Natural Calamity in Uttrakhand

As a kid I was delighted at the hunch of the Soothsayer when he anticipated the Death of Julius Caesar, who out of sheer vanity disposed of his recommendation, yet additionally reprimanded him for the equivalent. A comparable similarity can be attracted to the crime that presently encompasses Uttarakhand, the sole special case being, the vanity and absence of the Government has gravely pounded the State Exchequer and cost the lives of its own inhabitants, as against the demise of one ruler. Habitual pettiness, which is an essential side-effect of each mishappening in our nation, has just started, where both the Central Government just as the State Government are censuring one another and their antecedents in seat for flawed arrangement making, insufficient execution, nonattendance of salvage and help methodology, steaming sacred discussions on whether the current framework ought to be represented under Entry 56 of the Union List or under Entry 17 of the Sate List, and the exemplary public statement express â€Å"mis-governance†. What lies then again of this scale is multitudinous unreported passings, obliteration of open property, and more than sixty thousand abandoned individuals, who are yet to be managed anything as remotely near the term â€Å"relief†. Beginning of the Problem and Observations made by the CAG Report India brags of being positioned 6th as far as biggest hydel power age limit nations. Locally, hydel power represents 1/fourth of India’s reliance on vitality. The Hydel Power Report of Uttarakhand distributed in the year 2008, completely recognitions that the State can possibly outfit right around 20,000 MW of power through hydel power. Blinded with such eager objective, the State Government neglected to see, either intentionally or something else, the absolute first target on the same wavelength, which has been replicated as: â€Å"To tackle nature neighborly Renewable Energy assets and improve their commitment to the financial advancement of the State. Another significant target which the State while executing the said venture, was neglectful of, is â€Å"To improve the utilization of vitality sources that help with relieving natural contamination. † The current approaches, as the CAG Report completely brings up, are planned for exasperating and not moderating ecological contamination, and have been a reason for the floods in and around the area. Periphrastically, the ngoing devastation that was seen in Uttarakhand was destined in the report distributed by the Comptroller and Auditor General of India as late as in 2009, censuring the Central Government and the Government of Uttarakhand for its double job of defective hydro power strategy making just as inadequate arrangement execution. A portion of the principle concerns featured in the CAG Report are: 1. Because of the over goal-oriented approach of the State Government to make various waterway channels, and different force extends on a similar tributary, a genuine risk of condition is assurance. With more than 42 Projects at present working, and 203 ventures in development and leeway stage, at each 6 †7 kms stretch, there will be a dam to block the progression of the waterway. 2. All the tasks depend on high seismic zones in and around regions chamoli, rudra prayag, pithoragarh, Almora and regardless of extreme earth shudders in 1720, 1803, 1991, and 1999 the assortment of hydro power ventures, without sufficient counter seismic estimates keep on running maverick along these lines making genuine hazard the lives of the individuals. 3. There is an away from of Flash Floods which would bring about serious pulverization to life and property in and around the low lying territories of the slopes. Table Appended to the Report has additionally featured different occurrences wherein such glimmer floods have happened already in similar zones. 4. No proof to propose that for inability to conform to the states of Environmental Impact Assessment, a punishment was forced on the deve lopers. 5. Disappointment of the nodal office to guarantee accommodation of quarterly and half yearly consistence reports by the administration. . Blatant Negligence towards Environmental and Security Concerns. 7. The unfavorable effect on the environment was additionally underscored by the way that very nearly 4 out of 5 Power Projects have shown the total evaporating of waterway beds to a stream coming about into extreme weakness and demolition of the biology, and awkwardness in the water table coming about into evaporating of characteristic springs in the close by territories. 8. As indicated by International Standards, the base release of waterway downstream ought to be kept up at 75 % with the goal that the sea-going life stays unblemished. In any case, the current ventures are releasing downstream waterway by 90 % or more which results into complete obliteration of the oceanic life. 9. Broken Pre-Feasibility Survey Reports, which gives erroneous information for assessment of the hydro power station, which implies genuine deficiencies in determining whether the area to develop is doable or not, inquiries on plant productivity and what might be the effect of soil disintegration, and so on stay in a condition of genuine danger. 10. As much as 38 % of the all out ventures which have been allowed an Environmental Clearance have neglected to do obligatory estate. By †Passing The Law according to the Gazette warning gave by the Central Government under Sections 2 and 3 of the Environment Protection Act, 1986, the zone encompassing the waterway Bhagirathi from Gaumukh to Uttarkashi, which is 135 kms stretch, was announced to be â€Å"eco touchy area†. An absolute territory of around 4179. 59 sq km went under the ec o-touchy zone. This will force limitations on quarrying, appointing hydropower extends on Bhagirathi, and development of streets in the denied region. Plus, it will force a restriction on felling of trees and setting up of processing plants to fabricate furniture and other wooden things. For the reasons for compelling usage, the State Government, with the assistance of the nearby NGO’s and individuals was commanded to detail a Zonal Master Plan encompassing the territory, whereby each hydel power which is underneath 20 MW of Power Generation Capacity needed to take a freedom from the State Ministry. In any case, the State Government restricted the said warning in May as they were not â€Å"consulted† before this arrangement was detailed; among concerns voiced by the residents that a ban on advancement would send them back to the Stone Age, which in all actuality was not what the notice imagined. This common habitual pettiness and between clerical wastes of time have prompted such tragedy. Today the very region encompassing Bhagirathi and parts of Uttarkashi are the most noticeably terrible hit zones of the State. Tragedy of Environmental Clearance. Another warning gave by the Central Government warrants consideration. It was commanded that before endorsing the tasks, or before extending or modernizing up to this point existing ventures, it was compulsory to acquire an Environmental Impact Assessment Clearance from the Central Government and the State Government. Each Hydel Power venture was exposed to indistinguishable injuries from have been ordered under Section 3(1) and Section 3(2) (v) of the Environment Protection Act, 1986. Such an EIA must be in congruity with the Standards set somewhere around the National Environment Policy, and the rules that have been made under Rule 5 of the Environment Protection Rules. There are four phases before getting an Environmental Clearance: 1. Screening wherein the tasks are partitioned into two classes, those to be evaluated by the Central Government (Category A Projects which are far beyond 25 MW limit power ventures), and those to be surveyed by the State Government (Under 25 MW Capacity Power Projects). 2. Checking by which the Expert Committee decides on definite concerns (current and likely) with respect to Environmental Depletion or harm, at which stage the Committee is engaged to permit or reject the application looking for beginning of the undertaking. 3. Open Consultation which accommodates an open counsel held in the protection of the site, get reactions of all partners, locals, and so on recorded as a hard copy and to be managed by the State Pollution Control Board, however which explicitly bars â€Å"modernization of water system projects† out of its space. . Evaluation which implies the itemized investigation by the Expert Appraisal Committee or State Level Expert Appraisal Committee of the application and different records like the Final EIA report, result of the open counsels including formal review procedures, presented by the candidate to the administrative position worried for award of natural freedom. Notwithstanding the previously mentioned balanced governance, there is an intermittent Post Environment Clearance checking which are to be submitted on a half yearly premise by the administration. This gives a ruddy image of the law that oversees such clearances; anyway the fact of the matter is a long way from such thought. For example, as indicated by the Report of the Comptroller and Auditor General of India, as much as 38 % of the complete ventures and tasks working in the zone, and which have gotten a green sign to work, have not consented to the obligatory manor of trees in and around the site. This has come about into genuine deforestation in the sloping territories, which results into soil disintegration. Himalayas being youthful overlap mountains, have a truly flimsy soil compaction, when contrasted with other mountain ranges, in view of which soil disintegration can accept destructive extents, it is additionally the motivation behind why streams are changing their regular course and cutting profound fissure in the slopes, unleashing devastation among the individuals who hold its up. Is it accurate to say that we are to be faulted? This is one unending inquiry, which warrants a shameful thoughtfulness. Reports have likewise recommended that illicit development of inns, rest houses, visitor houses, lodgings and r

