Saturday, November 30, 2019
Parkinsons Disease Essays (616 words) - Parkinsons Disease, Medicine
Parkinson's Disease Microbes and Society 03/06/00 Parkinson's Disease Parkinson's disease usually affects people of late middle age. Most run between the age of 50-60. The symptoms of Parkinson's disease are usually subtle and occur gradually. Some examples of symptoms a person may have, are feeling shaky or having trouble getting up from a chair or a couch. Others may notice that their speaking is softer or quieter. They will lose track of a thought or feel irritable or even depressed for no reason. These are early symptoms that may last a long time before the more classic and obvious symptoms appear. For now there is no way to cure or prevent Parkinson's disease from happening., but there has been new research looking at (PET) Position Emission Topography. This will allow scientists to scan the brain, which see chemical change that occurs in the brain. Using PET scientists can study the brain's nerve cells that are affected by disease. IF you are in the major stages of Parkinson's disease the major symptoms are tremors, problems walking, bradykinesia, and rigidity. Rigidity is an increase of stiffness in the muscles. If it is eased by medications, rigidity is always present. It's also responsible for a mask like expression. In some patients it leads to sensations of pain in the arms and shoulders. Secondly, victims with experience bradykinesia, which means slowness of movement. It causes the brains to react slower in its transmission of instructions to parts of the body therefore causing the body to act slowly in carrying them out. Poor balance is often true when victims move abruptly. Some patients experience falls due to poor balance. Last are tremors, they will affect three out of four patients. Tremors may affect only one part or side of the body. For the most part they don't disable people and it disappears during sleep. Some minor symptoms are depression, emotional changes, memory loss, difficulty swallowing, and chewing. At this point there is no cure for Parkinson's disease but there are a wide variety of medications that provide relief for the symptoms. Treatments are determined by how much the symptoms affect the person by a physician. Most of the medications will have to be adjusted to a countable dosage for the patients. In the early stage the physicians begin with one or two less powerful drugs. They saved the most powerful medicines for the time when patients need it the most. One of the most common medicines is Levodopa. Levodopa allows the nerve cells to use it to make dopamine with which the brain can use. It prevents or delays some symptoms in most patients. It also extends the time in which some patients can lead some normal lives. There are some side effects that could happen like nausea, vomiting, low-blood pressure, and restlessness. Symmevel which is used as an anti flu medication but it is also used with Parkinson's patients too. It reduces the symptoms of rigidity. Some other is anthicholinergics, selegiline, and deprehyl. A physician will also strongly suggest that to remain active in the early stages they will tell you to perform daily activities as much as possible. Taking supplements of vitamin E is showed to help somewhat. For the tremors, medication or anything relaxing will sooth them down too. When Parkinson's disease gets in the later stages physicians will help design exercise programs to help meet your specific needs. Last, they will also suggest for you to get a cane or a walker because the patient will be more prone to fall. Bibliography Parkinson's Disease Resource Center http//www.healingwell.com/parkinsons/info.htm Parkinson's Disease Foundation Inc., http://www.parkinsons-foundation.org Discovery Health: Parkinson's diseases, http://www.discoveryhealth.com PlanetR.com Science
Tuesday, November 26, 2019
Harvesting Pine Straw for Mulch
Harvesting Pine Straw for Mulch Pine straw is fast becoming the favored mulch and ground-cover for landscapers and homeowners in urban America. This trend is providing another non-traditional ways for a pine forest to provide extra income to the forest owner. Here are the most frequently asked questions about the increasingly lucrative pine needle harvest. Here are answers to many questions asked by people wanting to learn a bit more about harvesting pine straw. This Frequently Asked Questions page is for those interested in growing pine straw for harvest or for those who want to use pine straw as a mulch. Q: When is a pine forest ready for its first needle harvest?A: You have a potentially productive situation when an already established stand of pines reach at least 8 years of age. Q: What species of pine is considered the best for mulching and landscaping?A: Raking and baling is much easier when you have long needles. A short needled tree is nearly impossible to prepare correctly for handling, transporting...read more. Q: What season do you harvest pine needles?A: The Fall. It has been found that October and November are usually the best months to harvest straw as it is when you will harvest the most in the best condition...read more. Q: At what age is a pine forest most productive for needles?A: Needle-fall in a pine stand increases with age to a peak at age 15 years. The drop remains relatively constant...read more. Q: What can I expect pine straw yields to be?A: If you begin raking when a pine stand is 6 years old, the yields will be relatively low at 50 to 75 bales per acre. At age 10, pine straw...read more. Q: Is removing needles from a site harmful?A: Yes and no. Repeated removal of the pine straw may have dramatic effects on a forest stand...read more. Q: Should I fertilize my pine stand?A: Fertilizer may be used to improve tree growth and replace some of the nutrients that are removed with raking. Fertilization may also increase...read more. Q: What should I expect to get for my pine straw?A: Sources in North Carolina suggest that Private landowners often sell their longleaf pine straw to producers, who do the raking and baling. The producer pays...read more. Q: Where can I get pine straw help?A: The best source of information on pine needle mulch is with your agricultural extension forester or your state forester...read more. Q: Why is the pine needle so popular a mulch to homeowners? A: Landscapers and building contractors are just discovering that pine straw works much better than bark nuggets or...read more.
Friday, November 22, 2019
Accessing and Managing MS Excel Sheets With Delphi
Accessing and Managing MS Excel Sheets With Delphi This step-by-step guide describes how to connect to Microsoft Excel, retrieve sheet data, and enable editing of the data using the DBGrid. Youll also find a list of the most common errors that might appear in the process, plus how to deal with them. Whats Covered Below: Methods for transferring data between Excel and Delphi. How to connect to Excel with ADOà (ActiveX Data Objects) and Delphi.Creating an Excel spreadsheet editor using Delphi and ADORetrieving the data from Excel. How to reference a table (or range) in an Excel workbook.A discussion on Excel field (column) typesHow to modify Excel sheets: edit, addà and delete rows.Transferring data from a Delphi application to Excel. How to create a worksheet and fill it with custom data from an MS Access database. How to Connect to Microsoft Excel Microsoft Excel is a powerful spreadsheet calculator and data analysis tool. Since rows and columns of an Excel worksheet closely relate to the rows and columns of a database table, many developers find it appropriate to transport their data into an Excel workbook for analysis purposes; and retrieve data back to the application afterwards. The most commonly used approach to data exchange between your application and Excel isà Automation. Automation provides a way to read Excel data using the Excel Object Model to dive into the worksheet, extract its data, and display it inside a grid-like component, namely DBGrid or StringGrid. Automation gives you the greatest flexibility for locating the data in the workbook as well as the ability to format the worksheet and make various settings at run time. To transfer your data to and from Excel without Automation, you can use other methods such as: Write data into a comma-delimited text file, and let Excel parse the file into cellsTransfer data using DDE (Dynamic Data Exchange)Transfer your data to and fromà a worksheet using ADO Data Transfer Using ADO Since Excel is JET OLE DB compliant, you can connect to it with Delphi using ADO (dbGO or AdoExpress) and then retrieve the worksheets data into an ADO dataset by issuing anà SQL queryà (just like you would open a dataset against any database table). In this way, all the methods and features of the ADODataset object are available to process the Excel data. In other words, using the ADO components let you build an application that can use an Excel workbook as the database. Another important fact is that Excel is an out-of-process ActiveX server. ADO runs in-processà and saves the overhead of costly out-of-process calls. When you connect to Excel using ADO, you can only exchange raw data to and from a workbook. An ADO connection cannot be used for sheet formatting or implementing formulas to cells. However, if you transfer your data to a worksheet that is pre-formatted, the format is maintained. After the data is inserted from your application to Excel, you can carry out any conditional formatting using a (pre-recorded) macro in the worksheet. You can connect to Excel using ADO with the two OLE DB Providers that are a part of MDAC: Microsoft Jet OLE DB Provider or Microsoft OLE DB Provider for ODBC Drivers. Well focus on Jet OLE DB Provider, which can be used to access data in Excel workbooks through installable Indexed Sequential Access Method (ISAM) drivers. Tip: See theà Beginners Course to Delphi ADO Database Programmingà if youre new to ADO. The ConnectionString Magic The ConnectionString property tells ADO how to connect to the datasource. The value used for ConnectionString consists of one or more arguments ADO uses to establish the connection. In Delphi, the TADOConnection component encapsulates the ADO connection object; it can be shared by multiple ADO dataset (TADOTable, TADOQuery, etc.) components through their Connection properties. In order to connect to Excel, a valid connection string involves only two additionalà pieces of information -à the full path to the workbook and the Excel file version. A legitimate connection string could look like this: ConnectionString : ProviderMicrosoft.Jet.OLEDB.4.0;Data SourceC:\MyWorkBooks\myDataBook.xls;Extended PropertiesExcel 8.0;; When connecting to an external database format supported by the Jet, the extended properties for the connection needs to be set. In our case, when connecting to an Excel database, extended properties are used to set the Excel file version.à For an Excel95 workbook, this value is Excel 5.0 (without the quotes); use Excel 8.0 for Excel 97, Excel 2000, Excel 2002, and ExcelXP. Important:à You must use the Jet 4.0 Provider since Jet 3.5 does not support the ISAM drivers. If you set the Jet Provider to version 3.5, youll receive the Couldnt find installable ISAM error. Another Jet extended property is HDR. HDRYes means that there is a header row in the range, so the Jet will not include the first row of the selection into the dataset. If HDRNo is specified, then the provider will include the first row of the range (or named range) into the dataset. The first row in a range is considered to be the header row by default (HDRYes). Therefore, if you have column heading, you do not need to specify this value. If you do not have column headings, you need to specify HDRNo. Now that youre all set, this is the part where things become interesting since were now ready for some code. Lets see how to create a simple Excel Spreadsheet editor using Delphi and ADO. Note:à You should proceed even if you lack knowledge on ADO and Jet programming. As youll see, editing an Excel workbook is as simple as editing data from any standard database.
