The glass menagerie Research Paper Example | Topics and Well Written Essays - 1000 words

The glass menagerie - Research Paper Example In the production notes , Tennessee Williams says that ‘The Glass menagerie’ is a memory play This statement refers to a major theme of the play , namely , all the characters getting stuck up in memories of their past. He himself confesses that the play is string of memories ‘of his own youth. It follows the events and people in William’s true life experience in St. Louise between the years of 1934 and 1936. His mother, his sister, his job in shoe factory, and the glass menagerie were all part of his’ earlier life†. Besides Tom Amanda also live in constant pursuit of her bygone youth. She was extremely well-liked and cute young lady but she lost her chances. Now the realities in front of her are consciously ignored y her. The way she treats Tom and Laura is another evidence of her fanciful life. She prevents these two from becoming responsible young people by treating them as children. Without accepting the reality, she insists Laura to imitate her youth and hopes to recreate what she missed in life through her daughter. Thus Laura is bound to her mother always. The glass menagerie Laura lulls the infantile world with the glass menagerie. Thus she is also not raised to the level of a woman. Another character hounded by his memory is the father, who had left the family to travel long distance. The whole family lacks a father who supports them. The absence of such a father figure adds something more to their memory, the love and care of a father is also a memory to the children . Thus memory prevents all the characters to live in present and also to lead a happy life. Through Tom Winfield, Tennessee Williams was portraying himself as a young man. According to Presley â€Å"No one has even reviewed the bare details of his biography can overlook the obvious similarities between the record of his early life and the events described in The Glass Menagerie†. There are many similarities between his life and Tom’s lif e. Tom says â€Å" I am the narrator of the play , and also a character in it. The other characters are my mother, Amanda, my sister, Laura (1147). Thus the first resemblance between Tom and Williams is, he stands for the writer, who tells the story. Tennessee dropped out of the school according to his father’s instruction. After that he went to work in a shoe factory. The reaction of Tom in the play is relevant here... Tom says, â€Å" Listen ! You think I am crazy about the ware house! You think I am in love with the Continental Shoemakers? You think I want to spend fifty-five years down there in that Celotex interior!! With Fluorescent tubes...†. Like Tennessee, To also liked to write poems and plays during leisure times. â€Å"He called me Shakespeare (1168). The mental stress that Tennessee suffered is shown by his narrator character Tom also, and that lead both of them to write poems and plays. Tennessee William’s father was a salesman who always tried t o keep away from home. The father character presented here was also a telephone man who loved to travel. The children were brought up by their mother. The place where Tennessee lives is similar to what Tom explains in the play.† The apartment faces an alley and is entered by a fire escape.’ (1146). Tennessee was unwilling to remain in St. Louise school. In the play we can see Tom’s mother advises him to attend night –school course in accounting at Washington –â€Å" U Just think what a wonderful thing that would be for you son(1162). Another similarity we can see is the relation between Tennessee