Canada in World War 1 Essays

Canada in World War 1 Essays Canada in World War 1 Essay Canada in World War 1 Essay Paper Topic: Orlando World War I was a period that influenced ever nation or district on the planet in single direction or another. The province of Canada was the same. In spite of the fact that not situated in Europe where the war was basically battled, our domain was as yet a significant supporter of the war exertion and battled valiantly in shielding the standards of majority rule government and a free world. A considerable lot of our fighters lost their lives in different fights all through the war however without their endeavors the war may have swung Germanys way, causing more fights, a more drawn out war, more cash and in the long run more lives. On August fourth 1914, England did battle with Germany. As a major aspect of the incomparable English realm, our nation of Canada was hauled into the war also. When England pronounced war, we tossed our undeniable help England’s way. Fundamentally this implied we gave troops and assets to the war exertion. Before World war one started, our military was miniscule and held little force. After war was proclaimed on England notwithstanding, our military developed by the thousands, the same number of our residents felt committed to support the homeland. By 1919 a sum of 600,000 Canadian men and lady took an interest in the war exertion as medical caretakers, troopers and ministers, this number does exclude the individuals on the home front who added to the war exertion. 3 Canada’s first incredible imprint on World War I was at the second skirmish of Ypres. The first Canadian division moved to fortify the British and associated lines. In April of 1915, the Germans released canisters of toxic substance chlorine gas. Conveyed by the breeze, this gas entered unified channels driving retreat and innumerable passings. Before long be that as it may, we Canadians made sense of that by peeing on clothes and putting them over our mouths and noses we could defeat the gas and proceed with the battle. When they made sense of this there were huge holes extending in the partnered lines. Numerous partners had withdrawn because of the gas so it was up to our young men in uniform to restring the lines and repulse the foe powers. On April 24th, more gas from the German side was discharged this time the power of the gas was high to the point that pee drenched clothes couldn't prevent the synthetic compounds from entering the lungs, causing as much as 6,000 losses. This fight is a genuine demonstration of how brave our Canadian troopers were and how they really thought about the war exertion. They could have withdrawn, however no they did there work and held the line. Our Canadian men next took on in the incredible conflict of Somme, this fight guaranteed more than fifty-7,000 British lives and an expected twenty 5,000 Canadian lives. Notwithstanding, it gave us our epithet as the stun troops on the grounds that in this fight our men battled like bats out of damnation and by November eleventh we had the option to overcome and make sure about the entirety of the German channels in the territory of Courcelette. The following hostile happened when every one of the four of our Canadian divisions got together during the clash of Vimy Ridge. During this fight we lost more than ten thousand officers however figured out how to execute various measures of Germans and take 4,000 detainees of war. During the last a very long time of the war our soldiers b attled boldly. These last months are known as the hundred days hostile. In the last one hundred days of war our corps lost more than forty 5,000 men. Fights in this hostile incorporated the merciless clash of Arrias and the skirmish of Cambrai. In the clash of Arras German powers had to withdraw. In the clash of Cambrai, Canadians got through the Hindenburg line vanquishing the Germans at their principle conveyance center4. An intriguing truth to be seen is that the last recorded loss of World War I happened two minutes before the peace negotiation; the man was our very own one, a Canadian Soldier who passed by the name of George Lawrence Price3. We Canadians made extraordinary penances for more noteworthy's benefit of the world, this point without a doubt demonstrated by the accounts of the fights our men battled in. Our nation of Canada is home to both the British and the French; this caused some serious issues in World War I. Indeed, even before the war, the French Canadians didn't hold fast to our British approach. At the point when Prime Minister Robert Borden introduced the Canadian military demonstration of 1917, the French particularly in Quebec revolted; declining to battle since they felt the military demonstration was unreasonably focused towards them. After the war, and right up 'til today there is as yet a crack among French and British Canadians. Be that as it may, the war brought British Canadians closer together. As our nation and our men battled against the forces of fiendishness, Canadians framed a bond that couldn't be broken, bringing us one bit nearer to turning into a free country 3. To those whom it might concern, including yet not constrained to Woodrow Wilson (United States), Vittorio Orlando (Italy), George Clemenceau (France) and David Lloyd (England)2. We Canadians don't demand a lot. This war didn't influence us as much as it did numerous other European nations. Indeed, a significant number of our citizen’s lives were lost in fight, however our nations grounds and assets have not been exhausted; the equivalent can't be said for some European nations that have lost such a great amount to this grave war. Canada isn't requesting a lot, we do anyway have a couple of destinations. We request a similar portrayal in the gathering that a portion of the littler nations have gotten. Which means, we demand in any event 2 seats in the meeting and we likewise demand that Canada signs its name autonomously on the settlement. We don't do this to be a nuisance for we understand we are not a free nation, anyway we likewise understand the penance that our officers have made for more noteworthy's benefit of the world and these penances are identical to those of any real nation 5. Those sixty 4,000 men who gave their lives for the homeland and the more than one hundred and fifty thousand who falsehood harmed will not have been executed or harmed futile and will be associated with time everlasting. We Canadians additionally feel unequivocally about the usage of a League of Nations so as to maintain a strategic distance from this sort of awful war later on. Alongside our perspective on the portion of the League of Nations, we hold a couple of more perspectives alongside a couple of more goals that we feel will better the world. One being full help of the Japanese Racial Equality Agreement because of the reality our territory of Canada is home to an extraordinarily different gathering of individuals. Two, to cooperate with the monetary and political frameworks of the United States and Great Britain so as to improve our lives. (tranquility of paper passed out in class) To summarize it, Canada lost numerous men in World War I, in their memory, we deferentially demand two things. One for portrayal equivalent to that of littler nations, and two for our name to be Independently marked on the settlement. We likewise accept certain targets ought to be cultivated for the improvement of the world. We have faith in the execution of a group of countries, the endorsement of the racial equity understanding and the need of our state to cooperate with two of the extraordinary nations of the world, our homeland Britain and our neighbors toward the south the United States. May Canada live on for eternity.

