Shaping the American Dream, defining success from the first World war Essay

Forming the American Dream, characterizing accomplishment from the main World war to introduce - Essay Example American culture after World War II likened great citizenship with great commercialization. Individuals have been urged to expend more and better. Relaxation exercises are a case of this; before the twentieth century, the greater part of the recreation time of a normal American was spent in the family, church, and exercises identified with network. In the early 50% of the twentieth century, relaxation exercises, for example, playing with recreational items or watching motion pictures for the most part supplanted the social exercises based on utilization (Spring 96). Cold War assumed a significant job in binds American Dream to industrialism. Despite the fact that the vote based system in America had a solid diverge from the Soviet despotism, yet the lawmakers in America advanced mass utilization as a method of separating among Americans and the Soviets. William H. Whyte, Fortune editorial manager expressed in 1957, â€Å"Thrift is currently un-American† (Cohen 121). In 1959, American Exhibition was association in Moscow whose monetary feature was showing of America’s customer products to the Soviet heads. President Richard Nixon said at the presentation, â€Å"To us, assorted variety, the privilege to choose†¦is the most significant thing. †¦We have numerous †¦ a wide range of sorts of clothes washers with the goal that the housewives have a choice† (Nixon refered to in Spring 137). Here, Nixon caused audiences’ to notice the assortment of methods of utilization for the Americans to clarify decent varie ty as opposed to giving instances of political or social importance. The connection between great industrialism, great citizenship, and the American Dream has satisfied date. Americans joined under the initiative of President Bush after the 9/11 assaults, and a short altruistic overflowing followed. In spite of having an incredible chance to encourage non-consumerist conduct in the Americans, Bush basically helped Americans to remember the significance of commercialization in the advancement of a solid economy in the post-9/11 assaults discourses. Shrub said that the best activity

An Introduction to Reading and Writing Essay

Adjusted = exact, full, dynamic, peruser can anticipate future conduct due to a comprehension of the character †Protagonist = the legend or courageous woman, principle individual in the story, individual on the journey, and so forth †Antagonist = the individual causing the contention, contrary to the hero, the obstruction, and so forth. †Flat = no development, static †Stock = agent of a gathering or class (cliché) †Characters revealed through †¢ Actions Descriptions, both individual and natural Dramatic articulations and considerations Statements by different characters Statements by the creator talking as narrator, or eyewitness †Characters need to have verisimilitude, be likely or conceivable Point of View †¢ Refers to speaker, storyteller, persona or voice made by the creator to recount to the story †¢ Point of view relies upon two components: †Physical circumstance of the storyteller as a spectator †Speaker’s scholarly and passionate position †¢ First individual = I, we Second individual = You (phenomenal) Third individual = He, she, they (generally normal) Point of view might be: †Dramatic/objective = carefully detailing †Omniscient = all-knowing †Limited omniscient = some knowledge Setting †¢ Setting = a work’s characteristic, made, political, social and worldly condition, including everything that characters know and own (place, time, objects) †¢ Major reason = to set up authenticity or verisimilitude, and to compose a story †¢ Setting makes air or mind-set †¢ Setting may strengthen characters and subject, so as to set up desires that are something contrary to what happens = incongruity Tone and Style †¢ Tone = strategies by which authors and speakers uncover mentalities or emotions †¢ Style = manners by which scholars collect words to recount to the story, to build up a contention, sensationalize the play, create the sonnet †Choice of words in the administration of substance †¢ Essential part of style is phrasing †Formal = standard or exquisite words †Neutral = regular standard jargon †Informal = casual, inadequate language, slang Tone and Style (cont’d) †¢ Language might be: ††††Specific = pictures General = expansive classes Concrete = characteristics of prompt recognition Abstract = more extensive, less discernable characteristics †¢ Denotation = word implications †¢ Connotation = word proposals †¢ Verbal incongruity = conflicting explanations †One thing stated, inverse is implied †Irony = parody, spoof, mockery, two sided saying †¢ Understatement = doesn't completely depict the significance of a circumstance †purposely †¢ Hyperbole (exaggeration) = words far in abundance of the circumstance Symbolism and Allegory †¢ Symbolism and moral story are modes that grow meaning †¢ Symbol makes an immediate, important condition between: †A particular item, scene, character, or activity †Ideas, qualities, people or lifestyles †¢ Symbols might be: †Cultural (all inclusive) = known by most educated individuals (e. g. , white bird, shading dark) †Contextual (authorial) = private, made by the creator Symbolism and Allegory (cont’d) †¢ Allegory is an image = complete and independent account (e. g. , â€Å"Young Goodman Brown†) †¢ Fable = tales about creatures that have human characteristics (e. g. , Aesop’s Fables) †¢ Parable = moral story with good or strict bowed (e. g. , Biblical stories) †¢ Myth = story that epitomizes and arranges strict, philosophical and social estimations of the human progress in which it is formed (e. g. , George Washington cleaving down the cherry tree) †¢ Allusion = the utilization of other socially well=known works from the Bible, Greek and Roman folklore, acclaimed craftsmanship, and so on. Thought or Theme †¢ Idea = consequences of general and theoretical reasoning †¢ Literature typifies values alongside thoughts †In writing, thoughts identify with importance, translation, clarification and noteworthiness †Ideas are fundamental to a comprehension and valuation for writing †¢ Ideas are not as clear as character or setting. It is imperative to consider the importance of what you’ve peruse and afterward build up an informative and thorough attestation. †¢ Theme can be found in any of these: †††††Direct explanations by the authorial voice Direct articulations by a first-individual speaker Dramatic proclamations by characters Figurative language, characters who represent thoughts The work itself.

Symptoms of Depression in Tweens

Symptoms of Depression in Tweens Depression Childhood Depression Print Symptoms of Depression in Tweens By Jennifer O'Donnell Jennifer ODonnell holds a BA in English and has training in specific areas regarding tweens, covering parenting for over 8 years. Learn about our editorial policy Jennifer O'Donnell Medically reviewed by Medically reviewed by Steven Gans, MD on January 19, 2020 Steven Gans, MD is board-certified in psychiatry and is an active supervisor, teacher, and mentor at Massachusetts General Hospital. Learn about our Medical Review Board Steven Gans, MD Updated on February 10, 2020 Depression Overview Types Symptoms Causes & Risk Factors Diagnosis Treatment Coping ADA & Your Rights Depression in Kids FatCamera / Getty Images It can be difficult to know if your child is going through a major bout with depression, or is just temporarily down in the dumps. Either way, acting quickly to help your tween, whatever their situation may be, is important. Kids experience lots of change in their tween years: their hormones are kicking in, their responsibilities are increasing, and their schedules are overbooked. To make things even more challenging, tweens or preteens also struggle with changing family and friend relationships, stress, confusing cultural expectations, and the anxiety that often comes with their approaching adolescence. Its no wonder that so many kids experience occasional sadness or possibly, even childhood depression. Recognizing warning signs of depression in your tween is the first step to getting them the help they need. Proper depression treatment for preteens is especially important as studies suggest that children who suffer from childhood depression are more likely to use alcohol and drugs. They are also more at risk for engaging in other dangerous behaviors.?? Recognizing Depression in Tweens The first step to helping your child is recognizing that there might be a problem. Unfortunately, the symptoms can be difficult to spot and can be confused with the normal trials and tribulations of growing up. Tweens are frequently moody. Their changing hormones and emotions can make it difficult to know if theyre just going through a phase or something more serious. While depression symptoms in tweens vary from individual to individual and can differ from those seen in adults, its not uncommon for depressed tweens to exhibit several of the following behaviors, at one time or another: A change in appetite (eating too much or not enough)Withdrawing from friends and activitiesSleeping disturbances like sleeping too much, not sleeping well or avoiding sleepA decline in grades at schoolFeelings of frustrationAn inability to complete simple tasksOverwhelming guilt and feelings of worthlessnessA change in normal behavior or personality changesReluctance to participate in social activitiesAnger  and other frequent emotional outburstsFrequent stomachaches or headaches that dont respond to treatmentBody aches that cant be explained or treatedAn inability to enjoy life and a lack of interest in the future Many tweens will rotate through the above symptoms routinely, but that doesnt necessarily mean theyre suffering from childhood depression. But if your childs behavior lasts for more than two weeks, it could be a sign that the troubles are more than a temporary slump. If youre unsure about your childs behavior, ask other family members, your childs teacher, and any other adult who has frequent contact with your child for their thoughts concerning your childs behavior. If youre concerned, dont hesitate to ask your childs pediatrician, a psychologist, or a psychiatrist for an opinion. Depression in children, when left untreated, can lead to a number of other serious problems including drug and alcohol misuse, relationship problems, and even suicide. The Consequences of Untreated Depression in Children Causes of Childhood Depression There are a number of different factors, both biological and environmental, that can contribute to the development of childhood depression.?? In tweens, imbalances in neurotransmitters like serotonin can predispose to depression. A combination of traumatic events (such as divorce, death of a loved one, friendship problems, a family move) may also trigger depression in some youths, as may a family predisposition to the disorder. Believe it or not, depression is actually fairly common in tweens with as many as one in 30 living with the disorder. The Centers for Disease Control and Prevention (CDC) reports that 3.2% of kids between the ages of three and 17 have been diagnosed with depression.?? The good news is depression can be treated successfully. With careful monitoring and support, a child experiencing depression has a very good chance of overcoming the condition.?? What You Can Do Visiting with your childs doctor is a must. Your childs pediatrician may recommend that your child seek counseling or psychotherapy, most likely with a pediatric mental health provider. You may also consider family therapy. In some cases, counseling is enough to help a child through rough times. In other circumstances, medication may be prescribed as well. If you think your child is depressed or upset, educate yourself on their social media life. Your childs Facebook, Twitter, or Instagram might reveal if something is going on with friends or at school. Whatever course of action the doctors propose to take, your role is as an advocate and a loving support system  for your child. Talk to Your Tween Listen to your child when they share information about their feelings and refrain from judging.Let your child know that you are there for them whenever they need you.Be persistent, even if you think they have gotten the point. Depressed tweens need to hear that you will be there for them  and that your love is unconditional. How to Help a Depressed Teenager

Character Analysis of Antigone and Creon in William...

