An Occurrence At Owl Creek Bridge And The Story Of An Hour Essays

An Occurrence At Owl Creek Bridge And The Story Of An Hour Perceptions In An Occurrence at Owl Creek Bridge and The Story of an Hour, the authors use similar techniques to create different tones, which in turn illicit very distinct reactions from the reader. Both use a third person narrator with a limited omniscient point of view to tell of a brief, yet significant period of time. In An Occurrence at Owl Creek Bridge, Bierce uses this method to create an analytical tone to tell the story of Farquhar's experience just before death. In The Story of an Hour, Chopin uses this method to create an involved, sympathetic tone to relay the story of Mrs. Mallard's experience just before death. These stories can be compared on the basis of their similar points of view and conclusions as well as their different tones. In An Occurrence at Owl Creek Bridge, Ambrose Bierce recreates a few brief seconds of time for a man being executed whose cognition of these seconds is perceived as the better part of a full day. All that day he traveled? (paragraph 33). In The Story of an Hour, Kate Chopin relates a meaningful, yet unusual hour of time as the last one lived for a woman who has been given the news of her husband's death in a railroad disaster (paragraph 2). She did not hear the story as many women have heard the same, with a paralyzed inability to accept its significance. She wept at once, with sudden, wild abandonment? (paragraph 3). Both stories are centered on the powerful emotions that occur within the minds of the characters as they live out the last moments of their lives. The narrators reveal the most intimate thoughts of each character. In An Occurrence at Owl Creek Bridge, Bierce focuses on detail and the dramatic revelation of Farquhar's dying thoughts as he desperately tries to escape the hangmen. This creates a suspenseful journey that seems to see him freed from his noose and carried almost home to the loving arms of his wife. As these thoughts, which have here to be set down in words, were flashed into the doomed man's brain rather than evolved from it? (paragraph 7). This period of time in which we follow along in our minds seems to last through the day. In the end we find that the time was only in Farquhar's head and was really only the last few seconds of his life as he saw it before the rope broke his neck. However, the hanging is not the most significant part of the story because Bierce's third person narrator remains focused on the details of the perceived passing of the time rather than the action. Although the hanging is an action necessary to Farquhar's experience, it remains in the shadows of the sto ry, as we believe he escapes death and are drawn into his head to struggle with him towards home and freedom. This point of view entices the reader more deeply into the episode than would a less knowing point of view. Bierce plays a mind game with the reader that explores an impossible reality. Although it is not conceivable to be inside someone's head to experience his or her thoughts, Bierce's narrator does a commendable job of creating a fictional, yet believable example of this impossibility. Bierce's method allows the reader to become deeply intimate with the details of the profound occurrence of Farquhar's death. He creates a plethora of explicit suffering which contributes to the analytical tone. The reader is almost able to feel his pain as he is tortured by the hanging process. His neck ached horribly; his brain was on fire; his heart?gave a great leap, trying to force itself out at his mouth (paragraph 19). This process of the systematic progression of events from the perceived moment of hanging to the perceived moment of almost achieving freedom creates a fantastic narrative. In The Story of an Hour, Chopin also focuses on the experiences going on inside the character's head, but in realistically measured time. An hour passes while Mrs. Mallard believes she has lost her husband and gained her freedom. The joy she feels as a result

Free Essays on Love In Lawrence And Chekhov

Love, with no doubt, is the most beautiful and strong feeling a human can experience. It’s hard to find an adult who wouldn’t know what love is and how it usually intrudes in our lives, either warming, or burning our hearts Yet, love may be so indefinite, unpredictable, and different, that it’s hard to say whether it is a steady flame of feeling, or just a bright sparkle, fated to exhaust itself and die. Two stories, Lawrence’s and Chekhov’s, present two stories of love, both emotional, but different. In D. H. Lawrence’s â€Å"The Horse Dealer’s Daughter†, Jack Fergusson, a young country doctor, saves the life of Mabel, the daughter of a horse dealer. Her father died and left her and her brothers the burden of debt and bankruptcy. Facing a gloomy, indefinite future, and potential poverty and misery, loaded with her duty to her family brought her to the thought of finding peace in death. Cold, dark water of a pond had already swallowed her up, when Jack jumped after her. Following his duty, he brought her, wet and unconscious, to her house and started attending her. There, in the dark empty room, a strange and wonderful metamorphose arose within an hour. She came to and realized that he saved her. Her reaction, however, differed from the one most other people would have. Seeing little, if any, man’s endearment and caress, knowing no tender feeling, let alone, love to herself, being insignificant and almost needless, found in crisis, brought to despair, and snatched right out of Death’s hands, she saw him as a flash of light in the end of her dark life, as a savor. Figuratively, her reaction might have been similar to that of a rescued animal, who starts treating its savor with loyalty and devotion. At some measure, her reaction could be instinctive. Nonetheless, she was a human, so unfamiliar with care and kindness, so unspoiled, that doctor’s attention, which was no more than a professional duty, was taken for lo... Free Essays on Love In Lawrence And Chekhov Free Essays on Love In Lawrence And Chekhov Love, with no doubt, is the most beautiful and strong feeling a human can experience. It’s hard to find an adult who wouldn’t know what love is and how it usually intrudes in our lives, either warming, or burning our hearts Yet, love may be so indefinite, unpredictable, and different, that it’s hard to say whether it is a steady flame of feeling, or just a bright sparkle, fated to exhaust itself and die. Two stories, Lawrence’s and Chekhov’s, present two stories of love, both emotional, but different. In D. H. Lawrence’s â€Å"The Horse Dealer’s Daughter†, Jack Fergusson, a young country doctor, saves the life of Mabel, the daughter of a horse dealer. Her father died and left her and her brothers the burden of debt and bankruptcy. Facing a gloomy, indefinite future, and potential poverty and misery, loaded with her duty to her family brought her to the thought of finding peace in death. Cold, dark water of a pond had already swallowed her up, when Jack jumped after her. Following his duty, he brought her, wet and unconscious, to her house and started attending her. There, in the dark empty room, a strange and wonderful metamorphose arose within an hour. She came to and realized that he saved her. Her reaction, however, differed from the one most other people would have. Seeing little, if any, man’s endearment and caress, knowing no tender feeling, let alone, love to herself, being insignificant and almost needless, found in crisis, brought to despair, and snatched right out of Death’s hands, she saw him as a flash of light in the end of her dark life, as a savor. Figuratively, her reaction might have been similar to that of a rescued animal, who starts treating its savor with loyalty and devotion. At some measure, her reaction could be instinctive. Nonetheless, she was a human, so unfamiliar with care and kindness, so unspoiled, that doctor’s attention, which was no more than a professional duty, was taken for lo...