5 Strategies for Discovering How to Forgive

5 Strategies for Discovering How to Forgive January 21, 2020 Cultura/Attia-Fotografie/Riser/Getty Images More in Stress Management Relationship Stress Effects on Health Management Techniques Situational Stress Job Stress Household Stress Although forgiveness brings many benefits, particularly to the ‘forgiver,’ to forgive is not always easy. In fact, many people who would like to let go of anger and forgive are stumped with the question of how to forgive. While everyone may have a unique perspective on how to forgive, the following strategies have been proven effective for a variety of people. Express Yourself In contemplating how to forgive someone, it may or may not help to express your feelings to the other person. If the relationship is important to you and you would like to maintain it, it may be very useful for you to tell the other personâ€"in non-threatening languageâ€"how their actions affected you (see this article on conflict resolution for tips). If the person is no longer in your life, if you want to cut off the relationship, or if you have reason to believe that things will get much worse if you address the situation directly, you may want to just write a letter and tear it up (or burn it) and move on. It still may help to put your feelings into words as part of letting go. People don’t need to know that you’ve forgiven them; forgiveness is more for you than for the other person. Effective Conflict Resolution Skills Look for the Positive Journaling about a situation where you were hurt or wronged can help you process what happened and move on; however, the way you write about it and what you choose to focus on can make all the difference in how easy it becomes to forgive. Research shows that journaling about the benefits you’ve gotten from a negative situationâ€"rather than focusing on the emotions you have surrounding the event, or writing about something unrelatedâ€"can actually help you to forgive and move on more easily.?? So pick up a pen and start journaling about the silver lining next time you find someone raining on your parade, or keep an ongoing gratitude journal and forgive a little every day. Journaling as an Effective Stress Management Tool Cultivate Empathy While you don’t have to agree with what the other person did to you, when working on how to forgive, it often helps to put yourself in the other person’s shoes. Research has shown that empathy, particularly with men, is associated with forgiveness, and can make the process easier.?? Instead of seeing them as the enemy, try to understand the factors that they were dealing with. Were they going through a particularly difficult time in their lives? Have you ever made similar mistakes? Try to remember the other person’s good qualities, assume that their motives were not to purposely cause you pain (unless you have clear indicators otherwise), and you may find it easier to forgive. Protect Yourself and Move On Youve likely heard the saying: First time, shame on you; second time, shame on me. Sometimes it’s difficult to forgive if you feel that forgiveness leaves you open to future repeats of the same negative treatment. It’s important to understand that forgiveness is not the same as condoning the offending action, and it’s OK (and sometimes vital) to include self-protective plans for the future as part of your forgiveness process. For example, if you have a co-worker who continually steals your ideas, belittles you in front of the group, or gossips about you, such ongoing negative behavior can be difficult to forgive. However, you can make a plan to address the behavior with human resources, move to another department, or switch jobs to get out of the negative situation. Blanket forgiveness of someone who is continuing to hurt you isn’t necessarily a good idea for your emotional health. Letting go of your anger and trying to forgive will bring the benefits of forgiveness without opening you up to further abuse. You don’t need to hold a grudge in order to protect yourself. Get Help If You Need It Sometimes it can be difficult to forget about the past and forgive, particularly if the offending acts were ongoing or traumatic. If you’re still having difficulty knowing how to forgive someone who’s wronged you in a significant way, you may have better success working with a therapist who can help you work through your feelings on a deeper level and personally support you through the process. A Word From Verywell When you’ve been hurt, figuring out how to forgive can be difficult. These strategies should be helpful in your journey of letting go and releasing the stress of the past.

Arts Dissertation - Visual Culture - Free Essay Example

Sample details Pages: 21 Words: 6424 Downloads: 1 Date added: 2017/06/26 Category Statistics Essay Did you like this example? Hair has traditionally been cited as a discernibly female expression of sexuality and beauty, an aesthetic composition that exacerbates a womans ability to attract members of the opposite sex while acting as a visual demarcation line between the male female divides. Conversely, the fact that men often begin to lose their hair during the middle stages of their life adds further mystique to the power of female hair in popular western culture. Like her sexuality, a womans hair is unrelenting burning bright like the female passion that has so unsettled male artists for centuries. Symbolically, the difference between male and female hair has been ephemeral versus eternal; short lived as opposed to everlasting, a fantasy constructed entirely in tandem with a lack of knowledge or even interest in female sexuality within intellectual and artistic circles in the past. Don’t waste time! Our writers will create an original "Arts Dissertation Visual Culture" essay for you Create order The notion of female hair working together with her sexuality as a tool to make a mockery of men was first cemented artistically during the ancient era, where Greek mythologys most famous exponent of the power of seduction of female hair, the Gorgon Medusa, stands as a warning to all men: to beware the hidden power of a beautiful woman. The punishment inflicted upon Medusa by the Goddess Athena because of her famous beauty and charm was to transform her sensual hair into a nest of snakes: for mortal man to even look at her would cast him, quite literally, into stone. With such a powerful, traditional starting point, it is little wonder that the issue of women, hair, art and society would continue along a broadly similar pattern for so many years, where stereotypically beautiful women were seen by men as constituting the front line of the ongoing cultural and sexual war an object to be simultaneously admired and feared. However, according to James Kirwan (1999:73), it is not female sexuality which is destructive but rather male desire for that beauty. The passion of the lover is not extinguished by the sight or touch of any body, for what he truly desires and unknowingly suffers is the splendour of God shining through the body. It is a desire like that of Narcissus that can never be satisfied. Within the specifically subjective realms of art and visual art, female hair has a long history of conforming to the accepted image of the compliant, recipient woman due to the pervasive, dominant nature of men in art and society. Until the second half of the twentieth century women had become so accustomed to viewing their world through the eyes of men that they had lost sight of the individuality of women as a separate gender and as singular, autonomous human beings. Yet after the 1960s, visual art and aesthetics became increasingly interested in the views of the first wave of feminism, continuing along more radical, left wing lines with the introduction of the second wave during the 1970s. Women were embraced within the artistic community and encouraged to vent and express their sentiments regarding the suppression of the feminine in popular culture. As feminist critic Lucy Lippard (1980:352) details, the true power of feminist art was, logically, in the polar opposite image that it portrayed of modern societys creative achievements. Feminist method and theories have instead offered a socially concerned alternative to the increasingly mechanised evolution of art about art. The 1970s might not have been pluralist at all if women had not emerged during the decade to introduce the multi coloured threads of female experience into the male fabric of modern art. Moreover, women began to change their appearance for the first time in direct protest at the shackles of uniformity that male society had put upon them and hair was at the centre of the re moulding of the image of femininity in the West. The more radical, younger women