Antigone and Creon, the two displayed tragic figures of Antigone, both led themselves to their demise because of their love for themselves and the hate they both share for one another. Antigone’s proven love is of the afterlife while her hate is for her uncle and king, Creon. Creon may share the love of himself, however, it is not quite the same as Antigone’s love. Creon loves to rule the city of Thebes and hate’s Antigone, which is very odd for both characters because they are family. Sophocles uses the Rhetoric of love and hate between Antigone and Creon to expose the characters weaknesses, which would ultimately lead Antigone and Creon to their downfalls. The characters’ love is for themselves, which blinded them from seeing the consequences, however, Antigone doesn’t truly have any consequences, only Creon. Antigone wanted the life of the afterlife and had already given Polynices a proper burial, so Creon executing her was only giving her what s he wanted. Creon, however, ultimately lost his family when they killed themselves because of his love for his city, he neglected to love his family and lost them, which is why Creon could be considered the more tragic figure of the play. Additionally, their hate for one another focused them on each other and spawned a personal battle of power between one another, causing them to ignore the world around. For example, Creon was more focused on his hate for Antigone that he neglected his wife and son, Haemon, who ultimately killed

Dr. David L. Snead s Thesis Statement - 952 Words

I believe that the author: Dr. David L. Snead’s thesis statement is as follows: How did George Browne, an American enlistee fair during World War I, along with his relationship with his sweetheart. I shall show during this book review through several points of how Dr. David L. Snead shows this. First, we shall look at how he sets up the events in the book. Followed by, how Dr. David L. Snead, has put to wonderful use the letters that were sent between Browne and Marty (his sweetheart). Then lastly, how he portrayed the American cause through the eyes of Browne. Dr. David L. Snead, sets up his book like a diary of sorts. The table contents for chapters states as follows: Mobilization and Training in the United States; From the States to a Quiet Sector in France; Training and Action in a Quiet Sector; Champagne and the Battle of the Ourcq River; Rest and the Battle of Saint-Mihiel; The Meuse-Argonne Offensive and the End of the War. Which would be like a series of entries that w ould be listed during moves by a soldier in a log. Secondly, Dr. David L. Snead, also puts information about the current action or move prior to the letter entry or after, to set the stage of events. Lastly, the book is written mostly in first person, through the eyes of Browne, with some input from a narrator/outside source. Now, let us take a look at the second part of my argument; of how, Dr. David L. Snead, uses letters to portray the actions taking place to marvelous use. â€Å"July 20, 1918Show MoreRelatedDr. David L. Snead s Thesis Statement938 Words   |  4 Pages I believe that the Author: Dr. David L. Snead’s thesis statement is as follows: How did George Browne, an American enlistee fair during World War I, with his sweetheart and himself. I shall show during this book review through several points of how Dr. David L. Snead shows this. First, we shall look at how he sets up the events in the book. Followed by, how Dr. David L. Snead puts to good use letters sent between Browne and Marty (his sweetheart). Then lastly, how he portrayed the American cause

Alternate energy Free Essays

Alternate energy – the solution to our depleting natural resources. A viable way to counter the effects of global warming. But is it really so? Every argument has its own pros and cons and we need to study both the sides before reaching on a hasty conclusion. We will write a custom essay sample on Alternate energy or any similar topic only for you Order Now As with all other discussions, the discussion centering around alternate energy sources has its own handful of proponents and opponents. Alternate energy sources are hailed the most due to their inexpensive and less polluting nature. Alternate energy sources are those which can be substituted for fossil fuels and include biofuels. Biofuels include among them vegetable oils, ethanol and methanol. As against fossil fuels, non renewable energy sources do not have a limited supply and hence their usage is not feared to bring about a rapid exhaustion of the resources. Careful studies of nonrenewable sources have made scientists to predict about possible exhaustion of these resources in coming century. The Federal Institute for Geosciences and Natural Resources puts an the lifetime of conventional oil to be only 32 years more, while its estimates about natural gas show that it will last 65 years more. This is one of the reasons that renewable resources are so much sought after now since the continuance of our work processes depending on these resources, is not threatened by their diminishing supply. Scientific studies have already revealed how the use of non renewable sources has proved to be hazardous to not just the environment but also the health of the population. This paper will discuss multiple sides of the issues of using these alternate energy sources. These issues are economic, ethical, social and environmental. We will discuss how the use of alternate energy sources will lead to less of global warming. In the environmental context, fossil fuels have been proven to be hazardous to nature and health. The environment is at great stake if we continue to use these fossil fuels. The combustion of fossil fuels leads to a number of pollutions ranging from water and land pollution to air pollution. It is held today that the highest amount of environmental pollution can be attributed to none other than the combustion of these fuels. The smog caused by the combustion of these fuels can not only cause human sickness but can also be dangerous to the sustainability of crops. Similarly, the release of carbon dioxide in environment form the burning of these fuels is a major cause of global warming. Many climate changes are a result of this global warming. Continued use of these fossil fuels will only aggravate the situation. The conversion of fossil fuels is another environmental problem as it results in solid waste accumulation. Another threat posed by fossil fuels is that of spill offs in seas and oceans during their delivery. This proves to be a menace to the marine life and very difficult to clean up. Biofuels in contrast do not have any such hazards attached to them. Burning biofuels releases carbon monoxide and sulphur dioxide in lesser quantities. A model by Argonne National Laboratory (ANL) shows that neat biodiesel form soya beans cut down the global warming pollution by more than 50% in comparison to conventional petroleum based diesel. Some other sources for biofuels such as algae have the potential of providing up to 90% reductions in global warming pollution. Biodiesel is also made form recycled food oil and waste products. Use of advanced technologies in future will see that the waste streams are being converted to diesel fuels. This will result in production of low carbon diesel. Biodiesel has got an edge over petroleum diesel fuel when it comes to low pollution emission. Biodiesel emit less of hydrocarbons as compared to conventional diesels and thus are environmentally safer. In environmental context then, biofuels seem to be a more viable option, by being less harmful and detrimental to environment and health. The issue of energy sources is such that now it has even got mixed with politics. In evaluating the viability of alternate energy sources, we also have to consider the political context relevant to the situation. Governments are now more than ever concerned about the dwindling supplies of fuels and hence are pushing for alternate energy sources. Before using an alternate energy source then, the political issues that need to be considered are many. One of the many aspects considered by a government before venturing into the development of any alternate energy source is the jobs and the growth provided by the fuels industry. The renewable industry is a newly developing one and has potential for growth in future. This is what the Canadian government has in mind and is one of the reasons why it is pursuing a greater use of renewable energy sources. Governments like Canada seek alternate energy source such as biofuels because they offer immense reductions in greenhouse gases (Susanne, 2007). They also provide an economical energy source for governments in the face of increasing petroleum prices. The basic reason however governments may consider alternate energy fuels such as these is the wish to support farming and rural communities. Hence, political issues such as consideration of population and growth and job opportunities in the alternate energy industry are some of the political aspects a government considers before opting for such a resource. The Canadian government has opted to go for biodiesels which shows that this form of energy is being sought after readily by governments and they think it as a feasible option to not only counteract the effects of global warming but also be beneficial in terms of providing job opportunities to the farmer population. If we consider the socio-economic aspect of this issue, we would see that alternate energy sources are being seen by governments as a lucrative option since governments have seen an increase in farm-products and thus that this could boost rural incomes (FAO, 2008). Hence, all the more reason to support the alternate energy source. Economically, the biofuels could prove to be fruitful for farmers in developed countries. The FAO report 2008 states that farmers of the developing countries could be supported and aided to reap the benefits of its production. If biofuels is produced in developing countries, not only will it be economically profitable for the local population but it will be a major cause for reduction in pollution. Todaro, in his book Economic development states that the most cumulative environmental degradation has been caused by the developed world. However, this trend is very much likely to reverse because of decreasing income patterns and high population growth rates in developing countries. Thus, providing the population of developing countries with a cheap substitute to fossil fuels will ensure lesser pollution created in the developing world. Keeping all these points in view, I opine that alternate energy sources are indeed the need of the day and promoting their use will reduce pollution and combat global warming. However, some contrasting views have also been found related to the use of biofuels. These present some problems in deciding whether to promote the use of biofuels or not. Producing biofuels requires more fossil fuel energy than is gained by the consumption of the fuel (Pimentel, 2001). Hence, it contributes to global warming and pollution too. On the political forefront, biofuels, particularly ethanol is being opposed against by the environmentalists on the grounds that promoting the use of biofuels might encourage farmers to abandon food crops and plant cash crops instead, which could then be used in producing fuel. Europe is one such region which has pursued in the past for policies favoring biofuels. However, the policy decision made in 2008, has met with strict criticism from lobbyists, citizens and environmentalists. Ethanol, one of the biofuels, then does not appear to have a strong foothold when it comes to political grounds. Policies to promote biofuels in regions such as Europe and U. S have met with censure and disapproval as it does not seem to be such a feasible source. Political and environmental arguments however are not the only ones to be considered. The social aspects have to be considered too. One may argue that producing biofuels will be good for society. More cash crops will be grown, with better return to society and less production of pollution. However, a study shows how the production of biofuels is actually a social tragedy for humans. To sum up, the report declares that producing biofuels is not a feasible option as it will only be disastrous for farmers, the environment, and citizens, particularly, the poor ones (Altieri Bravo, 2007). The report gives example of U. S that how even the utilization of all soya bean and corn crops will not be enough to meet more than 12% of its gasoline’s needs and 6% of diesel needs. One-fifth of corn harvest in U. S has already been dedicated to biofuels but this too could meet only 3% of its domestic energy demands. Is it then ethical to pursue this option when it seems to have a plethora of arguments opposing it? Apparently, there is a trade-off between the economic and environmental benefits to be reaped from the production of biofuels, against the social costs of getting the food crops being replaced by cash crops. Cheap fuel to source the industries of a country or food for feeding the population? These are the two precarious questions waiting to be answered. Through the course of the discussion of paper, we have seen how alternate energy source may prove one of the ways to combat pollution and be beneficial for the environment. However, to do so at the social cost of hungry population would be a crucial mistake. The key to this problem is maintaining a balance between the two. In the face of food crisis and rising food prices, priority should be set on solving the problems of food security. Developing countries, hence must not seek out so actively to promote the use of alternate energy source. Rather, their focus should be on getting the food crisis resolved. One of the FAO’s recommendations with regard to this aspect says that â€Å"policies should be developed with appropriate international coordination to ensure that the international system supports environmental sustainability goals as well as social goals for agricultural development and poverty and hunger reduction†. Hence, to achieve the goals environmental sustainability, alternate energy source i. e. biodiesels must be sought keenly but only if the social costs of doing so are not greater than the economic profitability. References: FAO report, (2008), The State of Food and Agriculture, Part I: Biofuels: Prospects, Risks and Opportunities, pp 88-90. Retrieved August 17, 2010 from http://www. foodfirst. org/node/1662 R. S. , Susanne (2010, February), Canadians backing biofuels. Retrieved August 17, 2010 from http://www. biodieselmagazine. com/article. jsp? article_id=3993 Pimentel. (2001), The limitations of biomass energy, Encyclopedia of Physical Sciences and Technology. San Diego: Academic Press,159–171 Altieri, M. A. , Bravo, E. (March 2007), The ecological and social tragedy of crop-based biofuel production in the Americas. Retrieved August 17, 2010 from http://www. foodfirst. org/node/1662 Todaro, M. P Smith, S. C, Economic Development, 2002, Prentice Hall How to cite Alternate energy, Papers