Financial Management Essay Example | Topics and Well Written Essays - 500 words - 6

Financial Management - Essay Example The company continues to be on the rise according to the FIA report of 2010. The report that was published on March 2011 reveals that contracted traded in NYSE Euronext experienced a rise of 24.6% in the FY2010 to reach 2.155 contracts (Heckman, 2009) The NYSE is the world’s largest company in terms of cash equities exchange. It has been in operation for about 215 years, and its dealings are in capital formation, whereby the company serves institutional and individual investors, the trading movement and its listed companies. By the end of 2006, over 2700 users (operating companies, exchange traded funds and closed end funds) were listed in the corporation. These listed companies represented the global market capitalization of over b$25 trillion. Ever since, the company has enhanced its reputation in cash equities exchange. As compared to the rest, Euronext is an extremely new financial entity, which was formed in 2000 (Brigham, 2009). The governance of NYSE Euronext is by a board of directors that is elected manually. A majority of these directors are independent while the rest of the team comprises of a CEO, deputy CEO, non executive chairman and deputy chairman. The markets of the company are regulated according to local requirements. When the merger was done, it was agreed that there would be no additional requirements for all the listed companies. This was to guard the company from American Law especially, the Sarbanes-Oxley Act. The Sarbanes-Oxley Act of 2002, also known as the Public Company Accounting Reform and Investor Protection Act is an enactment of 2002 is a federal law that governs corporate finance. The law was enacted after many high ranking companies including WorldCom and Enron were implicated in corporate accounting scandals. The Act brought reform into American business and enhanced criminal penalties for any company that destroys, falsifies,

Sex on Television Essay Example | Topics and Well Written Essays - 12500 words

Sex on Television - Essay Example Cope, and Erica Biely compare the findings of three such important studies with regard to the impact of sexual messages on television in their article "Sexual Messages on Television: Comparing Findings from Three Studies". According to them, mass media including television has an important influence on sexual socialization of young people with regard to their sexual beliefs, attitudes, and behaviors. "While television is certainly not the only influence on sexual socialization, adolescents often report that they use portrayals in the media to learn sexual and romantic scripts and norms for sexual behavior. Indeed, four out of ten (40%) teens say they have gained ideas for how to talk to their boyfriend or girlfriend about sexual issues directly from media portrayals." (Kunkel, Cope, and Biely, 1999, p 230). Another important article which analyzes the influence of television on the sexual socialization of various types of individuals has been "Sexual Intercourse on Television: Do Saf e Sex Messages Matter" by Kirstie M. Farrar which maintains that "empirical research suggests that televised sexual messages affect sexual socialization not only among younger adolescents but among college-age emerging adults as well, suggesting that undergraduates are still forming their sexual scripts and thus are still vulnerable to media influence." (Farrar, 2006, p 635). Therefore, this paper undertakes a reflective analysis of these two articles to determine the pertinent influence of television on the sexual socialization of individuals. In their article "Sexual Messages on Television: Comparing Findings from Three Studies", Dale Kunkel, Kristie M. Cope, and Erica Biely compare the findings of three important studies with regard to the impact of sexual messages on television on the sexual socialization of individuals. They purport that there is a mounting body of evidence documenting the possible effects of sexual content on television which suggests the positive and negative aspects of sex on television. Thus, there are empirical research evidences indicating correlations between sex on television and the early initiation of sexual intercourse by adolescents, and connection between heavy television viewing and the negative attitudes toward remaining a virgin. According to the article which presents a summary of three independent studies of sexual content on television, media effects research clearly suggests that television portrayals contribute to sexual socialization. The authors of the article maintain that it is important to identify the prevailing patterns used for presenting sexual messages on television as television is an important source of information about sex. The findings of the study, which maintains that sexual content is a common aspect of the overall television landscape, have great implication with regard to determining the influence of sex on television on the sexual socialization of individuals. "Portrayals of talk about sex, as well as sexually-related behaviors, are a potential source of socialization for most young viewers. Although most sexual behaviors shown on television are relatively modest, intercourse is frequently included. Collectively, these sexual messages provide an opportunity for the television industry to communicate an important and realistic view of the true risks associated with

Similarities and differences in HRM Essay Example | Topics and Well Written Essays - 1000 words

Similarities and differences in HRM - Essay Example Within this particular analysis, the book Managing Human Resources in the Middle East will be considered with regards to the specific national systems of the United Arab Emirates (UAE) discussed in chapter four of the book in question, as well as the nation of Israel, discussed within chapter ten of the book in question. Such a distinct and differentiated unit of comparison may seem as rather useless; however, the key differentials that are reflected within this unit of comparison are ultimately helpful define and means by which the aforementioned factors, which have been introduced, impact upon the system as a whole and help to derive a differentiated and hold the nuanced approach to human resource management that might not be displayed within other more similar nations ones question. Firstly, with regards to the United Arab Emirates, the reader comes to the understanding that the constitutional/representative republic that this nation employs at the means of governance has the most powerful determination with regards to the labour law as it exists and is overseen by the Federal Ministry of Labour and Social Affairs. What is ultimately affected within such a particular system is that the aforementioned entity, the Federal Ministry of Labour and Social Affairs, serves as the ultimate adjudicator with regards to any and all labour issues that might exist within the market. Within such a manner, the process of oversight and regulatory compliance is first handled by the respective firm and human resources Department in question. Accordingly, oversight is been conducted from the governmental standpoint in ensuring that these respective entities are in compliance with any and all federal regulations and work to put the needs of the stakeholder/employee compliance with the letter of the law specified by the government. Although unions themselves are not outlawed, they experience a relatively low level of importance and/or clout within the human resource management pr ocess of the United Arab Emirates. Such a reality is not constrained by law; rather, it is merely grown to exist as a means of governmental structure, economic situation, and level to which employees and trades have not attempted become unionized within the system in question (Rees et al, 2007). Although a similar system of government oversight necessarily with exists within the nation of Israel, a secondary entity exists wholly independently from governmental oversight and serves to further needs of the individual stakeholders within the human resource management process. This necessarily refers to the entity in question. As a function of the way in which the nation of Israel has developed and come to prominence, a socialist model of development has been engaged (Sagie & Weisberg, 2001). Quite separate from any of the other models of governance and approaches to human resource management within the region, the nation of Israel seeks to actually encourage the formation and prevalenc e of unions as a means of seeking to maximize stakeholder utility and a further level of

