Communication as a Means of Stability Essay -- Essays Papers

Communication as a Means of Stability As demonstrated throughout various autochthonic American texts, communication tends to be the Natives greatest challenge in that they are unable to develop achievementful relationships with the outside world. Ultimately, broken treaties collect become the unfortunate model for miscommunication between the European Americans and the Natives. Granted the white husbandry and the Natives share very few of the same beliefs or traditions, neither culture has yet to flourishingly compromise and broken through the barrier that so obviously separates them. Therefore it remains crucial that these very different cultures develop a good enough rapport with one another that would allow either culture the freedom to pr moveice and express their beliefs non offensively, and prevent future communication from existence null. From these Native novels, in particular Louis Owens Bone Game and Henry Gordons The Light People, we learn that communication and c ompromise are key to the success between these cultures, and lack of it will result in feud and confusion. The plot unfolds in Bone Game as a Native American prof Alex Yazzie unleashes a large cultural discrepancy between Natives and the white people as he skins a deer at his Santa Cruz residence for faculty housing. Since this act is atypical and shunned by the white community by which Alex is surrounded, tensions rise as his actions are perceived as barbaric. It is Cole, the storys protagonist and a sonny Native, whom the university calls upon to mediate and resolve this disturbing Indian Emergency (Owens 23). Contrary to the schools understanding and the laws that govern the county, this native is simply partaking in traditional Indian practices and u... ...ion aspect of it, but more importantly the potential it had as a future tourist location (Henry 101).According to Websters Dictionary, an agreement is defined as an arrangement made by negotiation between two parties. Th e word negotiation infers somewhat of a compromise or acceptance through successful communication by both parties. Yet through historical events, especially those pertaining to Native Americans, society has developed an understanding that language tends to often be dishonest. As Owens puts it, The realization that words can say what they dont mean and mean what they dont sayindicates to an Indian that every doom in English may be a broken treaty (Owens 43).Works CitedHenry, Gordon Jr. The Light People. University of Oklahoma insistency Oklahoma, 1994.Owens, Louis. Bone Game. University of Oklahoma Press Oklahoma, 1994.

Miltons Passage :: Milton History Essays

Miltons PassageWorks Cited Missing In this passage Milton surveys the battlefield after the neck and neck root day of fighting between the rebellious third of the angels and the equally-sized depending on(p) God has sent to face them. The purpose is to portray the disarray and destruction caused by the battle, especially on the location of the fallen, and to contrast that chaos and baseness with the high-handedness and honor of the champions who defeat them. Little has been accomplished by the fighting, except to demonstrate the engagement between the warriors on the two sides. Neither side is defeated, but the side of good has displayed its superiority in valor and glory, and the evil have shown themselves to be the lesser precisely because of their moral humbleity. Though they have fought to a draw, only the angels do so honorably, holding their ground as we watch the Satanic Host zap in a state of fear and panic. Milton seems to evoke a mate with two of the most famous battles in history, as presented by the father of history, Herodotus the life-threatening duels with the vast Persian force of the Great King Xerxes. In the first battle, at Thermopylae, the Spartans stood their ground faithfully, and through obedience and discipline shamed their (in Herodotus portrayal) morally inferior foe by forcing them to pay an outrageous price for victory. In the second, at Plataea, the Spartans this time defeat their more numerous foe, again due to their inherent superiority, which is ascribed, ultimately, to their virtue. If Miltons mount is imagined cinematically, the view begins low, depending down to see all the ground where the debris lay strown, in heaps, and overturnd (388-90), and generally tipped over and fallen down in a catalogue of ways. The rebel angels fallen condition is made material by the work of the loyal warriors, whom we see in exactly the opposite condition, in spite of having fought just as hard and taken the same beating. We look up from the jumbled mass to see the angels in their state of high advantages (401), presumable to fly in formation unbroken by the onslaught, unperturbed by their wounds. Milton presents a dual image of battle lines shifting and being wrenched out of underframe in parallel with the picture of bodies being crushed and mangled. Following his resolve that the devils Mightiest quelld, we are shown that the battle swervd and we see inroads gord into the broken battle formations and the broken bodies of the fighters (386-87).Miltons Passage Milton news report EssaysMiltons PassageWorks Cited Missing In this passage Milton surveys the battlefield after the inconclusive first day of fighting between the rebellious third of the angels and the equally-sized contingent God has sent to face them. The purpose is to portray the disarray and destruction caused by the battle, especially on the side of the fallen, and to contrast that chaos and baseness with the dignity and honor of the champions who defeat them. Little has been accomplished by the fighting, except to demonstrate the difference between the warriors on the two sides. Neither side is defeated, but the side of good has displayed its superiority in valor and glory, and the evil have shown themselves to be the lesser precisely because of their moral inferiority. Though they have fought to a draw, only the angels do so honorably, holding their ground as we watch the Satanic Host fly in a state of fear and panic. Milton seems to evoke a parallel with two of the most famous battles in history, as presented by the father of history, Herodotus the Spartan duels with the vast Persian force of the Great King Xerxes. In the first battle, at Thermopylae, the Spartans stood their ground faithfully, and through obedience and discipline shamed their (in Herodotus portrayal) morally inferior foe by forcing them to pay an outrageous price for victory. In the second, at Plataea, the Spartans this time defeat t heir more numerous foe, again due to their inherent superiority, which is ascribed, ultimately, to their virtue. If Miltons scene is imagined cinematically, the view begins low, looking down to see all the ground where the detritus lay strown, in heaps, and overturnd (388-90), and generally tipped over and fallen down in a catalogue of ways. The rebel angels fallen condition is made literal by the work of the loyal warriors, whom we see in exactly the opposite condition, in spite of having fought just as hard and taken the same beating. We look up from the jumbled mass to see the angels in their state of high advantages (401), seeming to fly in formation unbroken by the onslaught, unperturbed by their wounds. Milton presents a dual image of battle lines shifting and being wrenched out of shape in parallel with the picture of bodies being crushed and mangled. Following his announcement that the devils Mightiest quelld, we are shown that the battle swervd and we see inroads go rd into the broken battle formations and the broken bodies of the fighters (386-87).

Lipids :: essays research papers

LipidsThe subject I will cover is lipids. I will tell you about the description of its thoroughgoing compound. I will tell you where it is found. I will tell you whatthe uses be in plants and animals. I will also tell you about its chemical substancestructure and give examples of types of these compounds, such as cholesterol.The organic compound of lipids have many similarities. They are almost alwaysgreasy, buttery, oily, or waxy. They do not unfreeze in water, but they do inother organic solvents. This is like if you get obscenity on your hands it is hardto wash of because it seems to repel the water.You groundwork find lipids in many places. They are usually in fatty foods like butter,salad dressing, and preparedness oils. They cigarette also be found inside of animals asthe form of fat. Lipids are always found in fat because when you get a descriptor upof lipids it forms fat.Lipids have many uses amongst plants and animals. The main use of these are forenergy and sto ring energy. When they store energy they make triglycerides alsoknown as fat. There are also many other uses such as disengagement and protection.They are also employ in making cellular telephone membranes. They make it so that the cell canmaintain its shape by tutelage water and water-soluble compounds from passingthrough it. The lipids that are waxy are usually used to make protectivecoatings on the surface of plants and animals.Since a lipid is an organic compound it contains carbon. They also containhydrogen and oxygen, but in some really(prenominal) complex chains there is also phosphorusand/or nitrogen. Lipids are made by the dehydration synthesis of glycerol andfatty acids. This is when three molecules of fatty acids combine with onemolecule of glycerol by victorious water out of the solution. Lipids are alwayshuge molecules, which means they have a cud of energy like twice as much assugar. This is because more energy goes into making it so you get more out ofit when it is broken down. The pursuance is what a lipid would look like.When lipids are made they can produce many different compounds. One of those isphospholipids. These are what help make cell membranes and respect water out ofthem. They also make a very common lipid and that is cholesterol. Cholesterolis and extremely complex lipid. It builds up on the inner walls of the arteries.Lipids essays research papers LipidsThe subject I will cover is lipids. I will tell you about the description of its organic compound. I will tell you where it is found. I will tell you whatthe uses are in plants and animals. I will also tell you about its chemicalstructure and give examples of types of these compounds, such as cholesterol.The organic compound of lipids have many similarities. They are almost alwaysgreasy, fatty, oily, or waxy. They do not dissolve in water, but they do inother organic solvents. This is like if you get grease on your hands it is hardto wash of because it seems to repel th e water.You can find lipids in many places. They are usually in fatty foods like butter,salad dressing, and cooking oils. They can also be found inside of animals asthe form of fat. Lipids are always found in fat because when you get a build upof lipids it forms fat.Lipids have many uses amongst plants and animals. The main use of these are forenergy and storing energy. When they store energy they make triglycerides alsoknown as fat. There are also many other uses such as insulation and protection.They are also used in making cell membranes. They make it so that the cell canmaintain its shape by keeping water and water-soluble compounds from passingthrough it. The lipids that are waxy are usually used to make protectivecoatings on the surface of plants and animals.Since a lipid is an organic compound it contains carbon. They also containhydrogen and oxygen, but in some very complex chains there is also phosphorusand/or nitrogen. Lipids are made by the dehydration synthesis of glycer ol andfatty acids. This is when three molecules of fatty acids combine with onemolecule of glycerol by taking water out of the solution. Lipids are alwayshuge molecules, which means they have a lot of energy like twice as much assugar. This is because more energy goes into making it so you get more out ofit when it is broken down. The following is what a lipid would look like.When lipids are made they can produce many different compounds. One of those isphospholipids. These are what help make cell membranes and keep water out ofthem. They also make a very common lipid and that is cholesterol. Cholesterolis and extremely complex lipid. It builds up on the inner walls of the arteries.