changed their clothes, re adapted their attitudes and cut their hair in line with the more liberal males of the period who did likewise and grew their hair as a signal of their refusal to conform. The dissertation aims to examine how traditional social and sexual mores have changed in recent times in order to detail what this means for the visual artistic community, in particular the consequences for female artists in the wake of post modernity. In light of the obvious split in feminist art and culture that has been witnessed since the sixties, the dissertation will necessarily be divided into four main sections. The first chapter will provide an analysis and definition of the broader socio political framework of contemporary female sexuality so as to provide a better understanding of the power of feminine symbolism in a male dominated culture. The second chapter will look at the history of female hair and portrayals of female sexuality over the broader history of art; the third chapter examines modern visual art and culture paying particular attention to the use of hair as a medium for communicating with the spectator. The fourth chapter will analyse outsider arts views of female sexuality and hair, as defined by technology and race respectively. A conclusion will be sought only after taking into account each of the above headings as well as the necessary citations that must be employed to back up theory with example along the way. Contemporary Female Sexuality in Post Modern Society Female subversion in cultural affairs has led to womans alienation in the creative world with the result that her sexuality has only very recently been considered important enough to be the inspiration behind a growing body of academic literature. While feminism in the 1970s saw to it that gay women were represented in culture and art as much as heterosexual women, the movement of lesbians into the avant garde community only served to act as a dividing line between straight and gay women whereby many heterosexual female artists were seen as traitors to their own sex. Recent popular works of art and literature have sought to re introduce complexity into an area where theories about the nature of sexual liberty, manufactured largely by men, had become overtly simplistic. The most extreme exponent of the contemporary debate about female sexuality comes from Paris Curator for Conceptual Art, Catherine Millet and her 2002 memoirs, The Sexual Life of Catherine M. In an interview with The Observer (2002:13) newspaper, the French art critic notes that: Sexual mores have evolved recently; nevertheless some sexual practices are only tolerated if they are kept hidden. I look forward to a democratisation of sexuality where anyone can reveal their true nature without suffering socially. Women in Western society have become more independent, assertive and culturally aggressive during the past twenty five years so that female sexuality, in 2005, although still a topic in transition, is a force to be reckoned with inside of the male corridors of artistic influence. Yet contemporary feminist art is an amalgamation and result of the prejudices and taboos that went before it; it is, therefore a symptom of post modernity the culture that defines itself as the generation after the initial social liberation of the sixties implicitly and intrinsically linked to both gender and sexuality. As Christopher Reed (1997:276) implies, feminism was the catalyst for the widespread disassociation that is at the root of post modern radicals ground breaking view of sexuality. From the outset, postmodernism dislodged the wedge that mainstream modernism had driven between art and life feminists, in particular, questioned the way the anti authoritarian rhetoric of postmodernism seemed to become itself a form of cultural authority. However, although it is true that women play a far more integral role than they did barley two or three generations beforehand, modernity has not constituted a complete break with the past. Modern art, as a direct relation of post-modern society, remains a sphere still largely controlled by men. What it has done is to ask questions where previously only traditional lines of argument were sought. In this way it can viewed as a series of separate branches that emanated from the same initial tree creating seedlings of avant garde, abstract art, conceptual art, minimalist art and pop art to name but the most famous few. The sum of the legacy of the schism that occurred in society after the residue of the minor cultural revolution of the sixties had settled was a general approval of art as inversion: that what was previously long was short, that what was previously deemed as beautiful was altered until it became ugly until, paradoxically, it was ultimately seen as beautiful once again. According to Donald Kuspit (artnet.com; first viewed 13 September 2005), modern and post modern art is obsessed with perverse images of sexuality as a source of constantly finding ways to push the barriers of societys rigid attitude towards sexuality and the physical form. The treatment of (the body) as the be all and end all of existence, and the only thing at stake in a relationship is the source of modern arts perversion. It extends to a preoccupation with the body of the work of the art itself, which also becomes the object of perverse formal acts. Postmodernism, therefore, implies rapidly increasing parity between men and women in all spheres of western culture best viewed in the sense of a blurring of the traditional boundaries of sexuality as opposed to a complete merger. At this point it should be noted that, in the same way that it was white males that dominated western art, so the feminists who influenced the first stages of avant garde art were predominantly white, educated and middle to upper class. The issue of race and religion is equally as significant in the discussion of feminism as it is within an analysis of society at large; cliques and hierarchies are a necessary by product of modern civilisation and their presence (and influence) should come as no surprise to basic students of sociology. Hair, every bit as much as skin colour, is a visible dividing line between the races and in the West the image of the Caucasian variety of female hair as a symbol of womens sexuality has resulted in a womans movement that is f ractured and splintered, more so given the brevity of the ideology as a whole. The essential link between culture and art, as well as politics and art means that nothing created during the early years of feminism was out of the reach of politicisation and none of it would have been made were it not for the wider advent of post modern society. Or, as Gombrich (1986:11) puts it: not all art is concerned with visual discovery . With the backdrop to the arrival of feminist sexuality and art in place, an evaluation of how one of the most potent symbols of feminine sexuality was used as a tool of womans subordination in art in the past must now be attempted. Female Hair, Sexuality and Symbolism in the History of Visual Art As already outlined, the question of womens hair and artistic expression is deep rooted in all civilisations. As well as the Greek and Roman equations of hair with dormant female sexuality, the pre Raphaelite artists also promulgated the view of feminine hair as seductive conqueror of weak male spirits. Late nineteenth and early twentieth century paintings continued to expand on the association of the snakes or ringlets of the Gorgons Head with male fear of female genitalia; the reversal of roles whereby the sinuous hairs of Medusa were inverted to symbolise the male phallic icon of power of women and nature. These notions were underlined by Freuds analysis that saw the intricate waves of classical female hair as symbolic of female metamorphosis and change characterised by the uniquely female ability to transcend gender. According to Meghan Edwards (victorianweb.org; first viewed 15 September 2005), the Classical and Romantic image of the female using her hair to devour male libido was a collective and conscious manifestation of fear in Victorian society, one that was transmitted from the ancient period through to the advent of modern visual art. The myth of women who carry in their femininity a grotesque vagina with teeth or who have embedded in their being a serpent or snake with the power to castrate took root long before Rossettis Lady Lilith but became increasingly unambiguous, bizarrely personalized, and widespread among the Symbolist poets and painters by the end of the [nineteenth] century. Visual and psychoanalytic connections between hair and serpents become increasingly explicit in Fernand Khnopffs The Blood of the Medusa, Franz von Stucks Fatality, and