Connection Of Brown v. Board of Education To Segregation - Free Essay Example

Sample details Pages: 5 Words: 1371 Downloads: 10 Date added: 2019/10/31 Category History Essay Level High school Tags: Brown v Board of Education Essay Did you like this example? The Brown v. Board of Education Supreme Court Case of 1954 was brought to attention by many people because of segregation. It all started because Oliver Brown, the appellant, brought up segregation to the Supreme Court. The Board of Education of Topeka in Kansas, the appellee,   wouldn’t allow one of Oliver Brown’s children into the Public White School in Topeka, Kansas. On May 17, 1954, Federal District Court unanimously ruled segregation as unconstitutional. According to United States Courts, â€Å" The Court said â€Å"separate is not equal,† and segregation violated the Equal Protection Clause of the Fourteenth Amendment.†(Brown v. Board of Education Podcast) Since the case was unanimously ruled unconstitutional, there weren’t very many opinions on the decision. However, Chief Justice Warren had a few opinions about the decision. â€Å"Today, education is perhaps the most important function of state and local governments. . . . Such an opportunity, where the state has undertaken to provide it, is a right which must be made available to all on equal terms. . . Don’t waste time! Our writers will create an original "Connection Of Brown v. Board of Education To Segregation" essay for you Create order To separate [children in grade and high schools] from others of similar age and qualifications solely because of their race generates a feeling of inferiority as to their status in the community that may affect their hearts and minds in a way unlikely ever to be undone. . . . We conclude that in the field of public education the doctrine of separate but equal has no place. Separate education facilities are inherently unequal.†(How a Dissent Can Presage a Ruling: The Case of Justice Harlan) There were no dissenting judges because the case was voted unanimously meaning that everyone agreed. Thurgood Marshall was a lawyer who served as a Supreme Court Justice. He grew up in Baltimore and   experienced racial discrimination. Through all of high school and some of college, he was mischievous. It took a suspension for him to get in check and start focusing. He joined the debate club and it pushed him towards the decision that he wanted to become a lawyer. He wanted to go to University of Maryland Law School, but because of his color, they denied him. So instead, he decided to go to Howard University. This is where he was introduced to NAACP, The National Association for the Advancement of Colored People. Marshall argued for the appellants in No. 1 and No. 8. Robert L. Carter was a lawyer that was part of NAACP and researched information on racial segregation to use against the Board of Education in the case. Robert was the youngest child out of his 7 siblings. When he was very young, his Father died and his mother had to raise and work for 8 children.   At the age of 16, Carter enrolled at Lincoln University of Pennsylvania and completed his degree in 4 years. After he completed his degree there, enrolled at Howard University Law School in Washington D.C and completed his law degree there. He later went to Columbia University where he received his LLM after writing a thesis on the right to freedom of association under the 1st amendment for NAACP. When Robert was drafted into the Army, he experienced racism for the first time. When he completed his time necessary for the Army, he was offered a job by NAACP. He accepted it and that’s when his career as a lawyer took off. Robert argued for the appellants in No. 1 and No. 8. Paul E. Wilson was a lawyer that was defending the appellee, the Board of Education. He received his A.B. and A.M. at the University of Kansas. He later received his LLM from Washburn University. From 1942 to 1946, he served in the Army. After he had served his time, he was elected and re-elected County Attorney for Osage County. In 1951, he was appointed Assistant Attorney General and then 1st Assistant Attorney General. During this time, he was the representative for the Kansas Attorney Generals office in the Supreme Court case Brown v. the Board of Education. Paul argued for the appellees in No. 8 and No. 1. Chief Justice Warren was the fourteenth Chief Justice of the United States. Before he became the Chief Justice, he wanted to become a lawyer. He used to go to the Kern County courthouse and listen to criminal cases as a child. Warren attended the University of California, Berkeley and majored in political science for three years. After he completed his political science major, he entered the law school at the University of California, Berkeley. He received his B.A. degree and his J.D. degree in just a few years and moved on to the California Bar. After he graduated, he worked in law offices in Oakland and   San Francisco and in 1925, he was chosen to be the Alameda County district attorney. During his fourteen years of being the district attorney, he gained the reputation that he was a crime fighter, he was a member of the Board of Regents of the University of California, and he was the only person to be elected three terms in a row to the governorship of California. In 1948, Warre n was the Republican Party’s nominee for vice-president of the United States. He didn’t win, but it led him to an opportunity to become to fourteenth Chief Justice of the United States appointed by Dwight D. Eisenhower. The most important decision Warren made during his career was making segregation unconstitutional during the Brown v. board of Education case. Lindsay Almond, Jr. was an attorney general who was in favor of the appellee. He grew up on his family’s farm in Orange County. After graduating from school, he joined the Student Army Training Corps at the University of Virginia and then enrolled in law school. After graduating from the University of Virginia, he worked at a law firm.In 1925, he campaigned for Harry F. Byrd, the Democratic gubernatorial candidate. This led him to his next opportunity to become assistant commonwealths attorney and elected as a judge for Roanoke Hustings Court by the General Assembly, making him the youngest judge in Virginia. In 1946, Almond won a seat in the House of Representatives during a special election, but he gave up his seat in 1948 to finish the term of a deceased attorney general. He won the reelection as attorney general and defended segregation in the Brown v. Board of Education case, but at the end of the case, he changed his mind and the case was ruled unanimously. Almond argued for the appellees in No. 191, No. 2, and in No. 4. James Lee Rankin was a solicitor general who proposed that segregation was unconstitutional. James was born and raised in Nebraska where he attended public schools. He received his undergraduate and law degrees from the University of Nebraska. After he had completed his law degrees, he was admitted to the Nebraska Bar Association and worked at a firm in Lincoln, Nebraska. In 1952, Rankin organized the Eisenhower for President campaign and one year later, President Eisenhower appointed James to be assistant attorney general. While he was assistant attorney general in charge of the Office of Legal Counsel, he argued in favor for   the African-American plaintiffs in the Brown v. Board of Education case. He also advised that the doctrine â€Å" separate-but-equal† facilities were unconstitutional. James presented to the court that desegregation should gradually take place to avoid any violence. Rankin argued in No. 2 and No. 4. Louis L. Redding was the first black lawyer who was part of NAACP. He grew up in Wilmington, Delaware and went to Howard High School. He continued his education at Brown University and then at Harvard University. He later became the first black lawyer in Delaware and the first African-American to be admitted to the Delaware Bar. He assisted Thurgood Marshall in the Brown v. Board of Education which desegregated schools all across the nation. Redding argued for the respondents in No. 448. Jack Greenberg was a lawyer that helped bring the Brown v. Board of Education to the Supreme Court. He graduated from Columbia Law School and Thurgood Marshall hired him as an assistant to help fight a case. A few years later, he was the youngest lawyer in the team that helped bring bring the Brown v. Board of Education case to the Supreme Court. He argued for the respondents in No. 448 and No. 1.