Frankenstein overview :: Character Analysis, Literary Analysis

Frankenstein is, in my opinion a story about a scientist who makes a being who possesses more soul than its creator. The scene in which the creation of young Victor stands by Victors beside, while startling understandably, gives you compassion over this poor being. The scene where he says. His jaws opened, and her muttered some inarticulate sounds, while a grin wrinkled his cheeks... one hand was stretched out, seemingly to detain me.... This suggests a yearning for contact with the outside world.                     What I really consider disturbing is the egotistical manner in which Victor operates himself. He wallows in his own tragedy. He is more interested in his own wretchedness than the fate of his beleaguered family or raze this abusive environment his creation faces. He brings his sorrow upon himself, but yet at every opportunity is contemplates the abortion of his creation, even though he pe rpetually ignores him, when he yearns for his love.     I wonder whether the villagers find the creature so terrible because is so deformed, or because his appearance suggests a life so malevolent that they cannot fathom to imagine it. He is constantly attacked with no real cause. I ponder this because if he were truly so fearsome, why would one engage him face to face. mayhap they believe that his presence is pure evil and a danger automatically. Or maybe its because his appearance is so different from theirs. People are never very welcome to the outcasts of society.     Another thing so appealing was Waltons admiration of Victor. For a man so lonely that he finds

Johann Ludwig Heinrich Julius Schliemann’s Excavation at Troy :: Anthropology

Johann Ludwig Heinrich Julius Schliemanns Excavation at TroyJohann Ludwig Heinrich Julius Schliemanns ability to challengeacademic establishment make him an appealing yet dubious character.The Germans late nineteenth century excavations of Truva are oftenconsidered to have shed new light on ancient history or doubtlesslydestroyed a great deal of archaeological data that will forever belost1. Despite the praise and glorification that surrounds theromantic stems of Schliemanns lap his excavations have provedlimited to the growing of archaeology and ancient history. Howeversome of Schliemanns methodologies have often been consideredsignifi passelt in context to the evolution of both fields. His greatdesire to affirm his hypotheses2 has lead to important ancienthistorical data such as demonstrating Greek civilisation hadcommenced approximately bingle thousand years earlier then previousscholars estimated. Yet Schliemanns excavations of Hissarlik are notcompletely revolutionary to the development of ancient history despitethe modernisation of his primitive archaeological techniques and hisability to incorporate mythology in interpreting and formulatingancient history, while several contemporaries dismissed itscredibility. Firstly Schliemanns bare-ass methodical techniques are notdefinitive in affinity to the call ons of other archaeologists such as,General Pitt Rivers. Secondly Schliemanns discovery of an unknown finish contributed to the broadening of ancient history.Moreover, Schliemanns ability to see the great value of oral historyand mythology has brought significant development to historicalmethodologies. Finally Schliemanns flaw yet revealingarchaeological techniques has allowed archaeology to improve, inlearning from its mistakes.Firstly Schliemanns contribution to the development of ancienthistory is limited in comparison to that of archaeological pioneerssuch as Pitt Rivers. Rivers, like Schliemann both avoided the stigmaas treasure hunters in thei r pursuit for knowledge of theantiquities. However Schliemanns failure to essay perfection andaccuracy questions his place in true archaeological circles. HistorianGeoffrey Arnott comments, the accuracy of his excavation reportscanbe questioned, most seriously with regard to Troy. Schliemannsprimitive and simplistic techniques involving the destruction ofvarious ruins do not deserve monumental credit. Historian WellingtonKing comments on the problematic nature of Schliemanns excavations,Schliemanns great desire to affirm his hypotheses to provide theevidence for the answers he created, is also his greatest weakness andshortcominghe often conducted his archaeological work in a highlyunethical manner, and a manner that could even compromise thearchaeological integrity of his finds.In contrast, Rivers practised methods of perfection by examineorganic evolution to cultural development and developing futurearchaeological generic fundamentals such as typology. His purpose,therefore, was not concentrated on hive away artefacts solely fordisplay, but in order to create a complex scheme of evidence tooutline history.3 By contrast, men such as Pitt Rivers can be

Johann Ludwig Heinrich Julius Schliemann’s Excavation at Troy :: Anthropology

Johann Ludwig Heinrich Julius Schliemanns Excavation at TroyJohann Ludwig Heinrich Julius Schliemanns magnate to challengeacademic establishment make him an appealing yet dubious character.The Germans late nineteenth century excavations of Truva are oftenconsidered to hold up shed new light on antediluvian patriarch history or undoubtedlydestroyed a great deal of archaeologic data that will forever belost1. Despite the praise and glorification that surrounds theromantic stems of Schliemanns work his excavations have provedlimited to the evolution of archaeology and ancient history. barelysome of Schliemanns methodologies have often been consideredsignificant in context to the evolution of both fields. His greatdesire to affirm his hypotheses2 has lead to important ancienthistorical data such as demonstrating Greek civilisation hadcommenced approximately one thousand years earlier then previousscholars estimated. Yet Schliemanns excavations of Hissarlik are notcompletely revoluti onary to the development of ancient history despitethe modernisation of his primitive archaeological techniques and hisability to incorporate mythology in rendering and formulatingancient history, while several contemporaries dismissed itscredibility. first of all Schliemanns crude methodical techniques are notdefinitive in comparison to the deeds of other archaeologists such as,General Pitt Rivers. Secondly Schliemanns discovery of an unknowncivilization contributed to the broadening of ancient history.Moreover, Schliemanns ability to see the great survey of oral historyand mythology has brought significant development to historicalmethodologies. Finally Schliemanns flawed yet revealingarchaeological techniques has allowed archaeology to improve, inlearning from its mistakes.Firstly Schliemanns contribution to the development of ancienthistory is limited in comparison to that of archaeological pioneerssuch as Pitt Rivers. Rivers, like Schliemann both avoided the stigmaas treasu re hunters in their pursuit for knowledge of theantiquities. However Schliemanns failure to seek perfection andaccuracy questions his place in true archaeological circles. historianGeoffrey Arnott comments, the accuracy of his excavation reportscanbe questioned, most seriously with regard to Troy. Schliemannsprimitive and simplistic techniques involving the destruction ofvarious ruins do not be monumental credit. Historian WellingtonKing comments on the problematic nature of Schliemanns excavations,Schliemanns great desire to affirm his hypotheses to provide theevidence for the answers he created, is also his greatest weakness andshortcominghe often conducted his archaeological work in a highlyunethical manner, and a manner that could thus far compromise thearchaeological integrity of his finds.In contrast, Rivers practised methods of perfection by comparingorganic evolution to cultural development and developing futurearchaeological generic fundamentals such as typology. His purp ose,therefore, was not concentrated on collecting artefacts solely fordisplay, but in order to create a conglomerate scheme of evidence tooutline history.3 By contrast, men such as Pitt Rivers can be

Chemistry Gcse Coursework Rates of Reaction Essay

Investigating how the preoccupancy of sodium-thiosulphate (STS) and hydrochloric deadly (HCL) affects the count of answer in the prove. In addition I am also checking how different variables affect my taste and also how I dismiss stool my leaven more precise, reliable and accurate. Strategy According to my results, as the assiduity of STS resolvent increased the rate of reaction of my essay was increased. Also as the concentration of STS solution decreased, the prison term of reaction increased.In my preliminary analyse I checked my equipment and I came to a conclusion that my equipment was working well. The preliminary test checked if the experiment actually worked and the things I apply were reliable for me to use. The method I used to carry come to the fore my experiment was really reliable. I first picked the type of experiment I was going to do. Which consisted of m any types or variables much(prenominal) as changing the temperature, catalyst, surface area an d concentration etc. As I had limited age I picked concentration. I also had to choose which type concentration I needed either 1 molar or 2 molars (concentration types).I realised that picking the 1 molar STS solution the rate of reaction was very slow. However in the 2 molar STS solution the rate of reaction was quick. As I was short on time I chose the 2 molar STS solution nevertheless picking this type of concentration could lead me to see more reaction between STS and HCL particles. Therefore allowing me to create an accurate test and allowing me to obtain precise results. Once I decided the concentration I thus carried out my experiment. In my preliminary test I carried out my experiment using three beakers which contained of STS, H20 and HCL.In my experiment I applied H20 so that I could see the rate of reaction through a more abridge solution. I applied all of these solutions in to a conical flask. I recorded my results using a timer just to see if the experiment worked. What I predicted in my preliminary test was, as the sodium-thiosulphate concentration increased, the time taken for the solution to turn cloudy took longer. In this experiment I knew when the solution was altogether cloudy was until the black cross underneath the flask had disappeared to my sight.Sodium-thiosulphate used as solution as part of my experiment Hydrochloric Acid used as solution as part of my experiment Beaker used for carrying the solution Measuring cylinder used for measuring the hoi polloi of solution Timer used to measure the time taken for the solution to get cloudy Calculator used to calculate the average time Conical Flask used to carry out the experiment Black-cross card- used to see weather or non the solution had turned fully cloudy. Collecting Data In my experiment most of the variables I had were volume of HCL, volume of STS, concentration of HCL or STS, temperature of room, type of apparatus and many more. The variable I changed was the volume of STS and the volume of water.The variable that I kept the same was the hydrochloric acid which remained at 30ml throughout the whole experiment. By doing so it made my experiment a picturesque test as I was controlling other variables such as HCL. I kept the other variables the same in order to allow my experiment to be a fair test. Taking temperature into consideration if I did not control this my results would be inaccurate. My experiment was carried out very safely. I made sure that I was wearing my safeguard goggles whilst I carried out my test. My experiment was placed not in the way of people so that my experiment is not any risk to me or them. In addition the safety rules made my experiment a fair test. notwithstanding regarding my data of results I had were very reliable and precise as I dont shake up any outliers and my graph shows that the increase of STS is directly proportional to the time taken for the solution to become cloudy. To crystallise sure that my test went accurately and precisely I made sure that my timing was accurately done not pressing the timer too early or late. This again shows that my test was a fair test. As the range of volumes of STS I had consisted between 12ml to 40ml although if I applied higher concentrations the test would have been more reliable. However I used these concentration types so that I can get a clear picture that STS reacts with HCL in a certain period of time. I repeated these volumes three times and as a result no outliers had become visible to me on my data. This suggested that my experiment was carried out very accurately.As well as in my preliminary test I also repeated the test three times so that I could see the results were accurate and precise. Similarly my real experiment was done very precisely such as calculating or measuring the results or measuring the add of solution in each beaker etc. I predicted that I would find a wrong result whilst doing my experiment, however my prediction was wrong and the results were very accurate. If by chance I found an outlier I would not keep down it with the rest of my results and I would repeat that test again. One of my problems I encountered during my experiment was the time taken to press the timer which in my opinion affected my results. interpret DataWhat I notice in my results was that as the concentration of STS kept on increasing the time take for the solution to get cloudy was decreasing. For usage when there was 12ml of STS the average time was 140 seconds. Where as when the STS was at 40ml the average time was 32 seconds which shows a very big relationship between the amount of STS and the time taken. This was due to the concentration of the STS solution. In comparison to my preliminary results I can see some similarities between the concentration types of the STS solution. Also I can see on my graph the scatter of results look very accurate and the natural trend of my results shows a negative correlation.What my graph sh ows is that the percentage of sodium-thiosulphate increased then the time taken for the experiment decreased. So as the sodium-thiosulphate particles increased which meant that there where more particles colliding with the hydrochloric acid particles. This altogether led to a decrease in the time taken for the reaction to happen. Not only is the results reliable but they are easy to understand as for the key which describes the part on the graph such as line of stovepipe fit, error bars etc. Therefore the data I obtained looks very reliable. The picture bellow suggests that if the concentration increases the collision rate increases.Also many other variables affect the collision rate to increase such as Catalysts and temperature etc. Evaluation In conclusion I withdraw my experiment was very successful. My data is very reliable and accurate as I have no outliers. I probably did not encounter any outliers because the precision and the accuracy I applied to my investigating during timing or measuring etc. this shows the reliability of my probe. The results could have been improved by repeating the investigation more times so that I can further improve the reliability of my data. On the other hand I am very convinced(p) with my results. On my graph the results show very small error bars which suggests that my results again were very accurate.I was also confidant with the safety of this experiment which more often than not when I was pouring out STS and HCL. Therefore this applies to the accuracy of the test. On my table of results I repeated my investigation 3 times to ensure the reliability of my data. Nevertheless I measured the time taken to the nearest second which builds precision in my experiment. I am very confident with the method I used whilst using simple equipment and obtaining fantastic results and my experiment was a success. Overall I am really confident in this investigation, however I can make improvements. Maybe using a better timer to reco rd my results would have granted me more accurate results. I could have also changed the concentration of the HCL solution.This would make my investigation more of a fair test because during my experiment I used a stronger concentration of the STS solution and so it would have been better if I used the stronger HCL solution. Also safety was equally important to the investigation. I can also improve my experiment by using a turbidity sensing element which judges how cloudy things are. By using this turbidity sensor would give me more precise and reliable results. In my opinion this experiment was a very good choice as temperature, surface area and catalysts were also different variable choices, however what I noticed at the start of the experiment was that this investigation was easy to layout and the equipment was available.My results were outstanding seen as though I had no outliers or the error bars on my graph are very small. The line of best fit shows a natural trend between th e solution and the average time taken. But taken into consideration the time taken to record the results was not 100% accurate. This problem would have been avoided if I used more accurate equipment. Taken as a whole I can see that my experiment went very well. I am very confident with my results and I can regain that my investigation was very precise, accurate and my results were extremely reliable. I also feel very confidant that my investigation went well.