Edvard Munchs Vampire, wherein we see the complexity and ambiguousness that infused the imagery of earlier artists like the Rossettis, Waterhouse, Tennyson, and many others give way to an unrestrained fear and indulgence in the grotesque. Rossettis Regina Cordium (Queen of Hearts), which he painted in 1860, began a period of change in artistic perspective on female hair, where it was accented as a means to communicate a womans ultimate fragility and dependence on man: the first realisation of her sexuality as the embodiment of mans annihilation and self destruction. Pollock (1992:132) notes how, her hair is loose, a decent and suggestive sign of allowed disorder, conventionally a sign of womans sexuality. It is of course significant that almost all of the most artistic and visual instances of female hair in painting were created by men. Many male artists, such as Manet, whos Olympia (1863 5) stands as the most obvious popular example, were non apologetic in terms of their bourgeois fascination with lower class women who were able to fulfil the well to do gentlemans most liberal carnal desires. As the prism through which both men and women viewed societys accepted ideal of the female form, these works of art (especially significant in the days before photography and other twentieth century means of visual communication) constituted the only truth that women knew. Artists of the Enlightenment such as Jean Baptiste Greuze, whos Broken Mirror (1773) charts the social struggle of sexually experienced yet single young woman, as well as High Victorian painters like William Holman Hunt, whos The Awakening Conscience (1853) details the plight and unique dilemma of a kept woman, all converged to create the prevailing image of female sexuality that remained the staple diet of western art for much of the twentieth century: a smouldering power that could be easily sedated by the socio political power of man. As Judy Chicago and Edward Lucie Smith (1999:88) testify, the fallen woman was the most popular portrayal of female sexuality for many of the male artists who dominated the pre twentieth century artistic arena with creators highlighting her essential weakness with a minimal visual emotional connection. She is the one who has no way out, and the painter contemplates her dilemma with a sort of repressed sadism. With each one of these works one feels a conflict of intention. The artist, will ostensibly sympathising with the plight of his female subjects, in fact enjoys their suffering, and expects the audience to do so as well. Where hair was employed as a tool to reference female sexuality, it was used to derisory and derogatory effect, as witnessed in the 1934 sculpture by Ren Magritte entitled, Le Viol (The Rape), which transforms a mould of a womans torso into a distorted image of her face; her breasts are made into eyes, the hair covering her genitals becomes the mouth, while locks of coarse wavy hair protrude from the neck, conforming to the male stereotype of female hair as an instantly recognisable feature of her fertile sexuality. Clearly, female artists, although very much in the minority were by no means obsolete and painters such as Louise Marie Elizabeth Vige Lebrun, Rosalba Carriera and Angela Kauffman are but three of a long history of richly talented women artists who showed the intellectual and artistic communities the muted side of female sexuality, beyond the narrow conceptual borders imposed by man. However, in relation to the issue of hair as a vehicle through which to transport female sexuality to the viewer, few of these artists, male or female, made substantial in roads into a deeper philosophical exploration. It is important to note the significant socio economic shift that beset Europe and the United States after the end of the Great War in 1918. Because of their contribution to the labour force, in addition to the nascent political bodies such as the Womens Institute (founded in 1915) and the Suffragette Movement, females in the West were for the first time able to exist, albeit nominally at first, outside of the control of a patriarch. Gradually at first, more completely after the end of the Second World War in 1945, women were able to embrace independency, which necessarily brought with it tremendous consequences for the artistic community. Whereas women artists previously had to pander to male taste in order to sell as well as fund their work, women artists of the second half of the twentieth century were more able to create for the sake of creation as opposed to as a means to fit into male structured society. As Anne Sheppard (1987:97) details, the significance of the release of the socio economic weights of expectation inherently means that essence of the artistic endeavour must change. Among an audiences expectations of a work of art are expectations concerned with artistic forms and conventions. The Greeks of the fifth century BC would expect a chorus in a tragedy. Shakespeares contemporaries would expect a Fool in a comedy. Mozarts contemporaries would expect harpsichord music to be played with trills and grace notes. Giottos contemporaries would expect saints to be painted with haloes. As a broad rule of all artistic behaviour, artists had traditionally been bound by the expectations of the paying audience. Thus, the revolution concerning female sexuality and the way in which she has been visually portrayed came via economic emancipation first. Attention must now be turned to instances of female hair as a means of expression of sexuality in modern visual culture after the creative liberation of women. Female Hair as a Medium in Modern Visual Culture The above background to the advent of the age of modernity, and of the arrival and acceptance of women within the upper echelons of the artistic community in the West, highlights the male dominated nature of notions of female sexuality. Hair was expressed as one of the most seductive of all of womans charms an intricate part of the parcel that was created by God solely for mans destruction. Even when woman is portrayed as life giver in art, the act is more often than not displayed as ugly and confrontational, as Jonathan Wallers Mother No. 27 (1996) testifies. Indeed, the ongoing negative reaction of museums to child birth and maternity reveals more about the still dominant attitudes of females as sex objects as opposed to life enablers as destructive rather than constructive, which is to the detriment of the art community as a whole. It naturally follows that while the majority of the (male) art community continued to associate flowing female hair with her ubiquitous sexuality, women artists tied to the first and second waves of the international feminists movement would wish to convey a hidden, alternative image. One of the most universally celebrated of twentieth century female artists was without doubt Frida Kahlo. She is famous not only for the wealth of talent and technique that was at her disposal but also for her independent, analytical and honest view of women, given added significance due to her prominent position in Mexican society. Her self portrait with cropped hair (1940), which is housed in New Yorks Museum of Modern Art constituted the first mainstream attempt to castrate the pervasive female sexuality as characterised by the iconography of ubiquitous long hair. It should be recalled that this painting was created at a time when uniformity of sexuality was the cultural norm: women were meant to hav e long hair, which meant that the subtle question Kahlo posed to women who viewed it was magnified all the more. Two decades later, at the dawn of the watershed decade of the 1960s, the impact of the famous Beatles haircut, first styled and professionally photographed by Astrid Kircherr (who exhibits the cropped blonde look in a self photograph in 1961) was universal within western culture and was noteworthy for its inversion of traditional sexual roles. As, during the sixties, young men grew their hair longer so young women were more inclined to cut their own, highlighting a deliberate cultural means of rebelling against the tired sexual mores of the time. Gay women, in particular, began to associate short hair with sexual freedom. Although contemporary Western society views the stereotypical butch woman with short hair as symptomatic of the lesbian underworld, it was indeed a bold move in the sixties and seventies for a woman to cut her hair in such a symbolic gesture. In this way, women such as the avant garde artist Harmony Hammond (who famously came out via cutting her previously long, feminine hair in New York in 1974) were using their own hair and body image as their art, to make a statement that, visually and aesthetically, woman was no longer the lens through which man