, Francesco Clemente began a series of collaborations with other artists, poets, and filmmakers. One of the first of those was a 1983 project with Andy Warhol and Jean-Michel Basquiat. The artists each began their own individual paintings, then swapped so that the next artist could add their own content. The result was a series of canvases full of dramatic flourishes that are instantly recognizable as belonging to an individual artist; these flourishes collide into and overlap each other. In 1983, Clemente began his first project with poet Allen Ginsberg. One of their three collaborative works is the book White Shroud, with illustrations by Francesco Clemente. In the 1990s, Clemente worked with the poet Robert Creeley on a series of books. Another joint project was Clementes 2008 work with New Yorks Metropolitan Opera. He first worked with the renowned opera company when he created a large banner for the Philip Glass opera Satyagraha. Later in the year, Clemente created a series of paintings called The Sopranos: portraits of the divas featured in the Metropolitan Operas 2008-2009 season. They were created over a four-month period and featured the singers in their stage roles. Film and TV Appearances Francesco Clemente began his association with the film industry in 1997, when he made a cameo appearance as a hypnotherapist in Good Will Hunting. In 1998, Clemente created approximately two hundred paintings for director Alfonso Cuarons adaptation of Charles Dickens classic Great Expectations. In 2016, Clemente appeared in a film by independent writer, director, and actor Adam Green titled Adam Greens Aladdin. In the reworking of the Arabian Nights story, Aladdins dysfunctional family lives in an average American city ruled by a corrupt sultan. Francesco Clemente appears as the genie, Mustafa. Clemente is a frequent subject of TV interviews. One of the best-known is an extended interview with Charlie Rose in 2008 from his self-titled PBS show. Legacy and Influence Clementes work often defies specific characterization. Although he uses figural techniques associated with Neo-Expressionism, his pieces are not always intensely emotional in content. He eagerly embraces inspiration from artistic traditions other than his own. He encourages other artists to experiment boldly with media and techniques that are new to them. Travels, everyday life, and study in India heavily influence Francesco Clementes work. He has avidly studied Indian spiritual texts, and he began studying the Sanskrit language in New York in 1981. In 1995, he took a trip to Mount Abu in the Himalayas and painted a watercolor a day for fifty-one consecutive days. The Solomon R. Guggenheim Museum in New York City organized a major retrospective of Clementes work in 2000. Another retrospective at the Irish Museum of Modern Art in Dublin followed in 2004. Source Dennison, Lisa. Clemente. Guggenheim Museum Publications, 2000.

Causal Argument, Nouri Al-Maliki Essay Example | Topics and Well Written Essays - 1000 words

Causal Argument, Nouri Al-Maliki - Essay Example minister has a lot of support for him but there is an equal number of people who are against him and now raising their voices against the decisions taken by him. Mr. Maliki was elected as the prime minister of Iraq after the end of Saddam Husain’s regime by US. The reason of electing him as the Pm of the country and selecting a person as the speaker of parliament from another sect was to create a government that is represented by all. But, the decisions of the PM just when the American armies were leaving the country for a better good have once again raised questions on the future of the country and its people. The main question raised by the people of Iraq and many international authorities is: â€Å"Are the actions of Prime Minister leading Iraq to a civil war?† It was on the eve of celebrating a free Iraq when the three main leaders of the opposing party were house arrested on the orders of the prime ministers. The charges on them were of aggravating terrorism in the country. The charges on them looked absurd and although confessed by them on national tv they were proved to be manipulated and the confession was also proved to be due to torture. When all these charges were proved wrong, a large question arose on this action of Mr. Maliki that what was the need of such an abrupt action the main leaders of his opposing party when the country is still trying to get out of a major crisis. The leaders were of iraqqiya Coalition and also the current Vice President, Finance Minister and Deputy prime Minister. The iraqqiya coalition is an important of the country and the vice president Tariq al Hashmi also took more votes than the prime minister in the elections of 2010. This action of the prime minister against three important politicians of the c ountry could lead to the instability of the government and surely the country to a civil war. As we all have been observing that after the American army left Iraq, a series of bombings has started in many important cities