Music of the Baroque free essay sample

Churches used the emotional and theatrical qualities of art to make worship more attractive and appealing. The middle class too, Influenced the development of the baroque style, for example prosperous merchants and doctors commissioned realistic landscapes and scenes from everyday life. 3. Write a paragraph that includes the characteristics of Baroque music. A. Unity of mood Usually expresses one basic mood: what begins joyfully will remain Joyful throughout. Emotional states like Joy, grief, and agitation ere represented.Composers molded a musical language to depict the affections; specific rhythms or melodic patterns were associated with specific moods. B. Rhythm Rhythmic patterns heard at the beginning of a piece are repeated throughout it. This rhythmic continuity provides a compelling drive and energy-the forward motion is rarely interrupted. The beat, for example, is emphasized far more in baroque music than in most Renaissance music. C. Melody There is a continuous expanding, unfolding, and unwinding of melody. We will write a custom essay sample on Music of the Baroque or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page This sense of directed motion Is recently the result of a melodic sequence, that Is, successive repetition of a musical idea at higher or lower pitches. Many baroque melodies sound elaborate and ornamental, and they are not easy to sing or remember. It gives an impression of dynamic expansion rather than of balance or symmetry. D. Dynamics The level of volume tends to stay fairly constant for a stretch of time. When the dynamics do shift, the shift is sudden, like physically stepping from one level to another. The main keyboard Instruments of the baroque period were the organ and harpsichord, both ell suited for continuity of dynamics.E. Texture It Is predominantly polyphonic In texture. Usually, the soprano and bass lines are the most Important. Not all-late baroque music was polyphonic, a piece might shift in texture, especially in vocal music, where changes of mood in the words demand musical contrast. F. Chords and the basso continuo Chords gave new prominence to the bass part, which served as the foundation of the harmony. The whole musical structure rested on the bass part. The new emphasis on chords and the bass part resulted in the most characteristic torture of baroque music, an accompaniment called the basso continuo.The basso continuo offered the advantage of emphasizing the all-important bass part, besides providing a steady flow of chords. G. Use of words in the music Baroque composers used music to depict the meaning of specific words. Rising scales represented upward motion; descending scales depicted the reverse. Descending chromatic scales were associated with pain and grief. Composers often emphasized words by writing many rapid notes for a single syllable of text; this technique also displayed a 4. What was the role of music in Baroque society?It served as musical expression for brilliant composers, a source of entertainment for aristocrats, a way of life for musicians and a temporary escape from the routines of daily life for the general public. 5. What was the goal of the group known as the Camera? The Camera wanted to create a new vocal style modeled on the music of ancient Greek tragedy. Since no actual dramatic music had come down to them from the Greeks, they based their theories on literacy accounts that had survived. Ere Camera wanted the vocal line to follow the rhythms and pitch fluctuations of beech. 6.Write a detailed description of each of the following new forms in Baroque music: A. Concerto gross Extended composition for instrumental soloists and orchestra, usually in three movements: (1) Fast, (2) Slow, (3) Fast. B. Fugue Polyphonic composition based on one main theme or subject. C. Opera Drama that IS sung to orchestral accompaniment, usually a large-scale composition employing local soloists, chorus, orchestra, costumes, and society. D. Solo concerto A piece for single soloist and an orchestra. E. Baroque suite A group of dance, usually in the name key, with each piece in the binary form or the ternary form.F. Oratorio Large- scale composition for chorus, vocal soloists, and orchestra, usually set to a narrative text, but without acting, scenery, or costumes; often based on biblical stories. G. Sonata In baroque music, an instrumental composition in several movements for one to eight players. In music after the baroque period, an instrumental composition usually in several movements for one or two players. H. Church cantata Composition in several movements, usually written for chorus, one or more vocal soloists; and orchestra.The church cantata for the Lutheran service in Germany during the Baroque period often includes chorales. 7. Write a complete definition for each of the following terms: A. Movement Piece that sounds fairly complete and independent but is part of a larger composition. B. Libretto Text of an opera written by the librettist (dramatists) and set to music by the composer. C. Aria -Song for solo voice with orchestral accompaniment, usually expressing an emotional state through its outpouring of melody; found in operas, oratorios, and cantatas. D.

Big five personality dimensions

Big five personality dimensions Personality of individuals has been described using many theories in the past years. However, today the big five model of personality has been adopted and is widely used by many people.Advertising We will write a custom essay sample on Big five personality dimensions specifically for you for only $16.05 $11/page Learn More As cited in Hofstee (2003), research in many cultures on personality traits has found the five dimensions of the model present (Nevid, 2009). The big five model dimensions are urgency, agreeableness, adjustment, conscientiousness and openness to experience. This article will evaluate this model as used by one of the world leading managers Donald Trump. Urgency is also referred to as extroversion in the model. It is a character trait exhibited by extroverts. According to Nevid (2010), extroverts are people who are friendly, cheerful, tolerant, sympathetic outgoing and enthusiastic. This personality dimension â€Å"captures ones comfort lev el with relationships† as said by Robbins (2009). As a leader, Donald trump is said to be a very competitive person who creates an environmentally competitive surrounding for his employees in the workplace (Ramanaidu et al., 2010). This dimension is strongly used by Donald Trump especially in his show â€Å"The Apprentice† where a strongly extroverted trait is dominant through creating a strongly competitive environment for the contestants. Also as an extrovert, he promotes public events and initiatives like competitions by encouraging participants to strongly contribute. Agreeableness is the second dimension of the model. According to Robbins (2009), it is the tendency of an individual to yield to other people’s opinions. Therefore, this dimension explains how individuals respond to other people’s views. When an individual conforms easily, he is said to be agreeable. According to Nevid (2010), individuals strong in this dimension tend to be sensitive, coo perative with others, sympathetic, confident with others and are concerned with the feelings of other people. As suggested by Ramanaidu et al. (2010), Donald Trump has a low degree of agreeableness that demands detailed statements and proves of concepts before making any confirmations and acknowledgements. He particularly insists on performance measures using goals.Advertising Looking for essay on business economics? Let's see if we can help you! Get your first paper with 15% OFF Learn More Conscientiousness is the third dimension of the model. Robbins (2009) states it â€Å"is a measure of reliability† (p 94). People who exhibit this are meditative, organized, pay attention to detail, ethical, ambitious, time conscious and reliable. Using this dimension, as suggested by Ramanaidu et al. (2010), Donald Trump is an optimistic and self confident person who used this dimension to build his Trump International Hotel. As an example, Trump is dependable in his directions and vision and despite obstacles, is centered on goal achievement. As a manager, Donald Trump is said to be strong in this dimension since he says that one should do what it takes to achieve his or her goals lawfully without shortcuts (Ramanaidu et al., 2010). The fourth dimension is adjustment which is also referred to as emotional stability or neuroticism. According to Robbins (2009), it is â€Å"a person’s ability to withstand stress† (94). These people are self confident, secure and they are tranquil. Ramanaidu et al. (2010) suggest that as a manager, Donald Trump is emotionally stable especially during contentious discussions where he concentrates on the end achievements. In his opinion, he is strong in calming his nerves during many situations. The last dimension is openness to experience. According to Robbins (2009), it relates to how people are open to change through accepting new thoughts and concepts. In this dimension, the individual traits ar e curiosity, imaginative, creative and sensitive to art (Robbins, 2009). Ramanaidu et al. (2010) suggest that Donald Trump is a strong person in openness to experiences throughout his career. This is seen through his many business ventures where he learns from the past and focuses on the present (Ramanaidu et al., 2010). References Nevid, J.S. (2010). Essentials of Psychology: Concepts and Applications. Wadsworth: Cengage Learning. Ramanaidu, M.N., Zain, S.M., Nor, N.A.M. Noor, N.D.M. (2010). Leadership (Donald Trump). Sintok, Kedah, Malaysia: Universiti Utara Malaysia Graduate School of Business. Retrieved from https://scribd.com/doc/71157576/Leadership-DonaldTrump-0920-Report-2Advertising We will write a custom essay sample on Big five personality dimensions specifically for you for only $16.05 $11/page Learn More Robbins, S.P. (2009). Organizational Behaviour: Global and Southern African Perspectives. South Africa: Pearson Education.

