Russia Essay Example | Topics and Well Written Essays - 1750 words

Russia - Essay Example In particular, this paper will talk about and break down a portion of the various highlights of the travel industry in Russia, so as to comprehend its related components, determinants, and its effect on different segments of the nation. Topographically, Russia is considered as cross-country nation having its limits in both Asia, just as, Europe. In explicit, a bigger piece of the Russian Federation is stretched out in northern Eurasia. Also, a portion of the nations that share their outskirts with Russia are Poland, Finland, Norway, Georgia, China, North Korea, Belarus, Azerbaijan, Latvia, and so on. It tends to be seen that some of these nations are wealthy as far as culture and legacy, which is a sort of advantage for Russia, for being situated in a rich social locale. Regarding outskirts contacting waters, Russia imparts its limits to the Black Sea, the Baltic Sea, and the Caspian Sea. Likewise, it furnishes ocean course with the Pacific Ocean, just as, the Arctic Ocean. (Jafari, pp. 516, 2003) A nation offering its limits to such a large number of land and water areas is viewed as an enormously profited area in setting of the travel industry, which is the explanation that in spite of Russia’s picture of f ight land and superpower, its recorded spots pull in a great many voyagers consistently. Another explanation behind choosing Russia especially for this examination is its acknowledgment as the biggest nation earth covering 17,075,400 square km, and accordingly, the paper will presently attempt to distinguish diverse physical assets that are contributing in engaging a large number of inbound, just as, outbound sightseers from various pieces of the globe. Pretty much every nation has been honored with chronicled treasures, physical highlights, alluring locales, and so forth; in any case, it is basic that such places ought to be kept up and used by the requests and claims to fame of specific area. As such, physical highlights can be used for vitality purposes, too

Golden Parachute

Frequently in a pile of current papers, the first page points that will grab your eye are moral issues behind upper administration remunerations; for this situation, on March 30th 2009, the issue that surfaced was Rick Wagoner’s leave from GM and his retirement bundle and how his genuine/base pay multiplied in his last year from around $7M to $15M. (7) With the current monetary emergency, numerous individuals outside the business society have gotten mindful of the incredibly high pay contrast between top directors and normal working residents. For example, terms, for example, ‘golden parachute’ have been put under the spotlight and are examined. Hand-outs are severance pays to CEOs when they leave their organization. The measure of cash is normally impacted by the size of the business and the exertion they put in. The freebie was once used to morally to repay CEOs who relinquished their time and exertion for the business; in any case, this is at present not by any means the only case. Before we dive into more detail, comprehend that the hand-out once had a purpose behind being utilized. With numerous mergers and acquisitions during the second mechanical unrest, CEOs were offered pay relative to how much their exertion was worth. As indicated by the Journal of Business Ethics, this was a moral point of view since it was trailed by two constructive outcomes. Most importantly, freebies energized mergers and acquisitions rather than liquidation. For example, the CEO would decide to converge with a contender and leave with a luring measure of cash. This limited joblessness and loss of basic capital which is consequence of chapter 11. Another beneficial outcome in utilizing the freebie was drawing in a successful supervisory crew. Incredible CEOs are fundamental for the achievement of organizations, yet extraordinary CEOs are low on flexibly. Therefore, hand-outs can be ‘recruitment tool[s]’ and can bring the business over into a financially steady position. Basically, freebies were can at present be moral if the CEOs get pay corresponding to their exertion that was advanced to the organization. 1) However, despite the fact that these pay bundles started as an elective that boosts the aggregate of stakeholders’ fulfillment, numerous CEOs started to manhandle this benefit. Featured by the rule operator hypothesis, the vast majority would organize individual motivating forces regardless of anything else. In this way, it is justifiable for a CEO to seek after close to home motivations. In any case, trustee duties to investors must be fortified by sheets. It is human instinct to organize individual needs, however it is dishonest to hurt the business or investors during the procedure. In this way, regardless of whether freebies ought to or ought not be compulsory stays an ethical predicament. The inquiry despite everything stands; is it defendable that CEOs merit and have rights to gather hand-outs? In a present issue, Rick Wagoner, CEO of GM, was approached to leave by Obama because of his inability to present a rebuilding plan. Accordingly, he got an astounding freebie of $20 million. In the event that the choice was placed in the hands of many citizens, he would not have left with $20 million because of his reputation. As indicated by ABC News, under his administration, â€Å"GM lost several billions of dollars, took billions in citizen financed help, and cut a huge number of occupations, including declared designs to cut 47,000 workers