peered at his own vision of beauty. As per all cultural de constructions of popular mythology, the actual look of a womans hair was the only the first building block of conformity to be removed in the first phase of feminist expression. Harmony Hammond, furthermore, was one of the most prominent users of hair as an artistic material. Whereby hair was previously used to express female sexuality via depicting or painting the length, texture and contours, Hammond and the burgeoning abstract sect of North American artists sought to incorporate hair into their work to bring attention to the social and sexual constraints by which we all live. She used her own hair in the construction of a hair blanket as well as utilising animal hair to make hair bags. Hammond used materials such as hemp, straw, thread and braids to reference the equation of feminine hair with sexuality throughout her body of work. As Paul Eli Ivey (queerculturalcenter.org; first viewed 21 September 2005) explains, Harmony Hammond exhibited the greatest abil ity to manoeuvre female hair away from its association with beautiful heterosexual objects of male desire, combining ideology and aesthetics in a discernibly feminist manner. In the 1990s, Hammond combined latex rubber with her own hair and the hair of her daughter or friends, to suggest landscapes of gendered and sexualised bodies. The braid and the pony tail also took on a life of their own as personified characters: the braid relating to an integration of mind, body, and spirit; the stylised ponytail becoming a flirtatious, sexualised persona. Her sculpture, Speaking Braids, plays on the difficulty in forming a singular feminine voice in such a diverse culture, where lesbian and bisexual women still feel cut off from the socially acceptable heterosexual females of the twenty first century. The head is disconnected from the body, mirroring societys view of woman as an object of passive desire. The most shocking element is the vomit of light brown braids that extend from the remorseless face of the head of the woman, designed to engage the audience in contemporary thought about the disembodied cries of women to whom marriage and conformity are not available. Hair was therefore used to point out essential moral and ideological divisions within female sexuality and, according to Joan Smith (1997:165), the failure of society to recognise the fundamental differences amongst the various sectors of the broader female sex has been to the detriment of feminism and, ultimately, western culture as a whole. Women are expected to be different from men but the same as each other. While there is general agreement that women are unlike men in numerous ill defined ways, there is enormous reluctance to accept the idea that women might not be broadly similar to each other. The issue that exposes this distinction most sharply is motherhood, so that a woman who chooses not to give birth is characterised not just as unnatural but as a traitor to her sex. Mille Wilson is another feminist artist who has used the symbolism of hair to state a valid view on female sexuality by employing it as the central theme of persuasion. In her ambitious visual art project, The Museum of Lesbian Dreams (1990 2), Wilson speaks to her audience through the fetish surrogates of the typical view of the female body in this instance using female hair in the form of a series of womens wigs to underline the essential similarity of heterosexual and homosexual womans dreams and deepest aesthetic desires, relying on the long, luxurious manes of the artificial hair to symbolise the traditional notion of hair as standard bearer of vivacious feminine sexuality. As Whitney Chadwick (2002:396) notes in her expansive study of women, art and society; her work articulates the historical inaccuracy, often absurdity, of social constructions of lesbianism within dominant heterosexual discourses. Such discursive formations often to work to fix identity within, and outside, normative paradigms. It should be apparent that much of the artistic arguments pertaining to female hair and sexuality emanate from the perspective of the historical outsiders, namely gay and bisexual women. All great art is created from passion and in terms of damaging sexual stereotyping relating to female icons of beauty the avant garde art community has felt the greatest reason to voice concerns over the prevailing attitude of society towards womens sexuality. However, the real outsiders within the broader feminine artistic debate need to be analysed in order to underscore how hair is culturally understood as one of the most important foundations of mainstream notions of female sexuality. Female Hair and Visual Expressions of Sexuality from the Perspective of Outsider Art Beyond the set boundaries inherent within sculpture and painting, photography and performance art have been the most likely to make a physical statement pertaining to female sexuality. Whereas most other forms of modern visual art minimalism, conceptual art and pop art concentrate on extracting the content rather than moving towards a lifelike representation of the female body, photography recreates the human form as an artistic facsimile. It must be noted that photography and visual performance art highlight the issue of female sexuality via concentrating on the entirety of the hair on her body as opposed to detailing only the stereotypical view of female hair emanating from her head. Indeed, no examination of the subject of sexuality and hair can be complete without an analysis of the art worlds view of female body hair per se, which is culturally speaking hidden, shaved and moulded in a far more stringent and severe way than any style of hair upon the head, a fact that Germaine Greer (1999:20) expands upon. Women with too much (i.e. any) body hair are expected to struggle daily with depilatories of all kinds in order to appear hairless. Bleaching moustaches, waxing legs and plucking eyebrows absorb hundreds of woman hours. Feminist adherents in the art world have inevitably challenged the claustrophobic views of society towards female body hair with pictures created to shock and induce academic debate about a needlessly taboo topic. Sally Mann made a series of explicit photographs of herself and her daughters during the 1990s, including Untitled (1997), a photograph that focuses the viewer upon the dense vaginal hair of the artist, whose legs are spread open in a bathtub with the subtext of highlighting how women enjoy exactly the same bodily functions as men, however much society shuts itself off to biological reality. Moreover, by making the camera concentrate on the nexus of pubic hair the spectator is likewise advised to consider the cultural reasons as to why women must shave every other part of their body where hair grows naturally. The most shocking and moving of all photographic imagery involving female hair tied to the notion of sexuality is Hannah Wilkes self image taken during her demise from cancer, the disease having robbed her of her hair though not of her female organs, as the naked photo in a wheelchair, selected from the Intra Venus collection (1992 3), graphically illustrates. The power of the visual focus is centred upon the artists wish to show how hair does not make a woman feminine and that the human spirit is more powerful than any facet of the physical body. Visual art enactment reserves the greatest power of persuasion and audience manipulation. Post Porn Modernism, a performance art show that was exhibited in New York in the late 1980s, is the most obvious example of a visual exposition of contemporary female sexuality devised to shock the audience, concentrating in this instance, on the artists pubic hair and genitalia. Playing on the historical artistic obsession with the female whore, Rebecca Schneider (1996:161) declares that Post Porn Modernism was merely another way to de mystify the myth of female sexuality, in particular highlighting the fragile nature of consumer capitalism where the prostitute is both buyer and seller merged into one. In theory, the real live Prostitute Annie Sprinkle lay at the threshold of the impasse between true and false, visible and invisible, nature and culture as if in the eye of a storm. As any whore is given to be in this culture she is a mistake, an aberration, a hoax: a show and a sham made of lipstick, mascara, fake beauty marks, hair and black lace. However, the art most likely to capture the absurdity of the persistent link between granted notions of female hair personifying womans innate sexuality is that which is created by African women: artists who have to cross strict racial as well as gender and sexuality lines in order to portray women from their culture in an aesthetically acceptable