The Structure and Use of 3D Models

The Structure and Use of 3D Models Guide showing the structure and use of 3D Models Topic 1 Structure of 3D models 3D coordinate systems Explain There are two types of coordinate systems that are commonly used in 3D graphics, either left or right handed, in both coordinate systems both the positive X and Y axis are the same with the Z axis being the only main difference. Analyse World The world coordinate system also known as universe or model coordinate system is the base reference for the overall model, all other models relate to. Local The local coordinate system relates specifically to a selected object when the object moves the local axis will move with is making it easier to animate. The local space has a completely separate xyz from the world/global xyz. Z-up Is one of the ground axis and is used to say how far a model is moved left or right depending on the number given. Y-up Is the up/elevation axis and is used to determined where a model is placed when moved either up or down depending on the number that is given. Evaluate the 3D coordinate system is extremely helpful as it gives us a visual reference on where an object/model would be in the 3d world. This allows us to position models exactly where we need them. Views of 3D models Explain There are two ways we can look at 3d models either perspective or orthographic, they are used to see the 3d model in either the view of the user (perspective) or as a flat 2d image (orthographic). Analyse Perspective Perspective is an approximate representation of an image as seen by the users eye, the most characteristic feature of perspective viewing are that objects appear smaller the further away as the distance from the object and observer increases. Orthographic Orthographic view has a fixed depth in which you cannot zoom in or out, and is used when checking if different models at different depths are the same size, this is done by making the models appear 2d. Evaluate both views have their advantages and disadvantages, where the perspective view can help you view the models/objects in a way that is natural to the human eye it doesnt help when youre trying to match the height of distant objects, whereas using the orthographic view allows you to see all objects as a 2D image allowing you to scale objects to the correct size. The Geometric Structure of Models Explain -ÂÂ   3D models are mathematical representations of an object, they can be compared to sculpting as a 3D artist would build or mold the object by taking into account all the sides and angles. The elements that make a 3D model consist of vertices, edges, faces and polygons, all of which can be manipulated individually in whichever software you choose such as blender, Maya or 3D studio Max. Analyse Vertex Vertices are the smallest point of a 3D model, they are made when two or more edges meet therefore corners of the polygons fuse together to make a vertex. The vertex is shared between all edges, faces and polygons and would affect all of these if the vertex is transformed. Edge The edge in a 3D model is a line which connects two vertices and borders faces and polygons, transforming these will affect all vertices faces and polygons which are connected to the edge. Polygon/face Face is a triangular surface connected by three surrounding edges and three corner vertices where as a polygon is an even four surface made up of four or more corners and two or more faces, high quality 3D characters are usually made of four sided polygons as ones with five or more sides can cause issues. Element the elements of a model are as follows tets, bricks, prisms, and pyramids these can be used to mesh any 3D model, with the 2D equivalents being triangular and quadrilateral elements. Surface normal modifying the orientation of surface normals affects the polygons appearance, when the surface normals are at right angles to a face light appears to bounce off the surface, this sharply defines the polygon face creating crisp edges, when set at different angles this allows light to roll off, which creates a smoother look. Evaluate knowing the structure of a model can help in deciding which shapes to start from and also to help manipulate the shape into the desired model/ object that you are looking for. The Structure of Different Polygons Explain There are three different ways of creating a mesh either using triangles quads or n-gons, tris and quads are more preferable than and n-gons are just avoided at all cost as they can cause issues. Analyse Triangles Triangles are a simple three sided polygon,made of three vertices connectingÂÂ   three edges, it is the smallest configuration needed to make a polygonal face. Also referred to as a tri. Quads Quads are the most desired type of polygon and most artist would use only quads as it makes their work more appealing to customers. They are made up of exactly four sides and four vertices, quads can also be referred to as quadrilateral polygons. N-gons N-gons are made up of more than four edges and vertices, n-gons can usually be divided into either quads or triangles or sometimes both which makes them easy to replace. They are usually avoided as they often create unwanted topology. Evaluate Using tris quads is very well sought after as theses are what computers can render them a lot faster especially quads, ngons on the other hand are usually avoided as they tend to cause distortion and deformation, tris can also cause this issue but not as much. Different methods of creating models Explain There are two different ways of creating models either with polygonal modeling or spline/curve based modeling, these are both used to create models with polygonal being the most used as it is more flexible but curve-based will make smoother curves. Analyse Polygonal modeling Polygons are created by using points in a 3d space called vertices, when they are connected together they form a mesh, which is used mainly for 3d models as they can easily be manipulated and rendered by computers quickly. On the downside they are planar and can only estimate a curved edge based on many polygons.ÂÂ   Spline/ curve-based modeling Curves are based off weighted control points, which when increased influences the curve closer to that point. The curve follows but does not always enter the points. Curve types include splines, nonuniform rational B-spline (NURBS), patches and geometric primitives. Evaluate The different methods in modeling be it polygonal or curved based both have different advantages and uses depending on what is needed, polygonal modeling is best used for 3D models as they can be rendered quickly by computers but the downside is that they are planar and can only make rough curves. Curve Based on the other hand is best used in a situation where curves and edges must be as smooth as possible such as in engineering, although manipulating it can be a lot harder. Pivot points Explain Pivot points are used to represent the location of a model in space, they are also used to control how models rotate and scale and move. All changes to a model are relative to the pivot point. Analyse -ÂÂ   Move moves the pivot point bringing the object that is connected to the pivot point with it. Scale increases or decreases the size of the object from the point of the pivot origin. Rotation rotates the object/model around the pivot point depending on the postion of the pivot point. Evaluate Having a movable pivot point is advantageous as it allows the object to be moved, rotated and scaled from different points allowing you to manipulate the object in many ways. UV coordinates Explain Are 2D coordinates used on a 3D model and are basically a textures x and y coordinates which always range from 0 to 1. With the V value going from bottom left to top left and the U value going from bottom left to bottom right, each vertex will have a uv coordinate value. Analyse -ÂÂ   UV mapping is usually done by unfolding a model, a pyramid for example, at the seams laying the model image onto a flat page once unwrapped the artist can then paint a texture onto each side triangle individually. Evaluate Allows for more detailed texturing and painting on 3D models by assigning pixels in the image to surface mappings on the polygon, this can then be easily exported to other 3d programs and then further adjusted. Mapping methods Explain -ÂÂ   Mapping methods are ways in which textures are applied to different models and objects, they are mainly used to quickly apply a texture to different shaped models depending on what the model shape is as some work better than others. Analyse Planar planar is used to apply a texture onto a flat model such as basic terrain and walls, when trying to place a texture on an uneven or complex surface it can often stretch and distort polygons that are not facing the projected map directly. http://www.gamasutra.com/view/feature/130484/uv_mapping_tips_and_tricks.php Box box mapping is done by placing a texture onto a model from six different sides, which is mainly used when you need quick mapping for less important of a model, and also used on technical or architectural objects. It is however not as useful for texturing more natural models where more accurate mapping is required. http://www.gamasutra.com/view/feature/130484/uv_mapping_tips_and_tricks.php Cylinder Cylindrical mapping is used for mapping more cylindrical models such as arms, cans and trees, it is one of the most used type of mapping but still needs tweaking afterwards in the uv editor. http://www.gamasutra.com/view/feature/130484/uv_mapping_tips_and_tricks.php Spherical Spherical mapping is mainly used to map out asteroids and planets, one downside is that it causes pixels to compact at the poles of the sphere. It can be used to block out mapping on human heads but loses its usefulness on models with multiple overlapping parts. Requires significant work afterwards. http://www.gamasutra.com/view/feature/130484/uv_mapping_tips_and_tricks.php Unwrapping unwrapping is done by creating uv coordinates which is generated for each vertex. One way is for the 3d modeler to unfold the mesh at the seams laying the model on a flat page, once unwrapped you can then paint a texture on each individual polygon. Pelt pelt mapping is used to map more natural models like animals and characters, pelt mapping allows you to pull a detailed uvw map flat allowing you to make a more accurate shape of the model which makes it easier to produce a more convincing texture. Evaluate Most mapping methods are extremely useful as they allow you to map a texture onto the different surfaces of a model as there are multiple choices to pick from there is usually one to fit the model you are working on, theses can save a great deal of time by quickly mapping the texture onto oddly shaped models which would be time consuming otherwise. The materials used on 3D models. Explain Adding textures to models is a lot more than just adding colours, you are also able to use different techniques and mpas to add more detail to the model letting you add effects such as shadows textures height etc. Analyse Base Colour, Albedo, Diffuse -ÂÂ   is the most common texture map, it specifies the pattern and colour of the object. It basically paints an image onto the surface. Normal Maps a normal map is a map which defines the direction your geometry normals are facing, with this info you can create a fakeÂÂ   the illusion of height to how the model is affected by light. Height Maps / Displacement Maps displacement maps are used when you need to add more detail to affect your model, this is a very powerful option as it actually affects the geometry.ÂÂ   Ambient Occlusion The occlusion map is used to define the areas of a model which should receive low or high indirect lighting. It is a grayscale image with white marking areas which should get full indirect light, and black for areas receiving no indirect light. An example would be a stone wall texture which is uneven. Specular Maps Specular mapping is used to define how well an area reflects light, the colour and bumpiness may be the same but using either dark or light tones you are able to change how reflective the surface is. An example would be a characters eyes compared to the skin or how a material reacts when wet or dry. Lightmaps are data structures used in light mapping, it works by pre-calculating the brightness of a surface and storing it in texture maps for later use. They are more used on static items so as the light does not need to be recalculated every frame. Evaluate using these can be extremely helpful in creating the models you desire without having to form the whole thing as some can help create the effects of textures, shadows height, and even make them seem more detailed which saves you adding more polygons to a model and increasing the count. http://blog.digitaltutors.com/understanding-difference-texture-maps/ The creation and use of convex collision hulls. Explain A convex collision hull is a simplified low poly count meshes that encases more complex objects, this is used to determine where a collision will occur on the object as well as other physic based interactions. Analyse It is an invisible mesh that stops the player and other models falling through each other, this can be costly on the graphics and processor power as the model triangles have to be calculated twice, once for the 3d model and once for the mesh collider. Each object must have a collision shape. Simpler shapes such as boxes, spheres and capsules are used as they are much faster to test but are less precise. Evaluate the collision hull helps make objects and models seem more to life by not letting you fall through walls and floors but can also affect how some objects are effected depending on how simple or complex the hull is compared to the model it is covering. Level of detail models (LODs) Explain LODs or level of detail are used to help render times by reducing the amount of polygons that show on models which are further away from the character, this is used to help rendering times and helps performance. Analyse LODs limit the amount of polygons on a model to help reduce rendering times whenever the character is at a distance, this helps keep focus on the immediate area and less at background scenery. Evaluate LODs can help increase frame render time by reducing the amount of polygons and detail that is on screen at any one time by determining whats more important or whats being focused on more and only giving that the proper amount of detail. Although this can help render time it may also cause some lag or drop in frames when too much detail is trying to load in at once. Vertex colour information Explain Vertex colour is a RGBA value that is traditionally used to add diffuse or emissive colour to the geometry of the model, this can be added to any vertex on the model. With more powerful games engines this can be used to do amazing things. Analyse Vertex colouring is used to colour foliage animations, baking inexpensive AO and lighting info, it can also be used to blend different materials on terrain or other meshes, but can be used for a lot more things Evaluate Vertex coloring can be used easily as it requires no UVs, although it is geometry dependant and not suited for high detail. Model constraints Explain When creating content such as 3D art for games and other real time applications there is constrictions which need to be applied to help increase performance and reduce render time. These constraints include polygon count, texture size and file size. Analyse Polygon Count The constraint on polygons count is that the more polygons or faces that appear within the render view the longer it takes for the frame to render, this limits polygons count to help with rendering time. This applies to games as well as non real time animations or special effects, this is all linked to the hardware available. Texture size textures need to be done effectively as the bigger and more complex the texture the longer the game will take to load it, this can cause the textures to take time to render and ruin the experience of the player. File Size The two main constraints that file size has is that 3D graphics need to be stored somewhere, either on disc a hard drive or in the cloud waiting for digital download. For this reason file size needs to be efficient to make sure they fit onto the the media that they are designed for, if the 3D art is too large for one disc it must be split onto two or more discs or may require an extremely long time to download especially for those with slow internet speeds. Evaluate Model constraints help with loading and rendering times by limiting the amount polygons and textures the artist is allowed to use, although this seems bad if there was no constraints the game would not load well and have constant drops with the frame rate, the downside to this is that the game will unfortunately not have everything that the developers wanted as some things may need to be cut due to file size restrictions. Topic 2 Uses of 3D models Decorative meshes Explain Decorative meshes are used to decorate a blank 3D world and make it more interesting, theses decorative meshes can range from indoor items such as chairs tables etc, to outdoor objects such as cars, trees and wells for example. Decorative meshes also help to make the 3D world seem a lot more interesting and also help make itÂÂ   more true to life and improve the players experience. Analyse these consist of multiple objects such as cars, trees, bushes etc which is placed around the 3D world so as its not blank and more interesting. Evaluate The advantage of using decorative meshes is that it increases the realism of the world theyre placed, they also improve the players experience as they are not walking around a bland world. Environment meshes Explain Environments are what a 3D world is made from, every environment also needs to be filled with 3D meshes, a balance of quantity and quality must be found as this needs to be as good looking as possible but also needs to be done efficiently. Analyse Environment meshes are used to create the 3D worlds invitroment, be in be buildings or other structures, this needs to be able to be done effectively and quickly as its a main part of the world but not all the focus will be on it. Evaluate Allows for a more immersive world as it adds character to the area and can also set the mood depending on the art style used. Modular meshes Explain Modular meshes for 3D environments are used to create fast environments using small tiling models and maximum flexibility, to make this as effective as possible you should first make sure that the grid for the 3D package is the exact same as the grid that the engine youre going to make the model for. Modular meshes can be reused to save time on developing multiple models. Analyse modular meshes can be made into kits, for example piping for walls, so that the developers and artists can reuse them to speed up the process without putting in as much work for areas that require less attention. Evaluate the advantage of using modular meshes are that you are able to quickly create game environments with maximum flexibility to change when needed, they are also reusable meaning you can keep a certain art style no matter the size. The downside to this is that the reused art style can quickly become repetitive. Meshes used for non-skeletal animation Explain Games can have a number of models which can be used for non skeletal animation these tend to be models which are not rigged (i.e with a skeleton) examples of these can be doors, boxes with lids that open, shop signs and even platforms can be animated to move. Analyse non skeletal animation works by the object or model not having a rigged skeleton allowing it to move or swing freely, for example a door may swing on its hinge, to create this the pivot point of the door must be placed at the point in which you want the door to swing. Evaluate the advantages of non skeletal animation are that it allows the game world to flow more freely using swinging doors, and makes the game seem more life like having signs and lids able to open. Skyboxes and skydomes Explain A skybox is made from a cube with six images that inclose the player, they can also be known as environment maps. The player is placed in the middle of the box so that no matter which way they look they just see different parts of the box. The game engine makes sure that whichever part of the box is visible to the player the proper pixels are shown. Sky domes work in similar ways but is a 3D sphere or hemisphere, and can be animated to improve realism. Both the skybox and skydome usually has a texture of the sky on it depending on the game and whats needed. Analyse skyboxes are simple cubes which consist of fewer polygons than the skydome, no matter where the player is they will always see the relevant part of the skybox. Skydomes are more detailed as they contain more polygons and allow the maker to animate it to improve the realism of the 3D world. Evaluate the advantage of using a skybox is that it uses up less polygons and if easier to texture, although it does not look as good as a skydome. The skydome on the other hand allows you to use vertex colour you adjust the hue in a smoother way, this allows you to animate the sky depending on the time of day. Rigid bodies Explain Rigid bodies allow your models and objects to act under the control of physics, the rigid body can be given forces and torque to make it move in a more realistic way. Any objects you wish to be influenced by physics or other added forces must have a rigidbody.ÂÂ   Analyse rigid bodies can be affected by different physics such as: Mass This determines the weight of the object usually in kilograms by default Drag Drag determines how air resistance affects the object while moving (from 0 air resistance to infinity meaning it stops immediately) Gravity Determines if the object is affected by gravity if dropped for example. Evaluate Rigid bodies are extremely useful when wanting to make a game which either has real to life physics or if you want to make the game with wacky physics as you are able to mess with the properties of each. Fracture/breakable meshes Explain Fracture or breakable meshes are used to make in game objects breakable for example doors, walls and in some cases building can also be destroyed, this can help the game feel more realistic as it adds real world physics to the game, it can also add new things for players to try out and in general make the game more fun. This can be broken down into more points such as chunk count and modify points. Analyse Chunk count determines how many chunks the tool will cut the original mesh into, a large amount of pieces means theres more triangles in the final object and more pieces that will be left behind after. A smaller amount means there are fewer triangles and less pieces after the object is destroyed. The modify points tool can be used to move the selected or all the chunk origins towards the bounds of the object or perturb some or all of the chunks in the slice pattern moving the pieces towards the bounds is useful as it helps avoid chunks being discarded because they dont slice the surface of the mesh. Evaluate -ÂÂ   Breakable meshes are used to help make games more realistic by letting you destroy some of the environment or some objects/models like you could in a real world situation. This however can have drawbacks on render time and frames as it requires more polygons to make the broken pieces. References () 3D Modeling: Creating 3D Objects, Available at: https://www.sculpteo.com/en/glossary/3d-modeling-definition/(Accessed: 6th October 2016). () Collision Meshes Game Models, Available at: http://www.katsbits.com/tutorials/blender/collision-models.php(Accessed: 8th October 2016). () Fractured Static Meshes, Available at: https://udn.epicgames.com/Three/FractureTool.html (Accessed: 4th October 2016). () Rigidbody, Available at: https://docs.unity3d.com/Manual/class-Rigidbody.html (Accessed: 11th October 2016). (2014) 3D Constraints, Available at: https://docs.google.com/document/d/1cJlmKMQXiCHPX1zRKV3K1biO4EwH13_WOIt_8BJ7K6g/edit#(Accessed: 16th October 2016). (2014) The pivot point, Available at: https://knowledge.autodesk.com/support/maya/learn-explore/caas/CloudHelp/cloudhelp/2015/ENU/Maya/files/Transforming-objects-The-pivot-point-htm.html (Accessed: 10th October 2016). (2016) 3-D Coordinate Systems, Available at: https://msdn.microsoft.com/en-us/library/windows/desktop/bb324490(v=vs.85).aspx (Accessed: 2nd October 2016). (2016) 3D coordinates, Available at: https://knowledge.autodesk.com/support/maya/learn-explore/caas/CloudHelp/cloudhelp/2016/ENU/Maya/files/GUID-FDC58F4E-63B9-4012-B232-5F2FBAC5EAC9-htm.html?v=2016(Accessed: 4th October 2016). (2016) Level of Detail, Available at: https://docs.unity3d.com/Manual/LevelOfDetail.html (Accessed: 14th October 2016). (2016) Perspective (graphical), Available at: https://en.wikipedia.org/wiki/Orthographic_projection (Accessed: 3rd October 2016). (2016) Perspective (graphical), Available at: https://en.wikipedia.org/wiki/Perspective_(graphical) (Accessed: 3rd October 2016). (2016) UNDERSTANDING UV MAPPING, Available at: http://www.steves-digicams.com/knowledge-center/how-tos/video-software/understanding-uv-mapping.html#b (Accessed: 6th October 2016). Banninga, R (2004) UV Mapping Tips And Tricks, Available at: http://www.gamasutra.com/view/feature/130484/uv_mapping_tips_and_tricks.php(Accessed: 14th October 2016). Bell, G () Creating Backgrounds for 3D Games, Available at: http://www.gamasutra.com/view/feature/131701/creating_backgrounds_for_3d_games.php?print=1 (Accessed: 10th October 2016). Cahill, P (2016) 3D Modelling Basics Terminology3D, Available at: http://www.onlinedesignteacher.com/2014/07/3d-modelling-basics_33.html (Accessed: 6th October). Cole, T.B (2015) VERTEX COLOUR, Available at: http://www.timbencole.com/vertexcolour (Accessed: 11th October 2016). Dennis (2007) UV coordinate basics, Available at: http://www.rozengain.com/blog/2007/08/26/uv-coordinate-