before the finish of 2009†. (2) what's more, he was remembered for an embarrassment, late 2008, where he was seen to have flown personal jets when requesting a legislature bailout. With such introduction, citizens are frozen with the way that their cash is going towards a paying an organization which fizzled rebuild. Therefore, many contend that he didn't merit the cash since he ignored his duty as the CEO of GM to glance to the greatest advantage of the partner. Then again, GM and the administration needed to, by law, give Rick Wagoner the compensation since it was at that point arranged; in this manner, he was qualified for retirement reserves. Subsequently, another moral issue may emerge dependent on whether he merits the compensation. Let’s likewise not overlook the way that he worked in GM for a long time. 2) what's more, if a freebie was not offered, numerous fit CEOs will lose motivators and GM’s budgetary position will most likely be unable to recover without a viable pioneer. Generally, the difficulty a remaining parts in banter with respect to whether the advantages of freebies supersede the conceivable maltreatment of this benefit. To additionally break down this case, this situation was applied to the seven stage choice methodology. Moral Standards To begin with, the initial step to the choice methodology is to recognize moral norms. Since each stakeholder’s interests change, there is a contention among individual objectives, convictions and qualities. For example, CEOs and board individuals make a move to expand their compensation because of individual objectives; notwithstanding, it may not be to the greatest advantage of the organization. Accordingly, by seeking after this objective, CEOs and board individuals trust in selfishness where they look exclusively to the greatest advantage of themselves and think about it as a way to goodness. They additionally accept that with an entrepreneur economy, the administration ought not mediate and should give businesses’ their opportunity coming about a free enterprise viewpoint. Correspondingly, investors additionally mean to boost their salary and individual motivating forces. In doing as such, they esteem trust and trustworthiness and anticipate that guardian obligations should be met. Moral Impacts The subsequent advance is to perceive every single good effect and how they either advantage or mischief partners. It is likewise imperative to distinguish any rights that are connected to privilege or potentially obligation that might be perceived or abused. The accompanying graph is a cost/advantage investigation if the administration was to permit the act of freebies.

Contrasting Spellbound with The Stud as Examples of Romance and Anti-romance Fiction - Literature Essay Samples

Both romance and anti-romance hold connotations of triviality and low-brow culture, reducing women to simplistic figures in which to indulge. Yet, for all their critical analyses, it seems inconclusive as to which genre is more sexist. This question may be addressed with reference to authorial intent, but, as Edward Said claims, ‘the reader is a full participant in the production of meaning, being obliged as a moral thing to act, to produce some sense’ , indicating that both genres operate ideologically only to the extent to which the reader interpolates it. This essay will examine the theory that such readings of sexism depend on how the novels are received, using the idea of ethnographic consideration in order to study this. I will be dividing reception of these genres into the passive pleasure readers and the ironic or critical readers. Spellbound and The Stud exemplify the varied potential readings of the two genres. Both are primarily intended for fast-paced consump tion by a mass audience, and are what Snitow describes as ‘easy to read pablum’ . Certainly, today’s commodity culture has produced a certain depthlessness, reflecting Adorno and Horkheimer’s theory of the culture industry churning out pseudo-individualised commodities to be consumed passively in leisure time. Romances are more obviously liable to be condemned by feminist criticism due to their female characters relying on men for fulfilment. Spellbound in particular may be thus condemned due to its references to the medieval era- an almost nostalgic allusion to a patriarchal period in which women had a stricter, more subservient role in romantic relationships. However, this essay will investigate the argument that anti-romance, despite its supposedly empowering message to women, is also sexist in its representation of how its women gain and maintain such power. Most obviously, anti-romance novels (The Stud being a particularly apt example due to its male and female narrative perspectives) are able to alter Laura Mulvey’s idea of the male gaze domination and the objectification of women in art . Though seemingly empowering for women previously subjected to the gaze (as Bryna is in Spellbound through the male narrative perspective as well as being the subject of both male characters’ desires), it is clear through The Stud that the gaze is seemingly appropriate to the celebrity figure, meaning women as well as men are still objectified. In fact, both Bryna and Fontaine relish in the male gaze, though the former for matrimonial monogamy and the latter for power. Yet, both bear traits of sexism, as romance dictates that women centre their lives around finding a husband, while anti-romances gives the impression that identity correlates directly with appearance, indicating that women remain under superficial