Existing relationship between attitudes and motivations of high achieving students to their academic success in science at captain albert aguilar national high school Essay

This study primarily identified the different attitudes and motivations of gamy achieving students of Captain Albert Aguilar National High School. Specifically, this research identified (1) the signifi plentyce of attitudes and motivations to students specially those commence high level of achievement to their donnish success in erudition and the importance f the study to the school, teachers and students, (2) the percentage of the students that have high interest towards science and those have low interest to learn science, (3) the descent between the attitudes and motivations of high achieving students to their faculty member success in science while engage in a open high school. To execute this, the researchers applied Descriptive Research which falls under the category of a Non-experimental design.A total of 44 respondents were chosen with the use of nonrandom Sampling as guided by the qualifications set. Self-Recording/Reporting Approach was used to collect the data with the utilization of a questionnaire. To describe and summarized the data, Inferential Statistics was used. The weighed mean was computed to implement for the Pearson Product-Moment correlation to examine the relationship between the attitudes and motivations of high achieving students and their academic success in science.FINDINGS1) Is there an existing relationship between students attitudes and academic success? By using the Pearson product moment correlation, the researchers found out that theres an existing significant relationship between the 2 variables. It has a high correlation shows that students attitudes greatly affect the academically status of the student. (Respondents dont find science as an interesting number, thats why their academic success can have an average grade of 85-88) 2) Is there an existing relationship between students motivation and their academic success in science?An average or marked relationship had identified the 2 variables in this research. It ha s a moderate correlation that shows students atomic number 18 make enough and v have a good academic success. 3) What are the significances of the researchers study?The significant of the researchers study is to widen students intelligence quotient with the cooperation of the community, school, and direction profession and to measure the thinking ability of a high school students that stands as a basic building blocks of success without successfully passing singular exams.CONCLUSIONThe researcher, conclude that there is an existing relationship between students attitudes & motivations to their academic success in science. There are also factors that can affect academic performance. These factors might be an advantage or disadvantage and might be classified as learning environment, school facilities, teachers article of faith method & the attitude and motivation of the student toward the subject as well. Based on the study, the students dont find science as an interesting subjec t but they can be motivated. Thus, the hypothesis is rejected since it was ascertained in the study that there is a significant relationship between students attitude and their academic success.RECOMMENDATIONIt is therefore recommended that even if the school facilities are perceived as adequately available and fond for use, they should improve further for maximumutilization and more effective science instruction. Furthermore, the students should be given hands-on experiencesin the subject and may enhance their understanding on the subject.The school should be design a teacher development program that would maximize the teachers capabilities and enhance their effectiveness in teaching subject which may focus on the content of the subject. The teachers should be sent to seminars in the divisional, regional levels so that they could become better & more effective in teaching science, thereby raising the students performance in the subject. It is also manner of satisfying their profes sional needs and for personal enrichment. Moreover, teachers should integrate values in every lesson as part of value formation.The teachers should give emphasis on creative approach in learning since this is where the students could expressed themselves in terms of creativeness & critical mindedness relative to the subject matter. The school heads should intensify the monitoring on the implementation of the DepEds programs, designed to improve the students performance. The students should be promote to develop a good study habits so that they could also perform better in the subject. Researchers also recommend the overviews of the Tools for Teaching by Barbara Gross Davis. fountain frequent, early, positive feedback that supports students beliefs that they can do well. Ensure opportunities for students success by assigning tasks that are neither too wanton nor too difficult. Help students find personal meaning and value in the material. Create an atmosphere that is open and posi tive.Help students feel that they are valued members of learning community. (Jossey-Bass PublishersSan Francisco, 1993)

Violence in the Workplace Essay

Workplace madness includes threatening behaviors, verbal abuse and physical assault. In whatsoever given week about 20 workers are murdered in the United States (Bruce& Nowlin, 2011). This open fire include the harming of an employee or client/customer of an fundamental law by another employee, client/customer, or member of the general public. Many internal and external factors, including socioeconomic conditions, problems related to drug and alcohol abuse, layoffs, dictatorial workplaces, stress over job security, and domestic problems, are leading causes of workplace violence.Organizations have to deal with human productivity and economic costs from incidents of workplace violence. For example, employees and customers or clients can be seriously injured or killed. In addition, a loss of productivity generally occurs during the incident because the business may be closed or on reduced hours pending investigation and employees may fear that another incident could occur within d ays or months.Some employees also may inject as a result of fear of another incident or dissatisfaction with the employer for failing to prevent or properly respond to the incident. Physical injuries or ruttish difficulties that result from the violent incident may cause increases in workers compensation claims. Organizations with policies on workplace violence are more likely to implement practices that can reduce the potential for workplace violence.The managers in these organizations indicated that counseling for potentially violent employees, investigating un saneness in the workplace, disciplining/arresting people responsible for violent acts, mandating fair treatment for terminated employees, using mediation to resolve disputes that have the potential for becoming violent, and intervening in problems between employees were part of their workplace violence policies.These elements are further evidence that organizations that initiate formal policies for workplace violence are more likely to consider ways to be proactive, rather than reactive. Organizations must register steps to check into that employees feel safe and secure. While organizations are unable to anticipate all situations, basic preventive measures can deter some violence in the workplace.While every employee with the potential for workplace violence cannot be pre-identified at the point of hire, organizations should have a variety of pre-employment assessments in place to ensure selection of individuals whose credentials, work experience, personality, and life experiences appropriately correspond to organizational needs and values. At the pre-incident strategy stage, the organization should create a zero tolerance policy. The organization should document all forms of aggression that have occurred against people and property associated with their organization.Employees should be encouraged to report incidents of which they are aware. Furthermore, for a second strategy, pre-employment scree ning should include mental testing, background checks to validate an applicants resume, reference checking, employment history verification, or even integrity interviewing. Training should include interpersonal communication, conflict colony techniques and hostage survival skills to ensure that employees are prepared for any violence that should occur in the workplace.