Position paper Essay Example | Topics and Well Written Essays - 1000 words

Position paper - Essay Example The scientific community has conducted many studies that have shown that not only are men and women conditioned differently, but that these differences are often inborn. The human brain is, from birth, â€Å"masculine† or â€Å"feminine,† which is to say that there are various differences between the brains of the two sexes that result in their different development and behavior. Such differences were caused by evolution in a bid to help the sexes perform the different roles they had to play, and since the gender defined roles have only just begun to be questioned, it is not right to expect evolutionary changes occurring in our brains just yet. The MRIs (Magnetic Resonance Imaging) and PET scans (Positronic Emission Tomography) done on human brains have made it clear that â€Å"the male and female brain are ‘male’ and ‘female’ regardless of the culture or the continent on which the men and women are raised† (Gurian 6). These differences are not limited to the brain alone; there are physical and hormonal differences between the two sexes that cannot be denied at all. Therefore, it is very hard, not to mention unrealistic, for someone in a relationship to expect their partner to behave and act like them. These differences cause both men and women to enter into a relationship with different expectations and aspirations. This is where the relationship can, and often does, go awry; often both the man and the woman do not understand that they are essentially different beings and, hence, have different needs from a relationship. In the relationship both of them give to the other what they want for themselves, without considering the fact that since both of them are tuned differently, it is only natural that both of them would want different things from each other. Men usually want sex more than women, for instance; Gurian asserts that it is because at ejaculation the level of oxytocin (or the bonding chemical) in their br ain reaches a high level, thus helping them bond with the person they are having sex with (110). It is perhaps because of this reason that the women often get confused when the man seems completely in love with them during sex, but withdraws afterwards, or does not seem connected at all. Interestingly enough, women have the same level of oxytocin normally, which man attain at ejaculation. The fact that there are higher oxytocin levels in women’s brains than in men’s (sometimes ten times higher), proves that it is a natural impulse for the women to â€Å"tend-and-befriend† (Gurian 12). This results in the woman being perceived as â€Å"too clingy† by the man, whereas the man seems â€Å"too aloof† from the relationship, hence, more resentment and creating rifts between the two is caused. These differences result in, as per Gray, men and women having a different approach to their relationship. Often, both the sexes do not realize that, thus, the chan ces of them having a mutually fulfilling and loving relationship are reduced substantially, where they engage in many an argument. Men function spatially and women function verbally, it is no wonder that men do not engage in conversations unless and until it is required. Women, on the other hand, need to verbally lay out everything and thus connect/bond with the other person. It is very frustrating for a woman to get her man to talk to her when he is going through some

Reading Kafka Essay Example for Free

Reading Kafka Essay Reading Kafkas The Trial, especially for the first time, we often experience a blend of precision and obscurity; words, sentences, and single events are clear in themselves, but are linked to each other in ways we cannot always grasp. The blend of precision and obscurity is one of the most remarkable aspects of the style in which The Trial is written. The device is used constantly and consistently throughout the novel, and we assume that it is used like all other stylistic devices, i. e. to throw an aspect of the novel into relief. In an attempt to determine, if possible, what this aspect is, follows a detailed analysis of two paragraphs on pages 159 to 160 that I deem to be characteristic of the blend of precision and obscurity. In the two paragraphs, detail and precision interact with each other to produce a blend. Almost all descriptions are quite in depth, such as the description of the old woman wrapped in a warm shawl, yet these detailed descriptions are not connected with anything else in the book. The old woman does not reappear anywhere else in the book, and no symbolism, hidden meaning or reference becomes apparent after having analyzed the description. In more conventional novels, almost every character that appears is in some way, whether clear or obscure, connected with the main plot or a sub plot. Not so with The Trial. The old womans importance and connection, if indeed there is one, remains open to speculation: perhaps she belongs to the court, perhaps the scrap of what looked like carpet that K sees in the same paragraph comes from her warm shawl, perhaps this enigma is simply a device used by Kafka to confuse the reader. The possibilities and perhapses stretch on into infinity until they are lost in the obscurity of the cathedral. Kafka describes an object, person, or concept in great detail, with very few omissions in order to give the described every semblance of reality, but the meaning of the described is left completely open to the reader. This is the particular blend which casts its mottled shadow on the novel. A possible interpretation of this presence of this blend would be to say that it serves to give the novel a dreamlike, surreal quality. One knows from ones own dreams that certain aspects remain crystal clear in our memory, yet one can almost never remember for sure what the aspects role in the dream was. It is the same way with the blend: an aspect may be clear, but the rest is hazy. Supporting this interpretation would be the fact that K cannot read: he opens his album and looks through the pages for a while, probably only looking at the pictures without reading the text, and eventually has to stop this futile exercise ostensibly because it is too dark. The dream interpretation would also explain the randomness of events, objects, and people. Since the subconscious is left to work unrestricted in dreams, the products can be quite random and utterly impossible to link together or make sense of using logical means. The blend could also be viewed as a method to accentuate the confusion and plunge the reader yet deeper into the obscurity. In the second paragraph, when the candles have been lit, Kafka states that the candles only made the darkness more intense. If the candles and light are taken to represent precision and the darkness obscurity, then Kafka is clearly showing why he has worked the blend in to the novel. It is impossible to judge anything unless one compares it to something else. It is by contrast that we determine what is what. If one is constantly in the dark, one will not consider it dark, because one has become accustomed. Perhaps the candles of precision are there to throw the confusion and the haziness into sharp (or hazy? ) relief. Kafka only allows in any light so that the reader can see that he is bathed in darkness and confusion, and be attracted to the light. However, when the reader reaches the light he realizes the light is hollow as well: it is only aesthetically different from the darkness. In the second paragraph Joseph K. examines an altarpiece with his electric light. K. sees a Knight and looks at it for a considerable period analyzing it in detail without really understanding what the Knight is doing, nor why he was there. However, when K. shifts his light to see the rest of the picture, he realizes that the Knight is only a small piece of a conventional treatment of Christs burial. The parallel between K. and the reader is too strong to be overlooked. The reader, while reading the book, is looking through it one page at a time, attempting to analyze details and connect events. It is as if we too are looking at disconnected close-ups of a large picture. Like a picture, the events in the book are non-linear. They can be read any which way and in any order and still retain the same meaning. Kafka is essentially telling us as readers that we ought to shift our lights as K. does so that the whole of the picture is lit. If the reader focuses solely on one precise aspect, the rest of the picture is bathed in obscurity. Kafka, through the device of precision and obscurity, is telling the reader to take a step backwards and view the novel not as a succession of events like other conventional novels, but rather like a picture, where ones eyes and thoughts may rove freely along any lines that they choose. Only then will the whole come into focus. With reference to the last paragraph, I have been guilty of doing exactly what Kafka tells us not to do: i. e. analyzing in detail a small part of the text. Thus any conclusion that I may draw from these paragraphs alone are bound to be erroneous. However, draw a conclusion I will. I believe the blend of obscurity and precision is used to immerse the reader completely into the confusion of the text while at the same time advising the reader to take a step backwards. Given Kafkas rather eccentric sense of humor, I think it is quite possible that he believed pulling the wool over the readers eyes was uproariously funny, especially when the wool has directions telling how to lift the wool sewn on the inside, where it is too dark to see.