scrutiny in the modern world. Certainly, Tony criticises how Fontaine is ‘a bit lacking in the tits and ass depa rtment’ , despite succumbing to her dominance, which suggests that the male gaze will remain even with the new status of women. The Stud reduces woman’s agency to superficial display of material prosperity. Yet, the females’ skills revolving around consumption and celebrity image prove to be lucrative in the context of this contemporary world, and act as a source of economic power. This differs from the domestic sphere of feminine sentimentality; compared to the nineteenth century sentimentalism and domestic traditions, the sex and shopping novel permeates the convention of male writing representing public, rational social criticism, rather than relying on the domestic, emotional commentary in which women were considered to be concerned only with maternal and domestic yearnings. Through this genre, women are now positioned within consumer culture rather than relegated solely to the domestic realm. This may be viewed as an empowering new position for women as it not only places women in the public/business sphere of consumerism, but also depicts the male narrative of ambition and economic mobility. Aside from the overwhelming emergence in commodity culture, the anti-romance novel rewrites the American Dream narrative, appropriating it to the contemporary ability for women to have a self-made woman story, thereby refuting traditional representations of women. However, through this, characters such as Fontaine display essentially male characteristics of ambition, but also hedonism, excess, narcissism and the seeking for immediate gratification. The Stud also depicts a dependence on men as well as immorality and exploitation in regards to the way women achieve their wealth. This could be read, as Felski sees is, ‘as a redress of past inequities’ , providing the prospect for women to, in their own way, dominate. Alternatively, it may be regarded as hypocritical of criticisms made against men in patriarchal society, denoting the dam aging effects of such a representation of women as encouraging the use of sexuality and appearance to gain economic and social mobility. Additionally, this representation retains the idea that women lack intellectual depth, and even this reliance on social manipulation and sexual exploitation is unstable; for example, Fontaine’s husband, the reliant funding and prestige behind her extravagant lifestyle, leaves her. To this extent, the novel portrays the idea that women still have to sacrifice a part of themselves in order to gain success, just as Bryna sacrifices a lifetime for Calen. In this celebrity circle, it remains socially unacceptable to have a husband that is not deemed respectable. Furthermore, commodity consumption presents an opportunity for fulfilment, depicting how women are seduced by material wealth, just as romance heroines are seduced by men. For example, Fontaine makes up with Benjamin because she simply must have the fur coat she wants him to buy her in or der to impress her social circle. Thus, the sex and shopping novel applies similar social constraints and pressures to that of patriarchal society, and arguably harsher constraints than the world of romances like Spellbound, whose female protagonist at least has the potential for a compassionate relationship. Nonetheless, Kay Mussell remarks that romance novels fail ‘to elaborate mature and triumphant models for female life beyond marriage, motherhood and femininity’ , just as The Stud fails to elaborate models for female life beyond consumer and celebrity culture. Therefore, it is evident that both genres establish constraints upon women. In her article, Regis writes that ‘canonical romance writers have employed [romance form] to free their heroines from the barrier and free them to choose the hero’ . There is emphasis throughout the article on women’s free choice, yet romances such as Spellbound establish the hegemonic ideology of monogamous marria ge and the vital need to find a man to complete one’s life, and thus refuses to provide other options for female fulfilment. Douglas corroborates this, claiming that courtship in romance novels is reduced to ‘coupling in the wary primitive modes of animal mating’ , thus providing limiting horizons for women. As Modleski sees it, romances encourage the reader ‘to participate in and actively desire feminine self-betrayal’ , as indeed Bryna waits and relies on Calen for one thousand years with no question of this commitment begged from the reader. On the other hand, a significant aspect of the sex and shopping novels such as The Stud centres around the idea that women can enjoy free sex without shame, but in doing so it negates any emotional connection and reduces it to hedonistic insignificance. Thus, both portrayals are limiting in portraying female fulfilment. In addition, the lack of depth and complexity in the writing style of both texts further in dicates a lack of intelligence as a vehicle for women, both in terms of the characters presented and the metatexual concept of low-brow popular fiction associations. In The Stud, the emphasis on glamour and materiality serves to highlight the retaining of femininity of women in a masculine role of dominance and economic autonomy. However, to a critical rather than a pleasure reader, this may portray the postmodern view of the social construction of gender, drawing on Judith Butler’s theories of gender performativity as a social construction. To this extent, the overtly camp aesthetic of the lifestyle