Igbo Government and Social Structure :: Essays Papers

Igbo Government and Social Structure Details of traditional Igbo government and social structure varied from place to place throughout the nineteenth and early twentieth centuries, but its characteristic nature remained the same. The basic unit of Igbo life was the village group, and the most universal institution was the role of the family head. This was usually the oldest man of the oldest surviving generation. His role primarily involved settling family disputes, and because he controlled the channel of communication with the all-important ancestors, he commanded great respect and reverence. In some areas the government of chiefs and elders was composed of a governing age grade, in others the council of elders was made up of the oldest members of particular families. Titles played a major part in this society. There was a hierarchy of ascending titles that were to be taken in order, accompanied by an ascending scale of payments. The system acted as a simple form of social security, in that those who acquired titles paid a particular fee, and then were entitled to share in the payments of those who later acquired titles. A series of intense rituals were to be undertaken before acquiring a title, which was considered a symbol of character as well as of success. A titled man’s life was dominated by numerous religious restrictions, and it was expected that these would be strictly adhered to. A few Igbo states, such as Aboh and Onitsha, which had a tradition of origin from elsewhere, were ruled by kings, which were regarded as sacred and lived in ritual seclusion. However, the decisions taken by these kings were by no means final, they were often challenged and overruled by other titled men with whom they were required to consult. In general, h owever, kingship was an unfamiliar concept to the majority of Igbos. A political institution that was widespread but not universal was that of the age-grade. Each age-grade was responsible for specific areas of community service, and this often promoted rivalry between the groups. This was actually a valuable instrument of social control, in that in order to preserve the good name of their age-group, its members became involved in disciplining and restraining those who tended to cause trouble within the community. Secret societies were also an instrument of social control. Their members would appear at night, masked, in the guise of supernatural beings. Any offenders in the community would be denounced.

Farming land Essay

In the late 1800s, many farmers were trapped in a vicious economic cycle. Crops prices began falling and farmers were often forced into mortgaging their farms so they could buy more land and produce more crops to break even. Good farming land was becoming rare and the banks took over the mortgages of farmers who couldn’t make payments on their loans. The railroads, on the other end, took advantage of farmers by charging them extreme prices for shipping and storage. Both equally frustrating the farmer, who pretty much resembled a larger economic problem because if he wasn’t doing well then the whole nation can’t do well either. Banks controlled the farmer, they watched the farmer’s and had input on everything they did. The Banks relentlessly took over the mortgages of farmers who couldn’t make payments on their loans (doc d). Generally, the average farmer struggled during the late 1800’s due to the huge increase of agriculture worldwide. Because of many technological improvements, which boosted competition, now farmers faced foreign competition, and are now forced to adjust the prices of their crops to stay competitive. An increase of production repaid the farmer’s losses only temporarily. However, farmers soon realized the limitations of farming land. Also they realized that their own surplus of crops just lower the cost so in the end they don’t make as big of a profit. (doc e). The troubles of a farmer were part of a larger economic problem that was affecting the entire nation. Deflation followed the Civil War, which made the amount of money in circulation decreased therefore the value increased. This was bad for the farmer because products took up a lower value. Loans that needed to be repaid with dollars are now worth more than what the farmers had originally borrowed, so many farmers lost money. The farmers saw a solution. It was the use of â€Å"cheap money† to reverse the effects of deflation. Farmers demanded the increase of greenbacks with the addition of unlimited coinage of silver (doc b). With the passage of the Bland-Allison Act in 1878, around 2 to 4 million was added to the silver supply. Yet that only eased it, and didn’t solve the main problem (doc). To make things even worse, railroad companies added more load on the  farmer’s by taking advantage with prices to transport grain. A lack of competition among the railroads enabled them to put high costs, sometimes making a shipment of grain nearly unprofitable (doc h). Also, railroads gained control over grain storage prices, enabling their influence over the market of price of crops. Justifying the transport prices became unchallengeable due to the lack of competition (doc g). There’s not much farmers can do than hope for some reforms since they’re stuck in a cycle of credit that meant longer hours and more debt with every year. Good farming land quickly became rare and the banks took over the mortgages of farmers who couldn’t keep up with payments on their loans. The railroads took advantage of farmers by charging them excessive prices for shipping and storage. As a solution the Bland-Allison Act in 1878 was pasted. The issue of the farmer’s debt stuck around. There validity of the farmer complaints is totally acceptable due to all the struggles and hardships they went through.

Friedrich Froebel, Founder of Kindergarten Essay

Friedrich Froebel was a German educator of the nineteenth century who developed an Idealist philosophy of early childhood education. He established kindergarten and education for four and five-year-old children. Kindergarten is now a part of education worldwide. Friedrich Froebel was born in the small town of Oberwiessbach, Germany in 1782. His mother died when he was a baby. His father remarried, but Froebel never liked his stepmother. His feeling of rejection and isolation remained with him for life. This had a strong effect on his theory of early childhood education. He believed the kindergarten teacher should be loving, kind and motherly. Froebel also had an unsatisfactory relationship with his father which, along with his shyness, caused him to be â€Å"introspective and socially inept† (Gutek, 2005, p. 261). Therefore, he wanted his kindergarten to â€Å"foster a sense of emotional security and self-esteem in children† (Gutek, 2005, p. 261). At the age of ten, Froebel went to live with his uncle. As a young child, Froebel spent a lot of time playing in the garden around his home. This led to his love of nature and had a profound effect on his educational philosophy. When he was fifteen years old, Froebel apprenticed with a forester and surveyor and studied forestry, geometry and surveying in school. He briefly attended the University of Jena from 1800-1802. Then he studied architecture at Frankfurt University. Although he ended his studies without receiving a degree, Froebel gained a sense of artistic perspective and symmetry he later used to design his kindergarten â€Å"gifts† and â€Å"occupations. † While in Frankfurt Froebel was hired as a teacher at the Frankfurt Model School, which was a Pestalozzian school. He studied the Pestalozzi method of instruction which emphasized using objects to teach. His method rejected the use of corporal punishment and emphasized respecting the dignity of children. This method of teaching very much appealed to Froebel. Froebel wanted to incorporate Pestalozzi’s method and creation of a loving and secure environment for children in his own teaching methods. After teaching at the Model School for three years, Froebel studied with Pestalozzi for two more years Froebel also decided to study languages and science at the University of G? ttingen. He wanted to identify linguistic structures that could be used in language instruction. During this time he became very interested in geology and mineralogy, and also pursued this in his studies. Froebel believed that the process of crystallization (moving from the simple to the complex) emulated a â€Å"universal cosmic law that also governed human growth and development† (Net Industries, 2008, Biography section,  ¶ 3). He would later incorporate the geometric shapes and formations in crystals to create his kindergarten â€Å"gifts. † In 1816, Froebel started a school in Griesheim called the Universal German Educational Institute. He enrolled students who were 7 years old or older. The school eventually moved to Keilhau. The school remained opened until 1829 when it struggled and was forced to close. However, Froebel was able to test and develop some of his educational ideas in his school. In 1818 Froebel married Henrietta Hoffmeister. She shared Froebel’s love of children and assisted in his educational work until her death. Froebel established an educational institute at Wartenese in 1831. Later, he was invited to establish an orphanage at Burgdorf. Here he conducted a school for the town children and a boarding school for those who lived away. He trained teachers and established a nursery school for 3 and 4 year olds. He developed songs, rhymes, games, physical exercises and other activities for the nursery school. He experimented with the objects and other materials that eventually became his kindergarten gifts. He also stressed play and its role in education. In 1837, at the age of 55, Froebel relocated to Blankenburg and established a new type of school for early childhood education. He called it â€Å"kindergarten,† or â€Å"the children’s garden† (Smith, 1999,  ¶ 5). This word expressed Froebel’s vision for early childhood education: â€Å"Children are like tiny flowers; they are varied and need care, but each is beautiful alone and glorious when seen in the community of peers† (Smith, 1999,  ¶ 6). He used play, songs, stories, and activities to establish an educational environment in which children, by their own activity, could learn and develop. According to Froebel, this meant that children, in their development, would learn to follow the â€Å"divinely established laws of human growth through their own activity† (Net Industries, 2008, Biography section,  ¶ 5). This is where he used his kindergarten gifts and occupations. â€Å"Gifts were objects Froebel believed had special symbolic potential. Occupations were the raw materials children could use in drawing and building activities that allowed them to concretize their ideas† (Gutek, 2005, p. 265). Froebel became famous as an early childhood educator in Germany and by 1848, forty-four kindergartens were operating in Germany. Froebel began training young women as kindergarten teachers. Kindergarten achieved its greatest influence in the United States. It was brought to America by the Germans after the European Revolution of 1848. Kindergartens appeared wherever there was a large concentration of German immigrants. Henry Barnard, the first United States Commissioner of Education, introduced Froebel’s kindergarten into educational literature in the 1850’s by including it in the American Journal of Education, of which he was the editor. He also recommended to Congress that a public school system be established for the District of Columbia that would include kindergartens. In 1873, William Torrey Harris established a kindergarten at a school in St. Louis, Missouri and incorporated it into the public school system. This event led to more public schools incorporating kindergartens into their systems. Eventually, Harris became the U. S. Commissioner of Education and he continued to press for the incorporation of kindergartens into public school systems throughout the United States. Before Froebel started his kindergarten, children under the age of seven did not attend school as it was believed that these young children did not have the ability to develop the cognitive and emotional skills needed to learn in a school environment. However, Froebel believed in early childhood education: â€Å"because learning begins when consciousness erupts, education must also† (Pioneers, 2000,  ¶ 7). In his book, Education of Man, Froebel states the idealist themes of his philosophy: â€Å"(1) all existence originates in and with God; (2) humans possess an inherent spiritual essence that is the vitalizing life force that causes development; (3) all beings and ideas are interconnected parts of a grand, ordered, and systematic universe† (Net Industries, 2008, Froebel’s Kindergarten Philosophy section,  ¶ 1). This is what Froebel based his work on, claiming that each child had an â€Å"internal spiritual essence – a life force† (Net Industries, 2008, Froebel’s Kindergarten Philosophy section,  ¶ 1). This life force seeks to be manifested through self-activity. He also believed that â€Å"child development follows the doctrine of preformation, the unfolding of that which was present latently in the individual† (Net Industries, 2008, Froebel’s Kindergarten Philosophy section,  ¶ 1). Froebel’s kindergarten created a special educational environment in which this self-activity and development occurred. Froebel used his kindergarten gifts, occupations, social and cultural activities, and especially play to promote this self-activity. Froebel also believed that children were to learn that they were members of â€Å"a great universal, spiritual community† (Gutek, 2005, p. 266). Thus the use of games and social activities. According to Froebel, play was essential to educating the young child. He believed that through engaging with the world, understanding would develop. That is why play was so critical – it is a creative activity through which children become aware of their place in the world and the world around them. Education was to be based on each child’s interests and spontaneous activity. The kindergarten teacher’s job was to create an environment that would stimulate the child’s development. She was also to create a safe, secure environment that prevented anything from disturbing this process. It was essential to the kindergarten children’s progress that the teacher did not hinder the child’s free play and individuality. Each child would learn what he was ready to learn when he was ready to learn it. As Froebel states: â€Å"Education in instruction and training, originally and in its first principles, should necessarily be passive, following (only guarding and protecting), not prescriptive, categorical, interfering† (Sniegoski, 1994, p. 8). Froebel believed the kindergarten should have a pleasant physical environment. He recommended the use of an adjoining garden or a brightly painted room with plants, animals and pictures. This should also be a prepared environment which would provide the teacher with the proper tools which the teacher felt would be most beneficial to the learning environment. And instead of traditional books, the kindergarten should teach using geometrical play objects of different shapes, sizes and colors (â€Å"gifts†). He also believed in symbolism and that if a child played with the â€Å"gifts,† they would help the child to understand fundamental truths. Froebel’s gifts consisted of: six soft colored balls; a wooden sphere, cube, and cylinder; a large cube divided into eight smaller cubes; a large cube divided into eight oblong blocks; a large cube divided into twenty-one whole, six half, and twelve quarter cubes; a large cube divided into eighteen whole oblongs with three divided lengthwise and three divided breadthwise; quadrangular and triangular tablets used for arranging figures; sticks for outlining figures; wire rings for outlining figures; various materials for drawing, perforating, embroidering, paper cutting, weaving or braiding, paper folding, modeling, and interlacing. (Net Industries, 2008, The Kindergarten Curriculum section,  ¶ 1). Also, Froebel designed â€Å"occupations† to be used in the kindergarten. These allowed more freedom and were things that children could shape and manipulate. Examples of â€Å"occupations† are string, sand, clay, and beads. As always, there was an underlying meaning in all that was done in Froebel’s kindergarten. â€Å"Even clean up time was seen as a reminder to the child of God’s plan for moral and social order† (Nichols, n. d. , Occupations section,  ¶ 1). Froebel’s careful study of the nature of children and their part in the world continues to be of great importance, as it opened a door to a new world in childhood education. Froebel attached importance to what â€Å"originated in children, not merely what adults gave them to do or learn† (Sniegoski, 1994, p. 15). He also discovered the educational value of play and the use of new non-book, hands-on materials in teaching children. Froebel provided a â€Å"theoretical basis for early childhood education that recognized stages of intellectual growth† (Sniegoski, 1994, p. 15). The one aspect of Froebel’s theories that has disappeared for the most part is the mysterious symbolism that overcastted his educational philosophy. However, his ideals of freeing children to develop according to their own interests and needs and giving them a bright, playful, nurturing environment in which to learn remains an important and vital part of early childhood education today. References Gutek, Gerald Lee. (2005). Friedrich Froebel: Founder of the kindergarten. In Historical and philosophical foundations of education: a biographical introduction (4th ed. ) (pp. 256-273). Upper Sadle River, NJ: Pearson Education, Inc. Lucas, Bill. (2005, October 24). Studying the creation of kindergarten. In Boxes and Arrows: The Design Behind the Design, July, 2008. Retrieved July 12, 2008, from http://www. boxesandarrows. com/view/studying_the_creation_of_kindergarten. Net Industries. (2008). Friedrich Froebel (1782-1852): Biography, Froebel’s kindergarten philosophy, the kindergarten curriculum, diffusion of the kindergarten. In Education Encyclopedia. Retrieved July 10, 2008, from http://education. stateuniversity. com/pages/1999/ Froebel-Friedrich-1782-1852. html. Nichols, Rachel. (n. d. ). Friedrich Froebel: Founder of the first kindergarten. Retrieved July 11, 2008 from http://hubpages. com/hub/ Friedrich-Froebel-Founder-of-the-First-Kindergarten. Pioneers in our field: Friedrich Froebel: Founder of the first kindergarten [Electronic version]. (2000). Scholastic: Early Childhood Today, August, 2000. Retrieved July 11, 2008 from http://www2. scholastic. com/browse/article. jsp? id=3442. Smith, Mark K. (1997). Friedrich Froebel. Retrieved July 12, 2008 from http://www. infed. org/thinkers/et-froeb. htm. Sniegoski, Stephen. (1994). Froebel and early childhood education in America. Retrieved July 12, 2008 from the Educational Resources Information Center Web site: http://www. eric. ed. gov/ERICDOCS/data/ericdocs2sql/content_storage_01/ 00000196/80/14/19/02. pdf.