Anglo-Saxon Ideal Code of Conduct :: Beowulf Epic Poems Anglo-Saxon Literature Essays

Anglo-Saxon Ideal Code of Conduct The epic poem of â€Å"Beowulf† presents the characteristics of two heroes, Beowulf and Hrothgar. During this Anglo-Saxon time period, Hrothgar rules as the king of his Danish lands. However, this king faces many problems due to the disturbances of a monster known as Grendel. As an Anglo-Saxon warrior of the time, Beowulf hears of this creature and journeys through the hero's path to kill Grendel. Through this journey, Hrothgar and Beowulf reconstruct the code of conduct of an ideal Anglo-Saxon king and warrior. The Danish lands of the time are ruled by Hrothgar, a respected and generous king. These qualities of character were admired by the people of his time and place. All people of Hrothgar's kingdom respected this king, and they all accepted his â€Å"very word far and wide as a command.† The people also give him great titles such as the â€Å"Lord of the Mighty Danes,† â€Å"guardian of the Scyldings,† and â€Å"protector of warriors.† Much of these people's respect come in response to Hrothgar's generosity to everyone. This generosity can be seen towards Beowulf, when the king gives his thanks for the heroic deeds of the warrior. Hrothgar rewards Beowulf with priceless material as he says to the warrior, â€Å"You shall lack no earthly riches I can offer you.† The people of the land also trust their king, who holds a strong belief in God. In the scene where Hrothgar celebrates Grendel's death, he holds the monsters hand as he says, â€Å"Let us give thanks at once to God Almighty for this sight.† The followers of the king both respect and trust their ruler, and through his generosity and strong trust in good, Hrothgar displays the ideal code of conduct for an Anglo- Saxon king. Another epic hero that has qualities that follow the Anglo-Saxon code of conduct is Beowulf. This warrior, known to be the â€Å"strongest man alive,† leaves for a heroic journey when he hears of the evil Grendel. He first shows his strength and bravery when he sets sail to assist Hrothgar in defeating Grendel after hearing news of the creature in his own land. Beowulf is constantly referred to as brave, such as when he defeats Grendel, and Hrothgar must reward him for his heroics. As the â€Å"brave man moved forward until he stood immediately before the Danish lord,† Hrothgar says, â€Å"I will reward this brave man with treasures.† The unbeatable strength of Beowulf shows during his confrontation with Grendel, when the monster instantly realizes that â€Å"never had he met any man