Art in the Urban Environment: Case Study Analysis

Art in the Urban Environment: Case Study Analysis Historical Context In the late eighteenth century, the establishment of the museum revolutionised the notion that art had to be exclusive. Paintings and sculptures, objects previously housed in private collections and viewed by a typically bourgeois audience, were propelled into the wider public arena. Although originating as national institutions, as popularity for this new cultural attraction grew, further art museums were required on a regional and local basis and over the centuries this trend culminated in the formation of the contemporary art gallery. The technological revolution of the 1960s, then, brought with it an increase in available leisure time for the general public, spurring a continued and unprecedented growth in the rate at which art galleries were built. Alongside the introduction of modern media techniques, this combination once again succeeded in bringing art to an increasingly large and diverse audience. This progression, however, brought about a fundamental change in the actual production, format and display of the art pieces themselves. Artists and curators alike, were required to respond to the changing perceptions of a broader, multi-cultural and modern day audience. To retain an appeal, more experimental forms of art and methods of display were introduced. Art was no longer restricted to being hung on a wall, mounted on a plinth or designed to suit a neutral backdrop. The role of the spectator no longer had to be purely passive. Over the past fifty years, the practice of art and its reliance on the modern gallery setting, that of the conventional white cube, which seeks to transcend specificity of time and location (Ault, J., 2003, in Dernie, 2006, p.9) has been confronted. One outcome is that we have witnessed emerging practices of art that extend past the architectural confines of the traditional gallery space and into the external urban fabric. Public art in the urban context, in its broadest definition, is not new in concept. As a work of art or design that is created by an artist specifically to be sited in a public space, (The Newport News Public Art Foundation) monuments, memorials and architectural ornamentation are all valid examples. It was again in the 1960s, however, that public art became a discipline in its own right, forming new sub-genres including environmental, land, site-specific, community-based and street art. By testing ideas of display through actively engaging the public in a more natural environment, art has formed a much greater part in everyday life. That is not to say, that public art need be mutually exclusive of the contemporary art gallery. Historically art forms more closely linked to areas of everyday life have been marginalized by the art establishments as lacking aesthetic quality. (Gastil, 1997, p.85) With its gradual acceptance as a compelling art form, however, there are now many examples where an exhibition of public art, has been divided between both the urban environment and the interior gallery setting. In some cases, the works of art in the urban context, are physically linked to a gallery or merely act as an extension to the main internal exhibition. In other examples, the gallery takes a lesser role, providing a framework of background knowledge, acting as an interpretive voice or a financial benefactor for a display primarily located elsewhere. The internal and external events may run in parallel, or the gallery exhibition may precede or follow the external display by a few days, weeks or even years. Public Art in the 21st Century In the first decade of the 21st century, there is a greater demand for art in the urban context, but the popularity and proliferation of this public art, has in turn, led to the danger of it becoming generic/gentrified and having a lesser impact. Now no longer a novel concept, artists in their desire to attract an audience, once again have to strive much harder. In the urban environment, unlike the contained gallery setting, there is not always an expectant observer, here there is a much larger audience that simply happens upon the scene/location and they need to be engaged if the work is to be received successfully. Works of contemporary art in public spaces are encountered by diverse publics who have, to a large extent, no contact with art in galleries, though they may be adept at reading the codes of mass culture. (Gastil, 1997, p.14) More problematically, art in general, also needs to compete with a vigorous leisure industry and an overly cinematic modern world. The built environment has become increasingly globalised and homogenous. As a society already bombarded with spectacular imagery and simulated environments (Dernie, 2006, p.14) through the daily onslaught of visual stimulation, (advertisements, graphics and digital media) we also require added stimulation of our other senses, to engage with our surroundings and create a rich, memorable experience. Within the contemporary art gallery it is apparent what is now fundamental to contemporary exhibition design is the creation of an experience that is engaging, multi-sensorial and rewarding. (ibid., p.13) This experience relies on a mixture of digital technology, graphical design, sound, performance and virtual reality, to build up the blank canvas of the internal space and create an immersive environment. In contrast, back within the external context, this diverse layering of attributes is a pre-defined condition. The built environment provides the experience, the context, sights, sounds, and smells that are only ever fabricated within the purpose built gallery. Naturally occurring phenomena, the layering of human activity and habitation, social, economic and political factors, environmental factors, historical and cultural backgrounds, all combine organically to form a stimulating environment. It is interesting therefore that, often, it is the everyday environment that is overlooked. Many people appear so oblivious to their surroundings, or so insulated from the incursions of modern life, that they really do need someone to stand in front of them, signaling wildly, before they raise their eyes and look up. (Searle, 2007) In the current climate, it is evident that for public art to succeed in such a hostile environment, it needs to have either an impact or a resonance, to make a lasting impression. Exploration through Example To look at how some artists have tackled this idea, this paper focuses on three specific projects of external public art, that not only note-worthy for their innovative approach, have also have risen to the challenges of a modern society, and are projects that deliberately provoke exploration of public spaces eliciting fresh thinking about familiar sites and contexts. (Gastil, 2004, p.99) These are projects that due either to their scale, spontaneity or purpose, could not have occurred within the confines of an art gallery. It is important to note, however, each case study did have a direct link with the conventional gallery setting, showing an interesting interdependence. This relationship can be seen to differ between the examples, dependent on the requirements of the specific project. In examining the three case studies, I intend to explore more specifically the differing methods employed by the artists to engage the viewer; the context of urban art and how it affects its purpose, meaning, and value, and whether the relationship these projects had with conventional art gallery, strengthened the work itself. Gormley The first project, Event Horizon, was a large-scale sculpture project by Antony Gormley, centered around the Hayward Gallery on the south bank of the Thames in 2007. As one of Londons most ambitious public art commissions, 31 life size replicas of the artists naked body were scattered within a two kilometer proximity of this central London site. 4 of these 31 statues were made from cast iron and located at street level. By temporarily placing them in the direct pathway of the public, tangibly interrupting the course of daily life, (www.antonygormley.com, 2009), the artist