The Curious History of Bead

The Curious History of Bead The Curious History of Bead The Curious History of Bead By Maeve Maddox You may have heard the expression to draw a bead, meaning to take aim. A hunter, for example, draws a bead on the quarry. The expression, used both literally and figuratively, is popular with headline writers Connecticut gunman drew bead on bosses Kiefer Sutherland and 24 draw a bead on a feature film HP and Microsoft Draw a Bead on Cisco The bead in this expression comes from the small metal knob that forms the front sight of a gun. The word bead attached to this knob because of its resemblance to the kind of bead most of us probably think of when we hear the word: A small perforated body, spherical or otherwise, of glass, amber, metal, wood, etc., used as an ornament, either strung in a series to form a necklace, bracelet, etc., or sewn upon various fabrics. This general sense of bead derived in turn from rosary beads, the little markers strung together for the purpose of helping a worshipper count prayers. Originally, beads were not the little objects on the string, but the prayers being said. Bead in this sense is a cognate of German bitte, a word that is used to make a request. Someone praying with a rosary was said to be telling his beads, that is, counting his prayers. Another meaning of the verb to tell is to count. (The bank teller counts out your money.) Historically, wealthy patrons would pay people to pray for them on a regular basis. These professionals were called beadsmen or beadswomen. Keats begins his poem St. Agnes Eve with this evocation of a harsh winters evening: St. Agnes EveAh, bitter chill it was! †¨ The owl, for all his feathers, was a-cold; †¨ The hare limpd trembling through the frozen grass, †¨And silent was the flock in woolly fold: †¨Numb were the Beadsmans fingers, while he told †¨His rosary, and while his frosted breath, †¨Like pious incense from a censer old, †¨Seemd taking flight for heaven†¦ An earlier spelling of bead was bede, from Old English gebed, prayer. The OE verb biddan meant to pray as well as to ask. By the late 14th century, the word bede/bead had attached to the objects on which the prayers were told or counted. The expression to draw a bead on is an obvious headline choice when the topic is something like gun control, Critics Draw A Bead On State House Gun Ban but I wonder if the writer who came up with this one about the popularity of rosaries with non-Catholic soldiers in Iraq realized just how clever it is: Worshippers draw bead on rosaries Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Vocabulary category, check our popular posts, or choose a related post below:100 Whimsical Words50 Synonyms for "Assistant"Punctuation Is Powerful

African Music Essay Example | Topics and Well Written Essays - 1250 words

African Music - Essay Example Placing African music in an historical and social context, brings to the fore the compiling of notes on the social context of African music; on African history; on the popularization of African music and on the instruments and styles of African music. The following text has been put together and a bibliography and appropriate reference is supplied at the end of the article. Africa covers about 11,714,000 square miles (30,339,000 square kilometers), more than a fifth of the earth’s total land area. The continent is an enormous plateau, most of which is covered by deserts, forests and grasslands. It is this vast mass of land that held the immense treasure of Africa called music. Music has been culturally part of and developed in Africa for thousands of years. Its wide range of styles evidently showed much of the country’s landscape. In northern Africa, music follows Arab traditions that consist mainly of chants and the use of various northern instruments but as shown but African music has also spread southward and influenced the music of peoples in parts of Chad, Ghana, Mali, Niger, Nigeria, Senegal and Sudan.

Strategic Marketing Management Case Study Example | Topics and Well Written Essays - 750 words

Strategic Marketing Management - Case Study Example HP should consider the use of sales team strategy for the individual customers where personal selling can be implemented. Basically, personal selling is face to face presentation of a product or idea to a potential customer by a representative of the organization (Lancaster & Reynolds, 1999). Through this strategy, the sales people try to influence the prospective customers to buy the products offered by the company. The important point to note is that personal selling means that there is a personal interaction between the sales representative and the buyer in contrast to the other forms of marketing communication where the audience can be very large such that personal contact is not possible. The objective of personal selling is to educate the customers, provide product usage assistance as well as after sales service and support (Strydom, 2004).There are various advantages of using the sales team strategy by HP since this immensely contributes to the high level of customer attention given that it involves face to face communication. It is possible to customize the message to the customer and the sales team will be better positioned to persuade the potential buyers to buy the products offered by the organization. Feedback can be provided immediately and this enhances customer satisfaction since the customers can get the much-needed assistance from the sales team. The other advantage of the sales team strategy is that it can assist in developing a long term relationship with the customer. Essentially, the purpose of business is to make profits and this can be attainable if the organisation has a solid base of loyal customers who can also influence the other potential customers to buy the products offered by the organisation. 3. Country versus global coverage of accounts should not short change the customers since they can seek an alternative to but the same products from the other competitors. For instance, the global prices of the same products offered by the o rganisation should be uniform as there will be likely chances of distrust

Father and Son by Bernard MacLaverty Essay example -- English Literatu

Father and Son By Bernard MacLaverty Father and Son is a story about the relationship between a widower father and his teenage son. â€Å"Father and Son† â€Å"Father and Son† is a story about the relationship between a widower father and his teenage son. They live in Belfast, in a neighbourhood with a lot of violence. At night they can hear the sound of ambulances criss-crosses the dark. Both the son and the father are scared to sleep at night, but the son will not admit his fears to his father. The father is concerned for his son’s life. They used to have a good relationship. They went fishing, talked and laughed, and the father could put his arms around his son. But two years before this story takes place the son went to London and got mixed up with drug addicts. His father had t...

How Typical Are X Factor and Csi of Their Genres?

Genre is a way of classifying and then categorising a particular text, they are made up of their own codes and conventions for example narrative, characters and themes which standardise the way in which a story is told. X Factor and CSI have all been huge successes in their own respective genres and this essay will study how conventional these texts are to their genre and how this effects their audience. X Factor is a reality TV programme which attempts to turn an ordinary person into a pop star through its talent contest narrative.It relates to the ‘American Dream’ ideology in the way that it can turn people’s lives from ‘rags to riches’. A conventional representation of reality TV would feature very ordinary people and often trying to make their lives better, or to fix their problems, and then other conventions are more specific to narrative, for example in this case the conventions of a talent show is a high production value which includes viewing luxuries such a flashy lights, extravagant camera angles (such as Birdseye), special effects, and celebrities. The X Factor is no different and seems to embed all these values associated with reality talent shows.However, the X Factor started back in 2004 and has influenced the typical representation of other talent shows ever since, so this would include the Two Step Flow theory as the X Factor has acted as an opinion leader, and has set down the modern conventions for reality talent shows. X Factor has clear intertextuality with more early talent shows such as opportunity knocks. Although the main and considerable difference nowadays is the increased production values and technology, there are also conventions across the two that can be linked.For example the use of a presenter, Hughie Green for opportunity knocks and Dermot O’Leary for the X Factor. Also, the public voting system, opportunity knocks was the original and first talent show to use this method of voting as opp ose to having a panel of ‘experts’ or music celebrities. X Factor also has this same public voting system which connotes them to be using typical and previously used conventions in order to attract audience. A talent show relies specifically on audience is order to be a success. The contestants of the show are mainly battling for fame and fortune, and therefore publicity.If there is no publicity or interest from an audience, then the show is redundant. The X Factor certainly lives up to this typical feature of talent shows, as it has pulled in an average of 8. 4 million viewers in 2012, and although that is a considerable decrease from its earlier years, it is still sufficient for the advancement of the show. However, the X Factor produces much controversy and therefore more media attention. For example, very recently there has been an article in the Daily Mail discussing an incident where a producer whispered in Louis Walsh’s ear just as he was about to make his vote.His vote was then very unpredicted and controversial causing outrage to the British public. Such articles and outrage to the X Factor, fuels and benefits the show and puts the X Factor in the spotlight. This relates to Social Integration, as people would start watching X Factor to see what all the controversy is about, and to feel up to date with the social media trends. All of this results in increased X Factor ratings. CSI has a thriller type genre, with the main focus on crime and police procedural elements.Within the crime genre there is always a focus on gathering clues, in modern crime this is viewed as a chase as evidence deteriorates. This has overrun the typical convention of the car chase although this is still used to provide nostalgia the resemblance between the two is symbolic of fast changing crime. This is a form of iconography in CSI where there is a chase to gather and process evidence to solve the crime and restore order. The iconic image of the police which remains constant throughout the genre is one of evidence gathering, uniform, fast cars, hard work, and the criminal underclass all feature in the crime genre.Vladimir Propp’s narrative theory can be applied to CSI and most other crime investigation programmes as it is standard within the crime genre. The main focus is on the ‘attempt to repair disruption’ and almost every episode ends with the resolution which connotes the programme to have a closed narrative, as the audience are always anticipating that the police beat the crime, and the ‘good guys’ win. It enables channels to fulfil their Public service Broadcasting (PSB) remit whilst not committing to commoditisation, therefore maintaining the realistic aspect which the genre relies upon.The use of an ensemble cast/recurring list of characters allows the programme to maintain a set structure, some characters appear in all episodes such as Nick Stokes in CSI, allowing the audience to gather ‘ evidence’ on the characters and depict their lifestyles. The focus of the audience is maintained on a main character either from episode to episode or series to series. Understanding the main character is key to the crime genre as it helps the audience to understand the programmes and themes. Characters often reflect the characteristics or expectations of the audience and develop with time.As previously mentioned, the crime genre has many realism conventions, and CSI is no different. The use of lighting is often low key and natural to create a dark and gloomy effect. This connotes realism as it represents reality with all the disruptions present, as opposed to a light and more fantasy world. CSI also uses Noir lighting to give a dark and forlorn mood and again give an element of realism all designed to relate to the audience in the form of personal identity and surveillance according to the uses and gratifications theory.Overall, both genres follow many of their genre convent ions to attract audience and remain stereotypical to the values and ideologies that they represent. However, it should be noted that CSI and X Factor are the leading texts for their respective genres, and this may cause them to have an influence on what is considered a typicality of their genre. Similarities that the genres have are that they both use a reality aspect to relate to their audience (social integration) and this is very common across multiple genres in modern day media.

The Moral Issue Of Oil Companies Are Abusing The General...

