A Rose for Emily by William Faulkner Essay -- feminists feminism

A Rose for Emily A Rose for Emily by William Faulkner is a unique piece of literature. It has a plot which seems somewhat bland, and it is not particularly exciting. However, the ending is quite suprising, and for me it made the story worth reading. I think there are some interesting aspects of this story if you look at it from a feminist point of view. The feminist movement has attempted to elevate the status of the woman to a level equal with men. Feminists have fought for the right of women to be free from the old social restraints which have been in place for so long. A feminist believes a woman should be strong and independent. In some ways the main character, Emily, is this kind of woman, but for the most part she is portrayed as weak and fragile. Throughout the stor...

The Unnecessary Death of Jessica Hathawaye :: Exploratory Essays Research Papers

The Unnecessary Death of Jessica Hathawaye When will the day come when parents realize children are not possessions to be manipulated!? Children are people, too, and need guidance - don't we all? - but is it necessary to force our beliefs and practices upon them, demanding they emulate only the lifestyle we lead? It sickens me to see the tragic waste of human life, specifically the lives of children. Going one step further, it sickens me to see parents who lack the common sense that God gave a dog! One can't drive an automobile without passing a test, but any idiot can have a child. It wasn't bad weather that killed Jessica Hathaway. It was the effects of her mother's non-conformist lifestyle and preaching. Imagine a small seven year old girl, living in a quiet town on the coast of northern California. One would envision the child playing with dolls, serving tea from her Barbie play-time tea set to her mom or dad, maybe even showing off her schoolwork from the day's lessons in grammar school. A very believable childhood scenario. Not for Jessica Hathaway. Jessica wasn't allowed to play with dolls or teddy bears. Jessica Hathaway wasn't allowed to go to grammar school with the other children. Jessica wasn't even allowed to read children's books. Introducing New Age mother and self-acclaimed spiritual healer, Lisa Hathaway, Jessica's mother. Lisa has her own ideas about how to raise her children, as do we all, but Lisa's ideas ride the fence between extreme New Age philosophy and 60s idealism. Lisa encouraged Jessica to follow her bliss, though it seems obvious the real encouragement was to follow her mother's bliss. A seven year old child finds bliss in a chocolate candy bar, or in playing house with friends, but certainly not in reading technical material from an equestrian magazine or flying a plane across the country. Jessica Hathaway never watched television; there wasn't one in her house and she wasn't allowed to watch anyone else's. Truthfully, we all could use a little less television. Jessica didn't go to school, Lisa felt the children should forge their own way in life. Real life the best tutor, experience the best preparation. That could apply to an eighteen year old, but a seven year old? Lisa failed to file a home-schooling plan with local authorities, another display of her anti-conformist attitude. School is an unfit place for my children, Lisa has said.

Kiffe Kiffe Tomorrow

Kiffe Kiffe Tomorrow tells a very radical and lonely story of an Arabian that is faced with hard struggles in life. After her father left them for another woman, Doria’s world was crushed and she became pessimistic. But above all that pessimism lies a hope for a better life for her and her mother. After her father left them for another woman, Doria began to lose hope and became unhopeful. Since then many social workers were adamant to try and help them (Guene).The catalyst for Doria to have a very pessimistic view in life is the fact that her father left them in a slum for another woman back in their homeland. Moreover, the fact that her mother is illiterate and that they have to work many jobs just to satisfy their very needs added to the feeling of hopelessness that she felt. Since that kind of life dawned upon them, Doria has to face the truth about her life. Many psychologists began to offer their help to Doria but she seemed to move away from them. She does not appreciate their assistance or help.The efforts of the psychologists and social workers were not very helpful in changing young Doria’s outlook in life. When Madame Burlaud showed her pictures as attest, Doria thought that it was funny and described her actions as like in a dog.With this kind of reaction and analogy that Doria gave, it seems that she does not want help from any of them. It is just sad that she feels this way because personally, even though I have not met any social worker, I believe that they have the best interest for a person. Doria is very firm that they their attempts are just futile but, in reality, she really needs all the help in the world. Moreover, the fact that she does not have very good roles and influences around her shapes her points of view in life. Being strong is good but sometimes; admitting that we are weak is even a stronger deed.In my opinion, Doria will not have that good life that she dreams of if she continues to reject all the positive criticis ms and influences around her. Just like what is stated above, she needs a more positive outlook in life. Foremost, the social workers could have given them a more suitable place to live in because all these negative thoughts that is cooked up in her mind is an indirect product of   her environment.She needs to first find a healthy environment for both of them. Afterwards, she should go to school to earn her degree so that she can find a good job. Doria and her mother will have a stronger and meaningful bond if she will just accept all the good offers that these caring people give.Regarding the reading assignment, the author has indeed a point when he stated that the minority ethnic groups in France refuse to be integrated in their culture (Hargreaves). Moreover, he stated that the bigger blame should be on the government’s â€Å"integration policies† for the country’s minority ethnic group (Hargreaves). The minority groups refuse to cooperate with the governme nt for many reasons and because of these, it became a reason for riots to occur all over the country.This fact is evident in the narration of Guene; wherein the protagonist from her book refuses to be â€Å"integrated† to the French system. This news is very racist and ethnocentric in nature. I believe that the French government has something good in stored for the ethnic minority groups in their country; but because of pride, nationalism and even religion, these groups refuses to act on it because they are all so proud of their roots.But I believe that peace can be attained from these conflicts if both parties will respect the decision of each other. Both parties can have a benefit from each one if they will able to make some very good policies that will benefit the larger portion of the groups. I believe that more than love, respect and understanding should be instilled for all the leaders of the minority ethnic groups and the politicians to attain a very good goal.Work Cit ed:Guene, Faiza. Kiffe Kiffe Tomorrow. Tra Edition ed: Harvest Books, 2006.Hargreaves, Alec G. â€Å"An Emperor with No Clothes?†Ã‚   (2005). January 22, 2008 .