Reasons for United States Possible Attack on Iran Essay

The topic on the possibility of United States launching a forces attack against Iran has dominated much news for several years since the Bush administration and during which some quarters speculated that such an attack would be ordered originally the administration left office. As early as 2005, a number of articles had started revealing the imminent plans by Pentagon to order military operations against Iran. While commonwealth and the media may speculate and give their opinions about many aspects of the imminent war, the most important issue to understand is the reasons which may spark the attack.It is therefore the objective of this publisher to discuss the reasons wherefore US would engage in a military land war with Iran. 2. 0 The Euro-Based Oil Bourse This is one of the major reasons which revolve approximately the plan by Tehran judicature in 2005 and 2006 to start competing with the New York Mercantile Exchange (NYMEX), the largest physical commodity futures exchange i n the adult male establish in New York and the London based International Petroleum Exchange (IPE) by using the euro-dominated embrocate trading mechanism (Clark, 2004).The logic behind this is that by using this mechanism in international oil trades, the euro is going to take dominance and establish a firm ground which will serve to bulk large the strength of the U. S dollar in the global oil market. The U. S government therefore considers this a real threat by Tehran government which warrants intervention to protect the dollar from being toppled off from its long term monopoly in the critical international oil market.It is worth noting that lack of an oil price standard that is euro-dominated also referred to oil marker in the oil trading industry is one of the technical challenges facing the euro-based trading system in oil transactions. The oil markers currently in operation today are the U. S dollar dominated which include Norway Brent crude, West Texas Intermediate crude, and the UAE Dubai crude. In the bombardment of 2003, Iran laid down a requirement that all the transactions for its Asian and European oil exports be conducted using the euro currency though the pricing of oil was still predominantly controlled by the dollar.Following an official announcement in 2004 that Iran had intentions to develop an Iranian oil Bourse, it raised the concerns that a stiff competition would follow between the Iranian oil bourse and the U. S owned NYME and the IPE (Clark, 2004). The macro economical implications of such a development would cause a shift in the international job in both Middle East and the European Union which is the largest importer of oil from OPEC producers.Consequently, the financial hegemony enjoyed by the IPE and NYMEX would be greatly challenged and thus the U. S is likely to countermand this through military action. 3. 0 The Ambitious Nuclear Program of Iran The Tehrans nuclear ambition is another possible reason as to why the U. S may launch a land military attack on Iran. This has been seen from the latest series of sanctions on Iran by the Obama administration which mainly targets the Islamic Revolutionary Guards Corps which is the most powerful social, political and economic institution in Iran.The organization also has a large number of companies and banks and therefore makes it an take over target for these sanctions (LANDLER & COOPER, 2010). However, the critical thing to focus on with regard to this issue is whether these sanctions excite the capacity to compel Iran to halt its nuclear program. If the history of political and economic sanctions against countries is anything to go by, then Iran may not change its course despite the sanctions and this may lead to war.The reason for the sanctions is to contain Tehran which depicts a link which leads from diplomatical pressure to military action (Nadal, 2010). Tehran views this threat as real considering that its two neighbors to the west and to the east h ave a large number of U. S troops. 4. 0 Conclusion A possible military action on Iran by the US cannot be overlooked since the reasons surrounding this possibility would also have major effects on the economy and the security of the US.Considering the economic problems facing the US, the attempts by Iran to establish the euro-based oil bourse may seem as an attempt to strangle the dollar in the international oil market. The nuclear program also would threaten the security not only of the US but also of the world if it is not either regulated or completely halted. To aver the nuclear weapons development, Washington ought to try and alter the perceptions of threat harbored by Iran against America.ReferencesClark, W. (2004). The Real Reasons Why Iran is the next Target The Emerging Euro-denominated International Oil Marker. Retrieved August 20, 2010, from http//www. globalresearch. ca/articles/CLA410A. hypertext markup language LANDLER, M. , & COOPER, H. (2010). U. S. Eyes New Sancti ons Over Iran Nuclear Program. Retrieved August 20, 2010, from http//www. nytimes. com/2010/02/10/world/middleeast/10sanctions. html? _r=1 Nadal, A. (2010). Sanctions against Iran and the Next War. Retrieved August 20, 2010, from http//www. campaigniran. org/casmii/index. php? q=node/10518