Wednesday, November 20, 2019
UCAS Personal Statement Essay Example | Topics and Well Written Essays - 250 words
UCAS Personal Statement - Essay Example Among the most notable are: sporting, teaching, social work, investing, and leadership. My awards in games and sports cut across regional, national, and international borders. In teaching, I have interacted and worked with young students and teaching staffs. The social work aspect relates to taking care of my autistic brother for the better part of my life, an activity that motivates me even more so that I can reach out to the broader community. My drive to study Ancient History and Archaeology emanates from the need to know and understand historical forms of life and how they shaped contemporary modernization. Through this course, I will be in a better position to explore cultural diversity as it relates to ancient time and ancient people. In this respect, my activities and experiences in life have exacerbated my quest for knowledge. I am currently studying A-Level Psychology and Business (Double Major), but this has not limited my interest in other topics and subjects due to the need for further diversified knowledge. My next ambitious plan is to volunteer abroad in order to explore, experience and exploit wonders that the world has to offer. In conclusion, joining UCAS University will offer an invaluable opportunity to advance my knowledge and skills, interact socially and academically with different persons, and provide a favourable ground for personal growth and
Tuesday, November 19, 2019
INTERNATIONAL BUSINESS Essay Example | Topics and Well Written Essays - 1750 words
INTERNATIONAL BUSINESS - Essay Example The notion of knowledge management views knowledge as tacit or something which is present in oneââ¬â¢s mind. Human expression and practice compound to the making of knowledge. However, knowledge cannot be enhanced in an isolated state of mind; that is, for knowledge to flourish, information must be enhanced through interaction (Kalkan, 2008). Both explicit and implicit knowledge must be tapped by organizations in order to progress successfully in todayââ¬â¢s globalised world. Knowledge management is, therefore, focused on the attainment of organizational goals and objectives by enhancing the productivity of organizational knowledge in all activities, tasks and programs pertaining to knowledge. The aim is to create and sustain competitive advantage for the firm in the global marketplace by helping organizations exploit untapped knowledge. Hence, knowledge management essentially involves learning through social experiences and interactions. Researchers have broken down knowledge management into four major constructs including the development, manifestation, diffusion and use of knowledge (Kalkan, 2008). It is rather simplistic to think of knowledge management as a linear process in todayââ¬â¢s global village. ... Factors such as geographic dispersion, interaction across different time zones and cross-cultural differences result in increased challenges for the firm (Pawlowski & Bick, 2012). Thus, the global arena has opened a new window for viewing knowledge management which incorporates introductory level, implementation and process issues pertaining to knowledge management (Alavi & Leidner, 2005). Despite increased awareness of these issues, research indicates that most businesses fail to successfully implement global knowledge management (Pawlowski & Bick, 2012). Global knowledge management encompasses all knowledge related activities, tasks, policies and processes that are performed within or between organizations that are globally dispersed. Culture of both the organization and the nation/region plays a vital role here (Holden, 2001). The global environment, therefore, brings with it a host of challenges including those pertaining to humans, organization, management and technology. All hu man interaction and communication (including the dissemination of knowledge) is heavily influenced by culture (Holden, 2001). But perhaps, the greatest of these challenges is to define the very nature of knowledge management itself. Although there have been efforts to differentiate data and information from knowledge, a concrete working definition has not yet been developed in the context of global dynamics (Roberts, 2009). Despite increasing emphasis on knowledge-oriented markets, there has been criticism which calls into existence the very existence of such markets. The absence of a concrete definition questions whether or not these markets actually exist or whether they are ââ¬Å"old wine in a new bottleâ⬠(Roberts, 2009). The term knowledge has become a metaphor rather than a term with
Saturday, November 16, 2019
The novel Great Expectations Essay Example for Free
The novel Great Expectations Essay Great Expectations was written by Charles Dickens in the 19th century (1860-1861). It is said to be one of the classics of the English literary heritage and several film adaptations have been made of it. It first appeared in a weekly magazine called All the year round. Great Expectations is a book in which Dickens returned to the theme of a youths discovery of the realities of life. An unknown person provides the young hero, Pip, with money so that Pip can live as a gentleman. Pips pride is shattered when he learns there source of his Great Expectations. Only by revising his values does Pip restore his life on a foundation of empathy rather than on social position. In this coursework I shall be comparing two film versions: David Leans 1944 black and white version starring John Nutts and the 1997 colour version directed by Alfonso Cuaron which features, Ethan Hawke; Gwyneth Paltrow; Anne Bankcroft and Robert Deniro. I intend to compare the opening chapters in the two film versions, in which the young Pip/Finn encounters a scary convict who later becomes a momentous figure in Pips life.Ã Both films start with the adult voice of Pip/Finn reflecting on his childhood. The David Lean (1944) version closely follows the actual text whereas Alfonso Cuarons Version follows a sequential order but digresses greatly from the text. As the credits began rolling there are a variety of styles of music. The first style that we hear is a full orchestra and it then harrows down to only one flute which plays a childish style of music which is obviously representing the young PIP. Afterwards it goes into a romantic mood and after that a sad mood. It finally becomes a symphony of emotion to signify the films happy ever after ending. In the opening scene we start with a long shot of Pip and the tracking of pip across the field. At the camera is tracking Pip we see many images of death, for example as Pip is running the audience see a number of Jibbets. As Pip is running the audience is able to see how closely David Lean has followed the text. The marshes are seen to be just a long black horizontal line and the river a long horizontal line but not much thicker. The sky is also just a row of angry red lines and dense black ones. The camera again zooms in on Pips face to show us his apprehension as he climbs over the wall. The audience is able to see many gravestones are crooked and a lot of plants and weeds are overgrown. This suggests that this churchyard is uncared for. This adds tension to the opening scene because we wonder why this young child is there. All throughout the opening scene there is wind sound affects. The wind is an eerie sound which also adds to the tension of the scene. When I was watching Pip I felt a lot of sympathy because I had seen from the gravestone that both of his parents had died and learned that his only relative was his sister who he lived with and she wasnt exactly a ray of sunshine. Alfonso Cuarons version also starts with the credits first which is unusual for a modern day film. As the credits begin there is soft music with very exotic instruments such as a rainpie. The letters of peoples names appears in a fluid pattern, which gives us a watery feeling. This s a good technique as it sets the audience up for the opening scene where things are not necessarily as they seem. The first thing the audience sees is the character of Finn Pip) looking at the fish and then climbing into the boat. Finn takes out a notebook and begins to draw. At this point there is virtually no tension as there is an ordinary boy who is playing in the sunshine and frankly looks quite happy. There is none of the heart tugging emotion that is apparent in Leans black and white version. Finn then climbs out of his boat and carries on looking for more fish to draw. All of a sudden there is a big cloud of red forming underneath the water then a hand comes out of the water and grabs Finn and we realise that this is the convict. This method is more effective than Leans version because it is so unexpected; there is virtually no tension at all up to this point. Whereas Leans version builds the tension up so high that we actually expect something to happen to PIP. I assume that David Lean directed his film as he did in order to retain the essential authenticity of the book. This was important for Lean to do because the book has a way of taking you out of your own reality and this was what the people of 1944 needed to get away from the Second World War. Whilst the 1997 version is not trying to reproduce a historical piece- it is a modern version of the plot transposed to America. I believe that Cuaron did this in order to make the film more realistic, so that the audience could feel that this can happen to anybody. In doing this Cuaron lost the essence of the plot, with its fairytale ending. The similarity that I have seen in the two films is the contrast of Pip/Finn compared to the convict. The directors are both trying to balance Pip/Finns innocence compared to the convicts corruption. Lean does this by keeping Pip polite and sincere all the time while the convict is strangling and pushing him etc. Cuaron does this by making the convict swear to scare Finn; I feel that Cuaron does this because he thinks he needs to do more to shock the modern day. The main differences between the two versions are the location, setting and background. For example Cuarons version had an American actor doing Finns voiceover, it took away some of the reality of the film because I feel that Great Expectations is so typically English. I can agree to some extent that both films had a strong opening which is essential in a film. The reason for this is because if there is a weak opening t the film you will not want to watch the rest of it; the same when reading a book if the first few chapters are not engaging you will not want to finish the book. Generally I preferred David Leans version because it kept to the book. Maybe I might have differently if I hadnt read the book first, but the 1997 version deviated from the book so much that I was confused which character was meant to be which. Lea I felt was also much more effective in setting up the story. Although both films id follow a chronological order, David Leans 1944 version kept very closely to the text where as the coloured version altered the location and dialogue of the novel.Ã David Lean built up the tension first using sound effects I.e. wind and bustling trees, the dreariness of the marshes and using the numerous visions of death I.e. the jibbet and the crooked gravestones.