Heroism Redifined: Lord of the Rings

Heroism redefined Lord of the Rings J. R. R. Tolkien Tolkien’s Lord of the Rings trilogy, offers the reader a truly compelling picture of the world of Middle-earth. The author, in great detail, depicts a complex reality which abounds in a whole variety of creatures, cultures, languages and histories. If we take a closer look on Tolkien’s masterpiece we will easily notice a complexity of themes, motifs, symbols which add to the semantic richness of the text. It is necessary to mention that Tolkien was considerably influenced by the literary tradition.Fascinated by literary genres such as a heroic epic, a chivalric romance or a fairy tale Tolkien skillfully weaved many characteristic conventions of these genres in Lord of the Rings. Among many other features drawn from the literary tradition the theme of heroism occupies a prominent position in Tolkien’s trilogy. On the one hand Tolkien follows a well known model of a courageous epic hero, but on the other hand he operates with the theme in an innovative way.Apart from a careful depiction of a well known image of noble heroism typical of great figures of historical significance such as Aragorn, the novel surprisingly offers a completely new image of heroism which is represented by small hobbits. Providing at the same time two parallel faces of the concept, Tolkien significantly changes and challenges the traditional meaning of heroism and, as a consequence, significantly enriches the literary tradition. A significant part of the trilogy is devoted to the deeds of great Men such as Aragorn.Drawing extensively on the tradition of heroic epic and chivalric romance Tolkien presents a powerful image of a knightly hero full of noble virtues. Aragorn is a â€Å"born hero† – a true heir to the throne of Gondor, â€Å"born to achieve great deeds in his time† (Zimmer Bradley 83). He is a courageous man of action, endowed with physical strength, who combats evil, brings order and re stores peace. Respected and admired by other characters, Aragorn is a hero of indomitable spirit who never commits mistakes and always serves as an epitome of bravery and virtue.Although Aragorn is one of the most prominent characters in the trilogy, the most important mission, to destroy the malevolent Ring, falls upon a completely different figure. The future of the whole Middle-earth does not depend on noble Elves or brave Men or even strong Dwarves but lies in the hands of the seemingly weak and insignificant hobbits (Gulisano 131). Tolkien’s surprising choice falls upon small and rather funny creatures which, in fact, do not really have any particular achievements. Though small and weak, it is Frodo and his faithful servant Sam who are burdened with an extremely difficult task.Contrary to all expectations Frodo is chosen to carry the ring: â€Å"You may be nobody in particular in yourself, yet for some inexplicable reasons, through no choice of your own, the Ring has co me into your keeping, so that it is on you and not on Gandalf or Aragorn that the task falls of destroying it† (LotR, I, 284) At first the small hobbit is full of doubts. He is neither a great wizard like Gandalf to plan the strategy of war against Sauron, nor Aragorn, an outstanding warrior who is destined to be the leader of the army of Gondor. Yet, the Ring has clearly chosen the hobbit.Unlike other significant figures of the trilogy Frodo has â€Å"heroism thrust upon him† (Zimmer Bradley 84). In contrast with Aragorn, Frodo is not born to gain glory, yet through experience and ability to endure hardships he finally rises to heroism. Though hesitantly, Frodo humbly accepts the task: â€Å"’I will take the Ring,’ he said, ‘though I do not know the way. †(LotR, I, 284) Even though Frodo would rather â€Å"stay at home than risk my life on the very slight chance of winning glory† (LotR, I, 284) eventually he resigns from his own comfor t and safety and full of hope takes up a dangerous journey to save the world of Middle-earth.During the journey he often trembles, regrets his lot and wonders why he was burdened with such an enormous load, still he manages to remain faithful to the mission till the very end. Deciding to carry the Ring Frodo starts to follow a path full of sacrifices and pain. As the Ring bearer he is forced to put up a constant resistance to his own ambitions and desire for power (Bramlett 70). Frodo undeniably becomes a hero of the story. Though he actually fails at the very last moment of his mission – he yields to the temptation and wants to posses the Ring for his own- the quest is still completed and Frodo returns covered in glory.However, as Frodo rather reluctantly accepts the heavy burden of the unusual quest there is another character who follows the same path on his own free will and without complain. Sam, Frodo’s devoted servant, becomes an unrecognized hero of the story, w ho bravely accompanies and supports Frodo till the very last stage of their journey. He is the one who cares even less for glory and heroic deeds. His only wish is to protect his master and follow Frodo even if it means death. (Zimmer Bradley 84) Throughout the story Sam undergoes perhaps the most significant development.He starts out as a minor character. Even Sam describes himself as a â€Å"luggage in a boat†. He is a rather comic and childish character hardly adequate for such a grand enterprise (Purtill 89). Although at first he displays a sort of a limited perception, which is not unusual for a hobbit – he can be very practical at times – â€Å"his mind was slow but shrewd† (LotR, II, 625). In the course of the novel Sam gradually takes more and more responsibility and acquires such importance that without him the quest would be unfulfilled.Sam seems to be a typical hobbit servant, yet Tolkien endows him with certain features which differentiate him from the traditional literary servants. This peculiar hobbit is endowed with a sort of curiosity which is quite unique for a hobbit. He is fascinated with Elves and dreams about an opportunity to meet them one day. He is much more open to the new ideas and experiences than a typical hobbit (Purtill 90-91). What is more, Sam is also aware of his own limitations. He usually depends on the opinion of others, as he is not able to decide on grand matters: â€Å" I hope that the master will think it out carefully.He’s as wise as any, but he’s soft-hearted, that’s what he is. It’s beyond any Gamgee to guess what he’ll do next† (LotR, II, 625). Moreover, Sam is also endowed with a significantly greater independence than a typical servant (Purtill 90-91). When Frodo decides to abandon Shire alone, without any support of his friends, Sam reveals Frodo’s plan to Pippin and Merry in order to protect his master. On another occasion he disobeys Ar agorn and secretly follows Frodo on the further journey without informing the rest of the fellowship. When his master comes at stakeSam is able to do absolutely anything. Above all else, Sam characterizes an enormous devotion, selflessness and love for Frodo. His care for his master is truly incomparable: â€Å"It is hardly possible to separate you form him [Frodo], even when he is summoned to a secret council and you are not† (LotR, I, 284). Throughout the story signs of Sam’s love for Frodo can be frequently encountered: â€Å"Sam came in. He ran to Frodo and took his left hand, awkwardly and shyly. He stroked it gently and then he blushed and turned hastily away. † (LotR, I, 237) His love for Frodo is immense.He is totally selfless and ready for sacrifices for his master. His devotion is best portrayed in the last stage of the quest, when the fellowship is broken