The Moral issue in the case we are confronting is that oil companies are abusing the general population, contaminating nature, weakening the governments regulations, and deceiving everybody for their profits which is not acceptable of a mammoth organization like BP. Oil being a natural resource is being extracted by the company for their vested interests neglecting the society and the climate. The food pyramid is getting affected due to its short cuts and lapse in guidelines and total negligence resulting in gross cheating and mass killing of live stocks in sea as well polluting the air. The government intervention at crisis is an example of socialism. BP operations are in more than 100 countries with several reserves are creating chaos for the people working with them and society, showing capitalistic nature safeguarding its profits. The company many a times neglected the workers safety and environmental standards and intentionally avoided the necessary steps that could have stoppe d many catastrophes that led to many deaths and causalities (Cherry Sneirson, 2010). The company has to be positive and develop to powerful changing business force at both macro and micro level which impact the business environment. There has to be a balance between the financial and ethical commitments. The company striving to work for only stake holders is not moral and ethical. What was their concern when it comes to the ethical responsibility to society? My sincere feeling is that giantShow MoreRelatedCorporate Legislation Standards Of Ongc, Oil And Natural Gas Corporation Essay2709 Words   |  11 PagesConceptual Corporate legislation has been the inside of consideration in the late years. Corporate outrages have been purchased to the overall population as the shortcomings of corporate legislation. This paper starts with the corporate legislation standards of ONGC (Oil and Natural Gas Corporation) and analyzes how these are connected. Presentation Corporate Governance for the most part alludes to the mechanics and techniques by which organizations are controlled and guided. Corporate GovernanceRead MoreReport on Oil and Gas Industry in Pakistan81517 Words   |  327 PagesReport No. 26072-PK Pakistan: Oil and Gas Sector Review July 10, 2003 Oil and Gas Policy Division Oil, Gas, Mining and Chemicals Department Private Sector Development and Infrastructure Document of the World Bank Currency Equivalents Currency Unit = Rupees (Rs) Rs. 1.00 = Paisa 100 US$1.00 = Rs. 58.35 * Rs. 1.0 = US$0.017138 Rs. 1,000,000 = US$17,138 *As of December 31, 2002 Measures And Equivalents 1 Kilometer (km) 1 Cubic Meter (m3) 1 Cubic Meter (m3) 1 Thousand Cubic FeetRead MoreCompetition Act in India12486 Words   |  50 PagesConclusion†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.42 References†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.44 Introduction What is competition? Competition is a process of economic rivalry between market players to attract customers. These market players can be multinational or domestic companies, wholesalers, and retailers. Market competition spurs firms to be more efficient, innovative, and responsive to consumer needs. Consumers enjoy more choices, lower prices, and better products and services. The economy as a whole benefits from greaterRead More How the US Government uses the media to influence its enemies5973 Words   |  24 Pagesan outright war between them and the US and two it served to motivate them to start an arms race with the US; which they were doomed to lose and would cause their ultimate bankruptcy.[12] National Security The Whitehouse regularly uses this issue of national security during media interviews to add credibility to their claims (for example Bush supports his war by saying Iraq threatens national security[13]). 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Despite these endeavors, the levels of domestic and international violence within human populations and the ravages visited upon animals and the natural world by humans vastly exceeded that of any previous era in history. In a century where human communities globally and individuals locally had the potential to be much more intensely connectedRead MoreGeorge Orwell23689 Words   |  95 Pagesstationers’ shops. These things are a sort of diary upon which the English people have unconsciously recorded themselves. Their old-fashioned outlook, their graded snobberies, their mixture of bawdiness and hypocrisy, their extreme gentleness, their deeply moral attitude to life, are all mirrored there. The gentleness of the English civilization is perhaps its most marked characteristic. You notice it the instant you set foot on English soil. It is a land where the bus conductors are good-tempered and theRead MoreFundamentals of Hrm263904 Words   |  1056 PagesEstablishing Rewards and Pay Plans 260 Employee Benefits 286 Ensuring a Safe and Healthy Work Environment 312 PART 6 Chapter 14 LABOR–MANAGEMENT ENVIRONMENTS Understanding Labor Relations and Collective Bargaining 340 Endnotes 367 Glossary 389 Company Index 395 Subject Index 398 v Contents PART 1 UNDERSTANDING HRM Chapter 1 The Dynamic Environment of HRM 2 Learning Outcomes 2 Introduction 4 5 Understanding Cultural Environments 4 The Changing World of Technology What Is a Knowledge WorkerRead MoreMarketing Management 14th Edition Test Bank Kotler Test Bank173911 Words   |  696 PagesDistribution management Answer: A Page Ref: 5 Objective: 2 Difficulty: Easy 3) Identify the correct statement about marketing management. A) It is primarily concerned with the systematic gathering, recording, and analysis of data about issues related to marketing products and services. B) It focuses mostly on monitoring the profitability of a companys products and services. C) It focuses solely on attaining an organizations sales goals in an efficient manner. D) It is defined as theRead MoreMarketing Mistakes and Successes175322 Words   |  702 Pagesand Issue Boxes are included in each chapter to highlight relevant concepts and issues, or related information, and we are even testing Profile Boxes. Learning insights help students see how certain practices—both errors and successes—cross company lines and are prone to be either traps for the unwary or success modes. Discussion Questions and Hands-On Exercises encourage and stimulate student involvement. A recent pedagogical feature is the Team Debate Exercise, in which formal issues and

How Christian Sects Atoned for Racism in the Church

Racism has infiltrated  every sector in the United States—the armed forces,  schools, housing and, yes, even the church. After the civil rights movement, a number of religious denominations began to racially integrate. In the 21st century, several Christian sects have apologized for their role in supporting slavery, segregation and other forms of racism in the church. The Catholic Church, the Southern Baptist Convention and the United Methodist Church are just a few of the Christian denominations that have admitted to engaging in discriminatory practices and announced that they would instead strive to promote social justice. Heres  how the church has attempted to atone  for acts of racism. Southern Baptists Split From Past The Southern Baptist Convention arose after Baptists in the North and the South clashed on the issue of slavery in 1845. The Southern Baptists are the largest Protestant denomination in the country and are known for not only backing slavery but also racial segregation. In June 1995, however, the Southern Baptists apologized for supporting racial injustice. At its yearly meeting in Atlanta, the Southern Baptists passed a resolution â€Å"to repudiate historic acts of evil, such as slavery, from which we continue to reap a bitter harvest.† The group also specifically apologized to African Americans â€Å"for condoning and/or perpetuating individual and systemic racism in our lifetime, and we genuinely repent of racism of which we have been guilty, whether consciously or unconsciously.† In June 2012, the Southern Baptist Convention garnered headlines for making racial progress after electing a black pastor, Fred Luter Jr., its president. Methodist Church Seeks Forgiveness For Racism United Methodist Church officials have  confessed to centuries of racism.  Delegates to its general conference in 2000 apologized to black churches that fled from the church because of bigotry. â€Å"Racism has lived like a malignancy in the bone marrow of this church for years,† said Bishop William Boyd Grove. â€Å"It is high time to say we’re sorry.† Blacks were among the first Methodists in the United States back in the 18th century, but the issue of slavery divided the church along regional and racial lines. Black Methodists ended up forming the African Methodist Episcopal Church, the African Methodist Episcopal Zion Church and the Christian Methodist Episcopal Church because white Methodists excluded them. As recently as the 1960s, white Methodist churches in the South banned blacks from worshipping with them. Episcopal Church Apologizes for Involvement in Slavery At its 75th general convention in 2006, the Episcopal Church apologized for supporting the institution of slavery. The church issued a resolution declaring that the institution of slavery â€Å"is a sin and a fundamental betrayal of the humanity of all persons who were involved.† The church acknowledged that slavery was a sin in which it had partaken. â€Å"The Episcopal Church lent the institution of slavery its support and justification based on Scripture, and after slavery was formally abolished, the Episcopal Church continued for at least a century to support de jure and de facto segregation and discrimination,† the church confessed in its resolution. The church apologized for its history of racism and asked for forgiveness. Moreover, it directed its Committee on Anti-Racism to monitor the church’s ties to slavery and segregation and had its presiding bishop name a Day of Repentance to acknowledge its wrongdoing. Catholic Officials Deem Racism Morally Wrong Officials in the Catholic Church acknowledged that racism was morally questionable as far back as 1956, when other churches routinely practiced racial segregation. That year, New Orleans Archbishop Joseph Rummel penned the pastoral â€Å"The Morality of Racial Segregation† in which he stated, â€Å"Racial segregation as such is morally wrong and sinful because it is a denial of the unity-solidarity of the human race as conceived by God in the creation of Adam and Eve.† He announced that the Catholic Church would cease to practice segregation in its schools. Decades after Rummel’s groundbreaking pastoral, Pope John Paul II begged God’s forgiveness for several sins the church condoned, including racism.

Essay about Arjuna in the Bhagavad-Gita - 945 Words

Over the course of time in literature, movies, and in reality humans have come across heroes. A hero is not so easily defined though. Is it someone who saves others in dire need? Or maybe it’s someone who defeats the bad guy and gets the girl. It could be an awesome parent or friend or another relative who’s a good role model for someone. A credible definition of a hero can be seen if an observation is placed towards western culture. Heroes are depicted as bigger than life figures that defy the odds and always come on top, with happy endings most often. Their personalities can be bold, arrogant, and almost always carry an undeniable sense of justice. Although it can be out of context based on differences in religion and culture, these†¦show more content†¦Gita details its main protagonist, Arjuna, as he leads his troops into battle. Arjuna is a Sandava prince, who frequently wages war against the enemies of his people. Context clues suggest that this story see s a hero possibly as one who is willing to wage war, or whatever they are called to do, with the reward coming in the form of individually moving closer to nirvana, or enlightenment. A true hero carries out his duties for the sake of those in harm’s way, reward or not. Arjuna does not fit that mold because he carried out his duty on Krishna’s whim. He is a prince who wages war constantly, but not necessarily for heroic purposes, but was simply doing what Krishna had persuaded him to do, with more or less no moral reasoning behind it, other than Krishna’s words. â€Å"If you fail to wage this war of sacred duty, you will only abandon your duty and fame only to gain evil(36).† In doing so Arjuna resembles a soldier falling in line to a higher authority, simply a small pawn in a much grander scheme. Based on the actions of Arjuna before the battle and his ongoing conversation with the god Krishna, Arjuna cannot be considered a hero. In the early stages of the epic, the reader sees Arjuna filled with confusion and grief over his present battle. He must wage war against fathers, grandfathers, uncles, teachers, and friends. He is filled with grief because he does not understand why he must wage war against his kinsmen. â€Å"Dejected, filled withShow MoreRelatedThe Ethical And Moral Dilemma Of The Bhagavad Gita Arjuna910 Words   |  4 PagesThroughout The Bhagavad-Gita, Arjuna is invariably challenged with the ethical dilemma of war and the inevitably of physical demise. Arjuna must commit himself to his own morals and ethics, which appease his physical and emotional desires, or allow them to be driven and guided by the will of Brahman. Despite the clear path presented by Krishna, this is not a decision that can come come easily or instantaneously to Arjuna, and The Bhagavad-Gita records the arduous conversation between Arjuna and KrishnaRead MoreThe Epic Bhagavad Gita By The Scribe Veda Vyasa1223 Words   |  5 Pagesto never exist. In the epic Bhagavad Gita by the scribe Veda Vyasa, the theme of reincarnation is portrayed by Lord Krishna, telling a young warrior named Arjuna, to not dwell on the physical nature of this world because it can all be born again. In the Hindu religion, karma exists, which means whatever acts have been acted upon and whatever thoughts have been though having created an impression on the physical nature of the world and in the infinite universe. Arjuna is in the midst of chargingRead MoreThe Bhagavad Gita Essay861 Words   |  4 Pages The Bhagavad Gita as translated by Juan Mascaro is a poem based on ancient Sanskrit literature contained in eighteen chapters. The period of time, around which it was written, although it is merely an educated guess, was approximately 500 BCE. â€Å"†¦there are a few archaic words and expressions, some of the greatest scholars have considered it pre-Buddhistic, i.e. about 500 BC,† (Bhagavad Gita, xxiv). This quote is found in the introduction to the book and further explains that the exact time it wasRead MoreComparing Buddhism And The Bhagavad1453 Words   |  6 PagesBuddhism and the Bhagavad GÄ «tÄ  Early Buddhism and the Bhagavad GÄ «tÄ  have a wide array similarities and differences. Both Buddhism and the Gita deal with an inner struggle. We see Arjuna dealing with the struggle of whether or not he should murder his family in order to obtain a kingdom. In Buddhism, we see the inner struggle as the quest to find nirvana and the pain that is the very act of living. Although there are some similarities, the differences between Buddhism and the Gita are clear. One ofRead MoreMorality and Spirituality in The Book Bhagavad Gita Essay1084 Words   |  5 PagesIn the book Bhagavad Gita, Krishna teaches Arjuna how to reach the highest stage of spirituality, and ultimately the divine God. Krishna gives Arjuna a clear road map to follow so he can reach this goal. Yoga is the main tool to obtain spirituality and it takes a lot of hard work and true determination to do so. The main part of reaching spirituality is to depart this world and sense objects, and build strong morals. Upon giving up worldly desire, one cannot but seek the Devine and by seeking GodRead MoreSelf Denial In Bhagavad Gita1106 Words   |  5 PagesThe Bhagavad-Gita and Self Denial While reading the Bhagavad-Gita, I found it interesting how different the meanings of self-denial were in Hinduism and Christianity. 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His personal m orality motivated him to act justly, but does not validate hisRead MoreThe Value of Kindness in Bhakti According to Vyasa’s The Bhagavad Gita704 Words   |  3 PagesVyasa’s The Bhagavad Gita, written between 300 B.C.E. and 300 C.E., is regarded as the eternal message of spiritual wisdom from ancient India. Lord Krishna discusses with Arjuna the types of discipline that men should possess, particularly devotion, or bhakti. The purpose of this essay is to show that Krishna’s teaching of bhakti in The Bhagavad Gita entails that one should exhibit kind behavior at all times. Kindness is necessary in the practice of bhakti, and those who devote their utmost faithRead MoreAnalysis Of The Bhagavad Gita 1389 Words   |  6 PagesTHE BHAGAVAD GITA -AN ANALYSIS OF APPROACHING THE ULTIMATE TRUTH AND JHANA YOGA- Abstract In the Bhagavad Gita, the fourth discourse which is composed of forty-two verses, Lord Krishna, the narrator guides Arjuna- a warrior who is finding himself pondering about the simple principles of life while he is fighting the war. In the fourth discourse Arjuna learns from Lord Krishna about faith, wisdom sacrifice, ignorance, doubts of the soul, action and inaction, selfless service, and self-realizationRead MoreAn Analysis of the Central Themes of the Bhagavad Gita and Its Influence on Significant Historical Figures and Literature.1521 Words   |  7 PagesAn Analysis of the Central Themes of The Bhagavad Gita and its Influence on Significant Historical Figures and Literature. Gavin McClung â€Å"You gain strength, courage and confidence by every experience in which you really stop to look fear in the face. You are able to say to yourself ‘I have lived through this horror. I can take the next thing that comes along.’ You must do the thing you think you cannot do.† -Eleanor Roosevelt The Bhagavad Gita has been estimated to have been in existence since