and characters in the novel serves as a form of ironic resistance of hegemonic gender roles. Andrew Ross asserts that in camp presentation the exaggeration of the characterisation helps undermine and challenge the accepted normality of essentialist gender roles , linking to Robertson’s ideas on gender parody as a means of critique . Considering this, one might look to the Brechtian technique of verfrumdungseffekt , as the exaggerated characterisation of the camp aesthetic estranges the audience in order to give them detached judgment of dominant gender roles. However, with ethnographic consideration, it is clear that the majority of the anti-romance audience are passive, pleasure readers, meaning one must assume that most would not read this deeply. As Robertson remarks, ‘camp is a reading/viewing practice which, by definition, is not available to all readers; for there to be a genuinely camp spectator, there must be another hyperbolical spectator who views the object ‘normally’’ . This again asserts the idea of a divided audience between the Adorno’s idea of ‘passive dupes’ and the critical readers. Moreover, as a piece of popular culture, one should not necessarily read such text socio-politically. Indeed, Susan Sontag remarks that the constructed and stylised manner of the camp aesthetic, by its very nature, is apolitical , the point being its utter frivolousness and not its ability to critique. It is certainly difficult to read such a text as a serious social critique, especially considering the authors.Authorial celebrity and homology, exemplified by Jackie Collins and Nora Roberts, provides evidence for their novels being a celebration rather than critique of this lifestyle and position of women. Certainly, sex and shopping novels almost instruct the reader on social mobility within the lifestyle of the rich and the famous, and the intertextual evidence of authors’ own celebrity depicts an encouragement for the values displayed in the novels. For example, Collins socialises within real-life celebrity circles, and makes a living on revealing secrets to the population on chat shows and online forums. This denotes a voyeuristic fascination rather than distanced critiquing; it seems to aim for readers to live out their fantasies through the characters. This celebratory re presentation appears to condone a new definition of femininity, though that definition still includes engendered roles, as men are needed to fund women and provide them status. In order to determine the effects of such representations, one has to ethnographically evaluate how such texts are received. Both The Stud and Spellbound represent mythic genres that depict exceptional, extraordinary heroines. The pleasure here is from viewing this extraordinary femininity, and thus does not denote commentary of social reality. Indeed, this follows Robertson’s logic of ‘the pleasure of masquerade’ , that is distanced from reality. As Adorno and Horkheimer would see it, the readers of romance and anti-romance ‘seek novelty, but the strain and boredom associated with actual work leads to avoidance of effort in that leisure time which offers the only chance for really new experience. As a substitute, they crave a stimulant’ . In this way, the readers are not nece ssarily expected or expecting to directly refer to reality when reading these texts. As Douglas sees it, romances ‘are porn softened for the needs of female emotionality’ , and The Stud, while not passionately or explicitly sexual, acts as a form of female pornography in its titillation of female power and dominance. In either case, the categorisation of ‘pornography’ indicates a lack of realism, and more an indulgence for reason of pleasure, rather than reflections on reality. However, the potential for real-life association would be more plausible in The Stud, which may be read as a vision for a desired reality because the descriptions of commodity culture are very much existing and prospering, as well as the authors indulging in that very lifestyle and almost encouraging it. Meanwhile, the fantastical world of Spellbound exemplifies the reader’s escape into a mythic world and is not expected to reflect reality. It seems, then, that anti-romanceà ¢â‚¬â„¢s close correlation with real-life makes it more demeaning in its reflection of reality, as opposed to an escapist’s utopian sensibility that does not necessarily reflect real-life desires. Nonetheless, romances may be seen, as Regis asserts, as an ‘enslaver of women’ , implying that romances have hegemonic repercussions in the real world of restricting female aspirations to heterosexual, monogamous wifehood. This subjective inconclusiveness directs us to Roland Barthes, whose ‘Death of the Author’ voices the concept that it is for the reader to find meaning, relegating authorial intent and majority reception to irrelevancy. To this extent, the reader is free to produce any reading of the texts; despite the lack of intention, there still exists the potential for any implicit meaning to be found, thus negating any possibility of conclusively determining which genre imparts the more damaging representation of women. Overall, considering both t he authorial intent and the mass reception of these novels, the bourgeois idea of cognitive connection to culture is seemingly unfitting to a study of popular fiction; instead the focus is on pleasure, not critical analysis. As Andrew Britton explores the concept of Hollywood blockbusters, so too is popular music to be ‘consumed’ rather than ‘read’ with the postmodern logic of spectacle