and the two hobbits continue their dark journey to Mordor all by themselves. As Frodo, due to the malevolent power of the Ring, gradually becomes both physically and mentally weaker, Sam becomes an actual guide and protector. He deals with the practical aspects of the journey and combats various obstacles throughout the way. Gradually Sam becomes less comic and much more doughty.Along with their approaching the gates of Mordor Sam is significantly gaining importance and becoming a truly mature character. When the two hobbits are just one step form completing their mission of destroying the Ring everything is almost ruined due to Gollum’s betrayal. Sam and Frodo are attacked by a giant spider Shelob. Frodo is wounded in the combat and Sam is convinced that his beloved master is dead. Though terrified and totally miserable he does not turn back. He feels an obligation to continue the quest. As soon as he realizes that his master is still alive he rushes to rescue Frodo.As for the time being he carries the Ring, and just like Frodo and others he is subject to the great temp tation. On this stage of the journey ominous power of the Ring is the most dangerous and the temptation is respectively stronger. The Ring plants in Sam visions of himself as a great warrior: Samwise the Strong. Hero of the Age, striding with flaming sword across the darkened land, and armies flocking to his call as he marched to overthrow of Barad-dur. And then all the clouds rolled away and the white sun shone, and at his command the vale of Gorgoroth became a garden of tress and brought forth fruit.He had only to put on the Ring and claim it for his own and all this could be. In that hour of trial it was the love of his master that helped most to hold him firm; but also deep down in him lived still unconquered plain hobbit-sense: he knew in the core of his heart he was not large enough to bear such a burden, even if such visions were not a mere cheat to betray him. The one small garden of a free gardener was all his need and due, not a garden swollen to a realm; his own lands to use, not the lands of others to command. And anyway, all those notions are only a trick,† he said to himself. (LotR, III, 880-881) Sam is saved by his great love for his master and his extraordinary common sense combined with modesty and humility. Deep down he realizes that the vision of himself as a great warrior is ridiculous. The illusion, in fact, does not even constitute a dream that he aspires to. Sam is aware that he is not meant to be a grand hero. He knows perfectly well that his true vocation is to be a humble servant and this is exactly what makes him happy.The great trial Sam is subject to requires from the little hobbit a great deal of common wisdom and strength. Sam who at first seems to be a rather weak and at times an irritating character demonstrates strength which can be compared to the one of Galadriel or Gandalf. He is not only able to resist the temptation, but also to return the Ring to Frodo without hesitation. Sam displays enormous grandeur. At this poi nt he presents more heroism than for instance one of Tolkien’s classic heroes Bromir for whom temptation turned out too great to resist.As one of the critics rightly suggests: â€Å"He [Sam] exhibits concrete wisdom rather than abstract reasoning, finds relationship more important than objects, is supportive, nurturing, and self-sacrificing. † (Purtill 95) Tolkien seems to suggest that these are the features that account for true heroism. Thanks to Sam the quest can be completed. He supports Frodo emotionally till the very end and even literally carries him to the Mount Doom when the latter is physically unable to reach the destination.At the last stage of their journey Frodo is so debilitated by the power of the Ring that he is practically unable to think clearly. All his powers are focused on resisting the temptation of putting the Ring on the finger. Form now on the success of the mission depends on Sam. At this point, the development of Sam is clearly visible. He r ealizes that the mission has to be completed, that they must do everything in their power to end the task. He knows that they have reached a point from which there is no return.Though, he is convinced that there is no hope for them and they are doomed to death, he still manages to follow once entrusted mission. Sam becomes an undeniable hero of the story. Though he does not acquire a sort of glory that Pippin and Merry achieve on a battlefield, still he does acquire the necessary virtue and wisdom to eventually become the leader and the ruler of the hobbits – the Mayor of the Shire. Lord of the Rings, among many other beautiful and complex images, provides one of the most extraordinary and memorable depictions of heroism.Greatly influenced by the literary tradition, Tolkien both follows and modifies the concept of heroism and consequently provides the reader with two faces of this traditional notion. Tolkien emphasizes a number of features characteristic for a heroic epic and a chivalric romance. Features such as courage, fortitude, nobleness and honour can be found in several prominent figures in the novel. One of the most distinct examples, personifying all these virtues, is to be found in Aragorn. He is a classic hero, descendant of the line of kings, great warrior, the one who restores peace and brings back justice.Aragorn is the rightful heir to the throne who bravely struggles with the forces of evil and at the end triumphantly comes back to his kingdom and marries Arwena – Elf princess. Aragorn embodies all features typical of a truly heroic character in the traditional sense of the concept. However, the author does not only provide the reader with a well known model of heroism based on strength and courage. The novel presents a new surprising aspect of this concept and at the same time establishes a modern, innovative definition of the notion.In the course of the novel the reader is exposed to a very peculiar juxtaposition of characters. Next to such heroic figures as Aragorn Tolkien places queer, little, funny hobbits. It is Frodo and his devoted servant Sam who become true heroes of the story. If it had not been for their simplicity, ordinariness, lack of violence and ability to self-sacrifice the whole Middle-earth would be seized by the forces of evil. Frodo and Sam represent ordinary, insignificant figures who through their selflessness, loyalty and love for friends are brought to the heroic glory.Realization of their own limitations, common sense and modesty prevents them form mistakes that other characters are prone to commit. Hobbits represent the kind of courage exhibited by an ordinary person, who rises to heroism in the face of challenge (Purtill 77). Their courage is moral as well as physical. On their quest they have to face both mental torments, such as resisting the power of the ring and fear of enemies, and physical hardships, like lack of food and water, exhaustion due to the strenuous journey and w ounds they receive during combats.Tolkien presents the reader a new definition of heroism which is based on love and humility and can be achieved not exclusively by the chosen, great figures but by everybody. Heroism that Tolkien offers in Lord of the Rings is within everybody’s reach, no matter how small and weak and ordinary they would be (Gulisano 132). Juxtaposing the two kinds of heroism Tolkien stresses the fact that both can harmoniously coexist and are complementary: â€Å"without the high and noble the simple and vulgar is utterly mean; and without the simple and ordinary the noble and heroic is meaningless† (Tolkien in: Purtill 60).

