Saturday, October 5, 2019
Philosophy of Justice in Plato's Republic Essay
Philosophy of Justice in Plato's Republic - Essay Example This phenomenon is reflected in the dialogue between Socrates and Thrasymachus, as the dialogue has been incorporated in a book I of Platoââ¬â¢s Republic. The view of Socrates on justice is in opposition to that of Thrasymachus, as revealed through the arguments developed by each of them. The evaluation of these arguments leads to the assumption that Socratesââ¬â¢ thoughts on justice are based on fairness and equality, a fact that ensures justice, in all its aspects. On the other hand, the view of Thrasymachus on justice follows a different direction, being able to result in social conflicts. It is probably for this reason that, in the end, Thrasymachus recognize the value of Socratesââ¬â¢ view on justice and accept his failure in understanding the actual role of individuals within the society, including their role in the promotion of justice. In accordance with Thrasymachus, ââ¬Ëjustice is nothing else but the interest of the most powerfulââ¬â¢ (338c Platoââ¬â¢s Re public I). Thrasymachus defends the above definition by developing a series of arguments, as described below. At the first level, Thrasymachus states that the types of polities globally are many. There are countries based on monarchy, others are based on aristocracy and others are based on democracy (338d). ... Thus, justice, as based on the laws introduced by the most powerful, serves the interests of the latter; the above phenomenon, as Thrasymachus notes is common in all countries, no matter their polity. In regard to the above argument of Thrasymachus, Socrates notes that governors are also likely to introduce laws, which are in opposition with their interests; citizens are obliged to respect these laws, as also the laws serving the interests of governors (339e). In other words, citizens have to deal with two different types of laws: those that serve the interests of governors and those serving the interests of citizens. From this point of view, the view of Thrasymachus that justice is only the interest of the most powerful is proved to be invalid. In regard to the above, Thrasymachus supports that governors cannot introduce laws that are opposed to their interests. Rather they are expected to always promote their interests, making no mistakes in choosing laws that promote those interes ts (340d), exactly like those who are experts in a particular science or art. Those experts do not make mistakes since in this case, they would lose their power, has resulted from their role as experts (340d). In this context, as Thrasymachus notes, a true governor is not expected to make mistakes; therefore he promotes only his interests (341a). Socrates abjures the above argument referring to the example of a doctor, as used previously by Thrasymachus. Socrates notes that a doctor is a therapist; therefore, he has to take care of the health problems of ill people (341c).Ã
Friday, October 4, 2019
Safety management on a construction jobsite Research Paper
Safety management on a construction jobsite - Research Paper Example ââ¬Å"Safety management system is a documented set of policies, procedures and work instructions that describe how a business manages and minimises the risk of injury to its workforceâ⬠(Gardener). This paper tends to explore the potential ways in which the construction jobsite safety can be managed. Essentials of safety management: Safety culture: Safety culture is defined as ââ¬Å"the enduring value and priority placed on worker and public safety by everyone in every group at every level of an organizationâ⬠(Wiegmann et al. cited in Wiegmann, Thaden, and Gibbons 3). ââ¬Å"Norms and rules for dealing with risk, safety attitudes, and reflexivity on safety practiceâ⬠are three components of a healthy safety culture (Pidgeon). Thus, by establishing a rich safety culture, management essentially involves each and every individual into the process of safety management, and the results thus derived are effective and long lasting. The safety culture can be best implemente d by preparing and strictly working upon a safety plan. The safety plan: The construction jobsite safety plan lays pattern to secure the health and safety of each and every individual on the site. The plan necessarily deals with the following areas: Assessment of health and safety threats originating both in the jobsite as well as in the areas surrounding it. Selection of appropriate methods, ways and means to reduce the risk and change it into opportunity Conduction of regular safety checks on the site Establishment of a well developed system to monitor and ensure that the safety plan is being complied with by every member in the hierarchical structure of the management as well as the workers. Factors that need to be included into a construction jobsite safety plan are as follows: Assessment of the abilities of organizational members and assignment of specific responsibilities related to safety management according to the individualsââ¬â¢ abilities. Evaluation of methods to iden tify hazard like task analysis Development of methods to investigate and report the accidents that may occur on the jobsite Establishment of procedures to be followed in cases of emergency caused by earthquake, fire breakout, and chemical spill etc Identification of strategies that would ensure