Debating Sex and Gender and After Identity - 1486 Words

Name: Professor: Course: Date: In Debating Sex and Gender and After Identity, Dr. Warnke presents various arguments that demonstrate how sex, gender, and race are all social constructs. Do you agree or disagree with her argument, and why? Concepts of sex, gender and race in English language have undergone uncountable naturalization and universalities, to a point that they are now considered to have always been present. There are numerous arguments that revolve around the three concepts of human diversity. Dr. Warnke for example argues that the three concepts above are social constructs (Warnke 153). This paper is in the light of Dr Warnke’s argument but rather disagrees with her argument about sex, gender and race as social†¦show more content†¦Sex-gender issues in the society take specific stands (for example in questionnaires), while race or ethnicity is dynamic over time due to the changing nature of the society. New race and ethnic choices are from time to time made available, but the sex-gender aspect remains the same. Many arguments have come up in the light of the interests of this paper. The interest of this paper is diverse, dynamic and concrete to consider. In the light of race, sex and gender, the beliefs of the society are diverse and varied from region to region. The observance of Warnke’s conclusion that race, sex and gender are social constructs across societies varies from one society to another, with some being for and others against the argument. All this depends on the perception held by these societies in regard to the three variables being treated in this paper. There are more likely scenarios that the paper has identified, like the possibility that gender is a social construct. However due to the arguments in Warnke’s book, conceptualizing this point to an evidence fails to materialize. Race and ethnicity takes the argument of the book but the other two variables fails to. This only concludes that only race or ethnicity is a social construction, but sex and gend er totally fails to be an integration of social construction. Works Cited Warnke, Georgia. After Identity: rethinkingShow MoreRelatedDebating Sex and Gender and After Identity1479 Words   |  6 PagesName: Professor: Course: Date: In Debating Sex and Gender and After Identity, Dr. Warnke presents various arguments that demonstrate how sex, gender, and race are all social constructs. Do you agree or disagree with her argument, and why? Concepts of sex, gender and race in English language have undergone uncountable naturalization and universalities, to a point that they are now considered to have always been present. There are numerous arguments that revolve around the threeRead MoreThe Effects of Hormones and Behavior on Gender Identity1598 Words   |  7 PagesThe effects of hormones and behavior on gender identity PSY 340 February 14, 2010 The effects of hormones and behavior on gender identity The formation of gender identity is not completely understood as it is much more complex than just getting a sperm and egg cell to join; an XX or an XY genotype is only the first part in gender identity. There are many biological, psychological and sociological factors involved. The biological includes chromosomes, gonads, prenatal hormones, internal accessoryRead MorePersuasive Speech: Gay Adoption800 Words   |  4 Pagesas well as un-married couples to adopt. On the surface, this seems like solely a gay rights issue, and though it most definitely is, there is also an underlying issue that many people tend to overlook. That issue is the children themselves. 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Succubus Revealed Chapter 15 Free Essays