Cycle Incense Sticks

â€Å"Everyone has a reason to Pray† 1 Established in the year 1945, Cycle Agarbatti was a well-respected and much preferred brand when it came to their target audience, being deemed a ‘trustworthy’ and ‘traditional’ brand. However, over the years, things had changed – access to technology increased, competition increased, nuclear families increased and so did the presence of internet in one’s life. Given this context, and given that Cycle wanted to connect with the youth, being ‘traditional’ wasn’t all that desirable any more.So the challenge was to make the category and the relevant for that part of society that had not given them a thought yet. Out of all the things that divide this country, class, caste, creed etc. , there was only one unifying factor – Cricket. In our country, it is equivalent to a religion, where Sachin is revered as the God. The entire nation had hoped that the personal success of Sachin Tendulkar and the collective success of the ICC Cricket World Cup 2011 would coincide in one grand affair.We won the cup, but a huge chunk of the cricket crazy nation was not appeased as their God stood at a precarious juncture in his 22 years of cricketing action. It was just a matter of time. All communication in this category has been established within the realms/ confines of prayer, both as a concept and a creative hook. Building brand salience for Cycle brand was the key and had to explore, create and exploit opportunities where one would have to leave reason to rest and just had to keep the faith. 2The answer to all prayers and a long and tiring wait came in the form of Sachin Tendulkar’s 100th international century on Mirpur on 16th March 2012. The maestro became the first cricketer to notch up 100 international centuries when he scored 114 against Bangladesh in the Asia Cup ODI tournament. And when he did, all he did was to look up and thank his God. This became the intervention point for Cycle with the message â€Å"Everyone has a reason to Pray†. It took Sachin over a year to score his 100th 100.And when it did, he thanked god. 3 What makes the innovation differentiated and unique? Twists and turns in cricket cannot be predicted. We managed to creatively and contextually place a brand message without being a part of the desi commercial blitzkrieg with vada pavwallahs, gola vendors and cola giants and spending crores celebrating the same. The scale of execution Every leading newspaper was going to cover Sachin’s 100th 100. There were going to be half page, full page and page on page coverage of the same.And our message was present on each such page. There were several pictures of Sachin in the coverage. But our brief was very clear: we would only have our message published in newspapers which had THAT picture of Sachin looking up, to thank god at the momentous occasion of his 100th 100. There were 6 publications who agreed to do so. Deccan Herald, Prajavani, Hindustan Times, Vijay Karnataka, Hindu and DNA with all their editions were chosen to populate this simple yet contextually relevant message.The brand message only occupied around 635 sq cm beneath Sachin’s picture which was set in over 5000 sq cms of editorial coverage across publications in ONE day. There are several ways in which a brand can populate their message: Spending money’s to create opportunities Vs. Latching on to events or occurrences fitting the brand ideology. Scenario 1: If we were to rope in Sachin as a brand ambassador, create a campaign for his 100th 100 and then celebrating it in media – it would mean an easy twenty crore + spends for us.Scenario 2: Instead, we managed our money by celebrating his win in a smart way and plugging the extremely relevant brand message 4 The Campaign won the ‘Big Bang Award 2012’ from AD club Bangalore. Our Media agency DDB Mudra MAX won the gold in the category PRINT INNOVATION. The parameters for the award selection: 1) The simplicity of the idea- (all great ideas are simple) 2) The brilliant brand fit 3) The execution 4) Cost effectiveness-in a way Sachin became our idea ambassador for ‘Everyone has a reason to pray’ at zero cost. 5 C S S UD E A E T IS