Greatest Threats to the Environment in Russia Free Essays

Report Greatest threats to the environment in Russia Russia has major environmental problems left from the Soviet Union. Those ills have been developing for years and years. Air, water and soil are equally polluted. We will write a custom essay sample on Greatest Threats to the Environment in Russia or any similar topic only for you Order Now Air quality Russia’s air is among the most polluted in the world. According to the estimate only tiny percentage of urban population breathes the air that is not harmful. Level of air pollution is dangerous, especially for the inhabitants of large industrial cities such as Moscow, Saint-Petersburg, Yekaterinburg and many others. Every year there are more and more cars in large cities and their emissions worsen the quality of the air. Water quality Poor potable water quality Is a major concern. Nearly all Russian rivers and lakes are polluted both by industrial and household sewage. Paper factories taint the water of the largest Russian lakes LadoJskoe and Baikal. Water In the river Volga Is so dirty that It Is now unsuitable even for Irrigation. Soil and forests Land quality Is declining. Considerable amount of agricultural land have been ontaminated by Industrial toxic agents, pesticides, and agricultural chemicals. Chernobyl disaster caused radioactive contamination of vast territory. Coniferous forests In Siberia are disappearing because of acid rains, pollution and fires. Forests In Chernobyl area are polluted with radioactive element, therefore fires there are even more likely than In Siberia. Solutions Ecological problems are difficult to be solved. For example, forests In Chernobyl area cannot be decontaminated. Nevertheless If government understand the Importance f ecology and Invest large amounts of money Into the solutions of environmental problems, lots of things can be done to make air, water and soll cleaner. Poor potable water quality is a major concern. Nearly all Russian rivers and lakes are the largest Russian lakes LadoJskoe and Baikal. Water in the river Volga is so dirty that it is now unsuitable even for irrigation. Land quality is declining. Considerable amount of agricultural land have been contaminated by industrial toxic agents, pesticides, and agricultural chemicals. rests in Siberia are disappearing because of acid rains, pollution and fires. Forests in Chernobyl area are polluted with radioactive element, therefore fires there are even more likely than in Siberia. Solutions Ecological problems are difficult to be solved. For example, forests in Chernobyl area cannot be decontaminated. Nevertheless if government understand the importance of ecology and invest large amount s of money into the solutions of environmental problems, lots of things can be done to make air, water and soil cleaner. How to cite Greatest Threats to the Environment in Russia, Papers

Transition between Life and Afterlife Analyzing The Triumph of Death in the Camposanto of Pisa Essay Example For Students