orchestrated an engagement through a series of confrontations. The unsuspecting passer-by was challenged to make a decision. Whether tourist, resident or daily commuter, the passer-by was forced to choose either to walk by head down, to pause to take in the sight, or to stop and reach out to touch this alien figure. The remaining 27 figures, were alternatively placed overhead, on the rooftops of prominent buildings. The unexpected sighting of a human silhouette inhabiting the skyline, evoked intrigue and astonishment (and in some more controversial instances, a phone call to the emergency services). In either encounter, the installation achieved its preliminary goal in forming an initial dialogue between itself and the passer-by. Despite being extended over this two kilometer site, the considered placement of the statues, ensured that more than one would always be apparent in the peripheral vision of the spectator, widening the scale of the work. Whilst some were clearly visible and others a mere speck on the horizon, there became an ambiguity to how many more of these figures there were placed around the city. The work connects the palpable, perceptual and conceptual, and implicates the viewer in a field condition. (www.antonygormley.com, 2009) Through an implied interrelationship between the figures and their various locations, the existing built environment became the larger stage on which the display was set. The spectator was distanced from the works on the horizon, but the implication was that they themselves, by standing within this stage, could also be an additional figure in the landscape. At street level, the contrasting proximity of the statues further increased this active participation of the spectator / passer-by, by permitting closer examination. The tactile quality and scale of the figures, their material response to environmental factors such as the appearance of rust and the shadows cast from them by the sun, could all be observed and assessed first hand, making the project more memorable. By integrating this temporary installation into the familiar urban landscape, Gormley does not only try to encourage the spectator to look at the individual statues, but to look afresh at their surroundings. In this case the eye is drawn to aspects of the skyline that are frequently overlooked and spectators are encouraged to consider their relationship as individuals to the city and other inhabitants. Event Horizon gives one a terrific sense of the citys scale, of the relative size of the human in relation to the architecture, of the distances and proximities of the citys jumbled elevations. (Searle, 2007) Event Horizon ran in parallel with an exhibition of Gormleys earlier sculptures, prints, drawings and photographs, located within the Hayward Gallery itself. These works were seminal in their own right, but the curiosity developed by placing the figures within the urban context, encouraged a far larger number of visitors to the exhibition. Each of the 31 external statues had been rotated to face the external viewing balcony of the Hayward making this the focal point of attraction. Visitors flooded into the gallery to this observation deck, to stand and look back out at the city. Deliberately no figures were placed on the balcony itself, in a reversal of the normal relationship between viewer and art object, (Gormley in Vidler, 2007, p.47) those observing from the gallery, were encouraged to watch the array of interactions with the art in the street. Once in the gallery setting, visitors could then observe similar statues within a different context. The gallery provided an alternative insight to the work, and ultimately this relationship further enhanced the overall experience. Christo and Jeanne-Claude The highly publicised installation Wrapped Reichstag, by Christo and Jeanne-Claude provides the second case study. In 1995 The Reichstag in Berlin, a symbol of democracy for Germany, was wrapped for 14 days in 100,000 square meters of thick woven polypropylene fabric. A steel framework was temporarily installed to the facades and roof of the building, altering the original proportions and allowing the fabric to cascade to the ground. First conceived in 1971, it took 24 years of public forums, parliamentary debates, press conferences and design trials, before approval for the project was granted and as such the considerable activity that preceded the wrapping, became as much a part of the work as the actual installation. As a building of huge historical significance, the image of The Reichstag was a familiar one and therefore the initial encounter of the viewer to the installation tended to be one of awe. Both spectacular in scale and drama, this display showcased how projects could be strengthened by their interaction with the outside world. The draped fabric took on a dynamic quality by being free to ripple in the wind, whilst the aluminum coating reflected the sun during the day and became muted in the evening. Even the sheer amount of people who went to see the transformation, provided a spectacle in itself. By being deliberately temporary, the work was enhanced in intensity and value. Described as a revelation through concealment, (Bourdon, 1971) by transforming the appearance it drew on peoples memory to remember the original proportions, the materiality and the solidarity of the building hidden beneath. When the installation was then dismantled and the site returned to its original state, this too provoked a further re-evaluation that continued long after the project was dismantled. In 1995, it was seen by five million people and has retained its power through documentation and memory long after it was removed. (Gastil, 1997, p.102) In this instance the relationship of the gallery was based around two parts. Prior to the two-week installation, the role of the galley was one of promotion. Due to the sheer logistics of wrapping such a significant icon of German history, drawings, collages and scale models were, over a period of years, displayed within a multitude of galleries. Beginning at the Annely Juda Gallery in London and then moving to galleries in Cologne and finally Berlin, the artists sought an international awareness of the project, to raise both the public support and the finances required to undertake the task. After the event, photographs taken during the installation, were then exhibited alongside the original drawings as a record of the event. The wrapping of The Reichstag also raised several political and historical issues, which were again documented within these further exhibitions, to expand the background knowledge of the visitor. The spectacle was executed within the urban environment, but for those who perhaps could not attend, those that had heard about the event only afterwards through the media, or those that simply wanted to learn more, the contemporary art gallery provided this forum and subsequently extended the life of the installation. Slinkachu The third example is far subtler in nature. Produced by artist Slinkachu in 2006, a series of one-inch mini-installations were created for, and placed in, the streets of London. In modifying small, shop bought plastic figurines and placing them within a real urban context, Slinkachu curated everyday human scenarios, in miniature, whether it be reading the newspaper, shopping, sight-seeing or engaged in more criminal activities. Unlike the two previous examples, the art works of Slinkachu, did not rely on being at odds with their urban surroundings. Left to be discovered by passers-by, the orchestrated scenes invited exploration through curiosity and intrigue. Like Gormleys statues, these miniature figures were designed to engage the audience emotively through personal resonance. Even when you know they are just hand-painted figurines, you cant help but feel that their plights convey something of our own fears about being lost and vulnerable. (The Times, 2006) In the urban context, by the very nature of the size of the installation, even the trained eye could pass over the work unnoticed and the pieces were only likely to attract the attention of a very small number of people. To ensure