A Brief History of Kosovo Independence

A Brief History of Kosovo Independence Following the demise of the Soviet Union and its domination over Eastern Europe in 1991, the constituent components of Yugoslavia began to dissolve. For some time, Serbia, retaining the name of the Federal Republic of Yugoslavia and under control of the genocidal Slobodan Milosevic, forcefully retained possession of nearby provinces. History of Kosovo Independence Over time, places such as Bosnia and Herzegovina and Montenegro gained independence. The southern Serbian region of Kosovo, however, remained part of Serbia. The Kosovo Liberation Army fought Milosevic’s Serbian forces and a war of independence took place from about 1998 through 1999. On June 10, 1999, the United Nations Security Council passed a resolution which ended the war, established a NATO peacekeeping force in Kosovo, and provided for some autonomy which included a 120-member assembly. Over time, Kosovo’s desire for full independence grew. The United Nations, the European Union, and the United States worked with Kosovo to develop an independence plan. Russia was a major challenge for Kosovo independence because Russia, as a U.N. Security Council member with veto power, promised they would veto and plan for Kosovo independence that did not address Serbia’s concerns. On February 17, 2008, ​the Kosovo Assembly unanimously (109 members present) voted to declare independence from Serbia. Serbia declared that the independence of Kosovo was illegal and Russia supported Serbia in that decision. However, within four days of Kosovo’s declaration of independence, fifteen countries (including the United States, United Kingdom, France, Germany, Italy, and Australia) recognized the independence of Kosovo. By mid-2009, 63 countries around the world, including 22 of the 27 members of the European Union had recognized Kosovo  as independent. Several dozen countries have established embassies or ambassadors in Kosovo. Challenges remain for Kosovo to obtain full international recognition and over time, the de facto status of Kosovo as independent will likely spread so that almost all of the world’s countries will recognize Kosovo as independent. However, United Nations membership will likely be held up for Kosovo until Russia and China agree to the legality of Kosovo’s existence. Kosovo is home to approximately 1.8 million people, 95% of whom are ethnic Albanians. The largest city and capital are Pristina (about half a million people). Kosovo borders Serbia, Montenegro, Albania, and the Republic of Macedonia.

Conjugate the French Verb Entendre (to understand)

Conjugate the French Verb Entendre (to understand) Entendre  is a  regular -re verb  that follows distinct, predictable conjugation patterns. All -er  verbs share the same conjugation  patterns in all tenses and moods. Generally speaking, there are five major categories of verbs in French: regular -er, -ir, -re; stem-changing; and irregular. The smallest category of regular French verbs is  -re verbs. Entendre  Is a Regular er Verb To use  -re verbs, remove the  -re ending from the infinitive, and youre left with the stem.  Conjugate the verb by adding the -re endings shown in the table below to the verb stem. The same applies to entendre. Note that the conjugation table below includes only simple conjugations. It does not include compound conjugations, which consist  of a form of the auxiliary verb avoir and the past participle entendu. The Most Common -er Verbs These  are the most common regular -re verbs: attendre  Ã‚  to wait (for)dà ©fendre  Ã‚  to defenddescendre  Ã‚  to descendentendre  Ã‚  to hearà ©tendre  Ã‚  to stretchfondre  Ã‚  to meltpendre  Ã‚  to hang, suspendperdre  Ã‚  to loseprà ©tendre  Ã‚  to claimrendre  Ã‚  to give back, returnrà ©pandre  Ã‚  to spread, scatterrà ©pondre  Ã‚  to answervendre  Ã‚  to sell Entendre:  Meanings   The most common meaning of the French verb  entendre  is to hear, but it can also mean:   to listen toto intend (to do something)to meanto understand (formal) In the pronominal form, sentendre  means: reflexive: to hear oneself (speak, think)reciprocal: to agree, to get alongidiomatic: to be heard/audible, to be used Entendre: Expressions   Entendre is used in many idiomatic expressions. Learn how to hear about, intend to, attend mass and more with expressions using  entendre. entendre parler de... to hear (someone talking) about...  entendre dire que...  Ã‚  to hear (it said) that...entendre la messe   to hear / attend massentendre raison   to listen to reasonentendre mal (de loreille gauche/droite)  Ã‚  to not hear well (with ones left/right ear)entendre les tà ©moins  (law)  Ã‚  to hear the witnesses lentendre,   tentendre,   vous entendre   to hear him/her talk, to hear you talk qui veut entendre   to anyone who will listendonner entendre ( quelquun) que...   to give (someone) to understand / the impression that...faire entendre raison   to make someone see sense / reasonfaire entendre sa voix   to make oneself heardfaire entendre un son   to make a soundse faire entendre (dans un dà ©bat)   to make oneself heard (in a debate)laisser entendre ( quelquun) que...     to give (someone) to understand / the impression that...Ce quil faut entendre tout de mà ªme  ! (informal)   The things people say!Entendez-vous par l que... ?   Do you mean / Are you trying to say that... ? Faites comme vous lentendez.   Do what  you think is best.Il / Elle nentend pas la plaisanterie. (old-fashioned)   He / She cant take a joke.Il / Elle nentend rien ...   He / She doesnt know the first thing about...Il / Elle ne lentend pas de cette oreille.   He / She wont accept that.Il / Elle ne veut rien entendre.   He / She just wont listen, doesnt want to hear itIl / Elle ny entend pas malice.   He / She means no harm by it.Il / Elle va mentendre !   Im going to give him / her a piece of my mind!Jai dà ©j entendu pire !   Ive heard worse!Je nentends pas cà ©der.   I have no intention of giving in.Je vous entends.   I understand, I see what you mean.On entendrait voler une mouche.   You could hear a pin drop.Quentendez-vous par l ?   What do you mean by that?  Quest-ce que jetends ?   What did you say? Did I hear you correctly?... tu entends !   ... you hear me?!sentendre (faire quelque chose)  (formal)   to be very good at (doing something) sentendre merveille   to get along very well sentendre comme larrons en foire   to be thick as thieves (to be very close, get along extremely well)sy entendre pour (faire quelque chose)   to be very good at (doing something)cela sentend   naturally, of courseEntendons-nous bien.   Lets be very clear about this.Il faudrait sentendre !   Make up your mind!Je my entends ! Il sy entend  ! etc.   I know what Im doing! He knows what hes doing!Tu ne tentends pas !   You dont know what youre saying! Simple Conjugations of the Regular French -re Verb Entendre Present Future Imperfect Present participle j entends entendrai entendais entendant tu entends entendras entendais il entend entendra entendait nous entendons entendrons entendions vous entendez entendrez entendiez ils entendent entendront entendaient Pass compos Auxiliary verb avoir Past participle entendu Subjunctive Conditional Pass simple Imperfect subjunctive j entende entendrais entendis entendisse tu entendes entendrais entendis entendisses il entende entendrait entendit entendt nous entendions entendrions entendmes entendissions vous entendiez entendriez entendtes entendissiez ils entendent entendraient entendirent entendissent Imperative (tu) entends (nous) entendons (vous) entendez