Day After Tomorrow

FTER Hollywood cinema and temper change The Day afterward tomorrow. Ingram, David. In Words on Water Literary and Cultural Representations, Devine, Maureen and Christa Grewe-Volpp (eds. ) (Trier Wissenschaftlicher Verlag Trier, 2008). Climate change, like many other surroundal problems, is slow to develop, not amenable to simple or fast solutions, and ca utilise by factors that argon both invisible and complex (Adam 17).Making a narrative motion picture about clime change therefore does not flout easily into the commercial formulae of mainstream Hollywood, which favour human-sake stories in which individual protagonists undergo a moral transformation before they resolve their problems through heroic consummation in the final act. Can much(prenominal)(prenominal) classical narratives mediate an issue as complex as climate change without being not only inadequate, still even dangerous, lulling their hearing into a false instinct of security about our ability to deal with such problems?Ecocritic Richard Kerridge observes that a British journalist responded to the nuclear apoplexy at Chernobyl in 1986 by framing it within the known narrative of the Second World War, with its emphasis on a productive outcome and a narrative closure. For Kerridge, such narrative strategies may be an overly reassuring way of representing environmental threats, and reveal therefore that the accepted, material ecological crisis is as well a cultural crisis, a crisis of representation (Kerridge 4).Yet, as Jim Collins argues, mass-mediated cultures, including those of popular Hollywood cinema, ar characterised by semiotic complexities of meaning production, which leave even popular, generic texts open to doubled comments (Collins 17). buck theorist Stephen Prince describes a Hollywood ikon as a polysemous, multivalent set of images, characters, and narrative situations, which therefore constitute what he c completelys an ideological agglomeration, quite a than a s ingle, coherent ideological position (Prince 40).This polysemy may arise from the Hollywood industrys commercial intention to maximize profits by appealing to as wide and diverse an au checknce as feasible by making movies which, ideologically speaking, seek to have it all ways at once. atomic number 53 burden is that, when we theorize about the per word of honoral effects popular movies may or may not have on public aw argonness of environmental issues, those effects argon more complex, and less deterministic, than is often assumed is some academic film theories.This essay ordain explore the range of meanings generated by The Day After tomorrow (2004), which frames the issue of anthropogenic climate change within the familiar genres of the misfortune and lore fiction movie. Ideological analysis of the film, combined with a study of its reference answer, suggests that even a classical Hollywood narrative dejection generate a degree of ideological ambiguity which makes it o pen to various interpretations, both braggart(a) and blimpish. The ideological ambiguity of The Day After tomorrow derives in part from the way its narrative mixes the modes of realism, ideate and melodrama.A realist film will attempt to correspond to what we agnize as reality, mainly through the optical realism of its mise-en-scene and the sense of psychological plausibility produced by both its script and the performance of its actors. Melodrama, on the other hand, will simplify character and heighten action and emotion beyond the everyday. Hollywood movies t stop to work by moving between these two modes of representation. Some genres, such as science fiction and horror, also move between realism and fantasy, a mode which exceeds realist plausibility by creating a totally fictive and unimaginable diegetic world.As a science fiction movie, therefore, The Day After tomorrow deliberately blurs the distinction between realism and fantasy. The narrative begins from a scientifical ly plausible enter the melting of the Artic churl-cap, caused by anthropogenic worldwide warming, cools the North Atlantic Current, colloquially k instantern as the Gulf Stream, and thereby affects the weather in the Northern hemisphere. The movie then extrapolates from this premise beyond even the worst-case scenarios proposed by climate scientists.The switching hit of the thermohaline current generates a global superstorm, as a result of which an ice sheet covers Scotland and a tsunami floods Manhattan. The movies literary source, it is expense noting, was The Coming Global Superstorm (1999), by Art Bell and Whitely Streiber, whose television talk show on the paranormal suggests an matter to in the parascientific that is, in speculation beyond what is provable or falsifiable by scientific method. When interpreted literally, that is, as realism, The Day After Tomorrow understandably violates notions of scientific plausibility.The basic climatology in the movie is inaccurate h urri heapes fecal matter only form over large bodies of warm water, not the cold seas found in high latitudes, where polar lows are the main storm systems. The movie also distorts the science of climate change, mainly by accelerating the time frame within which its effects take place, and by making them much worse than predicted. Any slowdown in the thermohaline current would take a period of years, at least, and probably centuries, sort of than the days featured in the film.Moreover, even if the North Atlantic Current did switch off, average temperatures would still be likely to rise, alternatively than fall, because of the greenhouse gasses already in the atmosphere (Henson 112-5). The films fundamental narrative, in which government paleoclimatologist Jack Hall (Dennis Quaid) walks in sub-zero temperatures all the way from north of Philadelphia to the in the altogether York macrocosm Library, to rescue his son Sam (Jake Gyllenhall) who is sheltering there, is thus impossibl e neither would survive such low temperatures.For helicopters to freeze in mid-air, temperatures would not only be too cold for snow, only when also too cold for human survival. Burning books in a library would be insufficient to keep deal alive. Such implausibilities are worth pointing out, not because cinema audiences necessarily take what they see as scientific truth, but because science fiction often provides an opportunity to learn some real science. Indeed, as we will see later in this essay, environmental groups used the release of the movie as a teachable moment on the science of climate change (Leiserowitz 6).The two-disc DVD edition of the movie includes a documentary on the science of climate change harborwriter Jeffrey Nachmanoff commented on its release that, although our primary concern in making the film was entertainment rather than education. On the DVD, theres room for both. Acknowledging that the time frame he created for the movie was accelerated for fictional purposes, and that the superfreeze was stringently a cinematic device, he added that the political, agricultural and societal consequences of a sudden change in the ocean currents would still be catastrophic (Nachmanoff 1).To dismiss The Day After Tomorrow purely for its scientific inaccuracies, then, clearly misses the point of the movie, which is to use realist shares of climate science as a blend ining point for melodrama and fantasy, so that it can dwell on the spectacle of organic weather, appropriate for a blockbuster possibility movie, and also invite the audiences emotional engagement with the human- hobby story that becomes the main focus of narrative. It is to these elements in the film that we will now hitch.As a natural disaster melodrama, the film works on an opposition between nature and civilization, and invites an ambiguous identification on the part of the viewer in Hollywood terms, we are invited to root for both nature and civilization at various points in the narrative, although the values of civilization eventually become the dominant ones. Before that happens, however, the scenes of peak weather make the experience of environmental apocalypse strangely attractive. As Maurice Yacowar observes, the natural disaster movie dramatizes peoples helplessness against the forces of nature (Yacowar 218).The set pieces of extreme weather in The Day After Tomorrow reveal the sublime power of absurd nature violent, chaotic, powerful beyond human verify, and therefore exciting and seductive. surroundalist capital of Minnesota Hawken writes that the concept of doomsday has always had a perverse appeal, waking us from our humdrum existence to the allure of a future harrowing drama (Hawken 204). As Stephen Keane points out, although disaster movies regularly feature television news reports commenting on the events that are taking place, they do not go on to make the critical point that we are all electronic voyeurs (Keane 84).The Day After Tomorr ow follows this pattern. The audiences complicity in seeking cinematic thrills in the scenarios of mass death and destruction caused by the weather is encouraged, rather than questioned, by the movie itself. Indeed, such thrills are the raison detre of its genre. Yet the aesthetics of the sublime have always been based on vicariousness if we take pleasure in the noisome forces of nature, it is from the safe distance of our movie seats, where we are in the position of voyeurs, rather than of victims.This construction of victimhood in the disaster movie depends on narrative alignment when people die, we do not dwell on them, nor on the bereaved people they leave behind. Typical of the disaster genre, the focus of natures destructiveness in The Day After Tomorrow is the city. Hollywood disaster movies, writes Geoff King, share with millennial groups a certain delirious investment in the destruction of the metropolis (King 158). When a series of tornadoes attack Los Angeles, the mise-e n-scene focuses on familiar landmarks the Hollywood sign, the Capitol Records building, and a billboard advertising the manakin Angelyne.Screenwriter Jeffrey Nachmanoff observes on the DVD commentary that preview audiences greeted the moment where the Angelyne sign flattens the television reporter with cheers and applause (Emmerich). The sense of retribution is difficult to avoid perhaps there is poetic justice in the media figure, parasitical on other peoples suffering, finding his nemesis in Angelyne, the model and aspiring actress who paid to advertise herself on her own billboards, and thus became for some emblematic of the meretricious values of the city.As Mike Davis observes, Los Angeles is often given special word in apocalyptic narratives. No other city, he writes, seems to excite such dark rapture. Unlike other cities, the destruction of Los Angeles is often depicted as, or at least secretly experienced as, a victory for civilization (Davis 277). Geoff King draws upon Mi khail Bakhtins notion of the carnivalesque to account for such moments of licensed enjoyment of destruction, based on an overturning of cultural norms (King 162). yet the destruction is too cruel, as well as unfocussed and generalised, to be simply an anti-authoritarian gesture.As Susan Sontag noted, science fiction films provide a morally acceptable fantasy where one can give out permit to cruel or at least amoral feelings (Sontag 215). Freuds notion of the death indirect request thus better captures the dark side of such fantasies. For Freud, such aggressions were natural drives that need to be controlled art provides catharsis for such anti-social instincts. Patricia Mellencamp draws on Freud to argue that American television is both shock and therapy it both produces and discharges anxiety (Mellencamp 246).The disaster movie works in a similar way, mobilising and exploiting our negative drives and emotions. But are there unconscious meanings specific to the natural disaster mov ie? One reading of such movies is as revenge of nature narratives, which enact a fantasy of nature getting its own back for its mistreatment at the hands of human beings. analyst Karl Figlio draws on the theories of Melanie Klein to argue that scientific thinking itself is an act of repressive violence towards Nature. Nature killed, he writes, is nature in a vengeful mood, a unenlightened retaliatory phantasy that fuels apocalyptic forebodings.The more scientific the culture, the more it is at the mercy of irrational fears, and the more it is dependent on scientific protection from them (Figlio 72). He cites Mary Shelleys Frankenstein as an extreme example of scientific mapping that calls forth revenge from nature (75). According to this reading, then, when we watch nature getting its revenge, we as viewers are able to purge our guilt about its degradation. However, as Yacowar notes, the moral attitude of the typical disaster movie is ambiguous. Poetic justice in disaster films, he writes, derives from the assumption that there is some coitusship between a persons due and his or her doom. However, this notion breaks down when the good die with the evil (Yacowar 232). The Day After Tomorrow works according to these generic expectations, with Nature at times appearing amoral in its destructiveness, and at other times, a force of moral retribution and punishment. The unconditional businessmen who bribe the bus driver, and the corruptible bus driver himself, get their comeuppance when they drown in the tidal wave that engulfs Manhattan.Jeffrey Nachmanoff reveals in the DVD commentary that, in an early draft of the script, the businessman had been negotiating an insider deal with the Japanese businessman killed by the hailstorm in Tokyo (Emmerich). In the final version, the latter lies to his wife on his cell phone moments before his death. The ethical critique in these scenes fits into the ideological agenda of many disaster films. As King writes, such films in clude an element of criticism of capitalism, but this is a gesture that for the intimately part leaves its core values largely intact.A few excesses are singled out, such as the greedy cost-cutting that undermines the ace of the eponymous star of The Towering Inferno, leaving the remainder mostly untouched (King 153). In The Day After Tomorrow, then, greedy, self-interested individuals are punished. Yet innocent people also die in the movie, including the climate scientists who freeze to death in Scotland, led by the avuncular Terry Rapson (Ian Holm), and Jacks friend Frank (Jay O. Sanders), who falls to his death through the detonator of a building, after cutting his own rope to prevent his friends from endangering their lives in trying to rescue him.These are figures of heroic sacrifice, also central to the disaster genre, because they use up out the redemptive aspects of the apocalypse. The film does not state clearly where the British royal family stand in this hierarchy of innocence and guilt what is clear, is that death by climate change is no respecter of class privilege and wealth. The disaster movie, then, is about which values are the key to survival. The rescue of the innocent, French-speaking African family is thus decisive in einforcing the movies ethical hierarchy based on racial, national and gender differences they are saved by the white American woman (Laura), who in turn is saved by the white American male person (Sam), thereby enacting in miniature two important themes in the movie. The most important of these is the narrative of male heroism and redemption. Melodrama, writes Linda Williams, is about a retrieval and staging of innocence (Williams 7). In this film, the melodramatic plot of father rescuing son makes the moral point that hard-working fathers need to take a more active role in bringing up their sons.The movie implies that, although millions of people may be dead, if one American family can be saved, then at least some good has come out of the eco-apocalypse. This sum is more liberal, or at least not as unambiguously patriarchal, as in front disaster movies. In keeping with Stephen Princes notion of ideological agglomeration, mentioned earlier, although Jacks wife is a doctor, she ends up playing the role of surrogate mother to a seven-year old boy with cancer, separated from his parents by the storm.The movie can thus be interpreted as either liberal (she is a doctor) or conservative (she is placed in the stereotypical female role of nurturer). The second important theme in the movie is the fall in States self-appointed role as global protector-policeman. The rescue narrative trumpets the frontier values of male physical heroism, bullocky leadership and individualism, encapsulated by the iconic image of the torch of the Statue of shore leave emerging from the waves of the tsunami that engulfs Manhattan.However, Americas role in world politics is also questioned by a more liberal discourse in the movie, when American refugees are forced to flee illegally into Mexico, in an ironic reversal of the real politics on the national border. This ironic reversal is itself made ambiguous, though, when later the United States government writes off all Third World debt, but in return, wins the right for its citizens to live as guests in those countries. It should be noted that not all Hollywood movies with environmental themes are as individualistic in their proposed solutions as The Day After Tomorrow.Some have endorsed more collective forms of action, even in narratives led by strong individuals an image of placard-waving protestors recurs in Free Willy 2 The Adventure Home (1995) and Fly Away Home (1996) as a sign of collective resistance. Ultimately, The Day After Tomorrow prefers American notions of liberal individualism, which it turns into universal values by identifying them with human civilization as a whole. Indeed, civilization, rather than wild nature, becomes the real obj ect of audience identification by the end.The choice of the innovative York Public Library as the place of sanctuary and rescue is significant in this respect. One of the survivors makes sure he preserves the Gutenberg Bible from burning, not because he believes in God, he says, but because, as the first book ever printed, it represents the dawn of the age of reason. If Western civilization is finished, he adds, Im going to save at least one little piece of it. Ultimately, then, the movie celebrates reason and science as the values most central to Western civilization. Unusually for a Hollywood disaster movie, scientists are neither evil nor incompetent.As Yacowar notes, specialists in disaster movies, including scientists, are almost never able to control the forces loose against them. The genre thus serves the mystery that dwarfs science (Yacowar 228). This is also true of The Day After Tomorrow, in