Thursday, November 14, 2019
Cell Phone Technology :: Technology Communication Phones Essays
Cell Phone Technology Ring ring! All the people in a 20-foot-radius are thinking it is them that are ringing. Women search through their purses; men reach for their pockets to see if it is their cell phone that is ringing. The year is 2002, and it appears that almost everyone has a cellular telephone. Many believe that in today's society it is a necessity to own one and would be difficult to go a day without one. Are they really necessary? People survived just fine without them before their invention. It really was not until about 15 years ago that they really started appearing and the last five that it seemed as if every Tom, Dick, and Harry owned one. What has caused their sudden boom? Are people becoming too reliant upon them? Is there health risks involved when people send such powerful signals directly toward their heads? Cell phone technology dates all the way back to 1947. ââ¬Å"In that year researchers first developed ideas as to the possibility of creating mobile phones that used "cells" that would identify a user in whatever specific region he or she was initiating the call fromâ⬠(Cell Phone World). Still the technology was very limited at the time, so much more extensive research was required. In 1968 private companies started getting involved with cell phone development, such as AT&T. The FCC (The Federal Communications Commission) then opened new frequencies and the private companies had the theory of cellular towers. Each tower would be responsible for a particular region. When a customer traveled farther a way from one region it would switch the call to a closer tower with no interruption. In 1977 public cell phone testing had begun. People in Baltimore, Chicago, and Washington were the first to be eligible for cell phone trials. In 1979 a company in Japan began doing cell phone testi ng with the public. Not until 1983 were cell phones really available. ââ¬Å"The year 1988 changed many of the technologies that had become standard in the past. The Cellular Technology Industry Association was created to set realistic goals for cellular phone providers and research new applications for cell phone developmentâ⬠(Cell Phone World). In a way they still were not very accessible to the public, due to their extremely high operating cost to the consumer. Only the very wealthy could afford cell phones. Important heads of cooperationââ¬â¢s, movie stars, and top government officials were able to afford the luxury of a mobile phone.
Monday, November 11, 2019
Different Aspects of Emily Essay
Often people are stuck in the past and cannot accept the truth, the present, and modernization going around them. The character of Emily Grierson in William Faulknerââ¬â¢s ââ¬Å"A Rose for Emilyâ⬠is one from this category of people. Emily Grierson was a strange personality with distinguished characteristics. From the point of view of many, she is a crazy woman because she kills her lover in order to keep him forever with herself. Miss Emily Grierson is a static character that is locked in her past life. She is not able to change herself and roll on with the wheels of time. William Faulkner, through the use of various symbols indicating death and decay, portrayed a woman whose life ends long before her death. The first and one of the significant symbols of death and decay presented in the story is Miss Emilyââ¬â¢s house itself. The look, setting and atmosphere of the house provide us with the features of death and decay in Emilyââ¬â¢s life. The street where her house is located has changed completely except Miss Emilyââ¬â¢s house. ââ¬Å"Garages and cotton gins had encroached and obliterated even the august names of that neighborhoodâ⬠(28). The house that once had been beautiful is destroyed now. ââ¬Å"â⬠¦lifting its stubborn and coquettish decay above the cotton wagons and the gasoline pumps- an eyesore among eyesoresâ⬠(28). Cotton gins, cotton wagons, and the gasoline pipes are all symbols indicating the new and modernized era and period where still stands, Emilyââ¬â¢s old and destroyed house. Emilyââ¬â¢s house was an eyesore in the city, and Emily herself was a greater eyesore in her society. The entire look from the inside of the house is also a symbol representing death and decay. The inside of her house is explored in the story for the first time when the deputation committee came to ask Miss Emily to pay her taxes. They passed through the door that no visitor had passed since a long time and entered a dim hall. ââ¬Å"When the Negro opened the blinds of one window, they could see that the leather was cracked; and when they sat down, a faint dust rose sluggishly about their thighs, spinning with slow motes in the single sun-rayâ⬠(29). The old furniture in her house, the cracks on her sofa and the dust-covered things in the place suggest the dark aspect of herà life. The darkness and dimmed atmosphere of the place, throw us into an aura of dullness and sadness that demonstrates the significant feature of Emilyââ¬â¢s character. Miss Emily Grierson, herself is the most important symbol representing death and decay in her own life. Her appearance, face and her features all suggest a sort of dullness and stillness in her life. ââ¬Å"She looked bloated, like a body long submerged in motionless water, and of that pallid hue. Her eyes, lost in the fatty ridges of her face, looked like two small pieces of coal pressed into a lump of dough as they moved from one face to anotherâ⬠¦Ã¢â¬ (29). The description of Emily and the features of her face provided by the author demonstrate the dry and deadly character of Emily more clearly. Miss Emily is also a very unsocial and isolated person. The over protecting behavior of her father and too many restrictions put upon her by him, had a great influence and impact in shaping her personality. She lacks the elements of active social life and art of communication in her life. Emily has an extremely proud and self-important disposition because of her family status. ââ¬Å"She carried her head high enough- even when we believed that she was fallenâ⬠(32). This sentence portrays her aristocratic behavior and high attitude. Her aristocratic behavior isolates her more from the society, leaving her alone with her gradual death, her sole companion. Emilyââ¬â¢s inability to accept the present and change itself is a significant symbol demonstrating death and decay in her life. For example, when authorities come to her and ask her to pay her taxes she in return tells them; ââ¬Å"See Colonel Sartoris. I have no taxes in Jeffersonâ⬠(30). At that time, nearly ten years had passed since the death of colonel Sartoris. This instance clearly shows Emilyââ¬â¢s involvement in her past life, and the fact that she was not moving on with the pace of time. Another scene more clearly depicting this characteristic of Emily is when her father dies; she keeps the dead body of her father for three days in her house. After the death of her father she cuts her hair short; ââ¬Å"â⬠¦her hair was short, making her look like a girlâ⬠¦Ã¢â¬ (31). This incident also emphasizes that she wants to be her fatherââ¬â¢s little daughter again. This incident demonstrates that she does not have the ability to accept the reality, or maybe she does not want to do so. Homer Barron is a symbol representing modernization and arrival of new period and age. Homer is a Northerner, a Yankee, presenting the era of manufacturing industry, technology, innovation, and reconstruction. His purpose of coming to the South is to work for construction and renovation; paving the sidewalks of the city. His personal character also demonstrates elements of modernization. He does not care about the code of behavior which is important in Emilyââ¬â¢s community, a Southern society. The story presents Homer as a person who is not a marrying man and likes to be free and prefers bachelor life. ââ¬Å"Whenever you heard a lot of laughing anywhere about the square, Homer Barron would be in the center of the groupâ⬠(31). The description of Homer Barron in the story suggests that he was a carefree person, liked parties and enjoyed meeting with others. It also demonstrates his lively character which is completely the opposite personality of Emily Grierson. Homer was a person representing present and future, and Emily can not leave her past and move ahead so she kills Homer and keep him for ever hers. All of the symbols present the isolated and steady character of Emily, which was still and static through the passage of time. Emilyââ¬â¢s soul was covered with the dust of loneliness and dimmed by grief, sorrow and everlasting sadness. In the story ââ¬Å"fallen monumentâ⬠refers to Emily. Emily was a monument, a legend that has been ruined and shattered by the passage of time because of lack of care and attention. Not a single light of joy or happiness was in her life. Being a young woman, once she had been beautiful and attractive, but she was left alone because of the circumstances in her life. Emily lost her soul gradually through her lifetime and was actually dead long before her death. Work Cited Faulkner, William. ââ¬Å"A Rose for Emily.â⬠Literature: An Introduction to Fiction, Poetry, and Drama. Ed. X. J. Kennedy and Dana Gioia. 8th ed. New York: Longman, 2002. 28-35.