Free Essays on Mental Retardation Today

The AAMR also states that: People with mental retardation should not be eligible for the death penalty. This is not to suggest that people with mental retardation should not be punished when they break the law, nor does it suggest that people with mental retardation are not responsible for their actions. It suggests that people with mental retardation cannot be held culpable for crimes to the extent that the death penalty would be considered an appropriate punishment. There are several possibilities for miscommunication when a person with mental retardation comes in contact with a person in authority. The Arc has put together a list of some common responses that may affect a person with mental retardation's ability to protect their rights during police contact. The person may: not want disability to be recognized (and try to cover it up) not understand rights (but pretend to understand) not understand commands be overwhelmed by police presence act upset at being detained and/or run away say what he or she thinks others want to hear have difficulty describing facts or details of offense be the first to leave the scene of the crime, and the first to get caught be confused about who is responsible for the crime and "confess" even though innocent Up to day, 35 inmates suffering from Mental Retardation and other brain damage have been executed... Free Essays on Mental Retardation Today Free Essays on Mental Retardation Today The AAMR also states that: People with mental retardation should not be eligible for the death penalty. This is not to suggest that people with mental retardation should not be punished when they break the law, nor does it suggest that people with mental retardation are not responsible for their actions. It suggests that people with mental retardation cannot be held culpable for crimes to the extent that the death penalty would be considered an appropriate punishment. There are several possibilities for miscommunication when a person with mental retardation comes in contact with a person in authority. The Arc has put together a list of some common responses that may affect a person with mental retardation's ability to protect their rights during police contact. The person may: not want disability to be recognized (and try to cover it up) not understand rights (but pretend to understand) not understand commands be overwhelmed by police presence act upset at being detained and/or run away say what he or she thinks others want to hear have difficulty describing facts or details of offense be the first to leave the scene of the crime, and the first to get caught be confused about who is responsible for the crime and "confess" even though innocent Up to day, 35 inmates suffering from Mental Retardation and other brain damage have been executed...

20 Analytical Essay Topics What to Discuss in the Lyric Poetry of Paul Celan

20 Analytical Essay Topics What to Discuss in the Lyric Poetry of Paul Celan If you are facing a literary analysis writing assignment on the lyric poetry of Paul Celan, the first place you need to start is with a topic. Below are 20 topics you might want to use: The Role That Survivors Guilt Plays in the Arts and How the Different Manifestation of Guilt in Different People Influence the Language Used and Communication Used Analysis of a Poem of Your Choosing The Role Played by the Poet’s Depression and Whether That Depression Helped or Hindered His Poems. How Poetry Is Self-Expression How Poetry Can Heal Entire Nations or Peoples The Reason the Poet Used Neologisms with Surreal Imagery in order to Cultivate a Powerful Image in the Minds of the Readers Analysis of a Made Up Word of Your Choosing How the Poet’s Poems Bury Emotional Content Related to the Unspeakable Horrors He Experienced and Witnessed during the Holocaust How Meaning Is Lost in the Translation The Use of Surreal Metaphors How Cenal’s Poems Differ from Traditional Poetic Style How Psychological Survival Skills Used in the Labor Camp Result in Feelings and Events Being Dissociated beyond Consciousness The Importance of Not Using Standard Poetry Techniques How Poetic Influence Is Measured How German Is a Unique, Scientific, and Technically Literal Language such That It Afforded the Poet More Flexibility in Creating His Own Vocabulary in the Language Can Poetry Come from a Happy Life What Defines Poetry as â€Å"Good† How Conjectural Meanings Played a Role in His Word Poetry as Self-Therapy The Way in Which the Disconnect from the German Language and the Relation It Had to the Death Of His Parents Played in His Using His Own German Vocabulary as a Means of Control over the Enemy and Therapy Aren’t those cool topics? Of course, they are because they open the deep background of Celan’s poetry. These topics are based on the facts about Paul Celan’s lyric poetry. However, if you have troubles conducting the analysis, visit our guide on analytical writing. Below is a sample essay on one of those 20 topics: Sample Analytical Essay: â€Å"The Way in Which the Disconnect from the German Language and the Relation It Had to the Death of His Parents Played in His Using His Own German Vocabulary as a Means of Control over the Enemy and Therapy† Survival’s guilt is a powerful psychological effect that often accompanies survivors of mass atrocities and war, including the labor camps and concentration camps so prevalent during the Second World War. For the poet Paul Celan, this took combined with the survival skills learned during his two years in the labor camps are responsible for pushing forward his need to seek therapy in whatever form was best suited for his situation. That form was the specific changing of the German vocabulary and use of the German language as the mother tongue for his poems. It was in 1942 that Paul Celan left his mother and father to go into hiding. They opted not to follow in spite of the inherent risks of remaining at home. It was on this night that both were arrested, deported, and ended up dying in concentration camps. His father died of disease but his mother was shot and killed when she was no longer physically able to work. He was taken to a labor camp where he worked for two years before escaping. As part of his time there, Paul Celan developed survival skills the same as everyone else. These skills enabled him to compartmentalize his feelings, to place sympathy and empathy on the same playing field so as to avoid a break down. This skill also allowed him to ignore the unbearable sounds, smells, and sights through disassociation, wherein the individual remains in a trance-life state which is beyond that of consciousness. This is a complex psychological state of being, one which must be dealt with after the fact. The manner in which Paul Celan dealt with it was through his poetry. Working through the survivor’s guilt and attempting to move beyond the disassociation and survival skills developed, the poet began to write his own works. While fluent in three languages and familiar with six, he learned German, a trait common among those who are dealing with mass atrocities; he learned his enemy and studied it deeply. During this time he opted to write all of his poetry in the German language. This language was the language of the people who murdered his mother, who took away his father, who put him in a camp himself, and more. But in writing in their language, the poet was able to gain some semblance of power back over his enemy who had taken so much from him. He was able to learn their ways, their meanings, and to not just write in their language but to change it. Paul Celan was popular for the vocabulary he created for the sake of his poetry. He was popular for making new words, for using traditional German prefixes and postfixes and making words which are similar to commonly used phrases, but are slightly different. Indeed, part of the ability and ease with which this was done reflects upon the German language itself, a very practical language full of literal terms and very few figurative turns of phrase. But in addition to the Greek and Latin roots so prevalent in the German language, the poet opted to do this because it offered a mild form of therapy, a way of taking back the control that was lost to him at the hands of the Nazis. For a people whose entire goal in the war was to preserve their motherland and mother tongue, to make sure that their purity went on to create the master race, the manner in which the poet spliced their mother tongue into pieces and infiltrated the pure language they held so dear was a way to re-gain control over what they did, to show them that they had not achieved a victory over him, and to get back at them in the same invasive and deeply inappropriate fashion that they had done to him. He violated the sanctity of their native tongue as a way of violating one of the things they held most dear as a people and in this way achieved revenge for their violation of the sanctity of his family unit. References: Celan, Paul, and Michael Hamburger.  Poems Of Paul Celan. New York: Persea Books, 1989. Print. Celan, Paul, and Pierre Joris.  Paul Celan. Berkeley: University of California Press, 2005. Print. Celan, Paul, Barbara Wiedemann, and Nelly Sachs.  Paul Celan, Nelly Sachs. Riverdale-on-Hudson, N.Y.: Sheep Meadow Press, 1995. Print. Celan, Paul, Ilana Shmueli, and Susan H Gillespie.  The Correspondence Of Paul Celan Ilana Shmueli. Riverdale-on-Hudson, N.Y.: Sheep Meadow Press, 2010. Print. Celan, Paul, Werner Hamacher, and Winfried Menninghaus.  Paul Celan. Frankfurt am Main: Suhrkamp, 1988. Print. Ives, Margaret C., Haskell M. Block, and Paul Celan. The Poetry Of Paul Celan.  The Modern Language Review  89.2 (1994): 530. Web. Meyerhofer, Nicholas J., Clarise Samuels, and Paul Celan. Holocaust Visions: Surrealism And Existentialism In The Poetry Of Paul Celan.  German Studies Review  18.2 (1995): 364. Web.