Comparison between Prisons and Jails Essay Example | Topics and Well Written Essays - 1000 words

Comparison between Prisons and Jails - Essay Example That having been said, the question that one may ask is what are these differences? The purpose of this paper is to compare jails and prisons in the US. Hall (2010) notes that the comparison of jails and prisons should begin at the point of definition. As such, Hall defines a jail as a place for confinement of persons in lawful detention. Prisons, on the other hand, refer to a place where individuals already convicted of the offense are confined. From the definitions, it is apparent that jails are mainly meant to hold offenders pending their transportation to prison units, whereas prisons mainly house already convicted offenders who are serving their terms. The other difference noted is that jails operate mainly under the local jurisdictions while prisons are administered by the state. It is also notable that jails, unlike prisons are designed for short term periods only. Due to this reason, jails tend to have less social amenities than prisons. Offenders being housed in a jail have access to less amenities such as food, water, and bathrooms, and in a low security jail, these individuals may be allowed to socialize freely in common areas at sometimes during the day. However, this is highly restricted in prisons depending on the type of prison in which one is held. For instance, in maximum security cells, convicts have no such freedom to socialize freely in a common area since they are considered a threat to others (Beck and Harison, 2005). Findings also show that most jails are designed to house very few numbers of criminals and have relatively lax security in comparison to prisons where security is very tight. However, areas that are prone to violence are always administered under very strict security lines (Hall, 2010). Two types of jails found in the US are podular/direct supervision jails and the regional jails. Podular/direct supervision jails (New Generation Jails) are a type of jail used mainly to house inmates in pods or units centered on a multipurpose space. This type of jail operates on the principle that, consistent, direct supervision of prisoners can curb negative behaviors. The regional jails, on the other hand, are facilities operated together by two or more jurisdictions, and which is composed of prisoners drawn from those jurisdictions as noted by Christensen (2006). It is, however, noted that regional jails may sometimes be the only imprisonment facility in a given jurisdiction while, in others, jurisdiction may have its own jail as well as be at liberty to send some inmates to a regional facility. These jails form an integral part of the legal justice system in the US. Report reveals that there are approximately 3,300 jails in the US, which houses more than two million inmates in the country. These jails play an important role in holding offenders as they wait to be transported and brought before courts for trials. It also ensures that those who are denied bails while still undergoing trial are housed within reach of t he administrators of justice. Above all, jails act as correctional facility, which is indispensable for the criminal justice system. Prisons, on the other hand, are administered by the state and have much more extensive amenities since some prisoners may be put under a life sentence behind bars. Prisons also have access areas, church facilities and common areas for socializing and eating as well as educational facilities including classrooms, libraries and laboratories, where inmates can work and study

Need of Nursing Theories in the Present Scenario Essay

Need of Nursing Theories in the Present Scenario - Essay Example Need of Nursing Theories in the Present Scenario Florence Nightingale, who laid the foundation of modern nursing, did not provide any theory of nursing in specific sense. However, her contributions in adult nursing can still be comprehended and used. According to William K. Cody and Jannet W. Kenney, the philosophy of theoretical nursing greatly depends on evidence based practice. Moreover, values and techniques of person centered care play a very important role. In the book Philosophical and Theoretical perspectives of Advanced Nursing Practice, the writers the writers have laid down that theory, research and practice are all interrelated in the realm of nursing (Cody & Kenney, 2006). Analyzing the question under discussion, we have to diagnose the trends of modern nursing in this context. It should be examined that how the general theoretical approach can be utilized in modern times and what is the actual situation in the health sector. Some theories are, of course, timeless and can be used for the phenomenon of transformation of modern nursing. Melanie McEwen and Evelyn M. Wills have elucidated this concept in their book Theoretical Basis for Nursing. The existing theories, no doubt, provide a fundamental framework for a modern nursing approach. Some of the theories provide valuable information and roadmap for the evolution of modern nursing. However, consistent assessment of the concepts along with theory development and evaluation is also important. Melanie McEwen and Evelyn M. Wills have also interrelated different important theories from other disciplines in sociologic, behavioral, and biomedical sciences.