Saturday, November 9, 2019
Songs Of Innocence And Experience English Literature Essay
Blake considers, that tellurian human life is a manner of psyche from Aà Eternity and back in Eternity. The psyche apparels in a flesh for the tellurian being. It holds in recollection Eternity, that is Innocence. But the got Knowledge deforms, obscures this memory. On the other manus, tellurian being, harmonizing to Emmanuel Swedenborg ââ¬Ës philosophy is reflection of that occurs in Eternity. Blake the thought non merely every bit philosophical footing uses this. It applies it as Aà an artistic touch. Therefore in each verse form the dual sense is hidden. When Blake describes a rural landscape, games Aà of kids, a pray in St. Paul ââ¬Ës Aà cathedral, it invariably reminds, that it is a inquiry non of simple day-to-day Aà events, and about the Eternal Life. Echoes of this Ageless Life we, mortal, can catch, fondling the babe or pressing Nà µNÃâ N?Nââ¬Å¡N? a lamb. If we possess though to some extent ability of godly vision. Thankss to this implied sense field Aà kids ââ¬Ës poetries turn to serious Aà philosophical merchandise. At this clip Blake it is unbounded trusts in ?à ±?à »?à °N?Nââ¬Å¡N?Nââ¬Å¡N? and clemency of the God. The God is a unvarying and alone good beginning, and the Human Son ââ¬â the Christ ââ¬â the invariable curate and the guardian Aà of people. Blake divided Swedenborg ââ¬Ës sights which rejected the construct of the Sacred Trinity. Swedenborg asserted, that the God is unvarying, the God has merely condescended for some clip for the Earth in image Jesus Christ. On the other manus, harmonizing to Swedenborg ââ¬Ës philosophy, the interior universe of the individual is at the same time and the universe heavenly. The love, compassion, attention about near are ââ¬Å" conformance â⬠to that occurs in the Sky, that is conformance to the God. Each of us is the smallest Aà similarity of the Sky, or Aà «the Sacred imageAà » . As effect the Eternity as a fusion is good fortune accomplishable non merely out of tellurian being. It can be found in a shower of everyo ne person, concluded in a animal screen, but merely if the psyche keeps true spiritualty, or Innocence. But a existent tellurian life ââ¬â a valley non merely pleasures, but besides sorrows. Aà «Songs of InnocenceAà » are full every bit both pleasances, Aà and agonies ââ¬â both that and another an kernel necessary parts Aà of a Godhead Craft. The psyche rejoices, for shops memory of Aà Eternity, but the flesh is doomed to endure. Aà «Songs of InnocenceAà » describe Aà both merriment, and a heartache, However light motivations prevail in images of a rhythm: Aà «Songs of InnocenceAà » speak about happyAà and sorrowless Aà «a status of psyche humanAà » , about Aà Godhead protection, about spiritualty of the tellurian universe. Creation Aà «Songs of InnocenceAà » has been finished in 1789. At that clip Blake believed this rhythm the finished merchandise. However in five old ages he has created a new rhythm Aà «Songs of ExperienceAà » which has been united together with Aà «Songs of InnocenceAà » in built-in merchandise Aà «Songs of Innocence and Experience Proving the Two Contrary States of the Human SoulAà » . By this clip at Blake sights at the universe have radically changed. Assortment of the grounds has caused this alteration, in peculiar, letdown in the Gallic Revolution and a backdown from thoughts of Emmanuel Swedenborg. Early sights Blake can be defined conditionally as ââ¬Å" Christian â⬠, and it is possible to call its new construct ââ¬Å" natural â⬠. In what consists it Aà « naturalAà » ? The poet at an early phase about focused all attending to extraterrestrial being of psyche and on idyllic Eternity. Echoes of this Eternity can be observed in some tellurian shows. The Divine, nevertheless, has been separated Aà from tellurian plenty by an accurate side. Achievement Aà of full harmoniousness, a religious ideal likely merely in Eternity, and the tellurian life is held down by a flesh and accordingly is Aà a valley of sorrows and cryings. By composing clip Aà «Songs of ExperienceAà » Blake has well changed the point of position. Now it transfers the attending to a tellurian Aà world. Terrestrial heartaches do non do in it more thought on retribution in the hereafter. The protest alternatively ripens: the life could be ideal Aà and on the Earth, but the Earth is burd ened by ââ¬Å" religious fettersAà » which are necessary for dumping. In this instance there will be Aà «a returning Aà of the EarthAà » , that is earthly Eden coming. Poem Aà «The Chimney SweeperAà » is a typical illustration of polemic Blake of times Aà «Songs of InnocenceAà » with Blake times Aà «Songs of ExperienceAà » . Heroes of two verse forms are similar to the indistinguishable name among themselves, but in the first the little chimney expanse is unfortunate because of the adversity, in the 2nd ââ¬â is capable to prove pleasance reverse to them. In the first it finds a solace in the God let go ofing it from ââ¬Å" casket â⬠of a tellurian life, in the 2nd ââ¬â is dressed in ââ¬Å" shroud â⬠on the Earth by the God ( is more exact, the God-fearing parents ) is doomed to agonies. Accusatory poignancy is every bit strong in both verse forms, but in everyone it sounds in ain manner: in the first ââ¬â the felicity is possible merely in celestial spheres as atonement of tellurian heartaches, in the 2nd ââ¬â the felicity would be possible and on the Earth if non ferociousness Aà of bing uses. THE CHIMNEY SWEEPER ( Songs of Innocence ) When my female parent died I was really immature, And my male parent sold me while yet my lingua, Could barely cry weep weep weep weep. So your chimneys I sweep & amp ; in carbon black I sleep. Theres small Tom Dacre, who cried when his caput That curi ââ¬Ëd wish a lambs back, was shav ââ¬Ëd, so I said, Hush Tom ne'er mind it, for when your caput ââ¬Ës bare, You know that the carbon black can non botch your white hair. And so he was quiet, & A ; that really dark, As Tom was a sleeping he had such a sight, That 1000s of sweepers Dick, Joe, Ned & A ; Jack Were all of them lock ââ¬Ëd up in caskets of black, And by came an Angel who had a bright key, And he unfastened ââ¬Ëd the caskets & A ; set them all free. Then down a green field jumping express joying they run And wash in a river & A ; radiance in the Sun. Then naked & A ; white, all their bags left behind, They rise upon clouds, and athletics in the air current. And the Angel told Tom, if he ââ¬Ëd be a good male child, He ââ¬Ëd hold God for his male parent & A ; ne'er want joy. And so Tom awoke and we rose in the dark And got with our bags & A ; our coppices to work. Tho ââ¬Ë the forenoon was cold, Tom was happy & A ; warm. So if all do their responsibility, they need non fear injury. THE CHIMNEY SWEEPER ( Songs of Experience ) A small black thing among the snow: Shouting weep, weep, in notes of suffering! Where are thy male parent & A ; mother? state? They are both gone up to the church to pray. Because I was happy upon the heath, And smil ââ¬Ëd among the winters snow: They clothed me in the apparels of decease, And taught me to sing the notes of suffering. And because I am happy, & A ; dance & A ; sing, They think they have done me no hurt: And are gone to praise God & A ; his Priest & A ; King Who make up a Eden of our wretchedness. The universe is conceived as made, but the spirit human stays Aà in a prevarication and pretension trap: it is new doctrine Blake. The poet already non the shepherd-boy with a pipe, as in Aà «Songs of InnocenceAà » .IntroductionShrieking down the vale wild Piping vocals of pleasant hilarity On a cloud I saw a kid. And he express joying said to me. Shriek a vocal about a Lamb: So I piped with merry chear, Piper pipe that vocal once more ââ¬â So I piped, he wept to hear. Drop thy pipe thy happy pipe Sing thy vocals of happy chear, So I sung the same once more While he wept with joy to hear. Piper sit thee down and compose In a book that all may read ââ¬â So