quick and effective communication among individuals and the members concerned Assessment of the need and frequency of safety meetings Establishment of a comprehensive audit programme for the site safety Once the jobsite safety plan has been made, there are several factors that need to be taken care of throughout the four phases of project including project planning, designing, procurement and construction. Stage 1 & 2 ââ¬â Project planning and designing: In these phases, parties that are fundamentally carrying out the work are that of client and the designers or/and architects. In these phases, it should be made sure that the health and safety is given due consideration in the design deve lopment and project planning. Design of a project plays a decisive role in determining what safety measures need to be taken. The measures may vary from project to project depending upon the nature of work. Vertical construction has its own safety requirements that differ from those of the horizontal construction. In the planning phase, pre-tender requirements of the health and safety are established which the applying contractors are expected to comply with during construction. Stage 3 ââ¬â Procurement: Teams involved in the procurement stage are client and contractors. In this stage, the tender document is
Thursday, October 3, 2019
Learning Notes Essay Example for Free
Learning Notes Essay |STAGE 1 | |CONTENT STANDARD: The learner understand the different types and forms of drama, the features ,elements and conventions which distinguish | |them from narratives thereby leading him/her to produced a reaction paper. | |PERFORMANCE STANDARD: The learner writes a meaningful reaction paper on a drama presentation. | |ESSENTIAL UNDERSTANDING: The learner exhibits understanding and appreciation of drama by making sense of and reacting to the different issues| |presented in it.. | |ESSENTIAL QUESTION: How does one show appreciation of Philippine Drama? | |Learners will know: | |Types of Drama | |Forms of drama | |Drama conventions | |Expressions showing agreement and disagreement | | | |Learners will be able to: | |Explain types of drama | |Distinguish various forms of drama. | |Apply various graphic organizers to illustrate key concepts in a drama. | |Perform an array of reading techniques to concretize and unlock drama concept. | |Respond in various ways to express understanding of drama. | |Relate how drama mirrors real life. | |Deduce authentic experiences that can be incorporated in a drama. | |Analyze descriptions, dialogs and actions to discover, articulate, and justify characters in a drama. | |Draw insights on main and sub issues presented in a drama. | | | |STAGE 2 | |Product Performance Task: A meaningful reaction paper on a drama presentation. | | | |Evidence at the level of understanding: The learners should be able to demonstrate understanding by covering the six (6) facets of | |understanding. | |Explanation-Explain how the playwright justifies the actions, feelings, and attitudes of the character. | |Describe characters, and situation to show how drama reflects culture. | | Interpretation- interpret the series of connected events in a drama plot. Using events line | |Application-Apply role playing strategies in delivering dialogs between the protagonist and antagonist in the play | |Perspective- Develop perspective by evaluating a drama presentation. | |Empathy-assume role in Critiquing a drama presentation. | |Self-knowledge- self-assess oneââ¬â¢s strengths and weaknesses in presenting assessment of a drama presentation. | |Evidence at the level of performance: Performance assessment of an original extended dialog for drama presentation based on the following | |criteria: | |1. Focus/Theme | |2. Accuracy | |3. Language | |4. Unity | |5. Coherence | |6. Style | | | |STAGE 3 | |TEACHING LEARNING SEQUENCE | |A. EXPLORE- At this stage, the teacher should be able to do the following: | |Make the learners aware of the desired result that is, for him/her to demonstrate understanding of understanding of the different types and | |forms of Philippine drama as well as the features, elements, and conventions which distinguish them from narratives | |Introduce the Essential Question (EQ), ââ¬Å"How does one show appreciation of Philippine drama? â⬠with the learners. Make them answer the questions| |as exhaustively as possible and cue them into the big ideas by activating their prior knowledge or past experiences. | |Use non-formative assessment procedure to check/evaluate learnersââ¬â¢ readiness and competence on the prerequisite skills to the tasks at hand. | |Inform the learners of how they will be assessed. Their major output after the lesson is a meaningful reaction paper on a drama presentation. | |Likewise explain the rubrics. | |Activities |Materials |Date |Remarks | |1. Life is a drama TG. P. 4 |Types of Drama listed on a manila |August 15,2011 | | | |paper. | | | |2. Illustrate it TG. P. 4 |1. Manila paper |August 16,2011 | | | |2. Pentel pen/ pencil | | | | |3. crayons | | | |Note: | |1. Pre-test is given to students. To test their prior knowledge. | |2. Ask the EQ-essential Question | |3. Clarify expectation | |4. Hook and engage interest. | |5. Give the essential understanding. | | | | | | | | | | | | | | | | | | | |STAGE 3 | |TEACHING LEARNING SEQUENCE | |B. FIRM UP- At this stage, the teacher should be able to do the following: | |Make the learners enhance their knowledge of the different types and forms of Philippine drama, as well as the features, elements and | |conventions which distinguishes them from narratives. | |Highlight the grammar item by providing sufficient examples of word/phrase showing agreement or disagreement. | |Provide the learners with activities that are motivating and challenging | |Maximize learnersââ¬â¢ participation in various tasks from controlled practice to free association phase of learning | |Provide feedback to check for understanding. | |Activities |Materials |Date |Remarks | |1. Which one are you TG. P. 6 |1. A copy of the words ââ¬Å"JOLOGs and | | | | |ââ¬Å"CONOSâ⬠| | | |2. A day for a play TG. P6 | | | | |- Read and write words in the play |2. A photocopy of the Drama- ââ¬Å"Call | | | |that shows AGREEMENT and |Me Floryâ⬠by Wilfrido Ma. Guerrero | | | |DISAGREEMENT. | | | | |3. Lexicon TG. P6 | | | | |- Write the meaning of the phrases. |3. Manila Paper with the Phrases | | | | |taken from the play. | | | |4. Simple Recall TG. P7 | | | | |- Comprehension Questions |4. Manila paper with the | | | | |comprehension questions. | | | |5. Agree or Disagree TG. P9 | | | | |- Expressing agreement and |5. Manila Paper with two column A | | | |Disagreement |and B Agreement and Disagreement. | | | | | | | | |6. In my opinion TG. P10. |6. Various topics written on a | | | |- Choose one topic then write an |Manila paper. | | | |opinion paragraph stressing their | | | | |greatest argument for agreeing or | | | | |disagreeing. | | | | | | | | | |Note: Discuss and explain | | | | |expressions on agreement and |Outline of the topic | | | |disagreement. | | | | | | | | | | | | | | |STAGE 3 | |TEACHING LEARNING SEQUENCE | |C. DEEPEN- At this stage, the teacher should be able to do the following: | |Provide learners with thought ââ¬â provoking questions that will make them reflect, revisit, rethink, and revise earlier assumptions about the | |types and forms of Philippine drama, the features, elements, and conventions that distinguish them from narrative. | |Enable learners to apply the grammar items learned by giving them activities within the confines of higher order thinking skills. | |Address the learnersââ¬â¢ uniqueness, their strengths and weaknesses by providing them with differentiated instruction as needed. | |Provide them with meaningful and challenging activities that will reinforce what they have learned. | |Engage them in meaningful self-evaluation. | |Give feedback. | |Activities |Materials |Date |Remarks | |1. Curtailed Freedom TG. P. 11 | 1. Topic on specific reality or | | | |- Have them agree or disagreeâ⬠¦ |game show. | | | | | | | | |2. Mock Election TG. P11 | | | | |-Write and express their ideas | | | | | |2. ââ¬Å"Written issue on a manila | | | | |paper- ââ¬Å"Are you in favor of using | | | |3. Drama Inventory TG. P12 |the Filipino language during | | | |- Complete the table after |English time? â⬠| | | |watching/listening to various drama| | | | |media. |3. Written CHART on a manila paper | | | | |as guide to the activity. | | | |4. Airing Feedback TG. P12. | | | | |- Role play any situation | | | | | | | | | | | | | | | |4. Rubrics | | | |Notes: | | | |1. Discuss the Elements of Drama | |2. types of drama | |3. drama conventions | | | | | | | | | | | |D. TRANSFER- At this stage, the teacher should be able to do the following: | |Have the learners make independent application of the various processes (drama review, play reaction paper production, critiquing an original | |extended drama script, ect) they have learned. | |Make them do independent performance or project using varied and complex assessment procedure. | |Harness the learnersââ¬â¢ growing proficiency by letting them establish the interface among the activities they have performed. | |Have them see the connections between tasks and the world. | | | |Activities |Materials |Date |Remarks | |1. Drama Review TG. P13 | 1.evaluation Chart | | | |- Complete the evaluation chart | | | | |after watching a scene in a drama | | | | |or play. | | | | | | | | | |2. DRP (Drama Reaction Paper) TG. | | | | |P13 | | | | |- evaluate the strength and |2. List of criteria written on a | | | |weaknesses of a play or drama. |manila paper | | | | | | | | | | | | | |References: | | | | |Laarni- A Dream by Loreto | | | | |Paras-Sulit | | | | | | | | | |Call Me Flory, by Wilfrido Ma. | | | | |Guerrero | | | | |The World is an Apple | | | | | | | | | | |Prepared by | | | |FERDINAND A. SANGAO | |Subject Teacher Noted: | |NORA D. DALAPNAS | |Head Teacher In Charge | | | | | | |
Impact of Imaginary Friends on Child Development