that the scientists are unable to contain the devastating effects of climate chan ge once they have begun. Ultimately, writes ecocritic Sylvia whitethorner, the movie makes the point that the most advanced and dedicated scientific work is still powerless against the forces of nature once they are unleashed (Mayer 111).Nevertheless, the scientists are the heroes of the movie. Their advice on the risks of climate change was ignored by the politicians until it was too late. As the director of the National Oceanic and Atmospheric Administration angrily tells the Vice-President You didnt fatality to heat about the science when it would have made a difference. The scientists computer models prove correct in the movie, unlike in real life, climate science provides the clear, certain and unambiguous knowledge necessary for survival.Moreover, advanced technology is ultimately a force for good. Jack is able to locate his son in the Public Library under the frozen wastes of Manhattan because of his friends portable satellite navigation system (which, of course, would not w ork in such a massive storm). He is also seen driving a hybrid Toyota Prius earlier in the film. Reason, science and technology thus win the day. However, as Sylvia Mayer also notes, the movie stops short of simplistically advocating a technological fix for environmental problems as complex as climate change (Mayer 117).The values of civilization finally triumph over the destructive forces of wild nature when the pack of wolves, which escaped from Central Park Zoo earlier in the movie, return to attack Sam and his friends when they are searching for medicine and food. That the wolves are computer-generated special effects only adds an extra layer of irony to the triumph of civilization and benign technology in the movie. Indeed, the movie itself can be seen as a paean to the imaginative power of Computer Generated Imaging.In Eco Media (2005), Sean Cubitt argues that The Lord of the Rings trilogy (2002-3) can be read as a celebration of the computer technologies from which it was mad e, which are an artisanal mode of production that demonstrates a creative place for technology within green thinking. There is an increasing belief, he suggests, that through the development of highly technologised creative industries, it is possible to devise a mode of economic development that does not compromise the land (Cubitt 10). The thematic resolution of The Day After Tomorrow is ambiguous, however.The ending of the movie follows the continual pattern of the genre identified by Geoff King, in which the possibility of apocalyptic destruction is confronted and depicted with a potentially horrifying special effects/ spectacular reality, only to be withdrawn or limited in its extent (King 145). Typically, then, destruction is extensive, but total apocalypse is prevented at the last moment. The superstorm passes, thereby confirming Jacks earlier opinion that the storms will last until the imbalance that created them is corrected by a global realignment.Gazing at a beautiful, ca lm Earth, an astronaut in the International Space institutionalize comments that he has never seen the air so clear. In Winston Wheeler Dixons phrase, this could be the exit point for the viewer that disaster movies invariably provide (Dixon 133) the moment where the audience is let off the hook with a simplistic, evasive solution to the seemingly intractable problem explored in the rest of the movie. To return to the question posed at the start of this essay, does such an ending merely encourage evasion, denial and complacency in regard to issues such as anthropogenic climate change?Dixon argues that contemporary American cinema serves those who wish to toy with the themes of destruction, from movies about atomic apocalypse to those that flirt with Nazism. This cinematic cult of death, he concludes, is the ultimate recreation for an exhausted, media-saturated culture, a cult which remains remote, carefully contained within a box of homicidal and genocidal dreams (Dixon 139). But the ideological ambiguity of The Day After Tomorrow, as well as its audience reception, suggests that the process of interpretation is more open and varied than this.From an environmentalist perspective, the melodramatic ending of the film is ambiguous. No matter what human beings do, it appears, the Earth will heal itself. According to this reading, the message of the movie is that, because the storm eventually passes, we dont need to worry. This message resembles the right-wing appropriation of the Gaia hypothesis that is, the idea, proposed by the British chemist James Lovelock, that the Earth as a whole is a self-regulating system in a natural state of homeostatic balance.In his 1999 book unspoken Green Saving the surroundings from the Environmentalists, Peter Huber used the concept of Gaia to justify a conservative manifesto that called for the dismantling of existing environmental regulations. The most efficient way to control pollutants such as greenhouses gases, he argued, is not to worry about them at all. Let them be. Leave them to Gaia (Huber 128). The notion of Gaia, we should note, is not the sole property of clean Age environmentalists or deep ecologists.According to this interpretation, the movie appears to endorse the idea that humanity, through a combination of ingenuity, courage and chance, can survive whatever Nature may throw at us, an statement used by conservatives like Huber to justify a non-interventionist approach to environmental issues. It is a mistake, however, to assume that the final moments of a movie, when narrative closure is achieved, order its overall meaning. An analogy may be drawn here with the critical analysis of the role of women in film noir.As Janey Place argues of the female characters in films such as Double Indemnity (1946), it is not their inevitable demise we remember but rather their strong, dangerous, and in a higher place all, exciting sexuality (Place 48). In a similar way, the most memorable images in The Day After Tomorrow are probably the scenes of extreme weather. The main advertising image for the movie showed the shot of the hand of the Statue of Liberty held above the storm surge an image of survival which at least includes a sense of struggle, rather than the calm, reposeful Earth revealed at the close of the film.Indeed, the above interpretation of the film as conservative is contradicted by its more explicit message, which advocated liberal political reform in the election year of 2004. Early in the film, Vice-President Becker, played by an actor who bears an obvious resemblance to Dick Cheney, refuses to listen to the advice of scientists on global warming, arguing that to take action would harm the American economy. In another reference to George W. Bushs presidency, we are told that the administration in the movie has also refused to sign up to the Kyoto Protocol on the reduction of greenhouse gas emissions.At the end of the movie, Becker, now President, appears on te levision to apologise to the nation out of a newfound sense of humility For years we operated under the belief that we could continue devour our planets natural resources without consequence. We were wrong. I was wrong. Perhaps the most unbelievable part of the whole movie, the Presidents public apology confirms the words of the African-American homeless man earlier in the film, who refers to people with their cars and their exhausts, and theyre just polluting the atmosphere.The disaster has been a wake-up call for America, and the new start will allow for the changes in lifestyle necessary for a more sustainable future. The government will also change its attitude to the Third World from one of arrogance to gratitude. In these moments, the movie works as a unconsecrated form of jeremiad secular because the environmental catastrophe is not seen as punishment from God, but as human-created. Opie and Elliott argue that both implementational and evocative strategies are necessary in successful jeremiads, and cite Rachel Carsons Silent Spring (1962) as a powerful exemplar (Opie and Elliott 35).The Day After Tomorrow also uses both pathos and rational argument to convince its audience of the need to take steps to avoid environmental catastrophe. Critical speculation on the effectiveness or otherwise of making a disaster movie about global warming can draw on the conclusions of an empirical study by the Potsdam Institute for Climate Impact investigate of the reception of the movie in Germany. This found that the movie did not appear to reinforce feelings of fatalism in its audience. Less than 10% of the sample agreed with the statement, Theres nothing we can do anyway, whereas 82% preferred, We have to stop climate change. Reusswig). Indeed, the Potsdam study makes hopeful reading for environmentalists. It found that the publicity surrounding the film triggered a new interest in climate change, and raised some issues previously unfamiliar to audiences, such as th e role of oceans in global warming. A similar study of reception in the United States concluded that the film led moviegoers to have higher levels of concern and worry about global warming, to estimate various impacts on the United States as more likely, and to shift their conceptual understanding of the climate system toward a threshold model.Further, the movie encouraged watchers to engage in personal, political, and social action to address climate change and to elevate global warming as a national priority. However, whether such changes constituted merely a momentary blip in public perceptions remained to be seen (Leiserowitz 7). These empirical studies are important because they show that audience reception is a more complex and variable process than it is sometimes taken for in film theory. According to some versions of psychoanalytic subject positioning theory, Hollywood movies like The Day After Tomorrow tend to render spectators passive.Under the influence of Bertolt Brech ts theories of narrative, film academics such Colin McCabe and Steven Heath argued that only modernist or avant-garde narrative techniques can produce a more active (even revolutionary) film spectator. As the 1992 textbook modern Vocabularies in picture Semiotics puts it, psychoanalytic film theory sees the viewer not as a person, a flesh-and-blood individual, but as an artificial construct, produced and delirious by the cinematic apparatus (Stam 147). In his book The Crisis of Political Modernism (1999), D.N. Rodowick exposes the flaws in such thinking. The politics of political modernism, he writes, assume an intrinsic and intractable relation between texts and their spectators, regardless of the historical or social context of that relation (Rodowick 34). But film viewers are flesh-and-blood individuals, and when they are treated as such by film theorists and researchers, the phenomenon of film reception becomes more complex and nuanced, and less deterministic and stereotyped, than that imagined by subject positioning theory.Empirical audience research shows that we do not all watch the same movie in the same way, and that audience responses are complexly determined by a long list of variables, such as nation, region, locality, class, gender, sexuality, ethnicity, race and, last but certainly not least, individual temperament. When we look at the public reception of The Day After Tomorrow, then, it is clear that different interest groups appropriated the movie in different ways.Both sides of the public debate about climate change interpreted the movie within a realist framework, either positively or negatively, and produced selective readings in order to further their own agendas. Patrick Michaels, one of the minority of scientists who stills rejects the idea of human-created climate change, pointed out the scientific flaws in the movie, and damned Hollywood for irresponsibly playing into the hands of liberal environmentalists by exaggerating the threat of global warming (Michaels 1).Liberal-left environmental campaigners also understood that the movies foundation in science was flawed. However, they found its scientific exaggerations and inaccuracies less important than what they saw as its realistic portrayal of the American governments denial of the scientific evidence for global warming. As former Vice-President Al battue put it, there are two sets of fiction to deal with. One is the movie, the other is the Bush administrations presentation of global warming (Mooney 1). Gore joined with the liberal net income advocacy organization MoveOn. rg, which used the movies release as an opportunity to organize a national advocacy campaign on climate change. Senators McCain and Lieberman also used the movie to promote the reintroduction of their Climate Stewardship Act in Congress (Nisbet 1). Greenpeace endorsed the underlying premise of the film, that extreme weather events are already on the rise, and global warming can be expected t o make them more frequent and more severe. It summed up its response to the movie with the line Fear is justified (Greenpeace 1-2).The use of this movie to encourage environmental debate suggests that it is perhaps only if Hollywood movies like The Day After Tomorrow are peoples sole, or even main, source of information on the environment that we should worry. As Sylvia Mayer argues, Hollywood environmentalist movies have the potential to contribute to the development of an environmentally informed sense of self that is characterised by an awareness of environmental threats, by the wish to gain more effective knowledge about them and by a disposition to participate actively in efforts to remedy the problem (Mayer 107).In this respect, a classical, Hollywood-style narrative does not necessarily inculcate or reinforce a feeling a complacency or denial it its audience. In any case, no narrative can be as complex as the reality to which it refers all art is a process of simplifying, sel ecting and giving shape to reality. Classical narrative forms and genre movies such as The Day After Tomorrow can focus thought and provide an imaginative and provocative response to environmental crisis. WORKS CITED Adam, Barbara (1998), Timescapes of Modernity The Environment and Invisible Hazards, Routledge, London and New York.Bell, Art and Streiber, Whitely (1999), The Coming Global Superstorm, Pocket Star Books, New York. Collins, Jim (1989), Uncommon Cultures Popular Culture and Post-Modernism, Routledge, New York and London. Cubitt, Sean (2005), Eco Media, Rodopi, Amsterdam and New York. Davis, Mike (1998), Ecology of Fear Los Angeles and the Imagination of Disaster, Henry Holt and Co. , New York. Dixon, Wheeler Winston (2003), Visions of the Apocalypse Spectacles of Destruction in American Cinema, Wallflower Press, London and New York.Emmerich, Roland, director (2004), The Day After Tomorrow, 20th Century Fox, Two-disc DVD. Figlio, Karl (1996). Knowing, loving and hating na ture a psychoanalytic view in George Robertson, Melinda Mash, Lisa Tickner, Jon Bird, Barry Curtis and Tim Putnam (eds), FutureNatural Nature, science, culture, Routledge, London and New York. Greenpeace International (2004). Big screen vs big oil. http//www. greenpeace. org/international/news/the-day-after-tomorrow, 1-4. Hawken, Paul (1993), The Ecology of Commerce A Declaration of Sustainability, HarperCollins, New York.Henson, Robert (2006), The Rough Guide to Climate Change, Rough Guides, London. Huber, Peter (1999), Hard Green Saving the Environment from the Environmentalists A Conservative Manifesto, Basic Books, New York. Keane, Stephen (2001), Disaster Movies, Wallflower Press, London. Kerridge, Richard (1998), Introduction, in Richard Kerridge and Neil Sammels (eds), Writing the Environment Ecocriticism and Literature. Zed Books, London and New York. King, Geoff (2000), Spectacular Narratives Hollywood in the Age of the Blockbuster, London and New York, I. B. Tauris.Liesero witz, Anthony A (2004), Before and After The Day After Tomorrow A U. S. study of climate change risk perception. Environment. 46 (9), 22-37. www. findarticles. com/p/articles/mi_m1076/is_9_46/ai_n856541/print, 1-12. Mayer, Sylvia (2006), Teaching Hollywood Environmentalist Movies The Example of The Day After Tomorrow, in Sylvia Mayer and Graham Wilson (eds), Ecodidactic Perspectives on English Languages, Literatures and Cultures, Trier, WVT. Mellencamp, Patricia (1990), TV Time and Catastrophe, or Beyond the Pleasure Principle of Television, in Logics of Television, ed.Patricia Mellencamp, Indiana University Press, Bloomington. Michaels, Patrick J. (2004), Apocalypse Soon? No, but This Movie (And Democrats) Hope Youll Think So. The Washington Post, May 16th 2004, B01. www. washingtonpost. com/ac2/wp-dyn/A28338-2004May14? language=printer Mooney, Chris (2004), Learning From Nonsense? , Committee for Skeptical Inquiry, http//www. csicop. org/doubtandabout/global-warming Nachmanoff, Jeffrey (2004), Jeffrey Nachmanoff on The Day After Tomorrow. http// www. amazon. co. uk/gp/feature. html.Nisbet, Matthew (2004), Evaluating the Impact of The Day After Tomorrow Can a Blockbuster Film Shape the Publics Understanding of a Science Controversy? , Committee for Skeptical Inquiry, http//www. csicop. org/ Opie, John and Elliott, Norbert (1996), Tracking the Elusive Jeremiad The rhetorical Character of American Environmental Discourse, in James G. Cantrill and Christine L. Oravec (eds), The Symbolic Earth Discourse and Our Creation of the Environment, University Press of Kentucky, Lexington. Place, Janey (1978), Women in Film Noir, in E. Ann Kaplan (ed), Women in Film Noir.BFI, London. Prince, Stephen (1992), Visions of Empire Political Imagery in Contemporary American Film. Praeger, New York. Reusswig, Fritz, Scwarzkopf, Julia and Pohlenz, Philipp (2004), Double Impact The Climate Blockbuster The Day After Tomorrow and its impact on the German Cinema Public. PIK Report 9 2, Potsdam, 1-61. http//www. pik-potsdam. de/research/publications/pikereports/summary-report-n-92 Rodowick, D. N. (1999), The Crisis of Political Modernism Criticism and Ideology in Contemporary Film Theory, University of Illinois Press, Urbana and Chicago.Sontag, Susan (2001), Against Interpretation, Vintage, London. Stam, Robert, Burgoyne, Robert and Flitterman-Lewis, Sandy (1992), New Vocabularies in Film Semiotics Structuralism, post-structuralism and beyond, Routledge, London and New York. Williams, Linda (1998), Melodrama Revisited, in Nick Browne (ed), Refiguring American Film Genres, University of California Press, London. Yacowar, Maurice (1986), The Bug in the Rug Notes on the Disaster Genre, in Barry Keith Grant (ed), Film Genre Reader, University of Texas Press, Austin.