over content . Undoubtedly, such forms of ‘art’ are created chiefly for the marketplace, and thus do not deliberately operate ideologically. However, if one were to read such texts as indicators of the female role, it seems evident that, despite its feminist intention of empowering women, the anti-romance genre, exemplified by The Stud, signifies an equally restricting and demeaning representation of women as may be seen in romance novels; it merely appropriates concerns of finding a male to the ascertaining of wealth and status through manipulation and exploita tion, both reducing the female to two-dimensional life aspirations. Bibliography:Adorno, Theodor, and Max Horkheimer, Dialectic of Enlightenment, (Stanford University Press: 2002).Adorno, Theodor, Essays on Music: Theodor W. Adorno, (London: University of California Press, 2002).Barthes, Roland ‘The Death of the Author’ in Image, Music, Text trans. By Stephen Heath (London: Fontana, 1977). Britton, Andrew, Britton on Film: The Complete Film Criticism of Andrew Britton, edited by Barry Keith Grant, (Detroit: Wayne State University Press, 2009).Butler, Judith, Gender Trouble: Feminism and the Subversion of Identity (New York: Routledge, 1990).Collins, Jackie, The Stud, (London: Mayflower Books, 1970). Doane, Mary Ann, The Desire to Desire: The Womans Film of the 1940s (Bloomington: Indiana University Press, 1987). Douglas, Ann, ‘Soft-Porn Culture’, The New Republic, (1980).Ernst, Reni, The Spectator and not the Actor is the Central Focus of Brecht’s S tagecraft, (Dublin: GRIN Verlag, 2008).Felski, Rita, ‘Judith Krantz, Author of ‘The Cultural Logistics of Late Capitalism’, Women: A Cultural Review, vol. 8, no. 2, (England: Oxford University Press, 1997).Gledhill, Christine, ‘Pleasurable Negotiations’, in Female Spectators: Looking at Film and Television, ed. E. Deidre Pribram (New York: Verso, 1988). Modleski, Tania, Loving with a Vengeance: Mass-Produced Fantasies for Women, (Hamden, Conn.: Archon Books, 1982).Mulvey, Laura, ‘Visual Pleasure and Narrative Cinema’, Film Theory and Criticism: Introductory Readings. Eds. Leo Braudy and Marshall Cohen, (New York: Oxford UP, 1999).Mussell, Kay, Fantasy and Reconciliation: Contemporary Formulas of Women’s Romance Fiction, (Greenwood Press: 1984), p. 189.Radway, Janice, ‘The Institutional Matrix: Publishing Romantic Fiction’ in Reading the Romance, (America: University of North Carolina, 1984). Regis, Pamela, A Natural Hi story of the Romance Novel, (Philadelphia: University of Pennsylvania Press, 2003).Roberts, Nora, Spellbound, (New York: Penguin, 1998).Robertson, Pamela, Guilty Pleasures: Camp from Mae West to Madonna, (London and Durham: Duke University Press, 1996).Ross, Andrew, ‘Politics Without Pleasure’, Yale Journal of Law the Humanities: Vol. 1: Iss. 1, Article 12, (Yale University Press: 1989). Said, Edward The World, the Text and the Critic (Harvard University Press: Cambridge, Massachusetts 1983) p 41.Sontag, Susan, ‘Notes on ‘Camp’ (1964), reprinted in Sontag Against Interpretation (New York: Farrar, Straus Giroux, 1966).Snitow, Ann, Mass Market Romance: Pornography for Women is Different (Cambridge University Press: 1979).

How Does Conflict Manifest Itself in Romeo and Juliet

Romeo and Juliet is a classic romantic tragedy that portrays the conflict of love between young teenagers and rival houses. It was written by William Shakespeare and is considered one of the most popular plays he wrote during his lifetime. However although it one of his most popular plays, it is unknown what year the play is set or what year it was written. Throughout the play we follow the two main characters Romeo and Juliet. Romeo who is a Montague and Juliet who is a Capulet are members of two rival houses that find love in a hostile environment. This leads to a lot of conflict between the two households throughout the play and the language which Shakespeare uses enhances this conflict. One way Shakespeare conveyed conflict was through the stylistic feature oxymoron. An oxymoron is a figure of speech in which apparently contradictory terms appear in conjunction. They are seen throughout the play in numerous occasions were this stylistic feature, oxymoron, is used to heighten the conflict through the language. An example of this is in, Act 2 Scene 2, Juliet says â€Å"Good night, good night. Parting is such sweet sorrow.† when Romeo and Juliet are parting after just have met for the first time. The end of the sentence â€Å"sweet sorrow† is an oxymoron as sweet and sorrow both opposes each other. Shakespeare uses this oxymoron to portray Juliet’s feeling towards Romeo after meeting for the first time. It is â€Å"Sweet† as she is parting and no longer is with the son of the rivalShow MoreRelatedFriar Lawrence711 Words   |  3 Pagesto Romeo and Juliet highlights the conflict between parents and their children within the play. The centrality of the Friars role suggests a notable failure of parental love. Romeo and Juliet cant tell their parents of their love because of the quarrel between the two families. In their isolation, Romeo and Juliet turn to the Friar who can offer neutral advice. At first, the Friar cant believe how quickly Romeo has abandoned Rosaline and fallen in love with Juliet, so he reminds Romeo ofRead MoreThe Antebellum Period : A Great Deal Of Fodder For Social Criticism1536 Words   |  7 Pagesthe novel. One of the main ideas which he posits throughout the novel is that the Southern culture â€Å"that which perseveres on land† (Weinstein) is hypocritical in its actions, in addition to possessing many