the engagement of a wider audience, Slinkachu captured these interventions through photographic images that appeared, in tandem, on advertisement boards throughout the city. For each miniature scene, photographs were taken from distances both far away and up close, yet the advertisement boards showed only one image of the set, deliberately puzzling the passer-by and encouraging a second glance. In the wider scene it was not immediately obvious where the work was, whilst at the macro scale, the figurines appeared to adopt human proportions. The artist also relied on the traditional gallery space to provide an interpretive voice. Exhibiting at the Cosh Gallery, the two photographs of each installation could be placed adjacent to one another alongside recreated scenes of the original context, revealing the distortion of scale, to the viewer, in a witty manner. The gallery in this instance provided recognition of the artist and of his installations that outside of the gallery setting, were not necessarily obvious as a pieces of art. If the audience had been unsuccessful in finding the installations in the urban environment or, alternatively once engaged, simply wanted to learn more, the gallery provided a space to summarise the events that occurred externally. In a reversal of roles, for some the gallery even became the starting point. On noting the separate scenarios and their locations within the city, visitors would often be encouraged to then go back outside and search for the work, which by then however, may have been washed away by rain, discarded as rubbish or rescued as a treasure. Conclusion Whilst each individual will observe or experience a situation differently, dependent on their own preconceptions, by engineering encounters, storylines and multi-sensorial experiences, in each case study, the artists have been successful in encouraging an audience to raise their eyes and look up (Searle, 2007) from their everyday lives. As demonstrated, if works of art can evoke an emotive response from the spectator, such as shock, awe, curiosity or empathy, it can contribute to a lasting impression. Also by being temporary in nature there is an element of spontaneity to these places and events that is memorable. One doesnt actually expect the experience you arrive at. (Gastil, 1997, p.18) In the example of Event Horizon, even the most unsuspecting of passers-by, can become active participants in the drama unfolding around them. It is evident that each case study also became strengthened by the richness of its surrounding location. By being placed alongside attributes identifiable in everyday life, the spectator could draw upon a deeper social and cultural framework, to form their own opinion of the art. In turn, as new interventions within familiar landscapes, these projects heightened the awareness of the spectator and encouraged them, even if only subliminally, to reassess the urban environment around them. The value of urban art is therefore, not judged solely on its own intrinsic merits as an individual piece or installation, but instead its value is in the dialogue it can generate between itself, the spectator and the surrounding context. The purpose of this paper is not to suggest that displays in the urban environment are ever likely to replace or take precedence over those in the typical gallery space, but that by being more experimental in nature, they act as a catalyst to test the perceptions of a developing audience. For many of us the designed air of the modern art gallery or museum still represents a kind of elitism, (Dernie, 2006, p.9) Alternatively the unpredictable and unregulated external environment, offers familiarity, an opportunity for spontaneity, and a larger stage on which to exhibit. Urban installations bring works of art to a mass audience; to those who may not be actively seeking it, but might well become engaged by it and find enjoyment from it. They can motivate people to seek further understanding in entering a gallery they would perhaps not visit otherwise. The contemporary art gallery in linking with these urban installations has adapted and taken on a new supporting role, providing a level of education, a longer lasting memory, financial incentives, recognition and ultimately a voice between the artist and general public. The advantage of combining these two environments, as indicated in the three case studies, is that this relationship can be of mutual benefit, it can provide added value and impact and prove fruitful in engaging a wider diverse audience, or as in the case of Slinkachu, even lead to a cult following. Related bibliography Books: Baal-Teshuva, J. (2001), Christo and Jeanne-Claude, Taschen Bourdon, D. (1971), Christo, Harry N. Abrams Publishers, New York Chernow, B. (2000), Christo and Jeanne-Claude A Biography, St Martins Press, New York Dernie, D. (2006), Exhibition Design, Laurence King, London Gastil, W., Ryan, Z. (2004), Open: New Designs for Public Space, Princeton Architectural Press Holl, S. (2007), Questions of Perception: Phenomenology of Architecture (2nd Edition), William K Stout Publishers Lynch, K. (1972), What Time is This Place, MIT Press, Cambridge, MA Miles, M. (1997), Art, Space and the City: Public Art and Urban Futures, Routledge ODoherty, B. (2000), Inside the White Cube: The Ideology of the Gallery Space, University of California Press, California Pallasmaa, J. (2005) The Eyes of the Skin: Architecture and the Senses (2nd Edition), John Wiley Sons Psarra, S. (2009), Architecture and Narrative: The formation of space and cultural meaning, Routledge, Oxford Self, W. (2008), Little People in the City: The street art of Slinkachu, Boxtree, Oxford Vidler, A., Stewart, S. and Mitchell, W. (2007), Anthony Gormley Blind Light, Hayward Gallery Publishing, London Zardini, M. (2005) Sense of the City: An Alternative Approach to Urbanism, Lars Muller Publishers, Toronto Press Articles: Searle, A., (2007), Antonys Army, The Guardian, May 15th Websites: (Accessed 04/01/10) The Newport News Public Art Foundation, What is Public Art, Available from: (Accessed 03/01/10) The Times, (2006), The Blog of the Week, October 28th, Available from: (Accessed 29/12/09) Picture Credits: Photograph by Miller, D. (2005) The White Cube Gallery, Available from: Photograph by Hopper, D. (1967) Fluids by Allan Kaprow, Los Angeles, Available from: Running Fence by Christo and Jeanne-Claude, California, (1972) in Baal-Teshuva, J. (2001), Christo and Jeanne-Claude, Taschen Photograph by Aschkenas, D. (1985) Tilted Arc by Richard Serra, Available from: Famous advertisement boards on Piccadilly Circus, London, (2005) Available from: Interactive Displays, London Underground, (2007) Available from: Nikon Interactive Lightbox, Subway Station Seoul, (2009) Available from: Photograph by White, S. (2007) Event Horizon, in Vidler, A., Stewart, S. and Mitchell, W. (2007) Anthony Gormley Blind Light, Hayward Gallery Publishing, London Event Horizon (2007) Available from: Photograph by White, S. (2007) Event Horizon, in Vidler, A., Stewart, S. and Mitchell, W. (2007) Anthony Gormley Blind Light, Hayward Gallery Publishing, London Photograph by Harrison, C. (2007) Event Horizon By Antony Gormle ­Ã‚ ­Ã‚ ­Ã‚ ­y, Waterloo Bridge, London, Available from: Wrapped Reichstag (1995) in Baal-Teshuva, J. (2001), Christo and Jeanne-Claude, Taschen Photograph by Manzanares, R. (2009) Christo and Jeanne-Claude with a model of Wrapped Reichstag, Available from: Preliminary Drawings, Wrapped Reichstag in Baal-Teshuva, J. (2001), Christo and Jeanne-Claude, Taschen Photograph by Hecht, H. (1995) Wrapped Reichstag, Available from: Photograph by Hecht, H. (1995) Wrapped Reichstag at Night, Available from: Slinkachu, (2008) Ground Zero Solo Show, Cosh Gallery, London, Available from:> Slinkachu, (2008) Ground Zero Solo Show, Cosh Gallery, London, Available from: Slinkachu, (2007) I Cant Actually Graffiti, Festival Hall, London, Available from: Slinkachu, (2007) I Cant Actually Graffiti, Festival Hall, London, Available from: Slinkachu, (2009) Small Victory, Billingsgate, London, Available from: Slinkachu, (2009) Small Victory, Billingsgate, London, Available from:

Lord Of The Flies Essay :: essays research papers

The book, Lord of the Flys, can be interpreted in many different ways. Depending on the point of view of the reader, William Golding has opinions on man and society. Golding is inaccurate for making the assumption that all people are born with evil within them and are not affected by their surroundings. In the book, the author uses a being called â€Å"the beast† to simulate the fear and evil people have inside. The boys on the island apparently see a beast in the forest, which scares them and gives them nightmares. Phil says at a meeting, â€Å"Last night I had a dream, a horrid dream, fighting with things. I was outside the shelter by myself, fighting with things, those twisty things in the trees.† Phil had heard things about he beast from other boys, which caused him to have the nightmare. He is a young boy, on an island with no supervision and is afraid of what’s is happening to him and where he is. Without thoughts of the beast, provoked from the other boys, Phil would never have experienced this nightmare. Not only the thoughts that the boys think affect them, but the things they see cause them to have evil intentions.   Ã‚  Ã‚  Ã‚  Ã‚  Golding used a pig’s head on a stick called â€Å" the lord of the flys â€Å" as another animation to substitute the thoughts of evil and fear within the boys. Seeing the head causes Simon to have hallucinations of this head talking to him. The Lord of the Flys says â€Å"   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   .† After hearing this, Simon returns to the other boys, who are rallying around a fire, indulged in a victorious chant, and is soon trampled to death by the preoccupied boys. Being away from civilization has driven the boys to near delirium and as any person does, they easily got wrapped up in their success. These kids are too young and inexperienced to be alone in the world without any kind of

Political Dynasty, Is It Acceptable or Not?

University of Perpetual Help System DALTA FCL 6 Jerome B. Rustia BS-AE 1. ) Political Dynasty, is it acceptable or not? * Political Dynasty is not acceptable for me because it is not fair to other people who deserve in such position in politics. Give chance to other to have a good leadership. Not only in one family the true/wise leader will come, every family/dynasty have it. 2. ) Must there be an absolute separation of church and state? Church and state must have no absolute separation because church is commanded by God through the use of priest/pope, on the other hand in state it is head by an president, prime minister etc. . Those politicians are also choose by God also to help such people, to produce good things in our society and it is again commanded by God by different purposes. 3. ) Is same sex marriage acceptable in our modern society? * No, it is not acceptable in our modern society because as a Christian people and one of the Christian country in Asia, God only created 2 g ender which are the men and women.You can love your same gender as friend or companions but marrying them are not acceptable in the eyes of many people and in our God. 4. ) Was the Pope’s resignation beneficial or detrimental to the church? * No, because when you were choose by God as a Pope you must served God forever whether you have some deficiency. God has a purpose so you must stand on it. 5. ) Conflict in South China Sea or West Philippines, a failure in leadership or a historical dilemma? It is a failure in leadership because that island is Philippine territory it is closer to the Philippine than other country. . . so what are president do? He just talk to the Chinese President then what is the result? Like in what I saw in the television lately, the wild life resources that the Chinese caught in Philippine sea was not back yet in us. Why did the president do on that problem? He just sat there and waiting for the help of United Nation. We are independent country so the first move must be on us not in our alliances.