he vanish ââ¬Ëd from my sight, And I pluck ââ¬Ëd a hollow reed. And I made a rural pen, And I stain ââ¬Ëd the H2O clear, And I wrote my happy vocals, Every kid may rejoice to hear The new Poet is a Bard, clairvoyant, the prophesier. Its job ââ¬â Aà to demo to people a manner to spirit glade.THE VOICE OF THE ANCIENT BARDYoung person of delight semen hither, And see the gap forenoon, Image of truth new born. Doubt is fled & amp ; clouds of ground, Dark disputes & A ; disingenuous teazing. Folly is an eternal labyrinth. Tangled roots perplex her ways, How many have fallen at that place! They stumble all dark over castanetss of the dead: And experience they know non what but attention: And wish to take others when they should be led. The new phase of religious manner Blake is connected with crisp turn Swedenborg ââ¬Ës thoughts down. Blake has seen them from the new party. Blake Markss in spiritual swedenborgian doctrine its nonreversible kernel, bigotry, the passiveness discourse. Swedenborg wrote, that the individual religious is the individual obedient to the God. Blake foremost was wholly agree with this statement, but so it had uncertainties in illustriousness and justness of the God. The God became for Blake a absolutism embodimentAà . à µÃ µÃ ±NÃâ tested to explicate an interior universe through constructs Aà of a material universe. Thus the material universe was reduced to a pale Aà copy of the all right and perfect universe heavenly. Blake, holding crossed through tenet of Swedenborg, has resolutely rejected distinction of the stuff and religious universes. He asserted, that true spiritualty is put in pawn in the Nature and merely waits Aà for the Apocalypse, rebellion against godly co nstitutions Aà to be shown in full force. In Aà «Experience SongsAà » NN there is one of figures Blake ââ¬Ës mythologies ââ¬â God Urizen ( compare Your Reason ) . Urizen is the incarnation of conventional ground and jurisprudence which resist to liberate, free Imagination. Urizen is depicted in Blake ââ¬Ës watercoloured etching ââ¬Å" The Ancient of Days â⬠. The brace Aà «Imagination ââ¬â ReasonAà » ââ¬â merely a portion of a concatenation Aà of contrasts which penetrates all rhythm and sets its nonliteral system: Light ââ¬â Dark, Good ââ¬â Angrily, the Life ââ¬â Death, the Youth ââ¬â the Old age, the Man ââ¬Ës get downing ââ¬â the Female beginning, free love ââ¬â suppression of desires etc. Blake counterposes his ââ¬Å" Contraries â⬠to Swedenborg ââ¬Ës thought of equilibrium. ââ¬Å" Without Contraries is no patterned advance â⬠, says Blake. ââ¬Å" Attraction and Repulsion, Reason and Energy, Love and Hate are necessary to Human being. â⬠The opposite beginnings are impossible one without another, but therefore Blake accepted for positive Aà remain positive, and accepted for negative ââ¬â negative throughout all rhythm, in any context, and it in many respects helps to decode symbols of Blake. THE HUMAN ABSTRACT Pity would be no more. If we did non do person Poor: And Mercy no more could be, If all were every bit happy as we: And common fright brings peace: Till the selfish loves addition. Then Cruelty knits a trap, And distribute his come-ons with attention. He sits down with holy frights, And waters the land with cryings: Then Humility takes its root Underneath his pes. Soon spreads the blue shadiness Of Mystery over his caput ; And the Catterpiller and Fly, Feed on the Mystery. And it bears the fruit of Deceit, Ruddy and sweet to eat: And the Raven his nest has made In its thickest shadiness. The Gods of the Earth and sea, Sought through Nature to happen this Tree, But their hunt was all in vain ; There grows one in the Human Brain. This verse form ( brace to Aà «THE DIVINE IMAGEAà » from the first rhythm ) ââ¬â cardinal for apprehension of philosophical system Aà «Aà Experience SongsAà » . Here Kindly, the Tolerance, the World, Love become a constituent of the unnatural societal constitutions Aà bing in land Urizen, ââ¬â that is the philosophical construct Aà «Innocence SongsAà » is wholly discredited. Having shown falseness and lip service of the basic virtuousnesss of Innocence, Blake builds new fable of private universe of the individual in which footing the image of the Tree lays favourite it. It from Fear and Humility ââ¬â holier-than-thou humbleness of a lamb ( compare a verse form ââ¬Å" Lily â⬠) grows and shortly spreads a glooming hag of Belief, that is unnatural, far-fetched faith which feeds the Caterpillar and a Moth, churchmans being here symbols. At last, the Tree brings the Deceit fruit, that is lie and pretension Aà ( therefore it is sweet ) , and on the Tree there is a Raven ââ¬â a decease symbol. Such see BlakeN? private universe of the individual and Aà a religious manner of the world which has been held down ironss of U rizen. In last Aà stanza it is underlined, that Aà «gods of the sea and the earthAà » , that is wildlife, unvarying with Imagination, could non happen this Tree as there is it in a human encephalon and cultivates him Urizen ââ¬â inert, non originative Reason. THE DIVINE IMAGE To Mercy Pity Peace and Love, All pray in their hurt: And to these virtuousnesss of delectation Return their gratefulness. For Mercy Pity Peace and Love, Is God our male parent beloved: And Mercy Pity Peace and Love, Is Man his kid and attention. For Mercy has a human bosom Pity, a human face: And Love, the human signifier Godhead, And Peace, the human frock. Then every adult male of every climate, That prays in his hurt, Prays to the human signifier Godhead Love Mercy Pity Peace. And all must love the human signifier, In pagan, Turk or Jew. Where Mercy, Love & A ; Pity dwell, There God is brooding excessively. In this verse form, cardinal for Aà « Songs of Innocence, in the most distinguishable form the basic thought of a rhythm appears: the human nature is godly. The individual and the God is one thing. Loving the individual, we love besides the God, in the God we love Its humanity. Here the basic, cardinal virtuousnesss of the universe of ââ¬Å" Innocence SongsAà » are straight named: Good, Tolerance, the World, Love, every bit of import as for a life terrestrial, and heavenly. These virtuousnesss in the ââ¬Å" perfect â⬠signifier exist in celestial spheres, and in the ââ¬Å" reflected â⬠sort ( harmonizing to Aà «to the philosophy about conformityAà » ) are given people, and the people transporting in the Sacred Image, should portion them with each other. The true Christian ââ¬â the 1 who professes Good, Tolerance, the World, Love, that is that who creates an image of Eternity on the Earth, and in this sense there is no differentiation between the states and faiths ( comparison at Swedenborg: Aà « To the individual professing love to approach, a manner on the Sky it is opened irrespective of its tellurian faith ââ¬â the belief is learnt non by faith. Any individual carry oning a life moral and religious, comprises the Sky Aà » ) . Harmonizing to new sights Blake, the manner to Aà «returning of the EarthAà Aà » lays through release of desires ( first of all ââ¬â loveAà ) which are connected Reason ââ¬Ës ironss ââ¬â Urizen In a triumph Aà of natural aspirations ââ¬â both fleshes, and spirit- . Blake sees the Imagination jubilation, falling of ââ¬Å" religious fettersAà » . The tellurian, Aà animal life with natural spiritualty ab initio built-in in it becomes for Blake the new ideal lifting to the topographic point of Aà idyllic Eternity. However in the bulk of verse forms ââ¬Å" Songs of Aà Experience Aà » it is a inquiry of suppression of natural inherent aptitudes Aà or about penalty for their show, from here ââ¬â terrible, Aà sometimes acrimonious and hopeless tone of this rhythm. In Aà «Experience SongsAà » , surely, acerb plenty, Aà ââ¬Å" satirical â⬠leer over light, beaming ââ¬â and Aà perfectly unlikely ââ¬â the universe of ââ¬Å" Songs of Innocence Aà » contains, Aà Aà and in this sense the 2nd rhythm bears on itself the letdown imperativeness. However it non is letdown in a life in