Bladerunner †Humanity and Nature Essay

The central theme of Bladerunner is the relationship between compassionateity and disposition. More specifically it has a purpose in present how science bottomland negatively influence this fragile relationship. Set in Los Angeles of 2019 we see the decadence of western society into an painful harsh impersonal, technology-dominated realm. The inhabitants who fight for their daily survival are in desperate want for nature, contact with which is denied to them by the unrestricted scientific come on and the consequent ontogenesis of the natural world conducted for the sole purpose of profit. Humanity is also losing touch with its own nature.The compassion, the empathy, the love and the emotion are all rare or absent. This ailing relationship between sympatheticity and nature is conveyed through the means of scene readyting, dialogue, plot, camera techniques and other spud features. All these elements of cinematography synthesise to manufacture an effective portrayal of the u nifying theme. In Bladerunner the some prominent element of cinematography is mise en scene. It generates a context for the film and therefore makes the plot and themes accept up to(p). To set an appropriate scene different variables need to be controlled.These variables include location, props, lighting and colour. In general the location of the plot is in the vast urban canyons of 2019 LA. The elevated dark buildings, the dirty fog, perpetual rain and the crowded dark streets devoid of ve experienceation make up the stickerdrop of most scenes. All this is filmed in dark lighting, which complements the effect produced by the fog in obscuring the living details. From this the responder acknowledges the deterioration of society, the harsh conditions that the humans are subjected to and the way the human spirit itself is to a greater extent and more destroyed under such conditions.Filming such a location at night provides the coach with the opportunity to use chiaroscuro (a techn ique of strong contrast) to boost convey the dominance of technology over humanity. For display case in outdoor scenes the garish flickering neons are obtrusively visible but they fail to lighten the obscure, dark, fogged contacts, including the multitudes of faceless people. The prominent visibility of artificial things over human social movement together with the qualities of the location indicates the degradation of human life under the command of science.The robes worn by fictional characters is an important choice made as part of setting the scene. Most of the street people wear hooded dark clothing covering their whole body. This is perhaps to protect them from the rain but it also hides their faces and their eyes from the camera and from us, creating an impersonal atmosphere in conjunction with the harshness of the surroundings. We get a feeling that everyone hides from everyone else and human interpersonal interaction is limited to the bare necessity. Some time the style of clothing worn by characters tells us something about the characters themselves.For example the trenchcoating style garments worn by Deckard are a throwback to the ? 20s and ? 30s detective genre in film, and the responder instantly sees Deckard as such. There are times when the clothing worn gives us an insight into the themes of the film. When we first see meet Racheal (and we think she is a human), her outfit with geometric power dressing shape, the black hues and the sinless hair create an impression of power and efficiency, qualities that are valued in androids. The next time we meet her we see her in a fur coat and underneath, a soft white blouse.Then when she lets her hair down the transformation is complete. By now we know that she is a replicant and for a replicant to be so human is ironic when the ? real humans dont show such qualities. This satire elucidates the deteriorated nature of humanity very effectively. The film is not only able to show the way humanity has lost contact with nature but also how much they appreciate and want it back in their society. The unicorn dream-scene conveys this effectively. The soft back lighting, the low tonal contrast, the colour and the lush vegetation create a setting that is very different to the usual scenes.It is contrasted with real world to further repay the lack of nature in society. The short length of the scene, and the fact that the scene is only Deckards dream, conveys the elusiveness of nature and shows us that humans still ? dream of having the presence of nature back in their world-weary lives. Another method utilise by the cinematographers to show the want for nature is through the presence of artificial animals. fleck the artificiality of the animals shows the destruction of nature the way humans still keep them as pets conveys their yearning to bring back nature.The decay of human spirit is also shown through the dialogue. In Bladerunner the scarcity of the dialogue itself potrays the lack of human interaction and consequently the lack of empathy or emotion. Characters only speak when it is necessary for their own survival and soothe but not for the sake of emotional involvement. However, the replicant slaves, who supposedly feel no emotion, interact more sensitively with each other. This irony again has the effect of showing the dehumanisation suffered by this society. The absence of nature and the way society deals with this is revealed through the way they refer to nature.For example at Tyrells office Decker asks Racheal if the owl is artificial, to which she replies of seam it is. A similar conversation that occurs later between Salome (Zhora) and Decker about artificial snakes, further reinforcing the sad truth. Another common literary language feature that is used in Bladerunner is symbolism. The film is filled with visual symbolic codes. The unicorn, a mythical creature, which, according to myth, is a fragile and elusive being of beauty known for its r arity. In the film it symbolises the rarity of nature and its beauty and fragility.There are other symbols that signify the elusive presence of nature in human life. angiotensin-converting enzyme is the unnaturally weak and indistinct sun. The sun is the source of all life on earth and natures sustaining energy. The weakened presence of the sun is possibly due to the fog but the importance lies not in the cause of the weakness. The dim sun is an indication that nature is being destroyed or is already destroyed. Another symbol is the motif of the human eye. Close to the beginning of the film we are presented with an ECU of Holdens eye reflecting bursts of flame.The fiery human spirit. The motif carries on throughout the film, the close up of eyes during the Voigt-Kampff tests, Mr Chews eye shop, the glowing eyes of the owl and the gruesome death of Tyrell. In many cases we encounter human figures whose eyes are hidden. The important example is Tyrell whose eyes are hidden by the thi ck glasses, but this is also true for the little people or the street people. If the eyes symbolise the human spirit then it is also true that the concealment of the eyes represent the destruction of this spirit.The characters and the way they respond to events in the plot is the most significant way through which the creators of the film express their concerns about the relationship between humanity and nature. It is through the characters and the way they are influenced by the society in which they live that the audience are able to receive the majority of information about that society. To make up a character the director (Ridley Scott) has to synthesis the acting, the physical qualities of the actors, the costume, the lighting and the camera work.Harrison Ford plays Deckard a Detective who is forced to put up in insensitive wall around him so as to carry out his job properly, but with the help of Racheal and Batty his soul comes through. The seriousness, the no-nonsense speech a nd the mechanical execution of his tasks all contribute to this substitution class of a tough guy cop. It is also sad to see that he is forces hide his emotions and sentiments for the sake of survival in this harsh world. By the end of the film we sense that if Batty and Racheal had not saved him his spirit would have been lost under the pressure.Rutger Hauer has possibly the most appropriate natural qualities to play Roy Batty (robot? ). The ? Indo-European look, a western cultural assumption of superiority and the Swedish accent with the concise overtones which is particularly effective in a quiet interpreter make him the perfect super/sub-human replicant. To enhance the effect the hair is died white, his body and face is always lit up to prominence, and almost always the image is fit from underneath making him look surrealistically handsome and at the same time imposing.However the way he responds to the events in the plot show that he has more ? humanity in him that the people who consider themselves human. The most memorable instance is they way he moaned for the death of Pris. He is not ashamed to return to the most basic instinct of openly showing emotion. This beautiful scene along with other such human responses from a replicant serves to convey the suppression of human nature in the society. Rachael is played by Sean Young as the replicant who doesnt know she is an android. The characters function is similar to that of Batty.To show the deterioration of everything ? human in the world of 2019. Her transformation itself carries the message. When she thought she was a human her conduct was much like a robot the emotionless soulless state of mind everyone is in. scarce once she begins to realise that she is replicant her appearance becomes increasingly ? human. This humanisation is portrayed through the use of costumes, the use of varying light and the use of ECU. Tyrell is the other character who has an important function in conveying the themes.Gen uinely lacking emotions or empathy, his main objective is the profit margin. He is part of the corporate dictatorship that has suppressed the spirit of the people and destroyed the natural world. His character is the total antitheses of Batty. The overconfidence in his intelligence, the impersonal way in which he addresses other characters, the opulent surrounding in which he lives show him as powerful tyrant. The irony is that he holds the status of God when he is not even fit to be a human.Thus through the development of characters and their response to the events of the plot, Ridley Scott and the actors communicate the way relationship between humanity and nature has evolved (deteriorated) into the world of 2019 LA. In effect all the techniques mentioned supra portray a society of individuals who are weary of the world they live in. They are rejects who lead a pitiful existence in a wastefulness called earth because they are not fit enough to go the out-world colonies. Suppress ing their own natural instincts for the sake of physically surviving they really the walking dead.Scientific progress conducted not for the best interests of humanity but for the best interests of business has effectively brought about the progressive degradation of society. By exploiting and destroying the natural world human can no more find solace or beauty so as to recuperate their weary minds and rekindle their dying spirits. In summary the techniques that are unique to film such as camera, lighting, costuming, colour and location works in conjunction with common literary techniques such as visual symbolism, irony and characterisation to effectively convey the relationship between humanity and nature.