string(40) " off of you when you were feeling blue\." It was easier said than done, and once Hugh and Roman gave me some space, the full impact of what had taken place really and truly hit me. Seth was Kyriakos. Kyriakos was Seth. We will write a custom essay sample on Succubus Revealed Chapter 15 or any similar topic only for you Order Now Even after witnessing what I had with my own eyes, I don’t think I would have believed it if something inside me . . . some gut instinct . . . hadn’t told me it was all true. Not that I’d ever suspected it. Not that I’d ever dreamed it. The draw that I’d felt to Seth had been strong, no question, just as the draw to his other incarnations had been. I’d always felt there was something special about Seth in particular, though, and wondered now what might have set this life apart from the rest. Did some part of me – or some part of him? – recognize that this was the last chance for us to be together? Was that where the urgency was coming from? Or was it more about the passage of time and whom I had become? Recent years had made me more jaded about life as a succubus, and I wondered if perhaps that was what made him and our love so precious to me at this point in time. Our love, which had just blown up before my eyes. I called in sick to work the next day, something that didn’t really go over all that well. It was Christmas Eve, one of the busiest days for Santa and his mall team, but I didn’t care. There was no way I could face that chaos, not after what had happened with Seth. I was told curtly that if I didn’t come into work, then I shouldn’t expect to be rehired next year. I almost laughed and only barely managed to cling to some shred of professionalism, as I gravely informed my manager that I’d take that risk. Next Christmas, I’d most likely be in Las Vegas. Even if I wasn’t, I was pretty sure I could manage to get by without minimum wage and my foil dress. Finding Seth proved trickier. He didn’t answer my phone calls, and when I went to his condo, no one answered. Neither his nor Margaret’s car was parked out front, leading me to believe they were either doing last-minute Christmas shopping or visiting Terry and Andrea. If it was the former, I had no way of locating Seth easily. If it was the latter, I certainly wasn’t going to barge into Terry’s house and demand Seth speak to me. The situation might be dire, but I still had my boundaries. It would’ve been so easy to use these obstacles as the means to dodge talking to Seth altogether. Despite my assurances to Hugh and Roman, I really didn’t want to see Seth. Well, the part of me that was in love with him did. That part was in agony every moment we weren’t together. But the rest of me didn’t want to face that expression again, that terrible hurt on his face. I didn’t want to confront the reality of what I was. Despite agreeing to see Seth, I really hadn’t been able to truly convey to Roman and Hugh just how agonizing the thought of facing up to my sins was. I hadn’t been able to handle the wrongness of what I’d done then; I could barely do it now. I’d sold my soul, blighted away the memories of all those I’d loved . . . all because I didn’t want to accept the responsibility of what a terrible thing I’d done. You’d think after almost a millennium and a half, that fear and self-preservation would have changed. I guess it hadn’t. Or maybe it had. The fact that I was trying to find Seth now was proof that I had changed a little, enough to attempt another conversation after his adamant rejection of me. â€Å"Kincaid?† I glanced behind me. I was standing in line at a coffee shop Seth occasionally patronized to sit and write. Coming here had been a long shot, and I hadn’t been all that surprised to see he wasn’t around. Last I knew, he hadn’t been here in ages, especially with everything going on in his family. Apparently, this place had other patrons I hadn’t known about. â€Å"Doug,† I said in surprise. I quickly placed my order for a white chocolate mocha and then waved as Doug strolled over to me. He’d just come in, and fine drops of water covered his black hair. â€Å"What are you having?† I gestured to the barista. Doug looked a little surprised but only hesitated a moment before ordering an inhumanly sized cup of drip. â€Å"Thanks,† he told me, when I handed it over to him. â€Å"You want to sit a minute?† I asked. My original intention had been to grab the mocha and go. I didn’t know what Doug’s plan was, but some perverse urge made me want to try to get a moment with him. â€Å"Sure,† he said, looking a little uncertain. â€Å"But just for a minute. I’ve got to be at work in an hour.† â€Å"We don’t want you to be late for that,† I agreed, settling down at a small table that gave us a fine view of the sleet outside. Seattle wasn’t really known for white Christmases. â€Å"All those last-minute shoppers trying to get their boxed sets.† The ghost of a smile crossed his face. â€Å"You know it. I’m surprised you aren’t at work. Is it true? I heard you were, uh, working elf duty at a mall on the Eastside.† I grimaced. â€Å"Painfully true. But I quit today.† His eyebrows rose. â€Å"On Christmas Eve? That’s cold, Kincaid. Think of the children.† â€Å"I know. But, well, something came up. . . .† I glanced away, unable to meet his eyes as all my troubled feelings threatened to surface. â€Å"Yeah, I can tell,† he said. I dared a look back. â€Å"What do you mean?† Doug shrugged. â€Å"I don’t know. Just this vibe I always got off of you when you were feeling blue. You read "Succubus Revealed Chapter 15" in category "Essay examples" You put on a good face for most of the world, but when something hurts you, your energy changes. Christ.† He took a big drink of coffee. â€Å"Now I’m sounding all New Agey and shit.† â€Å"Well, whatever it is, your instincts are right.† I reconsidered. â€Å"Though ‘blue’ is kind of an understatement. More like navy. Or even black.† â€Å"Mortensen?† he guessed. I shook my head and glanced away again. â€Å"You don’t want to hear about that.† Although, perhaps some part of him would be glad to know Seth and I were through. It’d be vindication after what we did to Maddie. â€Å"Try me,† said Doug. When I didn’t answer, he sighed. â€Å"Kincaid, I don’t hate you. I’m not happy about what went down, but in some weird, twisted way, I do still care about you. If something’s wrong, you can tell me. Did Mortensen hurt you?† â€Å"No,† I said. Then: â€Å"Well, yes, but not without cause. I hurt him first.† â€Å"Ah.† I dragged my gaze back to Doug. His eyes were dark and serious, no trace of enjoyment in my suffering. â€Å"I’ve been trying to find him today . . . trying to get a hold of him. But I think he’s avoiding me. No, I know he’s avoiding me.† â€Å"You’ll patch it up,† said Doug. â€Å"I don’t know. I don’t think we can this time.† † ‘This time,’ † he scoffed. â€Å"Kincaid, the first moment I saw you and Mortensen together, there was something there. I don’t know how to describe it. I was always surprised you guys never went out. I was surprised when he started going out with Maddie, though they seemed happy enough until . . . well, you know. Until he figured out he should be going out with you.† He paused, thinking. â€Å"Anyway, I talk a good talk about love in my songs but really don’t know shit about it in real life. From what I do know, though, I feel like it’s going to take more than whatever argument this is to keep you guys apart.† â€Å"Thanks,† I said. â€Å"That’s nice of you . . . but you don’t know. What I did was pretty terrible.† â€Å"What you guys did to Maddie was pretty terrible,† said Doug. â€Å"But I’ve forgiven you.† â€Å"You have?† I asked, startled. â€Å"Yeah.† He seemed a little surprised by the admission. â€Å"I mean, it helps that this neurosurgeon asked her out last week. I can forgive a lot if it means having a doctor brother-in-law. But in all seriousness? I know you guys didn’t mean to hurt her, just like you didn’t mean to hurt Mortensen here. What you did do is screw up majorly in the forthcomingness department.† â€Å"Forthcomingness?† I repeated. He waved me off. â€Å"Whatever. It’s a word. If you guys had been honest with yourselves and with her, you could’ve saved everyone a world of hurt. Keep that in mind now.† â€Å"You’re a regular relationship guru,† I said, earning me another scoff. Yet, as wise as his words sounded, I still didn’t think there was any way to fix this thousand-year-old hurt. Before I could muster another comment, my phone rang. I looked down at the display in surprise. â€Å"It’s Seth.† â€Å"You better answer it, then,† said Doug. With a gulp, I did. â€Å"Hello? Yeah. Uh-huh . . . sure. Okay . . . I understand. Okay. Bye.† I disconnected and Doug gave me a questioning look. â€Å"That didn’t sound all that warm and fuzzy.† â€Å"Seth wants me to come to Christmas dinner tomorrow,† I said disbelievingly. â€Å"Well, that’s a good sign,† said Doug. I shook my head. â€Å"I don’t think it is. He said he doesn’t want to create more upset in the girls’ lives and just wants me there for appearances, to make them happy. He made it clear that nothing’s changed, nor does he expect it to.† â€Å"I guess it’s more of a lukewarm sign, then,† said Doug. I sighed, and Doug gently chucked my chin. â€Å"Cheer up, Kincaid. You wanted to talk to him. Here’s your chance, no matter what he said. Don’t waste it.† I mustered a smile. â€Å"How’d you get so wise, Doug?† He finished his coffee in a gulp. â€Å"Fuck if I know.† Doug’s words were the kind that you hear in movies and books, the kind that power the against-all-odds comeback we love to see. It was my one chance, my chance to break through Seth’s walls and surmount the insurmountable problems between us. But Seth made sure I never had the chance. I arrived on my own, laden with presents, and was immediately directed to entertain the girls. Seth made the request, since he and most of the other adults (except Ian, who only marginally counted as an adult anyway) were dug in inside the kitchen, and it seemed very reasonable. Normally, I wouldn’t have minded either, except I had the gut feeling Seth was purposely keeping us far apart and constantly surrounded by people. So, I played with the girls, only half-listening as they excitedly told me about what they’d gotten for Christmas. The only time my brooding thoughts shifted from Seth was when Brandy remarked about how more presents had shown up under their tree this morning than could be accounted for. â€Å"No one will own up to having gotten some of the presents. Mom and Dad think Uncle Seth did it. He thinks Grandma did it,† Brandy said in a soft voice, so the littler ones wouldn’t overhear her. â€Å"What kind of presents?