Funny Quotes on Life That Teach You to Lighten Up

Funny Quotes on Life That Teach You to Lighten Up I find funny things happening around me all the time. Just the other day, my husband and my kids were tap dancing around the house. Usually, my husband is not predisposed to dancing, but here he was making tribal sounds and jerking his shoulders, as if he had been partially electrocuted. And no, this was not a new dancing style in vogue. This was simply his attempt to hunt a little spider. That little creature had suddenly decided to go bungee-jumping from the ceiling straight into my hubbys clothes. So why were the kids tap dancing too? Because they were excited, as they expected him to turn spidery and crawl up the walls, like their favorite superhero. Well, he almost made their wish come true.And if things couldnt get worse, I managed to get out of the tangled web of spiders to walk straight into a hive of angry bees at the park. Thats when I saw some neighborhood kids laughing their guts out. I wonder what could be so funny about an oversized woman running in the park with a purse above her head, and a host of buzzing bees angrily chasing her. It was probably the high heels that grabbed too much attention! Life Is FunnyLifes funny at times. You find many situations that make you smirk or smile. Perhaps you read a funny status message on Facebook or Twitter? Or perhaps a friend said something hilarious that kept you smiling through the day? Life is funny, when you look at the lighter side of things. Humor keeps stress at bay, and makes time pass smoothly, like a well-oiled machine.Humor can be a double-edged sword though. Statements laced with sarcasm can drive home a point. Want to tell your neighbor that his dog stinks? Poke harmless fun at your neighbor. Maybe he will get the message. But what if you tell your boss that you are overworked and underpaid? Try making a humorous remark that subtly drives the message home. You may actually end up with a fatter paycheck or some other perks. That is, if you dont get fired for speaking up.What If You Cant Spot the Funny Stuff?If you are blessed with a funny bone, you will see the funnier side of things. However, if you lack the ability to la ugh, you may need help. Read these funny quotes on life. These quotes inspire you to find humor in the mundane. Whether you are trying to understand humor or life, there is a lot to gain from funny quotes.Alyce P. Cornyn-SelbyA perfect method of adding drama to life is to wait until the deadline looms large.Jane Wagner, The Search for Intelligent Life in The UniverseAll my life, I always wanted to be somebody. Now I see that I should have been more specific.Woody AllenAll people know the same truth. Our lives consist of how we choose to distort it.Yogi BerraAlways go to other peoples funerals, otherwise they wont come to yours.Herbert SamuelAn autobiography is the story of how a man thinks he lived.Mark Twain Be careful about reading health books. You may die of a misprint.Lao-TzuBorn to be wild - live to outgrow it.Robert GronockHe who sleeps on the floor will not fall off the bed.Woody AllenI am not afraid of death, I just dont want to be there when it happens.Winston ChurchillI am prepared to meet my Ma ker. Whether my Maker is prepared for the great ordeal of meeting me is another matter.Woody AllenI do not believe in an afterlife, although I am bringing a change of underwear.Whoopi GoldbergI dont like driving very much. That makes me very unhappy, because I scream a lot in the car, but other than that, life is actually pretty good.Jim RohnI find it fascinating that most people plan their vacations with better care than they do their lives.Oscar WildeI put all my genius into my life; I put only my talent into my works.Dean SmithIf you’re going to make every game a matter of life or death, you’re going to have a lot of problems. For one thing, you’ll be dead a lot.Joey AdamsIn life, its not who you know thats important, its how your wife found out.Truman CapoteLife is a moderately good play with a badly written third act.Oscar WildeLife is far too important a thing ever to talk seriously about.Bertrand RussellLife is nothing but a competition to be the criminal rath er than the victim. Djuna BarnesLife is painful, nasty and short... in my case it has only been painful and nasty.Bob MonkhousePersonally, I dont think theres intelligent life on other planets. Why should other planets be any different from this one?Fran LebowitzStand firm in your refusal to remain conscious during algebra. In real life, I assure you, there is no such thing as algebra.George CarlinThe day after tomorrow is the third day of the rest of your life.Robert HeinleinThe supreme irony of life is that hardly anyone gets out of it alive.Oscar WildeThere are only two tragedies in life: one is not getting what one wants, and the other is getting it.Benjamin FranklinWere it offered to my choice, I should have no objection to a repetition of the same life from its beginning, only asking the advantages authors have in a second edition to correct some faults in the first.Mark TwainWhen we remember we are all mad, the mysteries disappear and life stands explained.Stephen FryA cousin of mine who was a ca sualty surgeon in Manhattan tells me that he and his colleagues had a one-word nickname for bikers: Donors. Rather chilling.Neil SimonHe’s too nervous to kill himself. He wears his seat belt in a drive-in movie.Jim CarreyI think everybody should get rich and famous and do everything they ever dreamed of so they can see that its not the answer.Henny YoungmanI told the doctor I broke my leg in two places. He told me to quit going to those places.Stephen WrightI went to a restaurant that serves breakfast at any time. So I ordered French Toast during the Renaissance.Mae WestIs that a gun in your pocket, or are you just glad to see me?Cathy GuisewiteMothers, food, love, and career: the four major guilt groups.Amelia EarhartNever interrupt someone doing what you said couldnt be done.Mark TwainNever put off till tomorrow what you can do the day after tomorrow.Sholom AleichemNo matter how bad things get, you got to go on living, even if it kills you.

Diversity interview Assignment Example | Topics and Well Written Essays - 500 words

Diversity interview - Assignment Example The obvious differences between us is the manner we practice our faith. I am a Catholic while Cyrus is a Muslim. We also have gender differences, he is male while I am female. We also have generational differences with him belonging to Generation X while I belong to Generation Y. Cyrus and I enjoyed talking about our adjustment here in the USA especially when he narrated the funny things he did just to fit in and to some extent, the cultural shock he experienced. I am most comfortable with this topic because this is funny and not sensitive to talk about. The aspect that is least comfortable for me to talk about him was religion. Before asking about it, I had to explain myself at length that this is for a diversity class and that I do not mean to be offensive, and that if I already am, he could interrupt me anytime during the interview. I am not comfortable with the topic of religion because I do not want to be offensive to Cyrus especially that I am a Catholic. I do not want our differences cause friction between us because is such a nice man. You see, Catholic launched a crusade against Islam during the Middle Age and this makes the topic touchy. The most important insight I develop is that our fears and anxiety about Muslims are baseless. For example, I was not comfortable talking about religion especially comparing Catholicism and Islam and that he might still be hooked with the idea of the Crusade. To my surprise however, he is more eager to talk about it and is more conciliatory than I am. Just like the most of us, he does not want to make religion an issue that divides people. He also worries about terrorism in the same manner that we worry about it. This relates to our discussion of our diversity in a manner that our seeming differences after all are not insurmountable if only we keep an open line of communication and if we are willing to talk about it. In talking to

Ethylene Oxide is a Carcinogen Essay Example | Topics and Well Written Essays - 3500 words

Ethylene Oxide is a Carcinogen - Essay Example 4.2 Technical Adequacy Analysis 15-16 4.3 Data Collection Process 16 4.4 Research Design 16-17 5. Conclusion 17 7. References 18-20 Introduction: Ethylene oxide is a sterilant gas, an important industrial chemical.(14) It is used as an intermediate in the production of ethylene oxide and is toxic, when inhaled. There are reports of large health implications including respiratory disorders, dizziness, headache, and increase in exposure may also lead to convulsions, seizure and coma. It is rapidly taken up via lungs and can also be absorbed through the skin from the gas phase or from the aqueous solutions and is uniformly distributed in to the body as it is soluble in blood. Based on studies in occupationally exposed populations, ethylene oxide is a carcinogenic via inhalation route of exposure. Ethylene oxide causes leukemia, lymphoma, brain, hematopoietic and breast cancer. It is classified as carcinogenic to humans by the International Agency for Research on Cancer.(14) Extensive research have been done to determine the toxicity of ethylene oxide through epidemiological studies, by exposing a cohort group of animals to ethylene oxide or on group of workers who have been...Ethylene oxide causes leukemia, lymphoma, brain, hematopoietic and breast cancer. It is classified as carcinogenic to humans by the International Agency for Research on Cancer.(14) Extensive research have been done to determine the toxicity of ethylene oxide through epidemiological studies, by exposing a cohort group of animals to ethylene oxide or on group of workers who have been working in environment containing ethylene oxide.(REF) This gas releases in to the atmosphere while handing, storage and transportation. The present contribution discusses the health hazards of EtO in humans and environment. The physical and the chemical properties are also discussed. The potential exposures of this toxic gas in the environment (air, earth and water) and the occupational exposure and the routes of exposure (inhalation, skin and eye exposure and ingestion) are also discussed. The research methodologies pertaining to the occurrence of EtO is also described. Ethylene Oxide (C2H4O, EtO) is used as a sterilant in the pharmaceuticals and food industry(4). It is used as a sterilant since its biocidal, both bactericidal and fungicidal.