Transition between Life and Afterlife: Analyzing The Triumph of Death in the Camposanto of Pisa Essay What is more vivid and earthly than death? It is very easy to represent death as the landing place of a process, as we can see in many works of art of the Western world. One thinks of the Death of Marat painted by Jacques-Louis David in 1793 à °fig. 1Þ, where the wan body of the revolutionary man, with a visible wound on his chest, lies in his bathtub just after his murder. The bloody dagger, abandoned by the killer, Charlotte Corday, lies near the leaning arm of Marat. Jacques-Louis David, Death of Marat, 1793, oil on canvas, Musà ©es Royaux des Beaux-Arts, Brussels. day, lies near the leaning arm of Marat. This is one of the most popular representations of a dead body, which is directly linked with the Entombment of Christ by Caravaggio (1602–3) for the position of the arm in the foreground. David introduces the quotation from Caravaggio to sublimate hispolitical hero into an â€Å"alter Christus,† a new unreligious martyr. Nevertheless, both artists painted the body of the two protagonists—Jean-Paul Marat and Jesus Christ—as seen soon after death. We can see corpses in various works of art of different ages and different subjects, religious or not: battles, wars, depositions, entombments, Pietà  , slaughters of the innocents, and many others. A dead body itself does not involve problems of representation of transcendence. If, however, death is meant not as an ending point but as a transformation, a transition between life and afterlife, the theoretical problem is more complex. The passing away of a human body clearly shows signs of death as a process: but the visual arts—except cinema— cannot represent the exact moment of expiring; they can only get very close to it. This is a specific case of a general problem concerning the representation of time in â€Å"planar semiotics.† Literary art and visual art work in different ways, as Gotthold Ephraim Lessing recognized studying the Laocoà ¶n à °1766Þ: the narration of the former can follow the story in its process, while visual art must have a simultaneous narration, because its planar medium is, in some way, a limit to expression. Being a still medium, painting concerns spatial but not temporal dimensions; for instance, to correlate events happening in different times, the categories â€Å"before† and â€Å"after† are inferred by the beholder thanks to the logical relations between the places where static signs are arranged by the painter. But the artist who wants to re present a single action knows that it contains different phases, which can be schematized as â€Å"beginning,† â€Å"climax,† and â€Å"the end.† Climax is the moment of maximum tension—an instant infinitely short—and, concentrating on it, the artist summarizes the two extremities of the action, â€Å"before† and â€Å"after† à °Calabrese 2006cÞ. It is an excellent expedient to introduce the passing of time in the still medium of painting à °Corrain 1987Þ. Even photography has the same semiotic problem. The famous picture Loyalist Militiaman at the Moment of Death à °1936Þ by Robert Capa shows the effect of shooting on the body of an anarchist during the Spanish Civil War.4 Looking at this work in 1954, Louis Aragon admired the incredible ability of his friend â€Å"to capture forever, thanking his camera, the thin line between life and death† à °Whelan 2001Þ. Because of the exceptional nature of this picture, it was supposed not to be a live shot but the result of a mise-en-scà ¨ne sought after by the Hungarian photographer. Nowadays, after long research in local archives and interviews with veterans this interpretation has been demolished, and it has been confirmed that this picture was taken exactly in the instant of shooting.5 The militiaman did not pose for this photograph, and Capa came incredibly close to the point of no return, the climax of the action. Getting back to painting, the iconography of Crucifixion is one of the most vivid examples of the challenge of representing the infinitely short instant of passing away. In different ages artists have tried to approach the final act à °the climaxÞ, emphasizing some important signs of suffering, such as tension, contortion of the body, and pale skin tone à °Calabrese 2006bÞ, characteristics, among others, of the famous Grà ¼newald Crucifixion à °fig. 3Þ. Indeed, the rep resentation of the moment of death is a problem of passions, â€Å"because it involves a certain aspectuality of suffering à °inchoateness of agony, punctuality of the act of dying, durativeness of being deadÞ† à °Calabrese 2006a, 101Þ. These linguistic categories, adopted by generative semiotics for the visual arts, could be used to refine the three phases of an action à °Ã¢â‚¬Å"beginning,† â€Å"climax,† and â€Å"the end†ÃƒÅ¾.6 While the above-mentioned Entombment of Christ by Caravaggio and the Death of Marat by David concern the last phase—the durativeness of being dead—many Crucifixions focused on the punctuality of the act of dying. In general, this iconography stimulates the viewer to think about the suffering of Christ as a man, but also of his forthcoming resurrection. Trying to capture the exact moment of expiring means that death is conceived of as the crucial point of transformation from life to afterlife. And in most Crucifixions this process is supposed to be seen in the body of the actor à °the suffering ChristÞ. These theoretical aspects are fundamental to the analysis of the medieval representation of death—expressly its personification—which, ho wever, is very different from the above-mentioned iconographies. We are talking about the Triumph of Death à °fig. 4Þ frescoed by Buonamico Buffalmacco in Pisa, probably between 1336 and 1341. Traditionally, the unusual presence of the evil figure, fluttering with its large scythe under groups of people, dead and alive, was supposed to be the main subject of the painting; so it was wrongly interpreted as a depiction of the terrible plague of 1348, and its dating has only recently been corrected.8 The aim of this article is to demonstrate that the real subject of this work of art is the representation of a nonrepresentable transcendence, the passage from life to afterlife: the meaning of Death does not lie properly in its feature but in its function, because it acts as an agent of transformation between two realms.9 Also, the Crucifixion leads to the hereafter, but it concerns the life of the Son of God as an exemplum for everyone. In the Buffalmacco fresco, on the other hand, the transition acts from the life of humankind to its future salvation or damnation. In both cases death is meant as a transformation, but while the Crucifixion shows it in the climax of the suffering Christ,Buffalmacco shows it in a very complex arrangement of spaces and times. Outline1 The Workyard of the Graveyard2 The Vanishing of Earthly Times and the Eternal Consistence of Heavenly Life3 What Is Written Here?4 The Other Narration of the â€Å"Figures of Framing†5 The Consequences of Death The Workyard of the Graveyard In order to understand the Triumph of Death it is necessary to be reminded of its original destination: the Camposanto of Pisa, the monumental cemetery built in the Piazza del Duomo after the Cathedral, the Baptistery, and the Leaning Tower à °Baracchini and Castelnuovo 1996Þ. It was commissioned by the archbishop Federico Visconti and was begun in 1277 by the architect Giovanni di Simone. It is a roofed-over building, because it was conceived of not just as the burial place of important people but also as the storage for Roman sarcophagi gathered around the cathedral in the early Middle Ages à °Carli and Arias 1937; Settis 1984Þ. The Camposanto has a rectangular shape with a central courtyard and four galleries all around. As we can see from the map à °fig. 5Þ, along the inside walls of the galleries different artists realized the largest cycle of frescoes of the time: it is a well-structured program, composed of different subjects coming from the Old and the New Testaments, the lives of local saints, and two interesting â€Å"exceptions.† The pictorial decoration of the Camposanto started with the local painter Francesco Traini à °Caleca 1986Þ. Around 1330 he was asked to fresco the great Crucifixion à °fig. 6Þ behind the altar, where religious functions were celebrated at the beginning of the fourteenth century.10 Inside this building Traini did not execute more than this fresco. In fact, the Florentine Buffalmacco, a friend of Giovanni Boccaccio and Franco Sacchetti and protagonist of some of their tales,11 was probably invited to realize three stories of the life of Christ after death o n the left side of Traini’s painting: Resurrection, Incredulity of Saint Thomas, and Ascension of Christ à °fig. 7Þ. On the other side of the Crucifixion, on the southern gallery, Buffalmacco painted the most famous and largest cycle of frescoes of the Camposanto: the Triumph of Death, the Last Judgment à °fig. 8Þ, and the Thebais à °fig. 9Þ, showing several episodes from the lives of the Holy Fathers in the desert. The Triumph of Death and the Thebais are the iconographic â€Å"exceptions† of the whole program; in fact, these stories are taken neither from the Old and the New Testaments nor from the lives of saints. Many other painters followed, and the main decoration ended with Benozzo Gozzoli, who worked in Pisa for almost twenty years in the second half of the fifteenth century.12 The high humidity of the place and the exhalations coming from the graves seriously damaged all the frescoes inside the Camposanto, which has been continuously restored and partially altered. Since the beginning, the graveyard has been a never-ending workyard. Between the eighteenth and nineteenth centuries the Camposanto became a favorite place of travelers, and we have a large number of descriptions in literature and the figurative arts.13 In 1812 the scholar Carlo Lasinio à °1759–1855Þ etched all the frescoes in forty plates,14 intending to record their status, but obviously giving his own int erpretation to these works of arts. Lasinio drew every single story, avoiding reproducing the frames painted around each one of them. Carlo Lasinio, Last Judgment by Buonamico Buffalmacco in the Camposanto, 1812,engraving. Reproduced from Lasinio Lasinio’s books of etchings were published in many languages, and travelers doing the Grand Tour arrived in larger numbers year after year, mostly to see the Triumph of Death, described by the Baedekers. At the end of the nineteenth century, a detailed photographic campaign of every story, illustrating also the painted frames, was realized with the same conservative purpose of the engravings. This is a fundamental documentation left to us, because on July 27, 1944, during the Second World War, a terrible fire destroyed the roof of the building, ruining many sarcophagi and most of the frescoes, some of which soon collapsed. These old pictures became the only sources available for restoring the image of the paintings and part of the architecture. After the war, but still in a situation of emergency, the restorers first—because of its celebrity—detached the Triumph of Death from the wall, and afterward the Last Judgment and the Thebais, bringing them to their labora tories à °Baracchini 1996Þ. They forgot the painted frames, while the other frescoes were detached in the following years; and in the 1960s a special exhibition room was built next to the Camposanto in order to display these stories by Buffalmacco.Recently, a new restoration is bringing the frescoes back to their original place within the external galleries, as will also happen in the near future to the Buffalmacco cycle. The Vanishing of Earthly Times and the Eternal Consistence of Heavenly Life Entering the Camposanto before July 27, 1944, we would have found the wide painted surface of the Thebais on our right hand à °fig. 5Þ. Walking along the gallery, seeing the Crucifixion in front of us, we would have reached first of all the Hell with the Last Judgment, and then the Triumph of Death. Apart from the Crucifixion, the narrow gallery did not allow a frontal general view of all the frescoes, and the viewer had to concentrate only on single episodes à °Caleca 1996Þ. This cycle was conceived by Buffalmacco to be seen in this way because he decided to use all the space available, without dividing it in two stories as he did on the eastern gallery for the Resurrection and the Incredulity of Saint Thomas. This interesting morphological choice invites us to examine the relation between the movement of the beholder and the architectural space of the gallery in connection with the medieval conception of time and space. Buffalmacco arranged the stories of Christ after death in order to let the beholder have a complete overview in spite of the narrowness of the gallery. But why did he not make the same choice for the cycle of the Triumph of Death? Probably one of the answers is Buffalmacco’s unusual subjects. The audience of that time was used to recognize the Resurrection, for example, as a singular scene with a specific iconography, isolated from the other episodes of the New Testament. The same audience was not equally familiar with the advent of death and its consequences, neither with the episodes of the Holy Fathers in the desert. At this point the movement of the beholder becomes crucial, because this part of the southern gallery was a sort of nave with the main altar underneath the Crucifixion. Several processions of Flagellants’ brotherhoods are documented in the first half of the fourteenth century, and the faithful walked along the nave from the Thebais to the presbytery, thus having a partial view of singular episodes.16 The peculiar architectural space and its religious function suggested to Buffalmacco to set several stories in different places, where various groups of people play a single act of th e whole drama. This arrangement reproduces the traditional setting of medieval theater called loci deputati à °designated placesÞ where single episodes of the story were staged à °Molinari 1961; Mervyn 1983; Bernardi 1991Þ. During Holy Week, for instance, a procession passed through the town, every square became the stage for a particular episode of the Passion, and the spectator could move from one place to another following a discontinuous temporal line; we can find visual translations of this theatrical conception in several paintings, as well as in later Northern European works such as The Passion of Christ by Memling à °fig. 10Þ. In the medieval conception, space and time are phenomenal categories in strict correspondence with transcendence à °Schlosser 1923Þ. Any episode of the Triumph of Death works as an exemplum à °moral exampleÞ, a warning to the faithful to look within and to think about our fleeting nature: this is the general theme that brings all the episodes toget her, although they do not necessarily have a narrative consequence. Some of the episodes, instead, are connected with other frescoes that Buffalmacco realized in the southern gallery à °Last Judgment, Hell, and ThebaisÞ, summarizing or anticipating their iconographies Hans Memling, Scenes from the Passion of Christ, 1470–71, oil on panel, GalleriaSabauda, Turin. Present time echoes metaphysical time; and the Triumph of Death represents both, arranging the external world in the lower level and the transcendent world in the higher level. This is very clear from looking at the historical photograph, because it is the only way to get a general overview, otherwise impossible. In fact, the faithful, just as the modern visitor, could only get a view of groups of characters or â€Å"squares,† starting from the so-called Three Dead and Three Living à °fig. 11Þ, on the very left side of the Triumph. Here is depicted the durativeness of death: a group of twelve young noblemen, riding horses during a hawking expedition, meet three corpses in different stages of decomposition.17 The corpses lie in superimposed coffins showing the ravages of time: the first corpse, most recently dead, shows a fresh-skin face and is smartly dressed with an elegant hat and footwear; the second wears a crown, being probably a king, and its appearance looks very de teriorated; the third is already a skeleton and lies very close to the beholder, turning the gaze toward him. In the central scene a group of beggars à °fig. 12Þ invokes the personification of Death, hanging in the air not so far from them. They turn their back on the preceding scene à °Three Dead and Three LivingÞ and orient their gestures, gazes, and a long scroll to the right side,18 with the following rhymes in early Italian: â€Å"Because prosperity has left us / Death, cure for every pain, / Come and give us the last supper!