† I asked. She shrugged. â€Å"Just toys . . . but lots of them. Like, Mom and Dad got Morgan some Princess Ponies. But this morning ? There were some Power Prism Ponies there too.† I vaguely remembered Carter and Morgan discussing those very ponies. â€Å"Maybe Santa came by,† I said. Brandy rolled her eyes, looking skeptical. â€Å"Maybe.† When dinner came, there was no avoiding being near Seth. Everyone expected us to sit together, and he could hardly ask to move somewhere else. But again, with so many people around, it didn’t matter. I wasn’t going to bring up any dangerous topics in the middle of Christmas dinner, and Seth knew that. Both of us were silent, simply listening as the others talked excitedly about the day and how happy they were that Andrea was feeling better. When dinner ended, Seth was the first one up and made a big deal about how all the guys should do dishes tonight while the ladies of the household retired to the living room. Everyone was pleased with this idea, except for Ian and me. â€Å"What is it with you guys and Christmas?† asked Andrea conspiratorially. I was sitting with her on the loveseat watching as Kendall directed Morgan’s ponies into an epic battle to the death. â€Å"Huh?† I asked, glancing away from the battlefield. â€Å"You and Seth,† said Andrea. â€Å"I remember last Christmas, you guys were the same. Isn’t this supposed to be the happiest day of the year?† I repressed a grimace. Last Christmas, I’d found out that Seth had slept with Maddie in an effort to â€Å"protect me† from a relationship with him. Yeah. That hadn’t been a great holiday either. â€Å"We’ve got nothing against Christmas,† I said bleakly. â€Å"Just . . . some issues to sort out.† She frowned. â€Å"Is it about his tour? I figured you’d be for that.† â€Å"What tour?† â€Å"His publisher wants him to go traveling right after New Year’s. Seth had originally refused because of . . . well, me. But I’ve felt so good lately, I told him he shouldn’t waste the chance.† I hadn’t known about that. I wondered if it was something that had just come up in the last day or if Seth simply hadn’t told me beforehand. The tour would fall before my Las Vegas transfer, and I wouldn’t have put it past Seth to decline it in order to maximize his time with me. Well, at least before things went bad. â€Å"That’s not it,† I said after several seconds, when I realized she was expecting an answer from me. â€Å"It’s . . . complicated.† â€Å"It always is,† she said wisely. I looked past her, toward the kitchen, where I could just barely see the Mortensen men moving around with the dishes. â€Å"For now, I’d just settle for a few moments alone.† She made no comment about that, but later, when the guys returned to the living room, she said very casually, â€Å"Seth, would you mind going upstairs to get my red cardigan? I left it on the foot of the bed.† Seth was about to sit down – far away from me, of course – but sprang up instantly at the request. As soon as he’d disappeared up the stairs, Andrea nudged me with her elbow. I turned to her, startled, and she jerked her head toward the stairs. Go, she mouthed. I glanced around, saw no one was paying much attention to me, and hurried after Seth. I found him in the bedroom, staring around curiously for the sweater that most likely didn’t even exist. When he saw me in the doorway, he sighed heavily, realizing he’d been tricked. â€Å"I don’t have time for this,† he said, attempting to move past me. I put out my arm to block the door. â€Å"Seth, please. Just listen to me. Just for a few minutes.† He stood there, only a few inches away, and then backed up. Since he apparently didn’t want to push past and risk touching me, he must have decided distance was better, even at the risk of being trapped in the room. â€Å"Georgina, there is nothing you can say. Nothing that can change what happened between us.† â€Å"I know that,† I said. â€Å"I’m not going to try.† He eyed me suspiciously. â€Å"You aren’t?† I swallowed, all words and thoughts fading from me as I stared into his eyes. There it was – that look. That same look of hurt and utter devastation that Kyriakos had worn so many centuries ago. It was looking out at me through Seth’s eyes. I nodded. â€Å"We need to know about your contract. We just want to know some details.† â€Å"To help you?† he asked. â€Å"To help both of us. From what we’ve gathered, Hell violated my contract when it wrote yours. And that makes the conditions of yours contradictory. We might be able to get them both invalidated . . . but we need to understand yours better.† Seth leaned against the wall, eyes staring vacantly ahead as his thoughts turned inward. â€Å"I don’t even understand the details of my contract. I barely remember it. . . . I mean, I do and don’t. What went down . . . with the hypnosis . . . it’s real and it’s not.† I started to take a step forward, wanting badly to touch him and comfort him since he was clearly distraught. Caution held me back. â€Å"You have to try. Right now, if you don’t, then you’re going to go to Hell when you die. Doesn’t matter if you become a saint before then. That contract brands your soul . . . unless, well . . . we’re not sure if there was some condition that if you and I got back together, then you’d be free. That’s what we need to know.† â€Å"Does it matter?† he asked. â€Å"Seeing as that doesn’t look like it’s going to happen – doesn’t look like it was ever going to happen, if all those lives were any indication.† â€Å"Well, I mean, yeah . . . it matters in that the more information we have, the better our case.† â€Å"Can’t you just have Hugh look it up?† I shook my head. â€Å"Not without raising attention. It’d be better if we can get the details from you.† â€Å"Well, sorry, then. I don’t remember anything more than what I told you. And honestly? I don’t care.† â€Å"How can you not care?† I asked incredulously. â€Å"It’s your soul we’re talking about!† â€Å"I’ll take my chances,† he said. A spark of anger permeated the sorrow that had clung to me these last couple days. â€Å"There are no ‘chances.’ It’s a done deal. Your soul belongs to Hell. Nothing’s going to change it.† â€Å"Does it really matter? You gave your soul to Hell.† â€Å"For you!† I cried. â€Å"I did it for you. To save you. I would do it a hundred times over if I had to.† Seth scoffed. â€Å"Why didn’t you just not cheat on me one time?† â€Å"I was young, and I was stupid,† I said, amazed at how levelly I could acknowledge that. â€Å"I was scared, and I felt like you were so far away from me. Like I wasn’t part of your priorities anymore. It was all about work and music for you.† â€Å"And you never thought about talking to me about any of that first? You know you can always bring anything up to me.† I sighed. â€Å"To you, maybe. Not to Kyriakos. He . . . you . . . may have meant well but wasn’t always so easy to get through to.† â€Å"But I am him,† argued Seth, though he sound a little unsure. â€Å"Er, was.† â€Å"Yes and no,† I said. â€Å"Look, I’m no expert on reincarnation, but from what I know, even though the soul and some parts of the character are constant, there’s still, like . . . evolving taking place. You grow and change. That’s the point of reincarnation. You’re the same person, but you aren’t. You weren’t perfect back then. Hell, you aren’t now. Maybe you – Seth – can handle talking about this . . . maybe after ten lives, you’ve developed enough relationship maturity. Back then? I’m not so sure. I obviously didn’t have it either.† â€Å"Obviously,† he repeated. His gaze held me for a long time, and this time, I couldn’t tell what he was feeling. At least there was no overt hate or anything. Either that, or he’d simply learned to conceal it. Finally, he said, â€Å"I meant it. I don’t remember the contract details. . . . Just that I would be allowed to keep finding you.† â€Å"That’s it?† I said. â€Å"Nothing else? If there’s anything more . . . I mean, the stakes here are huge, Seth. I know you said you’d take your chances, but remember when we’re talking about your soul, we’re looking beyond the scope of one human life. We’re looking at eternity.† â€Å"There you go again,† he said, with a small, rueful smile. â€Å"Making an argument for the sanctity of the soul, a soul you threw away.† â€Å"And I told you before, I’d do it again.† â€Å"So you wouldn’t have to face me and look me in the eye after what you’d done.† â€Å"In part,† I said. â€Å"But also to save your life. To give you a chance at happiness. Because at that moment . . . that was more important than my eternity.† Seth took a long time to answer, and I again wished I knew what was happening behind those brown eyes. Whose thoughts were stirring in there? His or Kyriakos’s? Or any of the other men I’d had turbulent romances with? â€Å"You didn’t want to face me then,† he said at last. â€Å"But here you are. Why? To save your own soul?† â€Å"To save both our souls,† I said. Seth straightened up from his slouch against the wall and moved toward the door. â€Å"I can’t help you. I mean it – I don’t remember anything else. Now. If you’d please make some polite excuse to the others and leave, I’d really appreciate it.† He came to stand in front of me in the doorway, and for a half a second, time stood still as we studied each other, only a few inches apart. A thousand feelings warred within me, powered by a thousand years’ worth of lifetimes. With a slow nod, I yielded and let him walk past me. He didn’t look back. How to cite Succubus Revealed Chapter 15, Essay examples