light. These women are the true outsiders of Western artistic expression. Leslie Rabine (1998:127), for example, declares that: western slave culture and economics invested the arena of skin, hair and make up with political struggle, with the result that African women born in the West have had their body image dictated by colour and gender, which creates a kind of schizophrenic effect on the black women to the extent that the naturally curly, short African hair has been usurped in fashion by wigs, extensions and artificially straight hair. Typically, it has been left to the avant garde community to ignite the backlash against the marginalisation of black female sexuality. Alison Saar, daughter of African American feminist artist Betye Saar accented the widely accepted view of natural black female hair as the cultural antithesis to feminine sexuality in her sculpture entitled, Chaos in the Kitchen (1998). Saar used coarse iron wiring to mimic indigenous African hair, on top of a female face that has been deliberately denied eyes to highlight the cultural blind spot that black women have towards their own vision of female beauty. She means to state that, in attempting to copy white mans image of feminine beauty via hair, black women have only succeeded in hollowing out their historical selves. African American artist and photographer Rene Cox made an even more challenging alternative to the prevailing paradigms pertaining to female sexuality and race when she made, Yo Mama (1993). The photograph places the artist standing up naked except for Western high heels the stereotypical twin symbol of hair as the autograph of heterosexual female sexuality. The hair on her head is made to look as indigenous and anti Caucasian as possible; her pubic hair made deliberately visible underneath the spot where her child lies diagonally across her. The result is a proud and defiant gesture of individuality of race yet likewise a gesture of homogeneity regarding common sexuality with all women gay or straight, black or white. Asian women too have been confined to exist in boundaries set by men both in their culture and in the West, where the problem of defining Asian female sexuality is not so much hindered by the need to adapt to Caucasian hairstyles to appear feminine but rather by the popular notion that all Oriental women look the same. In her search for individuality, Sharon Mizota, attacks the November 2003 photographic exhibition of Sex Work in Asia by Reagan Louie, for portraying all Asian women with the same body, same hair and same permissive personality. In reviewing the body of work, the American born Asian art critic (Sharon Mizota website; first viewed 21 September 2005) declares: As a marker of both racial and sexual difference, hair is by far the most over-fetishized part of the Asian female body. Unlike the portraits, which are titled with the womans first name, these photos have titles like Masseuse or Black Hair. I hoped to read them as some kind of critique of the trope of Asian womens hair as exotic/erotic symbol, but no matter what angle I tried, they just kept saying, hair. One-note images like these belie Louies professed intention to record the specificity of the women he photographs, in effect, reducing them once again to empty symbols. Conclusion Hair remains the most potent sociological and artistic symbol of vibrant female sexuality in the West. Understood at its most simple level as a tool and statement of fashion little has changed regarding how women wear their hair or how the link between long, flowing hair and sexuality has failed to have been broken over centuries of tradition. Though there contains none of the shock that was initially felt in the fashion and art world in the sixties when aesthetically beautiful women cut their hair short like men, the dominant trend in the West remains a rule of long hair for heterosexual women, cropped hair for lesbian and bisexual females. As a microcosm of the broader culture in which it exists, the art community inevitably evolves in a similar fashion to society. However, the advent of a discernibly post modern intellectual hub within artistic circles has resulted in an avant garde scene that represents a brand of conceptual persuasion whereby art is appreciated by the only those who share that vision as opposed to art in the past, which was created with the prevailing ideals of the time in mind. Popular, stereotypical art has ceased to exist in an internationally commercial form yet art has likewise become more fragmented and divisible. Therefore, there exists a discrepancy between offering a conclusion for the symbolism of female hair and sexuality in visual culture and presenting a deduction concerning the same relationship with the dislocated artistic community in mind. While it is fair to say that female hair, in all of its forms, will inevitably be linked to feminine sexuality (as defined from a male perspective), the post modern visual artists have used this premise to turn what was once beautiful into a more perverse image, thereby, within their ideological beliefs, making that object a more unifying piece of work. Essentially, art wishes to embrace all gender and sexuality while society and culture have yet to come to terms with its existence in the first place. The overall creative legacy has been a blurring of the boundaries of the sexes and sexuality. Therefore, one must predict a continuation of the merging of sexuality led by the exponents of post modern visual art that will continue to pose problems for society at large as long as the essential similarities between of the sexes is superseded by a prevailing cultural desire to exacerbate existing gender divides. As Rudolf Arnheim (2002:461) succinctly concludes: We do not know what the future of art will look like. No one particular style is arts final climax. Every style is but one valid way of looking at the world, one view of the holy mountain, which offers a different image from every place but can be seen as the same everywhere. Bibliography R. Arnheim, Art and Visual Perception: a Psychology of the Creative Eye: the New Version (University of California; Berkeley, 2002) J. Carlos Rowe (Edtd.), Culture and the Problem of the Disciplines (Columbia University Press; New York, 1998) W. Chadwick, Women, Art and Society: Third Edition (Thames Hudson; London, 2002) J. Chicago E. Lucie Smith, Women and Art: Contested Territory (Weidenfeld Nicolson; London, 1999) E. Diamond (Edtd.), Performance and Cultural Politics (Routledge; London New York, 1996) M. Evans, Introducing Contemporary Feminist Thought (Polity Press; Cambridge, 1997) E.H. Gombrich, The Image and the Eye: Further Studies in the Psychology of Pictorial Representation (Phaidon; Oxford, 1986) G. Greer, The Whole Woman (Doubleday; London New York, 1999) J. Kirwan, Beauty (Manchester University Press; Manchester, 1999) E. Lucie Smith, Art and Civilisation (Calmann King; London, 1992) G. Pollock, Vision and Difference: Femininity, Feminism and the Histories of Art (Routledge; London New York, 1992) A. Sheppard, Aesthetics: an Introduction to the Philosophy of Art (Oxford University Press; Oxford, 1987) J. Smith, Different for Girls: How Culture Creates Women (Chatto Windus; London, 1997) N. Stangos (Edtd.), Concepts of Modern Art: from Fauvism to Postmodernism: Third Edition (Thames Hudson; London, 1997) F. Woolf M. Cassin, Bodylikes: the Human Figure in Art (The National Gallery Publications; London, 1987) Selected Articles L. Rabine, Fashion and Racial Construction of Gender, quoted in, J. Carlos Rowe (Edtd.), Culture and the Problem of the Disciplines (Columbia University Press; New York, 1998) C. Reed, Postmodernism and Art of Identity, quoted in, N. Stangos (Edtd.), Concepts of Modern Art: from Fauvism to Postmodernism: Third Edition (Thames Hudson; London, 1997) R. Schneider, After us the Savage Goddess: Feminist Performance Art of the Explicit Body Staged, Uneasily, Across Modernist Dreamscapes, quoted in, E. Diamond (Edtd.), Performance and Cultural Politics (Routledge; London New York, 1996) Journals L. Lippard, Sweeping Exchanges: the Contribution of Feminism in the Art of the Seventies, quoted in, Art Journal, Volume 41 (New York, 1980) Newspaper Articles J. Berens, The Double Life of Catherine M, quoted in, The Observer; Review Section (Sunday 19 May, 2002) Websites M. Edwards, The Devouring Woman and Her Serpentine Hair in Late Pre Raphaelitism, quoted in, Victorian Web; https://www.victorianweb.org/painting/prb/edwards12.html (2004) P. Eli Ivey, Harmony Hammond: In the Succeeding Silence, quoted in, Queer Cultural Centre; https://www.queerculturalcenter.org/pages/hammond/hammondessay.html (2002) D. Kuspit, Perversion in Art, quoted in, Artnet.com; https://www.artnet.com/magazine/features/kuspit/kuspit6-10-02.asp (2004) S. Mizota, Reagan Louie; quoted in, https://wwwsharonmizota.com/writing/art/reaganlouie.html (2003)