Forensic-MT Essay Example | Topics and Well Written Essays - 500 words

Forensic-MT - Essay Example As the U.S. corporate sector reporting is plagued with continuum of frauds and deliberate accounting errors and manipulation and most of these cases are pending in the courts for due decisions. The need for forensic accounting becomes undoubtedly at its peak as accountants and lawyers seek supportive evidence which is rather factual rather than opinion based. The legal proceedings have become lengthy and complex as businesses and transactions are becoming complicated with too much information in terms of the ways they are carried out and information related to them is dispersed and difficult to gather. Forensic accountants or lawyers need to be competent and knowledgeable to identify weaknesses in the reporting system and prepare the factual documentation regarding an issue or a transaction which is being challenged in the court. The role of companies audit committees and external auditors are challenged by plaintiffs including regulatory bodies, stakeholders, creditors and general public in fraud cases. The outcome of this severe criticism was the introduction of the SOX 2002. The SOX requires auditors to carry out their audit engagement responsibilities in accordance to the ‘auditing and related professional standards’ laid out by PCAOB (PCAOB, 2004). Companies hire forensic accountants not only to provide litigation support but also to help them in managing their internal reporting. Auditors are now required to audit management’s assertion on the effective of internal controls over financial reporting (PCAOB, 2007). Information systems are integral part of internal reporting and data should be made accessible to auditors who need to carryout tests to assure the effectiveness of the system and completeness of information managed and generated. Additionally, auditors should acquire written confirmation representation of control

Water pollution here in wisconsin Essay Example | Topics and Well Written Essays - 1500 words

Water pollution here in wisconsin - Essay Example It is also to be noted that higher efforts and commitments to treating waste water by the authorities and industries responsible, the ever increasing volumes of wastes from the industries and settlements overwhelm the efforts of treatment (By Amy and,Christi, para 1-6). On the other hand, weaknesses in enforcing the legal framework to curb such pollutions coupled with the compromises that result from negligence in the individual industries complicates the process and thus resulting to the ever increasing problem of contamination of water sources. In general, water protection efforts within the city suffer a myriad of issues which includes deep rooted corruption, political pressures, lack of and compromise in health standards, poor inspection and monitoring processes, ineffective riles as well as problems of increased sedimentation. The outcome of such mass pollution of the water sources within the city can be attributed to so many problems basic to which is the health complication to the residents. The discharge of contaminated water into the water sources that serve the city and the suburbs around pose a great risk to the welfare of the people within Wisconsin. Besides the aquatic life in the rivers, streams, and the lakes within the city are exposed to great risk. Fish in particular would be exposed to such risks of death from the contaminated water and this would have adverse effects not only to the populations which rely on the fish for food but also towards the economy at large (Weigel and Dale 691-708). However, the main question that remains critical is on what role the government should play in fight against water pollution within the state and the associated effects? Besides, what are exact effects of water pollution in the city with special regard to aquatic life? Finally, how does fish from contaminated water pose a health risk to the populations living

International economics ECON-370 Assignment Example | Topics and Well Written Essays - 250 words

International economics ECON-370 - Assignment Example idence indicates that there was a gain in the real wage increase for the workers in the US, despite Mexico experiencing a reduction in the real wage rates (Blecker and Gerardo, 18). Therefore, it can be seen that the beneficiaries of NAFTA were specifically the US wage earners, while the losers were the Mexican wage earners. There have been gains in trade that can be attributed to NAFTA for both Mexico and the US. The bilateral trade expanded rapidly in the period 1993-2000. This gain in trade expansion was notably reaped by Mexico, which replaced Japan as the second largest trading partner of the US, by early 200 (Blecker, 8). Besides NAFTA, there were other factors that positively impacted on the trade between the US and Mexico, which include the separate Free Trade Agreements that both countries had entered into, as well as other macroeconomic factors that include oil prices and exchange rates (Blecker, 5). The US workers have fared well due to NAFTA, since it has caused an increa se in their real wage rates, despite causing a reduction of the same, for the Mexican workers (Blecker and Gerardo,

New York Times Essay Example | Topics and Well Written Essays - 750 words

New York Times - Essay Example These changes both in the use of the English language and the newspaper itself can be attributed to circumstance and the changing times including progress itself where language become more simplified to facilitate understanding. Some things however did not change such as the general look of the newspaper New York Times. The 1800s can be said to be still part of â€Å"wordy literature† and this can be observed in the August 2, 1888 publication of the New York Times. It is important to note here that newspapers are the simplest form of English of a society in a given day. But still, we can observe in 1838 edition of New York Times that used long sentences with several phrases in a sentence. It can even said that it did not follow the modern rules of writing the first paragraph of newspaper writing which is to use the five W’s (What, Where, Who, Why) and one H (How). This can be observed in the article entitled â€Å"THE POSITION TAKEN BY CONNECTICUT PROHIBITIONISTS: AN ENTHUSIASTIC STATE CONVENTION AT HARTFORD YESTERDAY-NOMINATING A FULL TICKET†. The first paragraph is so long that it took almost half of the length of the page. The content also reflected the conservative perspective of the day where it â€Å"favourably† reported the prohibition of liquor which is unthinkab le today in modern America. The technology of the printing press was obviously primitive as what we can observe in the simple column layout of the 1838 version of New York Times newspaper. The writing style of the New York Times newspaper dramatically changed 50 years later in its August 2, 1938 publication. The language â€Å"modernized† or became more simplified and adopted the modern rules of newspaper writing of following the 5W’s and one H in the first paragraph as an overview of the story to be written. The banner remained the same but the layout of the body of the newspaper allowed some fluidity and style because titles can now be written across columns unlike

International economics ECON-370 Assignment Example | Topics and Well Written Essays - 250 words

International economics ECON-370 - Assignment Example idence indicates that there was a gain in the real wage increase for the workers in the US, despite Mexico experiencing a reduction in the real wage rates (Blecker and Gerardo, 18). Therefore, it can be seen that the beneficiaries of NAFTA were specifically the US wage earners, while the losers were the Mexican wage earners. There have been gains in trade that can be attributed to NAFTA for both Mexico and the US. The bilateral trade expanded rapidly in the period 1993-2000. This gain in trade expansion was notably reaped by Mexico, which replaced Japan as the second largest trading partner of the US, by early 200 (Blecker, 8). Besides NAFTA, there were other factors that positively impacted on the trade between the US and Mexico, which include the separate Free Trade Agreements that both countries had entered into, as well as other macroeconomic factors that include oil prices and exchange rates (Blecker, 5). The US workers have fared well due to NAFTA, since it has caused an increa se in their real wage rates, despite causing a reduction of the same, for the Mexican workers (Blecker and Gerardo,

Industry analysis Essay Example | Topics and Well Written Essays - 750 words - 2

Industry analysis - Essay Example have serious impact on the profitability, competitiveness and growth as well as the satisfaction in using the product produced by a particular service provider or industry (Willett, 2010). An industry can therefore take advantage of the purchases by customers of the complementary products even if you do not offer them yourself by establishing multiple alliances with those that do not offer them. Our industry which is the cosmetic manufacturing that includes manufacture of products such as hair products, skin care, cosmetics, deodorants, perfumes, oral care and other products including baby items may benefit from complementary industry such as the hair dressing industry. Hairdressing and the cosmetic industry are closely intertwined and aligned and each has got the effect of affecting the profitability of the other in that the demand for the cosmetics will be dependent on the hairdressing and the beauty salon services. These two industries are competitive and the competition in the large number of salons in a particular area is likely to affect the uptake of the demand for these products (Willett, 2010). Further, the competition for sales of hair and beauty products increases with the increasing number of beauty parlors, beauty stores as well as salons showing that these two industries are complementary to each other. The success of our company which is dealing in the sale of cosmetic products and our competitive strategy will therefore depend on how we relate to the hair dressing service industry. This is so due to the fact that the rate and intensity of competition in an industry is dependent on the economics of the particular industry and the fact that each differs fundamentally from the other, and therefore the collective strength of the forces of competition is distinct. Therefore, as a manufacturer dealing in cosmetics products, it is important that to find a position that helps it cope best with hose providing hair dressing services and use the competitive