Impact of Imaginary Friends on Child Development Introduction Childhood is a stage that is distinct and abundantly filled with cognitive, emotional and physical changes. During this period in a human life, wonder, innocence and imagination are rampant. Many skills and lessons are learned that will assist with the course the childs future will follow. This could be described as one of the most essential periods for the development of the individual they will eventually become. Some scholars have questioned whether each individual has a core self. Using some examples of the research of George Mead and John Hewitt- among others- it reveals that there are key aspects of the self that are developed by interactions within cultures and those inner communities. For some children there is a period of time where an imaginary friend is an essential part of this course of self-development. It is difficult to say if the presence of an imaginary friend is something that comes from the core self or if it arises after a certain amount of socialization. I will examine the presence of imaginary friends in younger children lives, specifically those within the preschool years. My intention is to explore the function(s) these imaginary friends might accomplish in the development of the role, identity and self within the child. DISCUSSION One concept came from work done by George Herbert Mead, who is one of the leading theorists dealing with work of symbolic interactionism and the development of the self. His work established concepts of position, play, game, and other basic theories based on relationships between the self and societal impact. Meads stages of development seem to rest entirely upon relations with others. Mead (1934) saw the self as something which ripens and results from associations with other individuals. One of his theories, the double, is signified by the establishment of the self as an entity. Some experiences can lead to the birth of a double and can be represented by imaginary friends created by the child, and which allows them to control their experiences through play. He suggested that entities are formed by human activity. The goals of those activities have two important inferences; people live in a world of objects and societal conduct is oriented to goals and purposes. (Hewitt, 2003). When one recognizes his/her self as an object, involvement in societal interaction is possible. (Mead, 1934) Another key factor in Meads theory is the development of the generalized other which-he believes- is vital in the maturity of the self. His concept of the generalized other is like a performance, a viewpoint that a person must creatively assume in order to take into account the formation of his/her own conduct which is created with principles, expectations and ideas influenced by the members of a particular societal group (Hewitt, 2003). The game and play stage must be passed through to reach full development. The play stage is identified as a period a child learns to take the identities of others and pretends about being the other. This developmental period, known as the play stage, allows the child to assume the role of another person and imagines him/herself to become that person, trying to assume and foresee what he/she imagines the other person might do.(Handel, 1988). During this stage, very important abilities are acquired; the development of role understanding, the capability to assume the status of others, the sharpened sense of one as an entity, and the ability to establish boundaries within that roleit is a phase a child will discover and expand insight of themselves and others. During this era, a child can learn and increase their understanding of their entire universe, including themselves. While the play stage usually correlates to the time frame children have imaginary companions it is essential to have a complete understanding of the next stage, the game stage. The essential difference between the play and the game stage is that in the latter the child must comprehend the attitude of all the others involved in that game (Mead, 1934). Advancement to the game stage is when children can incorporate and think about not only their accomplishments but identify with the actions of others. This awareness comes from interactions with other people. After the game stage has passed the child has arrived, optimistically, at the point they are able to have formed a generalized other and can imagine themselves as another entity, whether it be a person or society. The development of a generalized other and obtaining a sense of roles and boundaries is extremely important in becoming a successful individual within society. Children do not strictly follow the socialization that they are exposed to; asserting ones autonomy is one way of establishing their independence and separation from others. It appears that imaginary friends can help to serve this role. The exact way that an imaginary friend is manifested is unknown-however, much research has been performed on this topic but there is no argument that it is a creation belonging to and originated by the child alone. Marjorie Taylor (1999), a psychologist who has studied children and their imaginary friends, does affirm that typically, an imaginary companion is an excellent example of a private act of fantasy controlled by the child him or herself. The imaginary friend cannot be seen, interacted with or known without the aid of the child. It is a complete product and interaction that belongs solely to the child. There are also signs that even quite young children never completely loose touch with the fantasy status of their imaginary companions (Taylor, 1999). A child who has an imaginary friend is a common phenomenon and does not automatically result from psychological problems or neglect. However, it should be noted that situations, such as psychological issues and/or neglect should not be overlooked when assessing a child with an imaginary friend. Imaginary friends can serve various positive objectives in areas of the childs development. An imaginary friend could aid in creating feelings of importance, power, confidence, and could