discriminatory traits. These hypocrisies manifest in several forms, varying from religion to even menial things, such as smoking. This is especially demonstrated within the sleepy Missouri town, when Huck â€Å"want[s] to smoke,† but the Widow refuses him. Within the same paragraph, he comments thatRead MoreValues of Hamlet in comparison to Hamlet movie (2000)2312 Words   |  10 Pagesunrelenting twists and thrills of madness and revenge. I have chose n to compare this play to Michael Almereydas film made in 2000 that is a modern interpretation of the original text and was an attempt to do to Hamlet what Baz Luhrman did to Romeo and Juliet. This a brief synopsis of the play; Hamlet is the son of King Hamlet who died before the play begins. King Hamlets brother, Claudius takes the throne and marries his wife. The story largely tracks the revenge sought by Hamlet after the murdererRead MoreThe Picture of Dorian Gray by Oscar Wilde1967 Words   |  8 Pages In The Picture of Dorian Gray, Oscar Wilde disputes the role and conflicts between Aestheticism and morality. He exposes his contradictions and inner struggles throughout his three main characters: Lord Henry, a nobleman who criticizes the moralism and hypocrisy of Victorian society and openly expresses his Aesthetic thoughts, Dorian Gray, a handsome model influenced by Lord Henry’s views on beauty and morality, and Basil Hallward, an artist captivated by Dorian’s beauty. The novel mainly dealsRead MoreThe Great Gatsby Analysis5626 Words   |  23 PagesThe title character and protagonist of the novel, Gatsby is a fabulously wealthy young man living in a Gothic mansion in West Egg. He is famous for the lavish parties he throws every Saturday night, but no one knows where he comes from, what he does, or how he made his fortune. As the novel progresses, Nick learns that Gatsby was born James Gatz on a farm in North Dakota; working for a millionaire made him dedicate his life to the achievement of wealth. When he met Daisy while training to be an officerRead MoreElizabethan Era11072 Words   |  45 Pages France was embroiled in its own religious battles that would only be settled in 1598 with the Edict of Nantes. In part because of this, but also because the English had been expelled from their last outposts on the continent, the centuries long conflict between France and England was largely suspended for most of Elizabeths reign. The one great rival was Spain, with which England clashed both in Europe and the Americas in skirmishes that exploded into the Anglo-Spanish War of 1585–1604. An attempt

Edgar Allan Poe had a life full of tragedies. He is best...

Edgar Allan Poe had a life full of tragedies. He is best known for his mysterious and macabre stories and is considered the inventor of the detective fiction genre. He is one of the first well-know writers that tried to earn a living writing alone, which resulted in a financially difficult career. His works have been printed since 1827 and include classic histories as â€Å"The Tell-Tale Heart†, â€Å"The Raven†, and â€Å"The Fall of the House of Usher†. Edgar Allan Poe was born in Boston, Massachusetts, on January 19, 1809. He was the second child of Elizabeth Arnold Poe and David Poe, Jr., both traveling actors. His older brother was William Henry Leonard Poe, and his younger sister was Rosalie Poe. Poe’s father left their family in 1810, and later†¦show more content†¦Poe went to West Point matriculated as a cadet on July 1, 1830; in October Allan married his second wife and disowned Poe. On February 8, 1831 Poe was found guilty of disobedience of orders and gross neglect of duty, he was later dismissed. He decides to go to New York where he publishes several short stories with the help from his fellow cadet at West Point. In March he returns to Baltimore and on August his older brother Henry dies due to problems with alcoholism. Poe begins to focus more on his career as a writer after the death of his brother. After being rejected many times he sends a letter to Allan asking for help but is ignored. John Allan died and left Poe out of his will, however Allan left money to his illegitimate child whom he had never seen. While living in poverty he started publishing short stories and one of them, The Manuscript Found in a Bottle, won a contest sponsored by the Saturday Visiter. Because of this contest Poe met new people allowing him to publish more stories and to gain an editorial position at the Southern Literary Messenger in Richmond. While working there he developed a reputation as a fearless critic whom attacked not only the author’s work but also insulted them. In May, 1836 Poe marries Virginia, his cousin, who was 13 years old at that time. The marriage proved to be a happy one, and Poe celebrated the joys in his poem Eulalie. Unhappy with the low pay and lack of editorial control at the Messenger, he moved to New York where he

Francis Crick Essay Example For Students