Irish Troubles Political Cartoons: An Analysis

Irish Troubles Political Cartoons: An Analysis The political cartoons about the Irish troubles drawn by a number of prominent cartoonists in the early 1970s differed sharply from the cartoons produced by artists during the peace process in the 1990s. Arguably this could be down to a number of factors. Firstly, cartoonists in the 1970s were much more likely to attack specific groups of people – the Irish themselves have been targets of British supremacist derision for several hundred years, and have been depicted in a derogatory light in cartoons since cartoons were first printed. Second, the situation was considerably more grave in the 1970s than it was in the 1990s – although the IRA were still established and effective in the 1990s, the 1970s saw the most bloodshed, and therefore, it must have been very difficult to perceive what was a complex and (to some) ridiculous situation in Ireland without knocking the Irish for propagating and sustaining this idea of religious sectarianism. The complex political situation in Ireland that had arisen as a result of four hundred years of religious complexity between the dominant British Protestant landowners, who held the political reins, and the oppressed Irish Catholics, ultimately had a great impact on the British interpretation of the Irish throughout the generations, and also upon the representation of the English in Irish journalistic literature and art. Thus, a particular view of the Irish came to be represented in the British media, which tended to emerge whenever there were specific troubles within Ireland or else among the Irish in Britain. These stereotypes, especially of the Irish, can be said to be at their most potent during the time of the political troubles in Ireland. The resultant swathe of political cartoons that were printed on a regular basis in the daily newspapers in both Ireland and Britain, particularly during the political unrest and violence of the early 1970s, tended to push the Irish into a subcategory of their own, denied of their identity as autonomous individuals, subjected and represented by a more dominant political force, namely, the English. The history of the cartoon in respect of this tradition of Irish caricaturing is interesting, as it reveals a rich history of treating the Irishman as a figure of derision and ridicule – however, it is more interesting to note that this figure changed throughout the years and, especially with the increase of militancy among the grass-roots of Irish working class communities, saw the emergence of the cartoon depiction of the Irishman as a simian, bestial, uncivilised caricature, often wielding knifes and other implements, and driven by a fervid passion to kill, much like zombies from a horror film. The history of political cartoons goes back to the eighteenth century. However, technological developments in photography changed the nature of cartoons at the turn of the century, in many ways shaping the type of cartoon we see in newspapers nowadays: Fitzgerald, in Art and Politics (1973) argues that: â€Å"[The photograph] simply replicated the surface structure of life; it did not normally give it a depth of interpretation or meaning.† Thus, the photograph didnt entirely remove the need for the political cartoon, and in a sense, established the medium of the cartoon as a more biting representation of political and social malaises: â€Å"The political cartoon on the other hand sought to disrupt daily life, to make jokes and stage whispers and asides at the process if everyday life. [] The political cartoon was by its nature more subversive [than the photograph].† So, the nature of the political cartoon is to satirize and to comment upon, using visual imagery and caricature, the complexities of the cartoonists imagination / ideological persuasions. The effect of satirising political situations, and the placing of topical events into the medium of the cartoon, at least according to the cartoonists themselves, is largely arbitrary in its effect on the population: â€Å"Measuring the extent of the cartoonists influence on public opinion is a much more difficult, if not impossible task. [] Many cartoonists are [] dubious about its power.† Conversely, however, governments have always stepped in to control the production and the distribution of subversive cartoons. This suggests that they do possess a certain amount of impact when discussing or lampooning political leaders and people of significance: â€Å"French caricaturists of the 1830s who dared mock King Louis Philippe were fined and imprisoned; New York cartoonists criticisms of municipal corruption prompted government officials to attempt to pass an anti-cartoon law in 1897; and even in the modern era, when political cartoonists are prizes rather than prison sentences, satirists in totalitarian states have suffered harsh censure.† Indeed, some of the more subversive work of cartoonists have frequently stirred up controversy, especially concerning the representation of the Irish in British cartoons. In â€Å"The Irish†, by cartoonist for the Evening Standard, JAK, the representation of the Irish caused controversy that, with Ken Livingstones recent â€Å"Nazi† comments about the Evening Standard, continues to plague the political scene today: â€Å"none can excuse the fact that [The Irish] represents one of the most appalling examples of anti-Irish cartoon racism since the Victorian era. [] As a result of complaints made by many people in Britain, the Greater London Council, under its leader Ken Livingstone, withdrew its advertising from the Standard and demanded a full apology, which was refused.† The cartoon itself equates the Irish with death and barbarism, with the words: â€Å"The Ultimate in Psychopathic Horror: The Irish†. Although angered by the IRA bombings and the killing of innocents, this inability to describe the political complexities of the Irish, reducing them instead to a monstrous racial stereotype, not altogether unique in the cartoons of the time, tends to simplify, and thus promote Irish resentment during the period. However, in the second period I will be discussing in this piece, namely the late 1990s, the cartoons drawn by people like Martyn Turner during the peace process of the John Major and Tony Blair governments differ wildly from this tendency to demonise and / or denigrate the entire nation of Ireland – instead the cartoonists eye is drawn to subversive representations of the bureaucracy and the players within that complex and impenetrable political chess game that the Irish peace process became in the eyes of the public. The cartoons drawn, generally, seem less provoked by Irish or British resentment, and more represent a more benign form of political satire, that being the politics of government rather than the (sometimes militaristic) persuasions of the Irish population. The crude and hurtful Irish stereotype as barbaric, brutish and stupid are discarded – instead, the governmental players are the main focus for the satirists eye. There was a period in the early 1970s when an impending civil war in Ireland seemed inevitable, with clashes between British paramilitary and Loyalist groups in a state of near-war. â€Å"A number of paramilitary organisations were formed in Protestant working-class areas to counter-balance the activities of the Provisionals and carry out attacks on Catholic areas. As the IRA increased its campaign of shootings and bombings, 1972 became the most violent year of the Troubles with 467 deaths in Northern Ireland, 321 of which were civilian casualties.† The work of the cartoonists of the period assumed a similarly grave and polemical nature, as often the caricaturists and the cartoonists of the period would be divided between Catholic / Protestant, as well as down British / Irish lines. The problems with British intervention as â€Å"peacekeepers† culminated in the â€Å"Bloody Sunday† massacre of 30 January 1972, where British troops opened fire on unarmed catholic protesters: â€Å"It was in January 1972 that the British Army shot and killed thirteen civilians in Derry, writing another disaster into Anglo-Irish history. Bloody Sunday, as it was called, was commemorated twenty years later in 1992 with bitterness and anger.† The representation of the British paramilitary presence in Ireland divided cartoonists, and the culmination of the supposed folly of British intervention in Northern Ireland reached boiling point with Bloody Sunday. Thus, politics and ideology in 1970s reached such a stage that generalisation and ignorance about the Irish situation abounded, signalling a return to the grotesque caricaturing seen in Punch in Victorian times. The political complexities, difficult as they were to sum up in a simple argument, were thus heavily simplified by a number of British cartoonists, and this gross simplification often led to the demonisation of the Irish as a whole. This is demonstrated by both the cartoons of Cummings and in the highly controversial cartoon, â€Å"The Irish†, printed in the Evening Standard, in which all Irish citizens are tarred with the same brush. Again this differs greatly from the work of Martyn Turner, who I will focus on in greater depth; his cartoons are steeped in the complexities of the Irish situation, the bureaucratic and political turmoil of the Irish peace process in the 1990s, and its eventual resolution in a ceasefire. Thus, the body of Martyn Turners work in a sense tells us how the political cartoon, especially the market for this particular brand of political cartoon has changed from representing the opinion of the ignorant masses, to enlightening and stimulating an informed few. Martyn Turner strays away from the traditions of social stereotyping, choosing instead to focus on the political bureaucracy and its many players. His cartoons are effective on a number of distinct levels, and his work is predominantly concerned with satirizing political institutions and their players, rather than making sweeping and hurtful gestures about a whole group of people. Especially from the overtly racist work of the 1970s, we see a resurgence of the Irishman as a simian stereotype, who is either drawn to carnage and violence, or else is too stupid to conduct his own affairs with any degree of control. In Cummings work of the early 1970s, we see the Irish represented as racial stereotypes. In this dissertation, I will look firstly at the development of this stereotype, how it developed from an idealised representation of Ireland in the 18th century, to the myth of stupid, impulsive, apelike creatures in publications such as Punch in the mid-nineteenth century. From this I will then turn to representations of the Irish (and of the British involvement in Ireland) in the 1970s, looking especially at pieces of work that explicitly and blatantly attack Irish culture, using a stereotype that is both broadly racist, the only effect of which is to emphasise the lack of understanding and the bigotry in which a great swathe of British citizenry lived. History of Stereotypes in Cartoons James Gillray (1757-1815) is widely reputed as being the first great British cartoonist. In his work, the notion of the Irish as simian tends to prevail, and they, along with the French, are seen as barbaric, stupid, tokens of â€Å"otherness† that one tends to associate with any representation of a minority and / or, a barbaric outsider. In â€Å"United Irishmen upon Duty†, printed on 12 June 1798, Gillray attacks the dissident Irishmen: â€Å"It depicts the rebel United Irishmen as mere agents of destruction and pillage, without political or moral principles. [] The cartoon is one of several in which Gillray simianises the belligerent Irish.† Thus, the reduction of the Irish to bestial stereotypes has a long history, that frequently makes a return whenever there is a reason for projecting hatred or condescension onto the Irish nation. In â€Å"Paddy on Horseback†, Gillray encapsulates the view of the Irish as stupid. In the picture, the Irishman has unkempt hair and a protruding jaw, however, he still possesses human, rather than simian features: OConnor suggests that: â€Å"The early cartoons from the 18th century are openly racist, portraying the Irish as ignorant peasants barefoot, ragged and thick.† Indeed, the image of the Irishman as a figure to poke fun at, and to label as the typical â€Å"fool† of caricature continues in a rich vein in British cartoons dating from this period. Slightly later, George Cruikshank uses the Irish to poke fun at. In â€Å"The Two Irish Labourers†, which features two Irishmen climbing a ladder and getting mixed up, â€Å"George Cruikshank [] illustrates the antiquity of the English view of the Irish as objects of laughter and derision.† This cartoon isnt political in its persuasion, but merely points out that, traditionally, and as the millions of jokes and put-downs featuring Irishmen in the punchline, the Irish could be used effectively to represent a typical stupid or ignorant person, who gets things mixed up or wrong. Thus, the re-emergence of these traditional Irish representations in the 1970s, when contextualised in a rich history of Irish racism, isnt particularly surprising. Punch magazine, published in the 1840s, became widely famous for its derogatory representation of the Irish as silly, warmongering, and ignorant, and signalled another re-emergence of this historical Irish stereotype, this time, and thanks to the scientific identification of racial stereotypes, the Irishman became more linked to representations of the Negro in mass art than to the civilised, aristocratic Brit. Thus, in Harpers weekly in 1898, the Negro, with protruding jaw, upturned nose and large eyes, according to this very subjective illustration, actually equates the perception of the Irishman with the perception of the Negro. By contrast, the profile of an â€Å"Anglo-Teutonic† appears in the centre, and, with long nose, strong jawline and fairer hair, appears less simian in appearance. This representation of the Irishman as a Negro, who is frequently seen as being untrustworthy, rapacious and animalistic in persuasion, is resurrected by a number of cartoonists in the 1970s as an ideal way of explaining, or at least glossing over the complex nature of the Irish situation. In â€Å"What was so marvellous† by Cummings, he represents the current political situation in Ireland as a n exercise in British colonialism. Edward Heath and, then Home Secretary Reginald Maudling sit at a desk with a soldier on top of a map of Ireland. In the background, a soldier is seen walking through India, Cyprus, Kenya and Malaya. The caption underneath reads: â€Å"What was so marvellous about the rest of the British Commonwealth was that we could always leave it.† The superiority with which Cummings regards Britain in relation to Ireland is striking, insofar as it essentially depicts Ireland as a dispossessed, colonized country, and glosses over the significant problems that the presence of British troops in Ireland actually caused. Of course, this view has some historical significance. The governing elite in Ireland following the invasion in 1690 laid the foundations for a Protestant Ireland for nearly two centuries, and those in charge of Irish affairs were essentially protestants descended from English colonialists, using parliament to enact stifling and repressive legislation against the catholics, which culminated in removing the right for catholics to own land. This of course led up to the potato famine, which killed millions. Thus, the colonialist implications of Cummings cartoon flippantly portrays a reality in a fairly hurtful and bitter way. In Apes and Angels, an overview of how the caricature developed in British cartooning, Curtis Jr. suggests that: â€Å"During the first two-thirds of the nineteenth century the stereotypical Paddy or Teague of English cartoon and caricature underwent a significant change. In sharp contrast to the regular, even handsome features of the wild Irishman or woodkern of the Elizabethan and early Stuart period, such as may be found in abundance in John Derrickes The Image of Irelande, with a discoverie of Woodkarne, first published in 1581, and different too, from the brutish, slovenly faces of Irish peasants appearing in prints dating from the reign of George III, the dominant Victorian stereotype of Paddy looked far more like an ape than a man.