After The Bomb - Book Summary Essays - House Of Battenberg

After The Bomb - Book Summary Essays - House Of Battenberg After the Bomb - Book Summary After the Bomb written by Gloria Miklowitz is a thrilling novel that takes place before, during, and after a bomb which supposedly was sent from Russia by accident. L.A. and surrounding cities are all altered by the disastrous happening. Philip Singer a teenager is in a position as leader of the family. His brother Matt is awfully sick, possibly from radiation, his father was away at work during the blast and for all Philip knows he might be dead, and his mother was desperately injured and needs immediate attention. Hospitals are flooded with injured and dying people and the government doesn't send help for a few days. The badly injured don't even get the chance to be helped because the hospitals have to send the ones that are likely going to live to hospitals that specialize in burns. His mother is so badly burned that the hospitals put her on the bottom of the list to be flown to burn centers. By the end of the novel Philip has taken charge, snuck his mom ahead to be flown to a burn center, and in a sense saved his town from thirst. He truly survived the terror, shock, and danger of the bomb. The novel goes through a couple of settings such as, Philip's struggle to keep his family alive, and the conflict between the nature of a nuclear bomb against the Los Angeles area. When the bomb hits he is playing around in a playroom shelter with his brother and his girlfriend. They go out to find out what had happened and found burning houses, their house only left with one wall, rubble on the ground, debris all over the place, and people running frantically for shelter. Philip's brother became sick after finding his mother and bringing her back down to the shelter, and found that his mother had been burnt severely and needed immediate medical attention. Philip struggles to keep his brother from getting even more sick than he was and to bring his mother to a hospital. Philip's family weren't the only people affected by the bomb. the entire surrounding area of Los Angeles was pounded by a devastating bomb. Churches, Hospitals, and streets were flooded with sick, dying, and even dead people. Hospitals that were built to only withezd 200 people now have thousands, and hospitals lack food, doctors, and water. Philip's struggle for survival, and the devastating blow against L.A. was only the beginning of the disastrous bomb. The setting is practically the whole plot of the novel showing Philip's struggle to get his mother to a burn center that could save her life, bring his family to safety, and to save his town from thirst. When Philip arrives at the hospital with his mom the government and hospital had already started flying patients to burn centers, but his mom was too sick and burnt so the hospital didn't care for her. She was placed on the bottom of list to be flown away. Philip secretly switches the tag on her mom with one that says and earlier number so that she would be flown out more promptly. He does so and she is flown out early and he most probably saved her life by doing so. Another example was when the bomb had just struck and Philip's family was in the shelter which wasn't very safe and stable. He went up to the surface to check out his neighbor's house which was miraculously intact. Philip found the owner and his wife in good shape and arranged to bring his family over to the neighbor's cool basement for safety and refuge. A third example was when the hospital in his town was almost pout of water and Philip was asked by a nurse to find a worker that works with the town' s plumbing at his house and manage to get water to the hospital. He did so and after a while drained water from a resident's pool and had it flown down to the hospital. These are some examples of how the setting functions in the novel. After the Bomb is an exciting and stimulating novel which shows the leadership of a teenager over

Huck Finn Essay Example

Huck Finn Essay Example Huck Finn Essay Huck Finn Essay Essay Topic: The Adventures Of Huckleberry Finn The adventures Of Tom Sawyer A Journey of Growth The Old Souths way of life deformed the consciences of the people living there, convincing them of the humanity of slavery. Mark Twains Adventures of Huckleberry Finn tells the story of Hack Finn, a young rednecks boy, who finds friendship in a runaway slave named Jim, despite his own racist background. Though Hack and Jim bond throughout their Journey, Hack struggles to overcome the way he was raised and see Jim as a person capable of feelings and emotions. Throughout his Journey down the Mississippi, Hack is faced with challenges where he must decide Jims fate, UT as his bond with Jim grows stronger, he begins to unlearn the racist views he was taught. He begins to mature and follow his heart when he apologizes to Jim, decides not to turn him in, and when he finally has the epiphany that he would rather rot in Hell than turn in his best friend. Hack, who grew up playing tricks on others with Tom Sawyer, realizes for the first time that African-American slaves are capable of feeling pain, and he learns that true friends do not try to hurt each other. After being separated from Jim all night in the fog, Hack finally finds him asleep on the raft, and he decides that it would be funny to lay a trick on the less intelligent man. After making up a story and trying to convince Jim that the entire night was Just a dream, Hack Jokingly comes clean and tells Jim the truth, but he does not expect Jims serious reaction. Jim stares Hack right in the eye and says, When I wake up en fine you back aging, all safe en soon, De tears come en I could a got down on my knees en kiss you foot Xis so thankful. En all you wiz thinking bout wiz how you could make a fool up ole Jim wide a lie, (Twain 95). Jim storms off, leaving Hack to contemplate his decision. For the first time in his life, Hack has it brought to his attention that his actions can cause emotional pain to others, and he sees his first glimpse of how much Jim cares for him. Hack reflects to himself, It made me feel so mean I could almost kissed his foot to get him to take it back. It was fifteen minutes before I could work myself up to go and humble myself too Niger- but I done it, and I warrant ever sorry for it afterwards, neither. I didnt do him no more mean tricks, and I wouldnt done that one if Id owned it would make him feel that way (95). Hack sees the pain he has caused Jim, and he begins to understand that even black slaves have feelings. His friendship with Jim has grown, and though he was taught his whole life that slaves were inferior and incapable of real human emotions, he does something that no young white boy would imagine doing during this time; he apologizes too Niger. This action shows Husks first steps at unlearning the racist ideals he was taught growing up and how he is willing to accept the friendship off black man despite the southern way of life. In his criticism Introduction to Huckleberry Finn, T. S. Eliot writes, What I find still more stubbing, and still more unusual in literature, is the pathos and dignity of the boy, when reminded so humbly and humiliatingly, that his position in the world is not that of other boys, entitled from time to time to a practical Joke; but that he must bear, and bear alone, the responsibility off man (351). T. S. Eliot discusses how this is the event that opens his eyes to the fact that his reason for living is much greater than that of other boys his age. Though Hack learned a valuable lesson about friendship, he has trouble viewing Jim as a human worthy of being free because he is stuck in the mindset that African- Americans are only three fifths a person and that they are property of their white owners. His heart tells him that saving Jim is the right thing, but his conscience continues to convince him that he is breaking the law and committing a horrible sin. Husks conscience pesters him constantly and says, What had poor Miss Watson done to you, that you could see her Niger go off right under your eyes, and never say one single word? What did that poor old woman do to you, that you could treat her so mean (Twain 110)? Husks southern mentality dictates his life, and he honestly lives that Jim is not his own person but Just a piece of property that Hack has helped steal from Miss Watson. He tries to put these feelings out of his mind, but when Jim confides in him that once he is free he plans to buy his wife out of slavery and together they can steal their children, Hack is again faced with the challenge of deciding between right and wrong. He thinks to himself, Here was this Niger which I had as good as helped to run away, coming right out flat-footed and saying he would steal his children-children that belonged to a man I didnt even know; a man hat hadnt ever done me no harm (1 11). As well as viewing Jim as Miss Watson property, he sees Jims children as the property of their slave-owner. He has trouble handling the idea that Jims children are actually people Just like Hack who deserves to be with their family and live lives free from slavery. As Hack paddles away to meet the two men coming on a boat, Jim says, Xis a free man, en I couldnt ever Ben free fee it had Ben for Hack; Hack done it Yogas De bees free Jims ever had; en Yogas De only free ole Jims got now (1 11). At first, this seems to make Hack feel even guiltier for eloping a runaway slave, but when the two men begin asking about Jim and whether hes a white man or a runaway slave, Hack lies and saves Jim from being captured. Its obvious from this that Hack is starting to accept the fact that he and Jim are friends and that even if society says it is wrong, he will do whatever he needs to in order to protect his companion. When Hack learns that Jim has been captured and is being held at a local farm, he faces his biggest challenge- whether to fight to save Jim or to write a letter to Miss Watson and tell her Jims whereabouts. He honestly believes that if he does not turn Jim in, he is committing a vulgar sin and will be sent to Hell for eternity, so he decides to sit down and pray. He tries and tries, but he believes so strongly that helping Jim is a sin that he is unable to make himself say the words. He says, l endowed very well why they wouldnt come. It was because my heart warrant right; it was because I warrant square; it was because I was playing double (222). His fondness for Jim has grown so much that he knows he is unable to turn him in no matter how wrong he thinks it is. He continues to make an effort to do the right thing, so he writes out the letter to Miss Watson, but then he begins thinking of Jim and their Journey down the Mississippi River. He looks at the letter and says, l was trembling, because Id got to decide, forever, betwixt two things, and I endowed it. I studied a minute, sort of holding my breath, and then says to myself: All right, then, Ill go to hell- and tore it things he had learned about slaves and start living his way even if it meant that he would go to Hell. His chooses to follow his heart rather than let the deformed society dictate his thoughts and actions. Leo B. Levy states in his criticism, The triumph of agency is the shedding of conventional morality; immorality, paradoxically, is the source of virtue (388). This is ironically true because what society sees as right is wrong and what it sees as sinful is moral action. Hack is able to let his decency triumph and ignore society view of him. This final moment of realization ends Husks Journey because at this point he decides Jims and his own fate for good. The Journey down the river symbolizes Husks Journey to maturation, which he ultimately wins. He conquers societys idea of how he should be raised and chooses his own fate. Hack learns to see past the corrupt racist views of the South, and he moves out to the Indian Territory, which has not yet been corrupted with slavery. The maturation that Hack experiences far outreaches that of other people in the South because while Hack was battling to save a runaway slave, many people continued to take part in the practice of slavery. The Adventures of Huckleberry Finn shows a young, uneducated Husks Journey because only a boy, still untouched by the taint of the world, could learn what generations of people in the South could not: that even a black man deserves freedom.