possibly lead to a greater acceptance of the self. Having an imaginary friend is one of the first independent acts separating the child from his/her mother or the childs primary caretaker. One of the endearing things about imaginary companions is that children can boss them around, direct their activities, and dictate their communication with others. There are a few case studies suggesting that if childrens sense of control over imaginary companions is diminished, the pretend friend sometimes disappears (Taylor, 1999). This interaction can assist a child to exercise his/her autonomy and develop more individual interaction skills. A second function of imaginary friends is the ability to assist the child develop stronger social boundaries. Several scholars consider the importance of imaginary friends to be a catalyst for development. Commonly, imaginary friends offer an outlet which a child can use both reality and fantasy to learn right and wrong as well as what is acceptable in the context of different roles. Machin wrote: fantasy allows children to contemplate moral and social issues at a safe distance in the land of make believe (Machin Davies, 2003). An imaginary friend could possibly be an agent between fantasy and reality and an instrument with which the child can explore their boundaries. One indicator that imaginary friends might be representative of children becoming autonomous is that they usually do share the information with their parents. Research has shown that although the parents lack of knowledge regarding their childs imaginary friend does not automatically come from the childs refusal to reveal information about their friend. An imaginary friend could possibly be a means a child uses to differentiate between fantasy and reality and an instrument with which the child can explore their boundaries. Children learn through the responses of others and that their behaviors have consequences (Handel, 1988). A childs creation of an imaginary world also offers an alternate place where children can learn about the needs, feelings, and expectations of others. Discovering about roles and societal boundaries and expectations from imaginary friends could possibly tie into the transition between Meads play and game stages, bridging the gap between the play and game stage since the child not only interacts with the imaginary friend but also exhibits its reactions and thoughts. It is complicated to identify if imaginary friends serve a positive function in a childs development of sense of self, role acquisition, and identity based on this research. Research of prior studies led to my theory that imaginary friends may serve with developing identity in children and assist the child learn societal boundaries. The growth of these characteristics in a child usually results in their ability to function well when interacting with others, allows a certain level of confidence in themselves, and provides a level of independence and/or willingness which will assist the child to implement their autonomy. Fundamentally, it appears that imaginary friends offer those that have them a chance to find structure in a non traditional fashion. According to many previous studies, approximately one third of all children between the ages of two and a half to four years of age have one or more imaginary friends and they tend to be more frequent among females. Some in the academic community, as well as, many within the general public do regard the existence of imaginary friends as a wonderful manifestation on the part of the child and will engage in dialogue and recognition of the imaginary friends. However, at the same time as there are those that acknowledge imaginary friends, there are many that do not think that the existence of an imaginary friend presents a positive influence or role in the childs development. It has been noted that the existence of an imaginary friend can actually cause tension within a family due to accommodations to involve this imaginary friend of their childs in family activities. Many parents are also cynical of the imaginary friend due to the possibility that the child may use the imaginary friend as a defense for the child to blame bad behavior upon. However, the suggestion that using the imaginary friend as an excuse is not certain. The most widespread characterization of an imaginary friend is an invisible character, named and referred to in conversation with other persons or played with directly for a period of time, having an air of reality for the child but no apparent objective basis (Taylor, 199) A greater part of imaginary friends take human form, have names, and are believed to really see, think, feel, know or act. Imaginary friends have been depicted as having a high level of importance to the children that still have them and/or to the adults that had them during childhood and these imaginary friends continue to typically complete some sort of nurturing function. Since many of these companions take on traits that are part of a childs daily interaction, one could suggest that these friends are influenced by the social world of the child and also serve to help the child develop more ways of learning how to interact. In addition, connecting with a friend, whether imaginary or not; a child is establishing their concept as an entity. This is important for social interaction and learning about human conduct, expectations