† This reduction of the Irishman to animal is one that begins to return sporadically when the political situation gets grave once again in the 1970s. In these cartoons, often the complexity of the political situation is whitewashed, or else no attempt whatsoever is made to describe the Irish problem in terms of satire or a representation of different sectors of Irish society: conveniently, the Irish are placed into one single melting-pot, with no distinction or difference made between Catholicism, Protestantism, or of any of the different groups or classes that were at play in the turmoil that led up to bloody Sunday. Curtis Jr. suggests that the sudden stereotyping of the Irish may have been as a result of politics of a different type – namely, immigration: â€Å"There was nothing specifically Irish about a projecting lower jaw until the 1840s, when thousands of Irish immigrants were pouring into England and Scotland, most of them destitute and many of them diseased.† So, much like modern views and prejudices surrounding asylum seekers, as well as Jews in the 1930s, the right-wing presses also found their target in Victorian times, namely, the Irish. This introduction of class into the issue adds another level of complexity to the issue. Often, the fighting Irishmen are seen crammed together into terrace houses, itself a sign of working-class life and a form of living regarded by the more middle-class newspapers as being inherently intolerable, just as their barbarity was regarded as stupid, brash and ignorant in Victorian issues of Punch. Thus, Curtis Jr., says that â€Å"The antecedents of this stereotype were just as widespread as the conviction in England and Scotland that the Irish were inherently inferior and quite unfit t o manage their own affairs.† Indeed, the superimposition of ideas onto the Irish is in itself exacerbated by the caricaturing of the entirity of the Irish race, essentially robbing them of the individuality of their own voices and subsequently their own autonomy. Punch magazine spearheaded a movement to caricature and derogate the Irish in cartoons: â€Å"it soon became clear that Irishmen, in particular the more politicized among then, were the favourite target of both writers and cartoonists. Marion H. Spielmann, the chronicler of Punch, wrote that the comic weekly acquired a reputation for being anti-Irish during and after the 1850s.† An example of this anti-Irish sentiment can be found in John Leechs â€Å"Young Ireland in Business for Himself† (August 22, 1846), in which a grotesque monster sells blunderbusss next to the sign â€Å"pretty little pistols for pretty little children.† Thus, we are given the preconception that the Irish are violent, stupid and ugly. In John Tenniels â€Å"The Irish Frankenstein†, a sophisticated, British man tries to stave off a giant beast holding a bloodied knife. Thus, the bestial, simian qualities of the caricature emerge. This is especially pointed when the Irishman begins to demand autonomy: â€Å"When Irishman turned to political agitation and began to demand an end to British rule, then Punch changed his tune, and, according to Spielmann, the artists began to picture the Irish political outrage-mongering peasant as a cross between a garrotter and a gorilla.† Thus, perhaps the simionisation of the Irish stereotype is more as a result of the politicisation of the Irish working-class, which presumably the British cartoonist, especially one working for Punch, a deeply conservative publication, would feel threatened by. Thus, we have to also consider notions of class, as well as racial stereotyping: â€Å"The only Celt to be flattered and admired by Punchs cartoonists was Hibernia, the intensely feminine symbol of Ireland, whose haunting beauty conveyed some of the sufferings of the Irish people. In The Fenian-Pest, published in Punch on March 3, 1866, Hibernia turns to her sister, Brittania as a grotesque, derogatory rendition of an Irishman peers at her with animalistic desire. Wallach suggests that: â€Å"Tenniel, depicts the rebellious Irishmen, those troublesome people, as ape-like and unkempt. The main Irish character glares menacingly at Britannia, with his mouth agape and a sword-like weapon partially concealed under his coat. Behind him are other Fenians, chaotically amassed and presumably anxious to make trouble. Here the stereotype of Irishmen as violent, simian and disorganized reveals itself.† Indeed it is interesting the Hibernia, the only character that is celebrated in Punch, or at least not attacked on grounds of racial profiling, is one that is divorced from the traditionally masculine realm of political persuasion. In this particular cartoon, she is seen in the pose of desperately running from the Irish monster, and this traditional of derogation of the Irishman, especially the politicised Irishman, continues throughout history, making a controversial reappearance during the political conflicts of the 1970s. Cummings, who drew cartoons in the 1970s for the Daily Express, uses similar prejudices to generate humour in a situation regarded by the British as increasingly confused. In â€Å"Were pagan missionaries†, Cummings depicts a group of pagans, coming over the sea and saving the Irish from their imminent self-destruction. The caption at the bottom reads: â€Å"Were Pagan missionaries come to try and make peace among the bloodthirsty Christians.† The Irishmen are shown crammed together, on the opposite sides of a terrace block, and details include a lop-sided dustbin, and a sign in the middle of the street, reading: â€Å"Cage: To keep the wild animals apart.† Again we return to the generally held perception of Irishmen as a race of sub-human animals: â€Å"The Cummings cartoon reflects this British incomprehension in its depiction of primitive tribesmen arriving to reconcile the barbarous Irish, who seem intent on tearing each other apart. The racist implication is that black, presumably African, tribesmen are more civilised than the Christian Northern Irish, who have now slipped below even primitive pagans in their innate barbarity.† Thus, Cummings seems to extract his political humour mainly from the use of stereotype and conceptions of otherness. The British army is seen ironically as a pagan tribe, which obviously alludes to the primitive tribes that the Britishers colonised in the past. Therefore, the Irish are depicted as being even more primitive than this. Cummings cartoon ideas are steeped in the long tradition of pompous anti-Irish cartoons and jokes. â€Å"The cartoon [] reinforces stereotypical notions of the Irish as violent and blacks as primitive, and makes no attempt to convey any understanding of the underlying causes of conflict other than religious bigotry.† This is a reflection of a commonly held view about the political situation in Ireland. It seemed baffling to some of the British that two essentially Christian religions should be fighting, and the cartoons by Cummings highlights this innate superiority that the British has by portraying itself as heroes in trying to resolve the Irish conflict. Similarly, Cummings sides again with the British army in â€Å"How Marvellous it would be†, printed in the Daily Express, on 12 August 1970. Cummings naively treats the British influence in Ireland as completely benign. A beaten up solider stands between two monsters, one of which is wearing a t-shirt called â€Å"Ulster Catholics†, the other called â€Å"Ulster Protestants†. They run for each other, as the soldier, more diminutive in presence and, in case we didnt know his nationality, sports a Union Jack on his forehead. Over his head towers a plethora of miscellany – socks, broken bottles and rocks again, the two warring factions are apelike, bestial and violent in nature. The caption underneath reads â€Å"How marvellous it would be if they DID knock each other insensible!†. Thus, the patronising and condescending nature of the cartoon asserts itself more. â€Å"The implication underlying both cartoons is that the irrational nature of the Irish question can only be explained through some form of racial madness.† Indeed, the racial implications, coupled with the inability, or reluctance to try and articulate and represent the complexities of the Irish situation in an easily digestible format, assists in depriving Ireland of a voice – of seeing Ireland and the Irish as a colonised island, once more exacerbating catholic (and protestant – the shifting of parliament to Westminster had the effect of causing offence to both Unionists and building support in working class catholic areas for the I.R.A.) tensions; furthermore adding support to the notion that Britain was indeed an occupying force in Ireland, and that the only means from which the British could be removed from Ireland was through paramilitary force. Cummings later said that the IRAs violence â€Å"make them look like apes – though thats rather hard luck on the apes.† Of course, Cummings views on the IRA, their uses of violence and barbarism would never be particularly popular, but Cummings doesnt even try to consider their opinions, and lowers himself instead to racial stereotyping and bigotry. The cartoon by Cummings is rendered especially naà ¯ve by the events of Bloody Sunday. Of course, this stereotype has been resurrected many times since the 18th century, but, during Victorian times something in particular happened to the representation of the Irishman. According to Douglas, R., et al.: â€Å"The equation between militant Irish nationalism and a savage bestial nature achieved its apogee [] in the Punch cartoons of the Victorian era.† And this bestial nature was resurrected whenever war or conflict required an easily categorised and common enemy. Certainly the most politically controversial cartoon drawn during the Anglo-Irish conflict was â€Å"The Irish† by JAK, for the Evening Standard on 29 October 1982. In it, a bystander is seen looking at an enormous billboard poster. It says: â€Å"Emerald Isle snuff movies present the ultimate in psychopathic horror†, then in enormous letters underneath, â€Å"The Irish†. The image seems designed to both shock and to reinforce the traditional stereotype of the Irish as bestial and bloodthirsty. A horde of Irish stereotypes, bloated and bestial, wielding daggers, drills, dynamite, saws and other crude forms of weaponry all fight in a orgiastic frenzy over a hill of graves. The caption underneath on the poster says: â€Å"Featuring the I.R.A., I.N.L.A., U.D.F., P.F.F., U.D.A., etc. etc.†. Thus, every political group of every political persuasion is placed under the same violent and caricatured image of Irish barbarity. It is apparent that the cartoon would be controversial. â€Å"The Irish, featuring a cast of degenerate nationalist and loyalist paramilitaries, whose initials appear at the bottom of the poster. Not only is there no attempt to explain Irish political complexities or distinguish between different paramilitary groups, the cartoonist irresponsibly homogenises the Irish as a race of psychopathic monsters who delight in violence and bloodshed.† The political reaction to this cartoon had far-reaching implications, and the Evening Standard had advertising money cut from London Council, then headed by Ken Livingstone, if a full apology wasnt issued, which wasnt. It is apparent that the power of the cartoon to shock and to provoke resonates profoundly through political circles, certainly as regards the more overtly racist images of Irish paramilitary groups, that depict an Irish nation that is both stupid, confused, poor and drawn genetically to acts of barbarity and violence. â€Å"One notable feature of some British cartoons about the troubles is their tendency to resurrect the simian stereotype to present a view of republican and loyalist paramilitaries as sub-human psychopaths, a feature which merely served to perpetuate British ignorance and misunderstanding of the complex nature of the conflict.† Indeed, ignorance of the complexities of the political situation in Ireland, indeed, an absolute denial of the British influence and the disruption in Ireland, led to strengthening the anti-Irish fervour, and many cartoonists that used this idea for a cheap joke, may have done unnecessary harm to the establishment of peace among Loyalists, and the Irish in general already racked with anti-British tension. Although the cartoon cannot be justified entirely, it can certainly be contextualised by the political situation at the time the cartoon appeared: â€Å"[The Irish] appeared at a time when paramilitary violence showed no sign of abating and when Anglo-Irish relations were still strained as a result of the southern governments neutral attitude towards Britain during the Falklands war. In July, two IRA bombs in London had killed eight people and injured over fifty others.† Indeed, it is interesting that, when political and social situations are most strained, the simian stereotype re-emerges in cartoons. Overall, the simianisation of the Irish in cartoons has had a long historical legacy that dates back as far as the history of the political cartoon itself. In a situation of conflict, especially considering the supposed lack of knowledge surrounding the Irish situation in the 1970s, many of the cartoons represent this tendency towards returning to the historical stereotype of the Irish as bestial, monstrous sub-human, whose thirst for blood remains intrinsically linked to the racial characteristics of the people. The representation of the British presence in Ireland, especially with the work of Cummings, and JAK, is seen in turns as a fruitless endeavour designed to bring peace to a nation that stubbornly clings to the historical notion of religious difference, or else are innately drawn to barbarity. Although these were not the only cartoons represented at the time, and there were some more sympathetic representations of the Irish situation, that tried to explain in pictures and simple captions the complexity of a political situation in Ireland, this return to the overtly, explicitly racist was definitely a theme in the 1970s cartoons, and served either to reflect the general confusion prevalent at the time concerning the troubles in Ireland, or else exacerbated this confounded hostility towards the Irish in general that certain sections of the British population must have felt. Political Representations of the 1970s Crisis in Ireland The Irish representations of the conflict differ insofar as they offer the viewer of the cartoon a more balanced, albeit anti-British view of the political conflict during the crisis. Gerald Scarfe provides a more sensitive body of work than what was usual in the British press during the time of the political troubles in Ireland. In â€Å"Untitled†, printed in the Sunday Times on 14 March 1971, blood runs into a lake from three graves on a hill, there to represent the deaths of three soldiers, two of which were lured into a pub and killed by the provisional I.R.A., the militant arm of the I.R.A. A crack in the dam pours blood onto a peaceful community, and provides another perspective on the Irish troubles in the 1970s that go beyond that of stereotype, confusion and resentment, instead providing a sympathetic and tender view of the events. Indeed, the representation of the political struggles at the time, in cartoons could be both chillingly regressive, and inspired – of course, the Irish conflict polarised opinion, insofar as the lines could be drawn down difference between the British and the Irish, or else Protestant and Catholic fronts. This tendency to promote one particular view of the events highlights the struggle that cartoonists must have found when trying to find humour beyond the resentment and the anger at both the violence, which some people, especially in Britain, saw as unnecessary, and a particularly