general, more likely, Aà letdown in former ideals. However, to state, that Blake Aà wholly rejects the former representations, would be Aà hyperbole: he names the former vision ââ¬Å" nonreversible â⬠, the thoughts ââ¬Å" limited â⬠, but wholly non wrong. Experience Aà does non deny Innocence, but takes off to it a modest topographic point of one of facets of assortment of the universe. Blake shows, that Mildness is impossible without Violence, Mercy without Suffering, Pleasure without Grief, and Good without Harm. Aà «Skilled Aà InnocenceAà » , uniting cleanliness with release of desires, Aà holiness with absenc e of pretension and lip service, natural Aà Aà «divine visionAà » with the got knowledge becomes ideal BlakeAà Aà Aà . In a word, Experience assumes wider and diverse Aà image of the universe including Innocence as one of two tantamount ââ¬â and equal in rights ââ¬â the parties, each of which Aà is every bit necessary, that is why is sacred. However the basic idea of a rhythm however consists that in land of Urizen of virtuousness of Innocence reasonably frequently Aà turn to the contrasts. For this ground so Aà unconditionally discredits Blake Kindly, Tolerance, the World, Love which become symbols of prevarication, lip service and pretension so ruthlessly onslaughts clemencies and faith which are the grounds of cryings and agonies. While there are Aà «spiritual Aà fettersAà » , idyll is unaccessible, but after falling of these hobbles Paradise is possible and on the Earth for the Nature, as a affair of fact, and is that ?à à µ which will transport out finally all human desires. Aà «Experience songsAà » sing scolded, but non killed beauty Aà of a tellurian life, individuality of the Nature and the God ââ¬â merely in such sense and it is necessary to understand them Aà «naturalAà » . Its book Aà «The Marriage of Heaven and HellAà » , ( 1790 ) became the pronunciamento of ââ¬Å" natural â⬠sights Blake. Difficultly plenty with truth to specify a genre of this merchandise is at the same time both the philosophical treatise, and the arch of apothegms, and a verse form in prose: doubtless, Blake meaningly Aà tried to imitate bible stylistics. It is devoted polemic with Aà initial Christianity, no less than with Swedenborg sights. Developing Aà «theomachicAà » the tradition traveling in the English Aà literature from J. Milton ( from its verse form Aà «Lost ParadiseAà » , 1667 ) , Blake declares insolvent the standard Christian construct of Good and Harm. Kind ( Sky ) Sung in Aà «Aà Innocence SongsAà Aà » and represented by Christian faith as proceeding from the God and, therefore, is alone good, becomes at Blake inactive, all-accepting, that is why non originative, non the capable beginning to development ; on the contrary, rebellious Harm ( Hell ) sees to it the get downing active, making for it, interrupting traditional Aà representations, moves development. The good personifies Aà religious stagnancy, and Harm ââ¬â throwings and spirit battles without which Aà thought motion is impossible. Jehovah appears in a verse form as a terrible, despotic divinity Aà and it is really identified with Urizen. The Satan, Aà on the contrary, is shown as the picker, the combatant bodying Aà the Poetic Genius. Breaking Christianity canons, Blake the Christ, tries to turn out, that more likely, belonged to party of the Satan for was guided by Imagination and preferred to follow the desires and suggestions, alternatively of the imposed tenet. The imaginativeness which Blake considers as the higher ability of the individual, doubtless, starts with the Hell. The sky personifies an order, reason, bigotry ; the Imagination is held down by nil, chaotically and perfectly irrationally. Traditional Harm Aà becomes in Aà « The Marriageâ⬠¦ Aà » A symbol of religious freedom, originative Aà energy, reformative the universe, and traditional Good ââ¬â Aà a passiveness and bigotry symbol. However Blake remains it is true to the Aà dialectics and asserts, that two antonyms are huffy about each other and merely their coexistence, ââ¬Å" a matrimony â⬠behaviors to original spiritualty. The 2nd major inquiry Aà « The Marriageâ⬠¦ Aà » is a inquiry of integrity of psyche and a organic structure. Blake rejects supported of Swedenborg traditional representations about a organic structure as Aà «sinful fleshAà Aà » ( i.e. Harm ) and to a shower as NNââ¬Å¡?à µ?à »NNâ⬠?à µ Aà Godhead fire ( i.e. Good ) . Marrying Aà occurs non merely in a existence, but besides in each of the person: psyche and a flesh ââ¬â are unvarying. Blake asserts, that Aà «All Live ââ¬â Is sacredAà » , that is the material universe non merely is a pale Aà transcript of the universe heavenly, it is arrogant and self-sufficing, that is why is in ain manner perfect. The psyche does non be individually from a flesh as the flesh is so sacred, every bit good as psyche ; and therefore animal desires are wholly non iniquitous ( as confirms the Sky ) , on the contrary, sinfully their suppression. In release of a flesh Aà which will do release of spirit, Blake sees a m anner to a cleansing Apocalypse, to falling of Kingdom Urizen. Surely, the care Aà «Sky and Hell WeddingAà » Aà is non settled at all by these general commissariats. This hard Aà and deep philosophical merchandise written in Aà feature for Blake an allegorical, nonliteral mode. He did non draw a bead on to simplicity for affairs about which it narrated Aà - common dealingss of Good and Harm, the Person and the God, ââ¬â do non endure simplification, but the thoughtful reader can non acquire into an kernel of its doctrine and to track, at least partially, a thought class Aà «great visioneryAà » . The period Blake ââ¬Ës battle against God with its defiance, Aà all-rejection and maximalism has appeared shortAà . It was followed by deep crisis and ââ¬â as its consequence Aà - a long silence, full refusal of the publication of the merchandises. Religious crisis has returned Blake to believe on the God, on Innocence, but already in its other understanding. Now it considers creative activity of a material universe as a constituent and direct consequence of Fall from what follows, that the flesh is inherently opposite to a religious Aà substance and, therefore, is ab initio iniquitous. The particular topographic point among Blake ââ¬Ës merchandises of this period Aà occupies a verse form ââ¬Å" The Mental Traveller â⬠( written apprx. 1800 ) . It some sort of the religious autobiography of the poet and at the same time religious life of world. Blake describes beginning, a jubilation and diminution of any thought and Aà in analogue shows, how its ain sights developed and changed. Aà « Songs of Innocence and Experience Aà » ââ¬â it is the widest a known portion Blake ââ¬Ës heritages. They give full plenty, but far non thorough representation about creativeness of this Aà singular maestro. It would be desirable to trust, that finally Aà the Russian reader will pull off to acquire acquainted more full with Aà a heritage of the great poet-seer which has in many respects anticipated Aà the farther development of poesy, and human idea as a whole. Auguries of Artlessness ââ¬Å" Auguries of Innocence â⬠by William Blake occupy a particular topographic point in his work. This piece dates from 1801-1803 old ages and conventionally related to the 2nd period of his poesy. This old ages new religious quest Blake, when it replaced the idealistic, the realistic temper of the yesteryear comes an wholly new construct of peace, based on ââ¬â perceptual experiences of world in the integrity of all its contradictory facets. It is hard to find the genre of the work. At first familiarity it seems that in ââ¬Å" Auguries of Innocence â⬠is no definite secret plan line, they seem merely axiomatic fragments, in no manner linked. As one of the most complex and original phenomena of European literature, ââ¬Å" Auguries of Innocence â⬠is an organic portion of the artistic universe of Blake. Understanding of this work can non be outside the