‘The Bloody Chamber, the characters and elements of gothic free essay sample

The genre of gothic literature contains both elements of horror and romance, with an innocent female, a powerful male (usually the quintessential villain), as well as themes to do with the supernatural as key features included in the novel. In this chapter, elements of the gothic begin in the very title of the book: the ‘bloody’ in ‘The Bloody Chamber’ associates the idea of death and gore, a more horrific element of the gothic genre; the ‘Chamber’ itself now sounds more claustrophobic and similar to a torture chamber, due to the link to blood.However, blood can be interpreted in different ways throughout the extract, even in a romantic way in this example: ‘the wedding dress†¦wrapped up in†¦red ribbon’. Juxtaposing the red of the ribbon with the white of the dress (which symbolises innocence) could represent the staining of virgin blood on a pure dress, or scarring of one’s purity with blood, to represent taking somebody’s identity with them – the person who took her virginity is the one she’ll belong to for the rest of her life. Not only is there a presence of a pure and desirable female (‘the wedding dress he’d bought me’ – hinting at the fact he wants her and he shall buy her this wedding dress and her mother a dress so as to encourage her to marry him), who is dominated by a male (he bought her the dress, instead of letting her choose the design†¦a controlling character), but the fact there is a transition from everyday life to something bigger is also a major element of the gothic genre.Transition at the very beginning of the novel is also illustrated in another gothic novel Dracula (when Harker is travelling to Transsylvania to Count Dracula’s castle). The female character is travelling from her home, ‘the narrow bedroom (she) had left behind forever’ into ‘the unguessable country of marriage’. This brings forward a sense of excitement and uncertainty as to whether marriage will live up to her expectations or worsen her intentions of gett ing away from poverty – whether it will make her happier.The narrator of the chapter, clearly a female, seems to have a mixture of characteristics, making it difficult to read her true personality. From the beginning of the chapter, she seems a rather passionate but at the same time innocent figure: ‘my burning cheeks pressed against the impeccable linen of the pillow†¦Ã¢â‚¬â„¢. The burning of her cheeks suggests a fast flow of blood, blood now being represented in a different way – for passion and excitement.The impeccable pillow brings forward an image of a white crispy pillow, untouched beforehand, just like a virgin. The two opposites placed together, one on top of the other, juxtaposes passion and innocence which could be interpreted in several ways: both the groom and bride juxtaposed together to form opposites, or the narrator’s character, confusing the audience on purpose. This point makes the narrator unreliable, as we do not particularly understand her real character at this point in the book. And I remember’ – the fact she is using her memory as a point of narration, instead of the present day actions makes her even more unreliable as we cannot trust what she may and may not remember. A journal or another character could have made her story more reliable otherwise. An unreliable narrator is a huge element of gothic lit erature, and the fact that the female character is the unreliable narrator so far, breaks the boundaries of gothic literature (as only male villains were described as such before). However the male character in the chapter remains unreliable to the reader. He seems mysterious, and not described in major detail – the only details collated by the reader are the fact he is fairly rich (bought her the wedding dress, as well as a luxurious dress for her mother), rather controlling over his future bride ( the girl abandoned her items in her room – perhaps because he wouldn’t let her bring her possessions with her).The lack of description set by the narrator only leaves the reader to guess to his personality, but it also shows that the girl isn’t particularly excited by her groom, perhaps preferring not to mention or think about him as it may discomfort her. Her mother seems like a matured character, one who developed from the girl who sacrificed her rich background and family for love, but after losing him, fought her way for her and her daughters’ survival. Having seen this change in her, her daughter must have looked up to her â⠂¬â€œ which is where her sensible side comes from (‘I know I want to marry him’ – having to marry the man).This woman doesn’t seem to fit in any context in gothic, apart from when the groom gives her identity in the gothic genre; by gifting her a black dress, which to me symbolises decay and the overlooked, he is showing the girl the person she will one day turn into, therefore degrading the females in that family into white and black, differentiating their characters but also showing the link between them – what the black once was, and what the white shall one day turn into.The male characters described in the chapter – the father and the groom – both seem honourable, either due to civil service or the amount of money they are worth, and are most certainly recognised for it. This is shown by the fathers’ medals of honour and the groom’s availability in having a ‘treasure wife’ or a woman of his choice, who marries him for his money’s worth. Without his money, he wouldn’t particularly have his bride.However, although the women in the chapter do seem honourable in their own way, such as the mother surviving the hardships of poor life without a husband and the daughter making a courageous decision in marrying someone she isn’t in love with for economic purpose (and both trying to overcome a loved man’s death in hard times) – they are not entirely recognised for it. Instead, the young lady could be passed off as rather naive, due to the ecstasy (or exaggeration) of her descriptions, and the woman as having no purpose other than mourn her husband’s death and her daughter’s departure.There is already a difference in the male-female importance and stereotype ratio, making the author al ready (either purposefully or accidentally) sexist in their work†¦this being another key element of gothic literature. However this could also be counter argued by stating that neither of the characters on the page are named, therefore are still all equals. In conclusion, the opening chapter introduces the characters to a good level of understanding for the audience and throws essential elements of gothic literature (exaggeration, juxtaposing, and sexism, symbolism) to set the mood.