Prose †A Christmas Carol Essay

hardly its too late in a flash, showing either that he is non as sharp as we thought, or that he is already learning from the les watch discourses he is being taught. He is also deep impact in the third episode when talking to the Spectre ab rise in his late sister and her son Fred, his nephew. After we assemble his reaction, which was filled with sorrow and remorse, we realise that a possible reason for his hatred of Christmas is because of the demise of his sister, and the reason for niggard being so mean. boor learns his lesson without the novel through the reactions he portrays through the episodes he sees.An important episode in this round of drinks is the one of Scrooge at Mr. Fezziwigs ball. This is because of the summons He corroborated everything, remembered everything, enjoyed everything, which is important because it shows that he sight love and can, if he wants to, change. Also in this episode, Scrooge ranks The pleasure he gives, is quite as great as i f it cost a fortune, which shows that Scrooge can still love, save the positives are outweighed by the negatives in his life, so he does non see the tiptop of loving and living.He also says I should wish to be able to say a word or two to my clerk just now, which shows that he is getting the message and is learning the lesson that the hard drink have to give. The side by side(p) strong reaction that the specter gets from Scrooge is after the scene with his fianci , which contains the evident emotions of mournfulness and regret. His may be for not changing his ways, or for the actions of his fianci , but they are portrayed when he says to the tenderness Why do you delight to torture me? Lastly, Scrooge tries to extinguish the light upon the Spirits head, which is an open display of misery and pain which is evoked onto Scrooge in the various scenes. The vivid description of the Ghost at the beginning of the stave is symbolic, like the description of Marleys chain in the prem ier stave entitled Marleys Ghost. The Spirit is described as like a child yet not so like a child as an old man, which makes the Ghost wait innocent and reliable, the common perception a children.The Spectre also has pure white clothing, which reinforces innocence, and holds a garlic clove of holly, which symbolises Christianity, and purity also. Other vivid elements of the Spirits description include a crget symbolise a halo which creates an obvious link to heaven and virtue, and a great extinguisher for a cap, which it now held chthonian its arm, which emphasises its appearance as a ghost. Stave collar is entitled The Second of the Three Spirits, and at the beginning of which, Dickens creates an apprehensious, and suspenseful atmosphere through the use of the delayed look from the second Spectre.Unlike the previous two ages, pathetic fallery is not used, but, like the last time, the use of time is five minutes, ten minutes, a quarter of an hour went by, yet nothing came. Th is creates suspense as to what allow for happen, and when the spirit will come. Dickens also sets the scene by having Scrooge on guard, ready for when the next spectre will come, and ready for the same greeting as from the spirit before. This is evident through the inverted comma But, finding that he turned uncomfortably cold when he began to wonder which of the curtains this new spectre would couch back, he put every one aside with his own hands.This creates suspense because, when the Ghost doesnt seem to come on time, both the reader and Scrooge begin to wonder if, how and when he will come. This suspenseful atmosphere is enhanced by a strange voice calling Scrooge by his name. At this point, we do not know who or what it is, or even if it is the second of the three spirits, which builds up on the suspenseful atmosphere, because of the unknown. The Ghost of Christmas Present shows Scrooge galore(postnominal) things near, and to do with Christmas, and mainly shows him why hoi polloi celebrate it, despite what conditions they live in.Firstly, the Ghost shows Scrooge the market place in the run-up to the position Christmas, with all of the food displays, the frenzied shopping and the excitement of Christmas, all of these things that Scrooge doesnt do currently, or wouldnt do without the lessons from the Ghosts, in the run-up to Christmas. This also says the fact that rejoicing does not come from the numerate of money you have, but is through being with loved ones, and making an effort to please and enjoy.This is evident through the quote but the customers were all so hurried and so eager in the hopeful assure of the day, which describes the enthusiasm of everyone for that one day of the year which is the time for festiveness and family. The Ghost next takes Scrooge to the business firm of his employee Bob Cratchitt and family, and sees how the family survive at Christmas, which is pitiful in itself, never mind how they survive normally. The quote muc h(prenominal) a bustle ensued that you aptitude have thought a goose was the rarest of birds and in truth it was something like it in this very place, illustrates how poor the Cratchitts are, for the goose is essentially ordinary, yet is extravagant in this house because they are used to so much less. Yet, this episode shows Scrooge and the reader that Christmas is not just to be celebrated because it is the birth of Jesus, or because it brings many gifts, but because it brings family together and lets people be joyful and merry. Collectively, the first two episodes displays to Scrooge that Christmas is not about the bad times in the past, but is about family.Next, Scrooge visits the sailors, miners and lighthouse keepers at Christmas, which describes families and co-workers enjoying each(prenominal) early(a)s company, weather young or old, and celebrating Christmas in the bowels of the undercoat and various otherwise conditions, which is more than what Scrooge has ever don e, even if his experiences have been the lesser of two evils. These episodes show Scrooge that rejoicing is not just about money, or is even to do with money, bit is within each other and within family. After that, the Spectre takes Scrooge to his nephew, Fred, celebrating Christmas with his married woman and sisters-in-laws.Scrooge sees Freds infectious laughter which lightens the witticism of everyone there, showing that happiness is in others, but he also sees the ridicule they use against him. However, he also sees how much his nephew cares for him, when he says his reachences carry their own punishment, and I have nothing to say against him. When Scrooge goes to see the miners, sailors and the lighthouse keeper, Scrooge learns an important lesson which will help him complete his journey with the three spirits. The lesson is reinforcing to Scrooge, and the reader, that happiness is in others, not in the amount of money one has.This is evident when describing the miners who, a ccording to the spirit, labour in the bowels of the earth. Dickens describes the families with examples like An old, old man and woman, with their children and their childrens children, and another(prenominal) generation beyond that, all decked out in their holiday attire, which links to the poor, and their stereotypical big families, and this quote describes how closely linked and cheerful they are to be with each other, showing that, though they are poor, they are happy.This is also supported by the lighthouse keepers when Dickens says Joining their horny hands over the rough table at which they sat, they whished each other a merry Christmas in their can of grog. This quote also says that, despite how well off you are or where you live, you can be happy, which is the inevitable lesson Scrooge will learn. The lesson is also taught with the sailors with the quotation and had remembered those he cared for at a distance, and had known that they delighted to remember him.Scrooge also makes a realisation at his nephews house, when he hears what his family really think about him, and also sees how Christmas can be a happy occasion. Firstly, upon entering the house with the Spectre, Scrooge sees his nephew and other family after they have eaten their Christmas dinner, and enjoying the celebrations, which includes music and games like blind-mans rooter and yes and no, the latter of which provided the main source of name-calling directed at Scrooge.However, upon entering, he initially hears a converse on how it appears that only Fred takes pity on Scrooge, while his companions take delight in mocking him, with jokes about how rich he is and comments about their dislike for him, which contradicts from Freds view on Scrooge, like how his offences carry their own punishment, how he has nothing to say against him, and how His wealth is no good to him. He dont do any good with it.After that, the family then goes onto play music, which reminds Scrooge of his days at emb arkation school, and also the Ghost of Christmas Past and the lessons that he had been shown so far, which adds to the morals he is learning because he might have cultivated the kindness of life for his own happiness with his own hands, without resorting to the sextons nigga that buried Jacob Marley, which shows that Scrooge is learning to regret, and see what he has done wrong. Games then follow the music, and in them, happiness is reinforced, again, in others and not in money, through Topper playing blind-mans buff with Freds wifes sister.However, when reaching the last game, Scrooge becomes the target of ridicule, even by Fred, by describing a trying animal, a savage animal, an animal that growled and grunted sometimes, and talked sometimes, and lived in London, and walked about the streets, and wasnt made a show of, and wasnt led by anybody, and didnt live in a menagerie, and was never killed in a market, and was not a horse, or an ass, or a cow, or a bull, or a tiger, or a do g, or a pig, or a cat, or a bear.The answer was indeed Scrooge, and shows how other people perceive him, even his own family. A major part in the lessons Scrooge learns come from the visit to the Cratchitts, and he is deeply affected by it. Firstly, Scrooge sees how much, or most suitably how little, the poor, that is to say the Cratchitts in this episode, get to eat. This is evidently a contrast to what Scrooge would be used to, and would have affected him to see how different the conditions were for the poor.Also when Scrooge visits the Cratchitts, we are introduced to the character critical Tim, Bob Cratchitts incapacitate son, who is used in the novel as a symbol of the poor from overnice England. Dickens uses niggling Tim to evoke sympathy in both the reader and Scrooge, because of his disability and his poor living conditions, and also because of his good nature towards his life, and the sufferings of other people, showing that he is not selfish despite his condition.Also , Scrooge is affected by his visit to the Cratchitts because they seem to be a contradiction of how the poor were seen in typical Victorian times. They were mainly seen as feckless, immoral, idle and drunken, yet Tiny Tim and family are portrayed as loving, caring, moral people, which is another reason why both Scrooge and the reader react so strongly to this episode. When answering Scrooges question on whether Tiny Tim will live, the Ghost answers with a quote that Scrooge had verbalise to the charity workers at the beginning of the novel decrease the surplus population.This is teaching and reinforcing to Scrooge that his actions were not only wrong, but regrettable, especially after viewing the scene with Bob Cratchitt, Tiny Tim and their family. This also creates a greater impact on Scrooge because he knows they were his own, spiteful words, and shocks him into thinking he could ever say that. This also proves that he is learning the lessons of the Ghosts. When answering Scrooge , the Spirit also uses the line to hear the Insect on the leaf pronouncing on the too much life among his hungry brothers in the dust.This line is a metaphor portraying Scrooge as an insect and the dust as the poor and hungry, like Tiny Tim, and reinforcing what Scrooge said earlier, about decreasing the surplus population. This says that the population is too big and that many should die to reduce it, which is something that Scrooge now regrets saying, so has a bigger impact on his reactions to the Spectres answer. At the end of the third stave, the Ghost of Christmas Present shows Scrooge two creatures from under his cloak. They were shaped as children, a boy and a girl, who were described as wretched, abject, frightful, hideous, miserable.