†19 This part of the fresco acts as a turning point, and it is marked also by a rocky landscape à °fig. 13Þ. At the foot of the triangular cliff of the mountain various corpses are amassed. Shrek is love Shrek is life EssayThe other side of this definition is â€Å"to show, to exhibit something present† à °352, emphasis addedÞ, and this process is an act of self-presentation by the image identifying the thing represented as such: â€Å"In other words, to represent means to present oneself representing something. Every representation, every representational sign, every signifying process thus includes two dimensions, which I am in the habit of calling, in the first case, reflexive—to present oneself—and, in the second case, transitive—to represent something† à °Marin  ½1994 2001, 352, emphasis addedÞ. The frame facilitates the mimetic or transitive dimension of representation; at the same time it takes charge of its reflexive dimension. Because every frame completes the picture in its finality, as it is to be seen, shown, and exhibited, it concerns a process of communication or, better, a relation with the beholder. So the frame activates a process of â€Å"presentation† and â€Å"putting on stage† the work, indicating what to look at. The presentative role of the frame could also be played by other elements, very different from a visual point of view, like painted curtains or figures that indicate something in the scene or look at the beholder. They can be inside the space of the narration and not necessarily inside the large space of the painted frame à °as in the Buffalmacco frescoÞ, but their function is the same. These elements are what Marin calls â€Å"figures of framing†: â€Å"This is also how the frame à °by this I mean the processes and procedures of framing, the dynamics and power of positioningÞ will delegate some of its functions to a particular figure, who, even as he participates in the action, in the story that is ‘told,’ ‘represented,’ will utter by his gestures, his posture, his gaze, not so much what is to be seen, what the vi ewer must see, as the way to see it: these are pathetic figures of framing† à °Marin  ½1994 2001, 358Þ.56 If the mimetic dimension prevails, the work of art seems to be able to speak by itself, creating an â€Å"effect of objectivity.† On the contrary, if the presentative dimension prevails, the work of art shows the mechanism that makes the representation happen and there is an â€Å"effect of subjectivity.†57 These concepts recall the theory of â€Å"visual enunciation† that Marin elaborated based on Benveniste’s â€Å"written enunciation† à °Benveniste 1966, 1974Þ: in language, the effects of objectivity à °Ã¢â‚¬Å"narrative enunciation†ÃƒÅ¾ and subjectivity à °Ã¢â‚¬Å"discursive enunciation† Þ depend, among others, on the personal forms of the word â€Å"he† à °effect of objectivityÞ as well as â€Å"I/you† à °effect of subjectivityÞ and on the circumstantial demonstrative adverbs linked with them à °Ã¢â‚¬Å"that† for â€Å"he,† â€Å"this† for â€Å"I/you†ÃƒÅ¾.58 Inside a work of a rt, for example, characters looking at us or pointing out something establish a relationship â€Å"I/you,† creating an effect of subjectivity. They also appear in the Triumph of Death, inside the space of the narration and inside the rhombus within the horizontal frames. These â€Å"figures of framing† build a second level of narration, guiding us to a deeper comprehension of the painting. First, the nine angels with scrolls inside the lower frame are painted at the height of the viewers’ gaze, establishing a dialogue with them. In particular, the one under the greyhound glances up, pointing out what to look at; his inscription builds a communication with the pronominal â€Å"you,† referring to the beholder and to the group of the hunters; one of the hunters is looking at us.59 The result of this connection is a visual and written communicative circuit. The same circuit, realized in different ways, concerns the three central angels of the lower frame. They gaze in our direction, but every mark of enunciation of their inscriptions is strikingly different. In fact, the verses on the scroll of the angel under the beggars echo the content of the one immediately above inside the narration, but in the frame the angel uses the sacred words of the Old Testament in Latin.60 While his eyes establish a discursive enunciation à °I/youÞ with the viewer, his scroll realizes a narrative enunciation à °heÞ, and his inscription brings to life a voice outside the narration. Looking directly at us, the following angel admonishes the beholder producing a discursive enunciation. Also, the third angel in the middle of the lower frame, just under Death, stares at us while holding a short inscription in Latin taken from the Old Testament: â€Å"Nobody knows when his hour will come.† Once again his voice is from outside the narration, and it properly refers to the indeterminable advent of Death, painted above. On a visual level â€Å"not knowing† the exact moment of its arrival, it corresponds to the representation of Death â€Å"getting on the point of using its scythe†: it is what we have called the inchoateness of the act of cutting down. The scroll of the eighth angel, under the group of people in the orchard, talks directly to one of the young ladies and to every woman of the audience à °youÞ, warning against earthly sins.63 Unlike the three previous angels, this one is represented in profile, and the direction of his eyes, underlining the content of the inscription, guides us to the next fresco à °Last JudgmentÞ. This angel, like the one under the greyhound, has the same visual function as the demonstrative pronouns à °this and thatÞ, because—just like the frame—he indicates to us what to look at. But the eighth angel guides us outside the framed scene of the Triumph of Death, and this unusual aspect finds explanation in the entire Buffalmacco cycle inside the Camposanto, that could be read just following a determined itinerary. We must remember here that the huge dimension of these scenes never permits an overall view.64 The painted frame by itself is not a guide to the eyes. In fact, in this cycle several â€Å"figures of framing,† play the same role as, for instance, the group of two cupids bringing a roll with a long inscription in the middle of the fresco, above the three central angels under the beggars and the heap of corpses. This group is another â€Å"figure of framing,† and just like the angels these cupids look at us: they are external to the mimeti c dimension of the representation and they have a presentative function. The Consequences of Death The frame is a borderline between the representation and everything that does not concern it: denying the space of the outside it affirms the one of the inside. Nevertheless, looking at the frame by itself, it clearly appears like a composite space, neither internal nor external to the representation.65 Therefore, it is has a neutral status,66 which derives from the double negation inscribed in the mechanism itself: occupying the limit of representation, the frame articulates the spaces that prove its being à °Marin 1982Þ. The neutral status immediately refers to the perceptive dimension of the frame because it has to be gazed upon without being seen; but it also refers to an immanent dimension that concerns the logical relations activated by the frame itself. Buffalmacco’s frame explains very well the neutral status of the margin. It is a geometric squaring of the space of representation, so it has a different nature, but it was realized on the same wall and with the same technique. Its ambiguous status, neither internal nor external, is very evident. But today we can talk about it only on the basis of historical pictures, because most of the frames of the entire cycle got lost; indeed, it is interesting to note that the detachment saved just the privileged space of representation. This loss is still heavier if we think that inside the margin we could find â€Å"figures of framing† that gave us a metatheoretical interpretation of the fresco, disclosing to us to the moral and theological explanation of the scene. The comprehension of the whole meaning would not have been otherwise impossible without these elements, but the â€Å"figures of framing† and, in particular, their inscriptions permit a true exegesis of what was painted on this wall. Every inscription talks about the transcendence meant as a passage to a new life, hellish or heavenly, places of eternal salvation or damnation. But how did Buffalmacco translate this theological concept in painting? Looking at the fresco as it appears today à °fig. 14Þ, we are impressed by the figure of Death not just for its horrendous aspect, but first of all because of its central role in the middle of the scene. The main subject is not Death that inevitably cuts off every life, but the afterlife opened by the intervention of Death. This metaphysical space is displayed in the higher part, while episodes of the earthly world, with different phenomenal times, stay closer to the beholder. There is a very significant area that corresponds to the corridor created by the arrival of the woman with the scythe, connecting two semantic fields: /life/ and /nondeath/.68 This is the real meaning of the fresco, not the Triumph of Death but its consequences, not the act of dying but the process of transformation from /life/ to /nondeath/, from /low/ to /high/. Also, the personification of Death—half human and half devil—connects these worlds. Compared to other Italian Triumphs of Death, the Buffalmacco fresco highlights the role of the old woman as a go-between toward a new life. In a later fresco, today in the Museo di Palazzo Abatellis in Palermo à °ca. 1446Þ, this personification is a skeleton riding a haggard horse à °fig. 15Þ: it is not flying and its earthly nature prevails.69 Remaining in Tuscany in the second half of the fourteenth century, in the church of San Francesco in Lucignano à °ArezzoÞ there is another fresco representing a similar iconography, but Death here is an old woman with claws and long white hair, riding a black horse à °fig. 16Þ.70 She does not stay in midair, as in Pisa, because her horse brings her to the earth, and she pronounces terrible words.71 This fresco has several elements in common with the Buffalmacco painting—the beggars with their invocation to Death, the heap of corpses, two hunters—but we find a very important difference: Christ appears in the sky under the horrible woman. Pointing to her, Christ talks to the beholder in the vernacular and in rhyme: â€Å"Oh You, reader, pay attention to the blows of / This Lady that killed me / Since I am the Lord / Of her.†72 In the Pinacoteca of Siena there is a similar iconography of Death represented together with Christ, traditionally entitled Allegory of Redemption à °fig. 17Þ. It is a tempera on wood panel attributed to Ambrogio Lorenzetti, and scholars are convinced that the author of this little painting drew inspiration from the Buffalmacco fresco in Pisa, dating it at the middle of the fourteenth century à °Frugoni 2002Þ. Christ crucified above a heap of corpses dominates the scene, but over his head flies Death, represented as a black devil with bat wings. This is a very unusual composition: the devil overlooks the Son of God, and its scythe hovers just above his head. Moreover, Death appears at another time: the same devil with the scythe accompanies the first two sinners on the very left side of the background, under the Creation of Adam and Eve and the Original Sin. In the foreground we can recognize Cain and Abel à °the first homicideÞ and two anchorites with a long scroll at the feet of the Cross. On the very right side Christ Judge, surrounded by angels, overlooks the Cross, between the Virgin and St. John, and, at the bottom, other angels are driving back the damned. Apparently the Lorenzetti narration is very different from that by Buffalmacco, above all for the presence of Christ. In Siena, the death of Christ is followed by his Ascension à °his â€Å"triumph over death†ÃƒÅ¾, the allegory of redemption that is possible to everyone who erases their sins. So the painting must be read from left to right: from the first sinners à °prehistoric timeÞ to the saved and the damned à °metaphysical timeÞ, passing through the sacrifice of Christ on the Cross à °historical timeÞ. In this sense the Crucifixion functions as a gobetween from life to afterlife, the same role played in Pisa by Death. The monumental fresco in the Camposanto was adjacent to the Crucifixion and to the stories of Christ after death on the eastern wall à °fig. 6Þ. This sequence could hardly allow the faithful an interpretation of the whole cycle as an allegory of redemption. Moreover, our fresco can be freely read, or better, there is no direction from left to right but a leap in time in every episode, from phenomenal à °lowÞ to metaphysical à °highÞ. And in Pisa, inside the space of narration, apart from the angels disputing the souls, divinities are not represented. Why? The answer remains in the frame: as related by Cosimo Bartoli, in the lower margin two inscriptions come from the Old Testament à °EcclesiastesÞ while in the higher margin two other verses refer to Abel and Cain: Cain was the first human born and Abel the first human to die, Cain committed the first murder by killing his brother, and Abel is often compared to Christ as being the first martyr.74 If we look more closely at the historical picture of the Triumph of Death, the third character with a scroll in the higher frame stands out from the others and seems to be the Redeemer, young and bearded, holding the palm of martyrdom. Also, the next character, older and with a longer beard, looks like a sacred figure, possibly God or a prophet. Confining the sacred to the â€Å"neutral† space of the higher margin, the Camposanto fresco privileges an earthly point of view. For this reason it is traditionally called Triumph of Death, but it would be more appropriate to rename it —in comparison with the Lorenzetti painting—Allegory of Redemption.