and societal boundaries. Imaginary friends serve several levels of companionship functions that divert the child when out with a parent and/or caregiver, desiring play and social interactions, or situations when carrying out day-to-day routines. Some visits from the imaginary friend are very rare, while other times the appearance of the imaginary friend is a daily occurrence. Some children actually engage and play games with their friends while other children will just talk to the friend. One child (me) had their imaginary friend present during a move which correlates to the idea that an imaginary friend can be used as a means to adjust and learn about new situations. It appears these imaginary friends help those who had them- in some way- and performed some beneficial purpose. Though the capacity to evaluate this question would be incredibly difficult, it would be valuable to study where imaginary friends come from and how and why they are created. More research needs to be done with children who currently have an imaginary friend and in a way that information could then be compared and contrasted between those children with imaginary friends and those children without imaginary friends. On the other hand, while it may be ideal to explore this issue further, there are drawbacks to studying children. When interviews are being performed with children, it is uncertain that what they are answering is actually what we are asking them. Additionally, when dealing with imaginary friends and pretend play there is the added component of the childs ability to distinguish between reality and fantasy. Unfortunately, there is no way to approach this issue which would be infallible. CONCLUSION Mead was accurate when he alluded to the fact that imaginary friends play a significant role in the development of the self. There are no blatantly bad indicators that imaginary friends are harmful. Nevertheless, there still exist many negative perceptions, both in research as well as within the general public. These perceptions link imaginary friends to problems later in life, ranging from unacceptable social behavior to forms of mental illness, including psychosis. It must be noted, there are cases where this link can be found, however, these cases include indicators of other problems, mental, emotional or physical. This culture is has become overly dependant on exposure to the media. Imaginary friends are quite often used for entertainment purposes and are frequently misrepresented. Taylor contends that imaginary friends are framed in a negative light; however, not every aspect of media portrayal is negative. Overall the media-meaning movies, books, etc. tends to over-exaggerate circumstances and highlight the negative aspects. Earlier work has shown the opposite and my findings from this research indicate that imaginary friends, more likely than not, could boost childhood development, confidence levels and establish stronger boundaries. Furthermore, while performing and compiling my research on this controversial topic, I have found that more information exists to support that the existence of an imaginary friend can assist a child deal with a myriad of issues and situations that may not be successfully dealt with and/or overcome without the assistance of an imaginary friend.
Wednesday, October 2, 2019
Roman Gladiators Essay examples -- Roman History
Gladiator Gladiatorial events were a token of the Roman civilization. A brutal form of sacrifice adapted from the earlier civilization of Etruscans, who believed when a person dies, his spirit relies on a blood sacrifice to survive in the afterlife. The first event to take place in Rome was in 264 BC, when Decimus Brutus held a sacrifice to honor his dead father (Roman Gladiator). Soon after these events became an undeniable part of the Romans lives, used for political power and general entertainment. A gladiators life was far from easy. Most were slaves, prisoners of war, or hardened criminals, therefore they were not free men. Often times they were trained and forced to take part in the events, hoping for their freedom if they were to conquer their grim fate and survived for a few years (wik). This was depicted in the most recent movie GLADIATOR. In this film Russel Crowe ÃâMaximus' starts out as an army general under Marcus Aurelius, until Commudus murders his own father out of spite for his fathers loyalty to Maximus and not him. He then inherits the title of king, and condemns Maximus to a gruesome fate as a slave/gladiator. Though this doesn't sound like the ideal life, to some at the time is was an appealing, so much so that some free men degraded themselves so they could battle in the games. Was it for basic living? Possibly but more than likely it was for the Fame and Prestige of a Gladiator. These free men were known as Professional gladiators. Training was hard for these great warriors, they often trained at special gladiator schools, the largest of which was connected to the great Coliseum by underground passages. Here they learned how to fight skillfully with swords, daggers, nets, chains, and an... ...m. This huge circular arena was the pinnacle of the Roman Gladiatorial games, and though it isn't fully intact, it is a great reminder of ancient culture. Though today these games seem inhumane and unnecessary, to their ancient culture it was a vacation from everyday stress. Even the Emperor was said to understand that though money and grain would satisfy and individual, large spectacles were necessary for the Ãâcontentment of the masses' (wes civ). Works Cited 1. Gladiator. Dreamworks Video. 2005. Directed by Ridley Scott. 2. Gladiators. Wikepedia, 2007. http://en.wikipedia.org/wiki/Gladiator 3. Jackson J. Spielvogel. Western Civilization Third Edition, A Brief History volume 1: to 1715. 2005 Belmont CA. Wadsworth Publishing 4. The Roman Gladiator. Classics Technology Center. 2005. http://ablemedia.com/ctcweb/consortium/gladiator1.html