Empowerment And Participation Essays - Human Resource Management

Empowerment And Participation Empowerment and Participation It is interesting how the word communication can change life at home and at work. When everyone is aware of what is going on around him or her, they can function better. What a concept! All of the readings I have done taught communicating is the key. We read about ridding the stigma of upper management, getting their hands dirty, understanding their position, and why it is important to the rest of the company. This chapter takes it one step further and says talk about the company finances as well. It is important for employees to understand the business in its entirety. That includes the finances of the job. All of the readings in this chapter had something to offer. I feel taking a bit from each will provide a work place of splendor. Finances include a variety of things: From hiring a new employee to purchasing a new tool to make the job easier. It is those decisions we make which can make difference of saving, spending and making money. It is these decisions that can make or break a company. The old school tells us not to share finances with anyone else in the company but those directly on top. The new school is saying that this philosophy is all wrong. If one want an employee to do the best he or she can do, and feel important, give them the company information. Let all the employees know what role they play. Allow them to make decisions that will make their job easier. As implied before, who betters know the job than the employee performing the job? The reading, Zapp! The Lightening of Empowerment suggests managers help their employees take ownership of their jobs. This requires trust, listening to the workers, and giving feedback. The novel concept here is to treat people like humans. Like any relationship, one needs these qualities to survive. If one gives positive reinforcements people tend to respect them. Employers hire people everyday with the hopes and trust they will do their job. But when people do not understand the role they really play in the company, they may not give their full effort. Hence, we have Saps, people who lack the main ingredients of relationships discussed earlier. We must let the employees know we trust them to make good positive decisions. Give them the empowerment by letting them know they are valued, and commending them on jobs well done. Open Book Management suggests we share our finances with the other employees no matter what their status, and give them a stake in the company. After all, this is a good suggestion, why work if one can't reap the benefits of their work? It also suggests that many employees are business illiterate, and if we want them to understand business we need to teach it to them. In conclusion, all of the readings I have done so far make management more then just problem solvers. They have become part of the problem. To solve their own problems managers need to be teachers, coaches, and a wealth of knowledge to be shared. Businesses need to be a team, and to this they need to share every aspect of the team. When the business succeeds all should have a share in the profit, and when it fails all are responsible. Bibliography Pierce, Jon L. John W. Newstrom. The Manager's Bookshelf. 5th ed. Prenticw Hall: 2000, 1996.129-173.

Event Management Proposal †Business Management Paper

Event Management Proposal – Business Management Paper Free Online Research Papers Event Management Proposal Business Management Paper The SUNYAC men’s basketball tournament and championship game will be held at New Paltz in Elting Gym. Amseshem Foluke- Henderson will be the Head of Affairs and will have groups of professionals that will make this event run smoothly. The three major departments are Finance, Advertising and Marketing, and Security. Each department have different tasks. The finance department is in charge of payroll, ticket sales, and creating a budget. Advertising and marketing department basically will attract public attention towards this tournament. Lastly, the Security Department will protect the inner and outer area of Elting Gym. The temperature will be in the upper 60’s for most of the weekend event. However, there will be a 10 percent precipitation. That means on Sunday afternoon we will have showers off and on. The bad weather that we will receive the afternoon is a disadvantage that we will face. However, we have scheduled the game around the time when the rain would possibly come. The tournament will begin on April 16 and the last game will be played on April 18, 2004. There will be four games played on Friday April 16, 2004. Two games will be played on Saturday and the championship game will be played on Sunday. There are 8 teams that will play in this tournament. All of these teams and all their managers will stay in the Super 8 Motel. The Super 8 Motel is located 2 miles from Elting Gym. It is close and convenient. We will create revenue by opening a concession stand and sell apparel. We will sell soda, hotdogs, popcorn and all types of candy. We will assign prices to all of our products. Tickets will be sold at 5 dollars a ticket. All of the different schools sweatshirts will be sold there also. The profit that is created will go to the New Paltz Athletic Departments. We believe in Excellence and will strive for nothing less, this is why our event will be a success. Research Papers on Event Management Proposal - Business Management PaperThe Hockey GameMarketing of Lifeboy Soap A Unilever ProductNever Been Kicked Out of a Place This NiceThe Project Managment Office SystemDefinition of Export QuotasWhere Wild and West MeetAnalysis of Ebay Expanding into AsiaLifes What IfsMoral and Ethical Issues in Hiring New EmployeesAppeasement Policy Towards the Outbreak of World War 2

Strategic Sourcing within DoD at the Operational Level Thesis

Strategic Sourcing within DoD at the Operational Level - Thesis Example But, it so happens that when hard workers develop great amenities, the fellow nations tries to copy those technologies either in a friendly or in a forceful manner. However, the nation which has toiled so hard to develop those technologies knows the effort which it has put in for gaining those utilities and as such would not be ready to forego that advantage for any friendly gesture. The resultant would be a war. As such, the nation with great amenities should always be watchful of this dilemma and be on its toes to avoid such war situations so as to safeguard its best technologies. This is the main reason that all the nations around the world maintain their own defense departments to create a fear of loss to their neighboring countries. This fear could be maintained only when secrecy of the technology developed is maintained. The same is the case with the Department of Defense (DoD) of U.S.A. with its headquarters in Pentagon. The main purpose of DoD is to maintain and supply forces of military in order to avoid situations of war and safeguard the nation. In this journey, it is forced to develop sophisticated technology for which a lot of resources have to be procured including the precious human effort thereby stretching itself to find out ways and means of fulfilling its mission of nation’s security. Along with such development, care should be taken to safeguard that technology so that, in the game between two nations, enemy nations do not become conversant with those inventions. Hence, ultimate secrecy has to be maintained at every point thereby impeding the commercialization of the unique inventions which were developed for defense purposes. It so happens that during such inventions, an off shoot of those inventions stands to be of immense help to the common man that if known its utility, their commercial value could be established with no doubt. For instance: Rayban sunglasses, were originally developed for air force pilots to ban the

Cause and Effect of Race on Life Essay Example | Topics and Well Written Essays - 750 words

Cause and Effect of Race on My Life - Essay Example It is not essential that everybody has to face certain problems in association with these characteristics but for me, the situation was on the negative side. I belong to the Middle East and I chose to pursue my studies in the United States with the prospect of achieving a better future. Though it is believed by many that racism is not a major factor which affects the living of a person in today’s world but in my case, my life was very much affected by my race. I was one of the very few people in my college in the United States who came from the Middle East. My race was one of the major reasons why not many people in my class wanted to befriend me. I was new in the country and an international student and it was a period when I actually needed help and support. It was very difficult on my part to communicate with people because I perceived that most of them did not want to engage in conversations with or assist me in getting used to the place. I still remember the time when I a sked a college mate to give me his notes to which he flatly refused and did not even speak any further. The concept that I actually realized was that the whites preferred sticking to their own groups. This was the beginning but with time things did change and we got on better terms after a few months. The level of trust was not very high but I actually communicate with them. We were colleagues but not friends who would actually go out or attend parties together. It cannot be denied that my race did assist me in many matters. I formed a very strong bond and actually made really good friends with people who belonged to different races and were international students like me.