Francis Crick Essay In 1953, Dr. Francis Crick and James Watson discovered the structure of the DNA molecule. This is the molecule which we now know stores the genetic information for all life. Many scientists have claimed the discovery to be the single most important development in biology during the 20th century. Watson and Cricks investigation into the nature of the genetic code and the passing of information from generation to generation has redefined the study of genetics. Also, it has basically created the science of molecular biology. For their outstanding work, James Watson and Dr. Francis Crick were awarded the 1962 Nobel Prize. As a youth, Francis Crick attended Northhampton Grammar School . At the age of fourteen he entered Mill Hill School in North London. While there he gained a good education in chemistry, physics, and mathematics. Crick was later an undergraduate study at University College of London where he received a degree in physics in 1937. Crick continued on at University College doing graduate work in physics until his research was interrupted by World War II. After the war, Crick found himself less interested in the field of physics. He found an interest in Erwin Schrodingers book What is Life? The Physical Aspect of the Living Cell. Crick was convinced that many of the fundamental problems of biology could be examined by using the precise concepts and methods of physics and chemistry. The main theory Crick wanted to challenge was that of vitalism. Vitalism was the idea that life processes were due to a vital principle which was not explained by the laws of science. In the middle of the centur y many scientists still believed that the family of macromolecules called proteins contained the key to understanding the chemical basis of genetics. However, Crick remained unconvinced that proteins could hold the key to passing on genetic information. In 1951 Francis Crick met a young American on a postdoctoral fellowship by the name of James Watson. The two scientists discovered that they shared the opinion that DNA, not proteins, was the critical factor in passing on genetic information. They both believed that by solving the structure of the DNA, it would lead to an explanation of the self-replication of genes. Crick and Watsons work to understand what role DNA played in the replication of the gene required them to obtain information from many different sources. In 1944, Oswald Avery had discovered that purified DNA, not proteins, was the main carrier of genetic information. This historic discovery set the stage for Crick and Watson to investigate the role of DNA in the gene. Just like any other scientist, Crick and Watson followed their share of false ideas. But what greatly helped these two scientists was their ability to freely criticize eachother without being offensive. One of the great pieces of work by Francis Crick is t he three-dimensional model of the DNA molecule which he and Watson produced. The model exhibits the two sides of a flexible ladder coiled around a common center to form a double helix. Each outside of the ladder, also called the backbone, is constant throughout the molecule and repeats the phosphate-sugar bond over and over again. Attached to the inside of the backbone at the sugar is part of the ladders rung. This variable part of the DNA molecule consists of one of the four bases adenine, guanine, thymine or cytosine. The sequence of these bases along the inside of the ladder determines the genetic message. The key to Crick and Watsons discovery was the realization that because of its size, shape and chemical makeup, each base on one side of the ladder could pair by hydrogen bonds with only one other base on the other complementary side of the ladder. This meant that the large adenine molecule could pair only with the smaller thymine and the large guanine molecule could pair with only smaller cytosine. Once this structure was grasped the mechanism for molecular replication was obvious. Each of the two strands of the double helix could, upon separation of the hydrogen bonds between the base pairs, serve as a template for the synthesis of a new complementary strand. These two new strands form to create two double helices. In 1953, Francis Crick received his Ph.D. from Cambridge University. Following that he continued his study of the genetic code. By working with Watson, molecular biologist Sidney Brenner, physicist George Gamov and others, Crick showed how the sequence of four bases in DNA and RNA induced the creation of the sequence of twenty basic amino acids. This initial discovery is still being studied today. By the year of 1966, Crick felt that the foundation of molecular biology had been sufficiently outlined and it was now time for him to pursue other interests. Next, Crick turned his attention to embryology. In 1976 he went to the Salk Institute in C alifornia for a sabbatical year from the Medical Research Council. The following year, he decided to make a career change from the MRC and moved to the Salk Institute to pursue his interest in the workings of the brain. As part of Cricks work he investigated the complex topic of human dreams. This interested Crick because he wanted to know more about neural nets. He discovered that you cannot understand how the brain works by just figuring out how one neuron works. You must understand how groups of neurons interact and work together. When you store too many memories they tend to get in eachothers way. Crick realized that in sleep and REM maybe the brain was trying to separate memories which got confused because they were too alive. Because the kind of mixtures you get in neural nets are the sort of things you have in dreams, Crick believed this to be evidence of that. .ud4027dfd40deb53c261ea2cbd4739695 , .ud4027dfd40deb53c261ea2cbd4739695 .postImageUrl , .ud4027dfd40deb53c261ea2cbd4739695 .centered-text-area { min-height: 80px; position: relative; } .ud4027dfd40deb53c261ea2cbd4739695 , .ud4027dfd40deb53c261ea2cbd4739695:hover , .ud4027dfd40deb53c261ea2cbd4739695:visited , .ud4027dfd40deb53c261ea2cbd4739695:active { border:0!important; } .ud4027dfd40deb53c261ea2cbd4739695 .clearfix:after { content: ""; display: table; clear: both; } .ud4027dfd40deb53c261ea2cbd4739695 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ud4027dfd40deb53c261ea2cbd4739695:active , .ud4027dfd40deb53c261ea2cbd4739695:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ud4027dfd40deb53c261ea2cbd4739695 .centered-text-area { width: 100%; position: relative ; } .ud4027dfd40deb53c261ea2cbd4739695 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ud4027dfd40deb53c261ea2cbd4739695 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ud4027dfd40deb53c261ea2cbd4739695 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ud4027dfd40deb53c261ea2cbd4739695:hover .ctaButton { background-color: #34495E!important; } .ud4027dfd40deb53c261ea2cbd4739695 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ud4027dfd40deb53c261ea2cbd4739695 .ud4027dfd40deb53c261ea2cbd4739695-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ud4027dfd40deb53c261ea2cbd4739695:after { content: ""; display: block; clear: both; } READ: Evaluation Of A Good Parenting Style Essay The study of the brain has come a long way, but there is still a lot to be learned. Today, Francis Crick is greatly respected for the valuable work he has done in the exploration of the brain. Psychology

Twelfth Night - Analysis Of Fools Essays (1288 words) - Theatre

Twelfth Night - Analysis of Fools A fool can be defined in many meanings according to theOxford English Dictionary On Historical Principles. The word could mean "a silly person", or "one who professionally counterfeits folly for the entertainment of others, a jester, clown" or "one who has little or no reason or intellect" or "one who is made to appear to be a fool" (word originated from North Frisian). In english literature, the two main ways which the fool could enter imaginative literature is that "He could provide a topic, a theme for mediation, or he could turn into a stock character on the stage, a stylized comic figure". In William Shakespeare's comedy, Twelfth Night, Feste the clown is not the only fool who is subject to foolery. He and many other characters combine their silly acts and wits to invade other characters that "evade reality or rather realize a dream", while "our sympathies go out to those". "It is natural that the fool should be a prominent & attractive figure and make an important contribution to the action" in forming the confusion and the humor in an Elizabethan drama. In Twelfth Night, the clown and the fools are the ones who combine humor & wit to make the comedy work. Clowns, jesters, and Buffoons are usually regarded as fools. Their differences could be of how they dress, act or portrayed in society. A clown for example, "was understood to be a country bumpkin or 'cloun'". In Elizabethan usage, the word 'clown' is ambiguous "meaning both countryman and principal comedian". Another meaning given to it in the 1600 is "a fool or jester". As for a buffoon, it is defined as "a man whose profession is to make low jests and antics postures; a clown, jester, fool". The buffoon is a fool because "although he exploits his own weaknesses instead of being exploited by others....he resembles other comic fools". This is similar to the definition of a 'Jester' who is also known as a "buffoon, or a merry andrew. One maintained in a prince's court or nobleman's household". As you can see, the buffoon, jester and the clown are all depicted as fools and are related & tied to each other in some sort of way. They relatively have the same objectives in their roles but in appearance wise (clothes, physical features) they may be different. In Shakespeare's Twelfth Night, Feste's role in this Illyrian comedy is significant because "Illyria is a country permeated with the spirit of the Feast of Fools, where identities are confused, 'uncivil rule' applauded...and no harm is done". "In Illyria therefore the fool is not so much a critic of his environment as a ringleader, a merry-companion, a Lord of Misrule. Being equally welcome above and below stairs.." makes Feste significant as a character. In Twelfth Night, Feste plays the role of a humble clown employed by Olivia's father playing the licensed fool of their household. We learn this in Olivia's statement stating that Feste is "an allowed fool"(I.v.93) meaning he is licensed, privileged critic to speak the truth of the people around him. We also learn in a statement by Curio to the Duke that Feste is employed by Olivia's father. "Feste the jester... a fool that the Lady Olivia's father took much pleasure in"(II.iv.11). Feste is more of the comic truth of the comedy. Although he does not make any profound remarks, he seems to be the wisest person within all the characters in the comedy. Viola remarks this by saying "This fellow's wise enough to play the fool"(III.i.61). Since Feste is a licensed fool, his main role in Twelfth Night is to speak the truth. This is where the humor lies, his truthfulness. In one example he proves Olivia to be a true fool by asking her what she was mourning about. The point Feste tried to make was why was Olivia mourning for a person who's soul is in heaven? "CLOWN Good madonna, why mourn'st thou? OLIVIA Good Fool, for my brother's death. CLOWN I think his soul is in hell, madonna. OLIVIA I know his soul is in heaven, fool. CLOWN The more fool, madonna, to mourn for your brother's soul, being in heaven. Take away the fool, gentlemen. Adding to the humor of the comedy, Feste, dresses up as Sir Topaz, the curate and visits the imprisoned Malvolio with Maria and Sir Toby. There he uses his humor to abuse Malvolio who is still unaware that he is actually talking to the