Death of Salesman by Arthur Miller - 972 Words

In the play Death of a Salesman by the playwright Arthur Miller, the use of names is significant to the characters themselves. Many playwrights and authors use names in their works to make a connection between the reader and the main idea of their work. Arthur Miller uses names in this play extraordinarily. Not only does Miller use the names to get readers to correlate them with the main idea of the play, but he also uses names to provide some irony to the play. Miller uses the meanings of some of the names to tie in the characteristics of the characters. Willy, the protagonist of Miller’s play, has a brother, Ben. Ben is much older and long dead when this play begins. Ben, or Benjamin, is a religious name that refers to the â€Å"Son of the†¦show more content†¦He has an apartment, a job, and all the women he could dream of, but he remains deeply saddened. Happy hints his sadness early in the play And I know what the hell I’m workin’ for. Sometimes I sit in my apartment all alone. And I think of the rent I’m paying. And it’s crazy. But then, it’s what I always wanted. My own apartment, a car and plenty of women. And still, goddammit, I’m lonely. (23; Act 1) All of this sadness builds up inside of Happy and he strives for attention. He is constantly trying to achieve his dad’s attention by saying, â€Å"I’m losing weight, you notice Pop† (29; Act 1)? Happy always tells his family he is going to get married also. He continues telling he is going to get married to put a mask of happiness over his feelings of inadequacy. The name Bernard corresponds with a nerd’s name. Bernard, the son of a neighbor, Charley who ends up loaning the Loman’s money and standing by Willy, is a nerd and has a name that collaborates well with his personality. After Bernard tries helping Biff not fail math Willy says, â€Å"Don’t be a pest, Bernard! What an anemic!† (33; Act 1). Bernard may have been a nerd, but now he is a very successful lawyer. Charlie boasts about Bernard’s success to Willy â€Å"How do you like this kid? Gonna argue a case in front of the Supreme Court† (95; Act 2). On the other side of the spectrum the Loman or â€Å"Low man† family refers to the class of the family. The Loman’s are not successful andShow MoreRelatedDeath Of A Salesman By Arthur Miller1387 Words   |  6 PagesAmerican play-write Arthur Miller, is undoubtedly Death of a Salesman. Arthur Miller wrote Death of a Salesman in 1949 at the time when America was evolving into an economic powerhouse. Arthur Miller critiques the system of capitalism and he also tells of the reality of the American Dream. Not only does he do these things, but he brings to light the idea of the dysfunctional family. Death of a Salesman is one of America’s saddest tragedies. In Arthur Miller’s, Death of a Salesman, three major eventsRead MoreDeath Of A Salesman By Arthur Miller888 Words   |  4 PagesDeath of a Salesman† is a play written by Arthur Miller in the year 1949. 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The play begins by hinting at Willy’s suicidal attempts as the play begins with Linda askingRead MoreDeath Of A Salesman By Arthur Miller Essay2538 Words   |  11 PagesSurname 1 McCain Student’s Name: Instructor’s Name: Course: Date: Death of a Salesman Death of a salesman is a literature play written by American author Arthur Miller. The play was first published in the year 1949 and premiered on Broadway in the same year. Since then, it has had several performances. It has also received a lot of accordances and won numerous awards for its literature merit including the coveted Pulitzer for drama. The play is regarded by many critics as the perfectRead MoreDeath Of A Salesman By Arthur Miller2081 Words   |  9 Pages#1 â€Å"Death of a Salesman† by Arthur Miller is a tragedy, this play has only two acts and does not include scenes in the acts. Instead of cutting from scene to scene, there is a description of how the lighting focuses on a different place or time-period, which from there, they continue on in a different setting. The play doesn’t go in chronological order. A lot of the play is present in Willy’s flashbacks or memories of events. This provides an explanation of why the characters are acting a certainRead MoreDeath Of Salesman By Arthur Miller1475 Words   |  6 Pagesto death to achieve their so- called American dream. They live alone and there is no love of parents and siblings. They may have not noticed the America dream costs them so much, which will cause a bigger regret later. In the play Death of Salesman, Arthur Miller brings a great story of a man who is at very older age and still works hard to achieve his desire, which is the American dream. Later, he no tices that his youth is gone and there is less energy in his body. 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Rheumatoid Arthritis Free Essays

1. Introduction/Thesis Statement. Rheumatoid arthritis, RA, is a chronic autoimmune disease in which both genetic and environmental factors contribute to the disease process. We will write a custom essay sample on Rheumatoid Arthritis or any similar topic only for you Order Now It is characterized by flare-up and remission periods affecting over 1. 5 million people in the United States, in which approximately 300,000 of those people are children. Rheumatoid arthritis is by far the most serious, painful, and potentially crippling form of arthritis. It is often called â€Å"the great crippler† because it can lead to deformities and debilitation. People living with RA live in fear that they might one day become disabled, but we have learned through research that early detection is the best preventive measure against disability. While RA has no cure and is somewhat of a mystery disease, researchers are making great advances in modern medicine to help with the symptoms and the progression of RA. These biologic medicines have made life much more manageable for RA patients improving their quality of life and overall health. 2. Disease definition and patient prevalence A. Definition of RA B. Age, sex, prevalence related to RA . Diagnosis and prognosis of RA A. What causes RA? B. How it is diagnosed C. Other risk factors associated with RA. 4. Patient experiences A. Symptoms and signs of RA B. Treatment available (medications, etc. ) 1. New treatment hope with biologics. C. Prognosis of patients with RA. 5. Living and coping with RA. A. Coping with the disease. References: www. webmd. com/rheumatoid-arthritis/default. htm http://ww w. mayoclinic. com/health/rheumatoid-arthritis/DS00020 www. arthritis. org/conditions-treatments/disease-center/rheum   www. cdc. gov/arthritis/basics/rheumatoid. htm How to cite Rheumatoid Arthritis, Essay examples

Lil#39 Wayne free essay sample

One of my favorite and well-known artists is Lil Wayne. Lil Waynes real name is Dwayne Carter; his birthday is September 27, 1982. He was born in New Orleans, Louisiana, USA and his occupation is a musician. His sign is a Libra and when he was 16 he recorded his 1st single. Also at the age of 23, in 2005 Lil Wayne went onto becoming the president of the cash money label. In my opinion I think Lil Wayne is generous because after the hurricane Katrina hit New Orleans in 2005, he raised money for the victims whose lives were ruined by the disaster. Lil Wayne is a very nimble dancer because when he raps he moves around. He also ha black dreadlocks and he mostly wears red and also mostly wears skinny jeans. Also, he has a lot of tattoos on both arms. He also has scar on his face but I think he was he was born with it because he had those scars ever since he was a baby. We will write a custom essay sample on Lil#39 Wayne or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page I heard he had made an album called â€Å"tha carter, vol. 3.† I think he has the songs â€Å"Mr. Carter† and maybe â€Å"A milli† In his video â€Å"A milli† birdman gave him (Lil Wayne) a car and I think Lil Wayne said â€Å"thanks, dad† But , my all time favorite video of his is â€Å"A milli† because Lil Wayne is very full of energy. Also, in Lil Waynes songs he kind of has an accent that makes him sound Jamaican. In all I think Lil Wayne is very good rapper. I would recommend Lil Wayne songs to people who like rap and a little bit of hip hop. The music Lil Wayne creates kind of reminds me of Kanye West because they are both very active and they dedicate some of their emotions to their songs. But, they kind of change it up a bit so you can guess what they are feeling; its like a game show. But you should buy one of his albums and listen to it and see what you like about it.