Journal for Small group communication Essay Example | Topics and Well Written Essays - 2500 words

Journal for Small group communication - Essay Example We have team strength of 15 members whereby all of us are competent enough in our specified sport i.e. soccer. However, not all of us are equally skilled. A few of us are still learning to play volleyball in a proper format. Nevertheless, somehow we have managed to set our standards to a much higher level. We have always focused on playing cohesively and in this process have been able to fulfill the facets associated with task orientation. Furthermore, all of us in due course have got the opportunity to exercise our relational orientation skills that in turn have helped in deriving improvements in our group communication process as well. Our cohesive existence and sports training provided great aid in the development of the communication competence among ourselves. It has been able to create all round impact in improving our communication process so that we are able to lucidly convey our strategies with each other. It has resulted in the creation of all round improvement in maintaini ng a flow proper flow of the feedback mechanism process (Rothwell 1-381). Groups as Systems Week Two Month†¦Year†¦ We represent a diverse team with efficient skills specialized in volleyball. Together we make a very strong group consisting of 15 members. Throughout the period of our co-existence, all of us have been able to maintain high extent of cooperation among all the group members and we are also able to know our own strengths and weaknesses because of the countless hours that we spend together. Throughout our co-existence, we have been able to learn many new things in the second week which is considered to be relatively better as compared to the previous week. I have realized that alike any other field, learning is a continuous process in sporting arena as well where in order to develop one’s own skills feedbacks of others are of extreme importance wherein communication can play a decisive role. It has been learnt that the both the aspects i.e. task along wit h relational orientation resulted in high amount of effectiveness. These factors can be provided with weightage as we are very much focused on the task in hand i.e. to excel in the concerned sport i.e. volleyball that we have chosen. Moreover, it can also be highlighted that we were following a much cooperative approach as we had strong mutual understandings with each other. I felt that most of the members in my team needed volleyball training as we were little weak in this particular sport. I learnt that we were operating in a very much systematic manner as we knew our strengths along with the weaknesses. Groups as systems represent a dynamic entity that intends to excel in any activities that are undertaken. Similarly, group sport or team sport lends an invaluable opportunity for an individual to share space with individuals of different skills being in a system. In such an activity, the prevailing barriers related to learning and skill development can be efficiently mitigated. I have also been able to ascertain greater group dynamics that has been the critical success factor for the athletic team (Rothwell 1-381). Group Development Week Three Month†¦Year†¦ During the course of week three, we have been able to learn a lot from each other. The best part about our team is that we are small in number. It has allowed all of us to

Andy Goldsworthy: Concepts of the Landscape

Andy Goldsworthy: Concepts of the Landscape Title: ‘Travel constructs a fictional relationship between gaze and landscape’ (M. Auge, â€Å"Non-Places,† 1995; p86). Does this statement seem to you to express a central insight about landscape and travel in the 20th century? Please discuss in relation to the work of Andy Goldsworthy. The Earthworks art of Andy Goldsworthy challenges, firstly, a classical art-historical conception of the landscape, and can also be implicitly responsive to the ‘supermodern’ sense of landscape and place, theorised by Marc Auge, in which â€Å"Vocabulary†¦ educates the gaze, informs the landscape[1].†. Goldsworthy captures the essence of place through texture, allusion to process and a mutual dependability on nature, as if to transform both the materials of the objects and the meaning of their often banal contexts. It is immediately evident that Goldsworthy’s works, in general, strongly accentuate texture and shape. Goldsworthy describes the working process as a tactile expression, implying the involvement of a multi-sensory extension of the body, a recurring artistic intention, especially through cues signifying touch and vision. â€Å"For me, looking, touching, material, place and form are all inseparable from the resulting work. It is difficult to say where one stops and another begins[2].† This obsession with recurring forms in nature using different materials has a ritualistic edge, where the earthworks have lost the purpose and functionalism of the commercial product. This tactile gaze, used as the central way of identifying the object, is further evoked through the use of text. For example, in a photograph of a spherical ice ball positioned aside a bleak Autumn bridge, his texts connotes the image not only in terms of its visual impact but also the texture implied by its aural qualities: â€Å"Stacked ice – sound of cracking.[3]† The shape and texture of the river in the 1988-9 Leadgate and Lambton Earthworks[4] symbolizes its sensual form in a way which still identifies it as relating to a river, but without the non-abstracted seamless visual art representation of a river. Goldsworthy describes this process: â€Å"The snake has evolved through a need to move close to the ground, sometimes below and sometimes above, an expression of the space it occupies[5].† Similarly, rather than use the language of signposts to designate a river (in its non-place), the use of more tactile cues reclaims the spectator’s newness of vision: in Auge’s words, the traveller (AG) is recapturing the landscape like it is â€Å"the first journey of birth†¦the primal experience of differentiation[6].†While Auge asserts that non-places â€Å" exist only through the words that evoke them,[7]† AG’s words work to clarify the gaze rather than condense it to a unified vision. But what constitutes this gaze? When we refer to his earthworks, are we referring only to the symbolic object, or the whole space inside the photo frame? Like a travel writer, a heightened perception or rediscovery of the landscape is the central tenet of Goldsworthy’s working process: â€Å"Some places I return to over and over again, going deeper- a relationship made in layers over a long time.[8]† There is a suggestion by AG that site or context affects and, to an extent, has a significant role in generating the features of his objects: When I work with a leaf, rock, stick, it is not just that material in itself, it is an opening into the processes of life within and around it†¦The energy and space around a material are as important as the energy and space within[9] While the train, for Auge, is one of the greatest culprits behind the spectator’s fleeting vision of space, Goldsworthy’s immobilization and transposition of the train track and its practical function to a snaking †¦in the Lambton earthworks?, is a way for AG to recapture the essence of the landscape, to shift its perceptual status from non-place to place: â€Å"Staying in one place makes me more aware of change[10].† However, part of this awareness is awareness that the land itself is fleeting and transforming according to environmental ‘whim,’ and that the photograph merely represents a certain moment in a process. His emphasis on spontaneity and change according to environmental and climactic conditions, as well as his own sense of navigation, is significant because he is able to evoke the history of the object through capturing a synchronic moment in its processes. If we look at several of his works in which piles of material are neatly centred with a hollow hole[11], we sense their impermanence and a foreboding decay from seeing their present formal cohesion. A Cambridge earthwork with leaves is accompanied by this awareness in text, where a materialistic description of the object is transformed into a narrative of it: â€Å"Torn Hole/horse chestnut leaves stitched with stalks around the rim/moving in the wind[12].† Perhaps more than these smaller-scale earthworks, the earthworks in County Durham most forcefully use the concept of environmental process to allude to the movement of travel, not only through their obvious association with trains, but through the movement implied by the object, as â€Å" ripples from a thrown stone[13]†. Freezing these processes is a way of reawakening the senses, by both seeing the object statically without moving too fast and by being aware of its continuing narrative, rather than being driven by the â€Å"perpetual series of presents[14]† of those unrecognised non-places, exaggerated in Thomas Gursky’s digital photos . According to Auge, the language of signposts etc. does not heighten the spectator’s perception of a place, but merely substitutes their relationship to it as a mere passing acknowledgement.[15] Goldsworthy’s works seem to reclaim that historicity of the natural object that is lost in the immediacy of the commercial product[16], including the signs that describe and name features and punctuations in the land, trying to give it a sense of place. Challenging the prescriptions of discourse on our subjectivity, however, has always been a preoccupation in landscape art. Constable’s landscape paintings, for example, could represent a different challenge to the supermodern construction of landscape into a fleeting ‘non-place,’ through his holistic, static, formalist and panoramic vision of the land. While Goldsworthy reconfigures the landscape’s gaze beyond the static to an awareness of its morphology, materiality, unpredictability and precariousness, Constable and the landscape painters of the 18th century synchronized these natural irregularities, painting the clouds and sun simultaneously and consciously at different periods and freezing the movement of the Hay wain into a stance.[17] In Goldsworthy’s work, therefore, landscape is no longer a site, implying static, but a process, implying diachronic, in which the object and its place are interdependent. Throughout the earthworks photographs and their accompanying text, two main interconnected subjectivities emerge, both of which seem threatened by the dislocation through the â€Å"non-place:† organic nature and Goldsworthy, who is simultaneously a conscious manipulator of nature’s autonomous processes as well as driven by the manipulations of nature itself. The larger scope of his County Durham Leadgate and Lambton Earthworks, encourages a more structural and slightly cartographic gaze. A disused railway track becomes the site for a snaking sand track photographed aerially alongside rows of monotonous houses. Their juxtaposition, their mutual encroachment on one another and the snaking imprint’s echo of movement, in one sense seem to re-establish the inter-dependency of urban structures and nature, and the similarities in the way we perceive them despite serving different functions. In this sense, it allows greater insight to its organic qualities by its association. In a technical sense, it could be argued that there is a tension between Goldsworthy’s organic creations and their technological control by the intrinsic features of the photograph. However, any hint of the artist’s exploitation, evoked in works such as â€Å"Snowball in trees†[18] or in references to the name of the excavator driver in the Leadgate and Lambton Earthworks, is balanced out, in exchange, by their precarious existence in nature, where a rock could be precariously balanced on a boulder.[19] This relationship between nature and its manipulations is significant because it represents a reappropriation of our relationship with those places, designated by the artist’s symbols rather than the symbols of industry with which â€Å"individuals are supposed to interact only with texts, whose proponents are not individuals but ‘moral entities’ or institutions[20]†. Goldsworthy navigates and finds his non-prescribed place, by being led by climactic and environmental factors rather than such ‘moral entities.[21] Auge defines non-place in detail against the anthropological concept of place, where the traveller occupies a non-communicative, solitary space with the language of ticket machines and train timetables.[22] Accordingly, these public facilities and structures give the spectator an image of their individuality, or a ‘distanced’ simulated familiarity,[23] by discursively framing and displacing the ‘gaze’ and the individual ‘essence’ towards a simultaneous collective individuality, through the â€Å"individualization of references[24].† In contrast, by allowing the serendipitous influence of nature to produce a unique result on each object, each of the processes in the Earthworks produces individual objects, which, not over-prescribed by images and signs, evolve in partial autonomy. BIBLIOGRAPHY Auge, Marc, Non-Places: introduction to an anthropology of supermodernity, London: Verso, 1995. Baudrillard, Jean, The ecstasy of communication, trans. Bernard Caroline Schutze, ed. Slyvere Lotringer, Brooklyn, N.Y. : Autonomedia, 1988 Goldsworthy, Andy, Andy Goldsworthy, London: Penguin Group, 1990. Hand to Earth, Ed. Andy Goldsworthy. New York: Harry N. Abrams, Inc., 1993. Fredric Jameson, Postmodernism, or, The Cultural Logic of Late Capitalism. Post-Contemporary Interventions. Durham, NC: Duke University Press, 1991. Rosenthal, Michael, Constable, London Thames and Hudson Ltd, 1987 Rosenthal, Michael, â€Å"The Victorians and Beyond,† British Landscape Painting, Oxford: Phaidon Press Ltd., 1982 Footnotes [1]Marc Auge, Non-Places:introduction to an anthropology of supermodernity, 1995: Verso, London , p108 [2]Andy Goldsworthy, Andy Goldsworthy, 1990:Penguin Group, London , p1 [3]Andy Goldsworthy, â€Å"Stacked ice sound of cracking,† Hampstead Heath, 28 December 1985 [4] Andy Goldsworthy, â€Å"Leadgate and Lambton earthworks,† County Durham, Winter-Spring 1988-9 [5] Goldsworthy, p3 [6] Auge, p84 [7] opcit, p95 [8] Goldsworthy, p1 [9] ibid [10] ibid [11] For example, â€Å"Bracken,† Borrowdale, Cumbria, 13 February 1988; â€Å"Slate,† Stonewood, Dumfriesshire, Summer 1987, â€Å"Plane Leaves,† Castres, France, 19 October 1988. [12] Cambridge, 24 July 19886 [13] AG, p4 [14] Fredric Jameson, Postmodernism, or, The Cultural Logic of Late Capitalism. Post-Contemporary Interventions. Durham, NC: Duke University Press, 1991. [15] Auges, p97 [16] Jean Baudrillard, The ecstasy of communication, trans. Bernard Caroline Schutze, ed. Slyvere Lotringer, Brooklyn, N.Y. : Autonomedia, 1988 [17]Michael Rosenthal, Constable, London Thames and Hudson Ltd, 1987 [18] [19] Rock on boulder work [20] Auge, p96 [21] AG, p1 [22] Auge, p107-8 [23] Auge, p106 [24] Auge, p109