context of the poet. The chief job that confronts a author, stated in the rubric of the verse form ââ¬â ââ¬Å" Auguries of Innocence. â⬠In Blake ââ¬Ës Artlessness does non be apart from cognition, these mutual oppositions are non negate each other, all co-exist in integrity. It was this thought ( the combination of incompatible ) tends to reflect the poet in his work. Poem ââ¬Å" Auguries of Innocence â⬠was preceded by a rhythm of verse forms ââ¬Å" Songs of Innocence and ExperienceAà » , which shows really clearly the dialectical vision of the universe poet. ââ¬Å" The significance of the book ââ¬â the thought of continuity of human religious experience, his unity, â⬠¦ amalgamation in some higher synthesis inherent in the personality of the birth of â⬠artlessness, pureness ââ¬â and all the inevitable edification of each are far from being ideal. ââ¬Å" It is poesy, ââ¬Å" where the universe is comprehended in the brushs, the higher harmoniousness of the ageless and intolerable societal dissection, the current of his being, at the intersections of mutual oppositions. â⬠( 4, 28 ) , and these mutual oppositions of artlessness and cognition do non contradict each other, everything is interconnected, everything exists in integrity. ââ¬Å" We can non reject one another glorified, because everything in life is inextricably intertwined. â⬠( 5, 19 ) The same perceptual experience of contrast we see in ââ¬Å" Auguries of Innocence. â⬠But Blake infinite assortment of this dialectic battle of creative activity and devastation. His images are continuously germinating. From this diverseness, at first glimpse, a simple manner that makes it hard to understand. ( 12, 171 ) Start ââ¬Å" Auguries of Innocence â⬠with lines that are most frequently quoted when mentioning to the name of William Blake, with the lines have become a pronunciamento of English Romanticism: To see a World in a grain of sand, And a Heaven in a wild flower, Hold Infinity in the thenar of your manus, And Eternity in an hr. ( 1, 324 ) No accident that this stanza reminds one of the first. It expressed the cardinal rule of Blake. Here we are speaking about the position of the internal and external. In each grain of sand, the writer seeks to spot a contemplation of the religious kernel, the desire for direct acclivity from a individual, private experiences to the boundlessly broad, cosmopolitan generalisations. And it was called a adult male with imaginativeness. Center of the complex artistic universe of Blake is the adult male. Man is heaven and Earth, snake pit and Eden and all the phenomena of the universe at the same time. The poet says: Thou art a Man: God is no more: Thy ain Humanity learn to adore, For that is My spirit of life. ( The Everlasting Gospel ) This is Imagination is what helps to throw off the bonds of an enslaved spirit, unleash the perceptual experience, ââ¬Å" see infinity in one minute. â⬠The value of free imaginativeness ââ¬â the chief thought of the following path: A redbreast robin in a coop Puts all Heaven in a fury. A dove-house fill ââ¬Ëd with doves & A ; pigeons Frissons Hell thro ââ¬Ë all its parts. The same thought is found in the ââ¬Å" Proverbs of Hell â⬠, from ââ¬Å" The Marriage of Heaven and Hell â⬠, which reads: â⬠You ne'er know what is adequate unless you know what is more than plenty. â⬠Here Blake negotiations about the human right to fulfill all their desires. Enslavement reinforces the subjugation of ground over imaginativeness. Blake defends the right of speculative homo believing which refuses to set any boundary lines. Humility Blake ââ¬â the greatest perversion of human nature. ââ¬Å" Blake hated it, because it means the forfeit of the God within adult male, the wickedness against the Holy Ghost. Forced humbleness is religious slaying. Persons should ne'er the subjected to Urizen ââ¬Ës ââ¬Å" One Law for the Lion & A ; Ox â⬠( The Marriage of Heaven and Hell ) . Humility is ââ¬Å" the fast one of antediluvian Elf â⬠( The Everlasting Gospel ) . â⬠[ S. Foster Damon. A Blake lexicon: the thoughts and symbols of Wil liam Blake ] The jurisprudence of all development is a battle. This is an thought the poet is in a self-contradictory signifier of ââ¬Å" Proverbs of Hell â⬠we find the undermentioned lines: ââ¬Å" Sooner slaying an baby in its cradle than nurse unacted desires â⬠, and ââ¬Å" Auguries of Innocence â⬠image ââ¬Å" a redbreast in a coop â⬠, embodies the reticent desire, poison the psyche of adult male. No demand to seek to acquire rid of enticement, merely traveling through the full emancipation can see the truth, because ââ¬Å" he who desires but acts non, strains plague. â⬠A Canis familiaris starv ââ¬Ëd at his maestro ââ¬Ës gate Predicts the ruin of the State. A Equus caballus misus ââ¬Ëd upon the route Calls to Heaven for human blood. Each call of the hunted hare A fiber from the encephalon does rupture. In these lines there is a symbolic image of England and the universe. William Blake created at the junction of era, it is non surprising that in his work, he tried to reflect and understand the events that took topographic point at that minute in his state and worldwide. The first efforts to look as early in the rhythm ââ¬Å" Songs of Experience â⬠that would subsequently slop over into the creative activity of such infinite verse forms as ââ¬Å" Visions of the Daughters of Albion, â⬠( 1791 ) , ââ¬Å" Europe a Prophecy â⬠( 1794 ) , ââ¬Å" America a Prophecy ââ¬Å" ( 1791 ) . Blake is really excited by the destiny of the state, and he tried to happen the causes of catastrophes and catastrophes, which was torn apart by England. He compares it to Babylon, where the thought of equality replaced by an attitude of a retainer ( the images of a Canis familiaris and beaten Equus caballuss ) and the proprietor, and the rule of freedom ââ¬â the system of captivity of t he moral and societal. That ââ¬Ës what England Blake says in the verse form ââ¬Å" London â⬠from ââ¬Å" Songs of Innocence and Experience â⬠: I wander thro ââ¬Ë each charter ââ¬Ëd street, Near where the charter ââ¬Ëd Thames does flux, And grade in every face I meet Marks of failing, Markss of suffering. In every call of every Man, In every Infant ââ¬Ës call of fright, In every voice, in every prohibition, The mind-forg ââ¬Ëd cuff I hear. How the Chimney-sweeper ââ¬Ës call Every black'ning Church appalls ; And the hapless Soldier ââ¬Ës suspiration Runs in blood down Palace walls. But most thro ââ¬Ë midnight streets I hear How the vernal Harlot ââ¬Ës expletive Blasts the new born Infant ââ¬Ës tear, And blights with pestilences the Marriage hearse. Cruel rationalism penetrated all domains of life, and societal and religious. Blake bitterly remarked: ââ¬Å" The enquiry in England is, non whether a adult male has endowments and mastermind, but whether he is inactive and polite, and a virtuous buttocks, and obedient to Lords ââ¬Ës sentiments in art and scientific discipline. If he is, he is a good adult male ; if non, he must be starved. ââ¬Å" [ Alexander Gilchrist, Anne Gilchrist. Life of William Blake ( 1880 ) , Volume 1 ] . In such a society a adult male is like ââ¬Å" hunted hare. ââ¬Å" Coarse rational head thwart any efforts of imaginativeness. It is inactive, the quest for the empyreal ââ¬â unclaimed. A Alauda arvensis wounded in the wing, A cherubim does discontinue to sing. A Alauda arvensis here ââ¬â Imagination in the clasp of Urizen. The image of Urizen appears in the ulterior plants of the poet. This mythology of Blake ââ¬Ës character, embodies the head ( your ground ) . Every wolf ââ¬Ës and lion'showl Raises from Hell a Human psyche. ââ¬Å" The Wolf and the Lion â⬠regarded as symbols of power of England. At Blake they become emblems of stiffness of a deceasing era. On anticipates the devastation of Babylon and the coming land of ageless Jerusalem. Empire is no more! And now the king of beasts & A ; wolf shall discontinue ââ¬â says concluding ââ¬Å" Marriageâ⬠¦ ââ¬Å" The wild cervid, rolling here and at that place, Keeps the Human psyche from attention.