Nutrition in Nursing Assignment Example | Topics and Well Written Essays - 250 words

Nutrition in Nursing - Assignment Example He is focusing only on carbs and fat which is why he is obese. All he is eating are empty calories, and the source is junk food he eats where he works. 3. Andrew must include dairy, fruits and veggies into his diet. He must be told that he would invite a lot of diseases because of his obesity which is a result of heavy carbs, starch and fat that he consumes on a daily basis. Moreover, he must do regular exercise and must focus on weight loss by eliminating or cutting down junk food from his diet. 4. Andrew’s mother is already limiting his junk food intake while he is at home, which shows that she is aware of his sedentary lifestyle. However, she must create awareness in Andrew about the hazards of obesity and junk food, and must encourage him to exercise regularly. Also, she should give him some healthy food as lunch that he may have in his lunch time rather than having junk food as

Soviet Union during Gorbachev Presidency Essay Example | Topics and Well Written Essays - 2500 words

Soviet Union during Gorbachev Presidency - Essay Example By the late 80s, if the cold war was becoming a major limitation for the Soviet Union, the US administration was also getting cognizant of the constraints being posed by that icy conflict. Thus a thorough understanding of the decline of the Soviet Union during the Gorbachev era raises many hitherto unexpected issues (Dukes, 1993). Therefore the onus for the decline of the Soviet Union both before and after Gorbachev needs to be interpreted in the context of the socio-economic, political and cultural changes that defined the Soviet Union in 1991. Communism was as much an economic and social doctrine as a political strategy. It is really surprising to note that the Bolsheviks primarily came to power by riding on a band wagon of simple economic promises that is the extension of food, clothing and shelter to the suffering masses (Sviderskii, 1930). Hence the demise of the Soviet Union was as much a failure of the Communist economic model, as a victory of the Western democratic and capitalist ideals. The Gorbachev era was the culmination of a long history of disastrous economic policies pursued by the successive soviet regimes over the decades. So the decline of the Soviet Union when Gorbachev came to power needs to be understood in the subaltern context of the failure of the Soviet state to provide the basic means of sustenance to the masses. Food definitely constitutes an important aspect of this state failure on the part of the communist regime. In the late 20s, the Soviet regime went ahead with a positive note in the sense that it supported the idea of allowing for private agriculture and the free market economy pertaining to food grains, while retaining the Communist Party's hold over the basic market frameworks (Sviderskii, 1930). However, the agents of doom were let lose when Stalin decided in favour of the state control over agriculture and the production and the management of food stocks (Gaider, 2007). Stalin chose to do so despite the cautions extended by many of his trusted comrades like Bukharin and Rykov (Gaider, 2007).The pursuance of this food policy between 1920 and 1950 resulted in a sharp decline in the Soviet agricultural production, despite the fact that it had access to some of the largest farming tracts in the world (Desai, 1986). In fact Nikita Khrushchev wrote a letter delivered to many of his friends, mentioning that, "In the last fifteen years we have not increased the collection of grain. Meanwhile we are experiencing a radical increase of urban population. How can we resolve this problem (Gaider, 2007)"At some time in the 50s, the Soviet planners alarmed by this scarcity, put their heads together to grapple with this pressing issue and several options were