Tuesday, October 1, 2019
Frankenstein and If Nights Could Talk Essay -- comparison compare cont
Frankenstein and If Nights Could Talk à à à à à Even though most people associate the word "monster" with ghouls, goblins, and other creations of the horror genre, monsters can exist in the more common shape of human beings. People who have suffered sexual abuse, people who suffered neglect as children, and people who have chemical imbalances in their brains have committed worse crimes than Bram Stoker's Dracula ; Adolf Hitler seems more of a monster than Mary Shelley's. However, most people who can behave so horribly towards other humans were not born monsters; rather their experiences and relationships molded their hideous forms. As Shelley's Frankenstein and Marsha Recknagel's memoir If Nights Could Talk demonstrate, the experiences of those who care for these creatures affect their fates as well. à Mary Shelley, or perhaps Victor, neglects to give the monster a name and refers to him as "the monster" or "the daemon" throughout the novel, however he does not truly become a monster until he commits William's murder. The monster had no murderous impulses when first created; Victor simply called him so because of his hideous appearance. While spending his first night alone in the forest, the monster felt "...half frightened, as it were, instinctively, finding myself so desolate...but feeling pain on both sides, I sat down and wept" (Shelley 71). Like a child, though not in the shape of one, the monster helplessly suffered as he tried to find his way in a strange world without a parent to guide him. When he finally finds himself at De Lacey's cottage, the monster shows interest in humanity and a longing to become a part of society. He reads Milton's Paradise Lost, Plutarch's Lives, and Goethe's Sorro... ...ered his family. As nurturers, Marsha and Victor's experiences with being nurtured affect the monster and Jamie, as well as their own experiences with mankind. Perhaps these two stories demonstrate the idea that parents raise their children either exactly the same as they were raised or exactly the opposite. While both choose to raise their monsters in opposite ways from which they had been raised, one monster changes back into a man though the other does not change his shape but perhaps he could not. When Jamie changes his name to Dante, he reasons that both he and Dante went to Hell and came back; but for the monster he cannot come back from his Hell, rather it exists all around him. à Works Cited Shelley, Mary. Frankenstein. Mineola: Dover Publications, 1994. Recknagel, Marsha. If Night Could Talk New York: St. Martin's Press, 2001. Ã
Brave New World: Chapters 11 and 12
Chapter 11. After Johns vomits from the disgust of viewing hundreds of identical twins in the Factory where the Bockanovsky process is put into practise, he goes on to find that the State's library does not have Shakespeare. After John and Lenina go to a feely movie together, the night comes to end and John drops Lenina off at her house without having sex with her. This leaves her bewildered and lacking confidence. She deals with the situation by taking soma, and john releases all of his passion and emotion by reading Shakespeare.These actions are similar because both are methods of escape. For John, the raw and passionate emotions in Shakespeare help him to understand himself and his world, and for Lenina, soma allows her to pacify any overwhelming and unmanageable feelings. Chapter 12. 1. Helmholtz has always felt some sort of urge to explore his writing abilities and truly experience life beyond the World State. Meeting John has justified for Helmholtz just how corrupt society tru ly is. He is captivated by John and feels that his feelings of being unique are justified.Finally, the beauty and truth he sees in Shakespeare's writing are justified through meeting John- someone who shares a common love for such powerful and tragic writing. 2. ââ¬Å"Why was that old fellow [Shakespeare] such a marvellous propaganda technician? Because he had so many insane, excriciating things to get excited about. You've got to be hurt and upset; otherwise you can't think of the really good, penetrating X-rayish phrasesâ⬠¦ No, it won't do. We need some other kind of madness and violence.But what? What? Where can one find it?â⬠¦ I don't know. â⬠pg. 185 This quote is said by Helmholtz Watson in a room aloud with John and Bernard present. He had just finished rehearsing Shakespeare with john and begins to praise how well Shakespeare can write. What he means by this quote is that Shakespeare was able to write such deep and expressive ââ¬Å"x-ray phrasesâ⬠because it derived from something so powerfully tragic and violent. He believes that the success of fictional writing derives from true emotion.
Subscribe to:
Posts (Atom)