Thursday, November 7, 2019
To Kill Or Not To Kill Essays - Free Essays, Term Papers
To Kill Or Not To Kill Essays - Free Essays, Term Papers To Kill Or Not To Kill Capital punishment has been in effect since the 1600's (Cole 451). However, in 1972 the U.S. Supreme Court ruled that the death penalty was cruel and unusual punishment, which was unconstitutional according to the Eighth amendment. It was public opinion that the current methods of execution, hanging, electrocution, and facing a firing squad, were too slow and painful upon the person to be executed (Cole 451). The U.S. Supreme Court reversed this decision when a cleaner way to bring about death was found in 1976. This cleaner way is death by lethal injection, which is quick and painless if administered right (Cole 450). Since capital punishment has been reinstituted many people have argued for and against capital punishment. Some say the death penalty is what the criminal deserves while others object to it because death is irreversible. I feel the death penalty is a good form of justice because only about 250 people a year get the death penalty and they are guilty beyond a doubt and d on't deserve living with the possibility of parole. The sentencing judge or jury are ordered by the Supreme Court to look for specific aggravating and mitigating factors in deciding which convicted murderers should be sentenced to death (Cole 451). Some of these mitigating factors are the defendant's motivation, character, personal history, and most of all remorse (Costanzo). Every year approximately 250 new offenders are added to death row. In 1994 there were 2,850 persons awaiting execution. Yet no more than thirty-eight people have been executed a year since 1976. This is a ridiculously low number compared to 199 persons executed in 1935 (all from Cole 451). The reason for this slow execution rate is the process of appeals, from sentencing to execution there is about a seven to eight year wait. The convict's cases' are reviewed by the state courts and through the federal courts (Cole 451). With all this opportunity for the case to be turned over or the sentence to be changed it is almost impossible for an innocent person to be executed. Only two people have been proved innocent after their execution in the United States. These wrongful deaths occurred in 1918 and 1949 (Death Penalty Discussion). Since then the justice system has undergone a lot of fine tuning making this extremely unlikely today. One argument against the death penalty is that it costs less to imprison someone for life than to execute them (Death Penalty Discussion). This is a good point that has a lot of impact on a lot of peoples views regarding capital punishment since they are the ones footing the bill through taxes. I personally would not mind paying the little bit extra just so I know for sure that there's one less murderer on our planet. If the death penalty was done away with, prisoners who should have been executed will be mixed in with other inmates. It would be possible and not too unlikely for them to kill another inmate or possibly a prison guard. If someone is lined up for execution then they more than likely deserve it. They have caused a great deal of grief to the family and friends of the victim or victims and it seems like the only way justice could be served is for the criminal to die. For the person to simply go to jail seems unfair. There they will eat three meals a day, get to watch cable t.v., and befriend other inmates. They live a pretty decent life in prison and they don't deserve it. Out of the fifty states in the United States 37 have and use capital punishment. Out of the same fifty states only 18 have life imprisonment with out parole. In the other 32 states a person who should've been executed can be released after as little as 20 years in prison (Death Penalty). There are certain standards that are followed in giving out capital punishment. The defendant can not be insane, and the mans rea or criminal intent must be present. Also, minors very rarely receive the death penalty because they are not fully mature and might not know the consequences of their actions. Finally the mentally retarded are very
Tuesday, November 5, 2019
Appeal to Aesthetics in Death in Venice Essay -- Literary Analysis
The first and most obvious instance of aestheticism and decadence as correlating themes in this story is the title, Death in Venice. By fore-grounding the name of the city in the title, Mann is highlighting the city's key role in the unfolding narrative. Mann aligns the word 'Venice' with the word 'death' in the title. This creates a relationship between these two words - the word 'death' strongly infuses the word 'Venice' with all its connotations. Death and decay are important ideas within the context of decadence. By shear nature the title relates the concepts of death and dying to the city of Venice, which implies that the location is where a death will occur. However, this is paralleled by the opening of the story when Mann drearily tells of Aschenbachââ¬â¢s stroll through Munich. In the reading of this passage it nternally decadent through his indulgence in Tadzioââ¬â¢s appearance. He then changes his appearance to please his idol which in turn corrupts himself by tur ning him into the type of decadent man he once despised. These themes of aestheticism and decadence, not in juxtaposition but in duality, are used frequently by Mann throughout the novella. Works Cited Mann, Thomas, and Clayton Koelb. Death in Venice: a new translation, backgrounds and contexts, criticism. New York: W.W. Norton, 1994. Print. Ritters, Naoimi, and .Jeffrey B. Berlin. "the Tradition of European Decadence." Approaches to teaching Mann's Death in Venice and other short fiction. New York: Modern Language Association of America, 1992. 86-92. Print. Shookman, Ellis, and Rene-Pierre Collins. Thomas Mann's Death in Venice: a novella and its critics. Rochester, NY: Camden House, 2003. Print.
Saturday, November 2, 2019
Regulations Impacting Human Recourses Management Assignment
Regulations Impacting Human Recourses Management - Assignment Example The human resource in health care organization is required to outline the qualifications and performance prospects for all its employees. They are also expected to provide encouragement to employees to engage in self-development and pursue further education. (Joint Commission Resources, Inc, 2003).Score HR requirements in healthcare, as defined by JCAHOScoring is based on standards and certain requirements pertinent to the quality and safety of healthcare provided to patients. JCAHO ensures that standard compliance scoring is reflective of the health care organizationââ¬â¢s performance with regard to JCAHOââ¬â¢s set standards and elements of performance and transparency. The process should be understood by everyone involved and is based on the principle that certain standards are vital or at times have a direct impact on patients (Staff, JCAHO and Joint Commission Resources, 2004).According to JCAHJO, standards are scored taking into consideration the compliance score of every element of performance (Staff, Jcaho and Joint commission resources (2004). It is a requirement that before the HR department can determine its compliance with the standards, it must score its compliance with the elements of performance first. Scoring is categorized into A, B, and C. In each category, the organization must ensure that its element of performance meets its performance expectations. The elements of performance are usually scored on three scales; 0, signifies insufficient compliance; 1 signifies partial compliance; and 2 is set for satisfactory compliance. Organizations rating with regard to the requirements Our hospital currently has a rating of ââ¬Ë1ââ¬â¢ since it has only partially complied with the requirements of JCAHO. This is due to the fact that the hospitalââ¬â¢s human resource department is still in the process of trying to define the qualification and performance of its employees. Our human resource department has also not completed the process of employing the required number of staff with requisite qualifications. Affirmative action in healthcare In every organization, equal employment opportunities should be presented to everyone without discrimination based on race, gender, ethnicity, class, religion, color, sexual orientation, disability or national origin in so far as they meet the required standards. With affirmative action, however, the underrepresented group(s) is given due consideration with a view of countering the effects of historical
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