Andy Goldsworthy: Concepts of the Landscape

Andy Goldsworthy: Concepts of the Landscape Title: ‘Travel constructs a fictional relationship between gaze and landscape’ (M. Auge, â€Å"Non-Places,† 1995; p86). Does this statement seem to you to express a central insight about landscape and travel in the 20th century? Please discuss in relation to the work of Andy Goldsworthy. The Earthworks art of Andy Goldsworthy challenges, firstly, a classical art-historical conception of the landscape, and can also be implicitly responsive to the ‘supermodern’ sense of landscape and place, theorised by Marc Auge, in which â€Å"Vocabulary†¦ educates the gaze, informs the landscape[1].†. Goldsworthy captures the essence of place through texture, allusion to process and a mutual dependability on nature, as if to transform both the materials of the objects and the meaning of their often banal contexts. It is immediately evident that Goldsworthy’s works, in general, strongly accentuate texture and shape. Goldsworthy describes the working process as a tactile expression, implying the involvement of a multi-sensory extension of the body, a recurring artistic intention, especially through cues signifying touch and vision. â€Å"For me, looking, touching, material, place and form are all inseparable from the resulting work. It is difficult to say where one stops and another begins[2].† This obsession with recurring forms in nature using different materials has a ritualistic edge, where the earthworks have lost the purpose and functionalism of the commercial product. This tactile gaze, used as the central way of identifying the object, is further evoked through the use of text. For example, in a photograph of a spherical ice ball positioned aside a bleak Autumn bridge, his texts connotes the image not only in terms of its visual impact but also the texture implied by its aural qualities: â€Å"Stacked ice – sound of cracking.[3]† The shape and texture of the river in the 1988-9 Leadgate and Lambton Earthworks[4] symbolizes its sensual form in a way which still identifies it as relating to a river, but without the non-abstracted seamless visual art representation of a river. Goldsworthy describes this process: â€Å"The snake has evolved through a need to move close to the ground, sometimes below and sometimes above, an expression of the space it occupies[5].† Similarly, rather than use the language of signposts to designate a river (in its non-place), the use of more tactile cues reclaims the spectator’s newness of vision: in Auge’s words, the traveller (AG) is recapturing the landscape like it is â€Å"the first journey of birth†¦the primal experience of differentiation[6].†While Auge asserts that non-places â€Å" exist only through the words that evoke them,[7]† AG’s words work to clarify the gaze rather than condense it to a unified vision. But what constitutes this gaze? When we refer to his earthworks, are we referring only to the symbolic object, or the whole space inside the photo frame? Like a travel writer, a heightened perception or rediscovery of the landscape is the central tenet of Goldsworthy’s working process: â€Å"Some places I return to over and over again, going deeper- a relationship made in layers over a long time.[8]† There is a suggestion by AG that site or context affects and, to an extent, has a significant role in generating the features of his objects: When I work with a leaf, rock, stick, it is not just that material in itself, it is an opening into the processes of life within and around it†¦The energy and space around a material are as important as the energy and space within[9] While the train, for Auge, is one of the greatest culprits behind the spectator’s fleeting vision of space, Goldsworthy’s immobilization and transposition of the train track and its practical function to a snaking †¦in the Lambton earthworks?, is a way for AG to recapture the essence of the landscape, to shift its perceptual status from non-place to place: â€Å"Staying in one place makes me more aware of change[10].† However, part of this awareness is awareness that the land itself is fleeting and transforming according to environmental ‘whim,’ and that the photograph merely represents a certain moment in a process. His emphasis on spontaneity and change according to environmental and climactic conditions, as well as his own sense of navigation, is significant because he is able to evoke the history of the object through capturing a synchronic moment in its processes. If we look at several of his works in which piles of material are neatly centred with a hollow hole[11], we sense their impermanence and a foreboding decay from seeing their present formal cohesion. A Cambridge earthwork with leaves is accompanied by this awareness in text, where a materialistic description of the object is transformed into a narrative of it: â€Å"Torn Hole/horse chestnut leaves stitched with stalks around the rim/moving in the wind[12].† Perhaps more than these smaller-scale earthworks, the earthworks in County Durham most forcefully use the concept of environmental process to allude to the movement of travel, not only through their obvious association with trains, but through the movement implied by the object, as â€Å" ripples from a thrown stone[13]†. Freezing these processes is a way of reawakening the senses, by both seeing the object statically without moving too fast and by being aware of its continuing narrative, rather than being driven by the â€Å"perpetual series of presents[14]† of those unrecognised non-places, exaggerated in Thomas Gursky’s digital photos . According to Auge, the language of signposts etc. does not heighten the spectator’s perception of a place, but merely substitutes their relationship to it as a mere passing acknowledgement.[15] Goldsworthy’s works seem to reclaim that historicity of the natural object that is lost in the immediacy of the commercial product[16], including the signs that describe and name features and punctuations in the land, trying to give it a sense of place. Challenging the prescriptions of discourse on our subjectivity, however, has always been a preoccupation in landscape art. Constable’s landscape paintings, for example, could represent a different challenge to the supermodern construction of landscape into a fleeting ‘non-place,’ through his holistic, static, formalist and panoramic vision of the land. While Goldsworthy reconfigures the landscape’s gaze beyond the static to an awareness of its morphology, materiality, unpredictability and precariousness, Constable and the landscape painters of the 18th century synchronized these natural irregularities, painting the clouds and sun simultaneously and consciously at different periods and freezing the movement of the Hay wain into a stance.[17] In Goldsworthy’s work, therefore, landscape is no longer a site, implying static, but a process, implying diachronic, in which the object and its place are interdependent. Throughout the earthworks photographs and their accompanying text, two main interconnected subjectivities emerge, both of which seem threatened by the dislocation through the â€Å"non-place:† organic nature and Goldsworthy, who is simultaneously a conscious manipulator of nature’s autonomous processes as well as driven by the manipulations of nature itself. The larger scope of his County Durham Leadgate and Lambton Earthworks, encourages a more structural and slightly cartographic gaze. A disused railway track becomes the site for a snaking sand track photographed aerially alongside rows of monotonous houses. Their juxtaposition, their mutual encroachment on one another and the snaking imprint’s echo of movement, in one sense seem to re-establish the inter-dependency of urban structures and nature, and the similarities in the way we perceive them despite serving different functions. In this sense, it allows greater insight to its organic qualities by its association. In a technical sense, it could be argued that there is a tension between Goldsworthy’s organic creations and their technological control by the intrinsic features of the photograph. However, any hint of the artist’s exploitation, evoked in works such as â€Å"Snowball in trees†[18] or in references to the name of the excavator driver in the Leadgate and Lambton Earthworks, is balanced out, in exchange, by their precarious existence in nature, where a rock could be precariously balanced on a boulder.[19] This relationship between nature and its manipulations is significant because it represents a reappropriation of our relationship with those places, designated by the artist’s symbols rather than the symbols of industry with which â€Å"individuals are supposed to interact only with texts, whose proponents are not individuals but ‘moral entities’ or institutions[20]†. Goldsworthy navigates and finds his non-prescribed place, by being led by climactic and environmental factors rather than such ‘moral entities.[21] Auge defines non-place in detail against the anthropological concept of place, where the traveller occupies a non-communicative, solitary space with the language of ticket machines and train timetables.[22] Accordingly, these public facilities and structures give the spectator an image of their individuality, or a ‘distanced’ simulated familiarity,[23] by discursively framing and displacing the ‘gaze’ and the individual ‘essence’ towards a simultaneous collective individuality, through the â€Å"individualization of references[24].† In contrast, by allowing the serendipitous influence of nature to produce a unique result on each object, each of the processes in the Earthworks produces individual objects, which, not over-prescribed by images and signs, evolve in partial autonomy. BIBLIOGRAPHY Auge, Marc, Non-Places: introduction to an anthropology of supermodernity, London: Verso, 1995. Baudrillard, Jean, The ecstasy of communication, trans. Bernard Caroline Schutze, ed. Slyvere Lotringer, Brooklyn, N.Y. : Autonomedia, 1988 Goldsworthy, Andy, Andy Goldsworthy, London: Penguin Group, 1990. Hand to Earth, Ed. Andy Goldsworthy. New York: Harry N. Abrams, Inc., 1993. Fredric Jameson, Postmodernism, or, The Cultural Logic of Late Capitalism. Post-Contemporary Interventions. Durham, NC: Duke University Press, 1991. Rosenthal, Michael, Constable, London Thames and Hudson Ltd, 1987 Rosenthal, Michael, â€Å"The Victorians and Beyond,† British Landscape Painting, Oxford: Phaidon Press Ltd., 1982 Footnotes [1]Marc Auge, Non-Places:introduction to an anthropology of supermodernity, 1995: Verso, London , p108 [2]Andy Goldsworthy, Andy Goldsworthy, 1990:Penguin Group, London , p1 [3]Andy Goldsworthy, â€Å"Stacked ice sound of cracking,† Hampstead Heath, 28 December 1985 [4] Andy Goldsworthy, â€Å"Leadgate and Lambton earthworks,† County Durham, Winter-Spring 1988-9 [5] Goldsworthy, p3 [6] Auge, p84 [7] opcit, p95 [8] Goldsworthy, p1 [9] ibid [10] ibid [11] For example, â€Å"Bracken,† Borrowdale, Cumbria, 13 February 1988; â€Å"Slate,† Stonewood, Dumfriesshire, Summer 1987, â€Å"Plane Leaves,† Castres, France, 19 October 1988. [12] Cambridge, 24 July 19886 [13] AG, p4 [14] Fredric Jameson, Postmodernism, or, The Cultural Logic of Late Capitalism. Post-Contemporary Interventions. Durham, NC: Duke University Press, 1991. [15] Auges, p97 [16] Jean Baudrillard, The ecstasy of communication, trans. Bernard Caroline Schutze, ed. Slyvere Lotringer, Brooklyn, N.Y. : Autonomedia, 1988 [17]Michael Rosenthal, Constable, London Thames and Hudson Ltd, 1987 [18] [19] Rock on boulder work [20] Auge, p96 [21] AG, p1 [22] Auge, p107-8 [23] Auge, p106 [24] Auge, p109

Heroic epic :: essays research papers

  Ã‚  Ã‚  Ã‚  Ã‚  A heroic epic is an extended narrative poem, celebrating the feats of a legendary or traditional hero. Beowulf exemplifies the traits admired by his people, and personifies Anglo-Saxon values. Strength, Skill in battle, Courage, Fame, loyalty, and Generosity are the Anglo-Saxon values that Beowulf embodies and demonstrates throughout the story.   Ã‚  Ã‚  Ã‚  Ã‚  As the poem begins, King Hrothgar of Denmark and his entire kingdom is being terrorized by a monster named Grendel. The Danes suffer for twelve years at the hands of Grendel. Eventually, Beowulf and a fourteen men come to rescue Hrothgar, determined to defeat Grendel. Beowulf fights him unarmed, proving that he is stronger than the demon. Beowulf tears the monster’s arm off and Grendel eventually dies. The arm is brought back as a trophy of victory. Grendel’s mother seeking revenge comes to Heorot and kills one of Hrothgar’s favorite men, Aeschere. Beowulf and company travel to the swamp, where she lives, Beowulf dives in the water and fights her in her underwater lair demonstrating his skill in battle.   Ã‚  Ã‚  Ã‚  Ã‚  Beowulf’s courage, strength, and skill in battle was greatly appreciated by the Danes who now were able to live peacefully and â€Å"monster-less.† His fame has now spread throughout Denmark. After departing, Beowulf returns to Geatland and is reunited with his King and Queen. Beowulf tells of his actions in Denmark thereby earning even more fame and gives most of the treasure he received to his king Hygelac to whom he is truly loyal.   Ã‚  Ã‚  Ã‚  Ã‚  During Beowulf’s reign as King of the Geats, and as death is approaching a dragon unleashes fury on Geatland. Once again Beowulf demonstrates his courage. Beowulf and his nephew Wiglaf kill the dragon together, but Beowulf no longer as young or strong, is severely wounded. The dragon has bit him and its venom kills Beowulf moments later. Beowulf demonstrating his generosity gives dragon’s treasure to his people.