American Horror Story: the Affects of Sex and Violence in Media

Media Analysis: American Horror Story American Horror Story is an FX horror-drama television show, as well as an anthology series; each season of the show has a different cast and storyline. The show was created by Ryan Murphy (creator of the FOX show Glee) and Brad Falchuk (producer of Nip/Tuck), and premiered on October 5, 2011. The first season of the show follows the Harmon family as they settle into their new home in Los Angeles. They are unaware, however, that the mansion is haunted by its many former owners. The two main topics in which we covered in class that are utilized in the show are frightening and sexual content in media.The focus of the first season is on infidelity and temptation. Ben and Vivien Harmon moved to Los Angeles from Boston with their daughter Violet in an attempt to start over and save their fragile marriage, after Ben had an affair with one of his students. Although they think the move will help, it only worsens their situation. The cable series is full of as much violence and sexual content as the writers and producers can get away with. With multiple instances of violence, sex, and nudity in every episode, the show draws a very large audience.American Horror Story is FX’s most viewed series, with the pilot of the first season bringing in 3. 2 million viewers. The show gained viewers as it progressed, and the premiere of the second season had 3. 85 million viewers. In an interview by AfterElton. com contributor Brian Juergens, when asked about what he wanted to bring to the horror genre, producer Brad Falchuk said â€Å"In the case of the horror genre, your main goal is to scare people. You want people to be a little bit off balance afterwards. You want people to have their friends sleep over that night.And you want to deliver iconic images that stay with people. † The writers of American Horror Story make use of many of the subjects from chapter 13 of our textbook. There are many realistic scenarios that occur in th e series, such as a home invasion and multiple murders. This is an example of stimulus generalization. Because many of the scenes are highly realistic, the generalization stimulus is very high, which consequently increases the fearful or emotional response. American Horror Story is rated TV-MA, which means that it is intended for mature audiences, and not children (usually age 17 or older).It also has a sub rating of LSV (offensive language, strong sexual content, and violence and gore). R-rated videos and magazines contain far more profane and explicit sexual content than network television shows, but sexual remarks and suggestions are becoming ever more frequent in public media today. In American Horror Story there are elements of the four major themes of sexuality in media. Sexual scenes in the show include examples of domination (sexual control of a person), exploitation (coercion of one person by way of power or status), reciprocity (consensual sex), and autoeroticism (self-sti mulation, such as masturbation).In the pilot of the first season Ben walks in on the housekeeper, Moira, masturbating. She tries to get him to sleep with her but he goes to another room and masturbates as well. Yet another storyline consists of Ben’s former student, Hayden, in which he had an affair with, who shows up and tries to convince him to stay with her. These scenes, along with many others throughout the season, go back to the theme of infidelity and temptation. The trailer for the first season of American Horror Story gives the basic plot of the show. It also makes use of frightening music and sounds to get the attention of fans of the horror genre.The season two trailer also highlights each character’s traits and occupations briefly (Leo’s photography, Shelley’s sensuality, Lana Winters’ love for her partner, Wendy, etc. ). These short advertisements appeal to viewers by the use of catharsis. The audience of American Horror Story wants to be scared. It’s a way for them to escape, or animate, their own violent predispositions or inclinations; to purge themselves of their personal worries and apprehensions. Personally speaking, I find the sadistic and erotic nature of the show enjoyable.It allows me and other viewers to gain vicious pleasure by identifying with the immoral and shady personalities of the characters in the show. The intent of the show can be pretty well summed up by the theories of scholar and professor, Dolf Zillmann, in Fundamentals of Media Effects (Bryant and Thompson): â€Å"Zillmann (1991a, 1991b) described horror as frightening because it releases empathetic responses toward victims and makes viewers apprehensive about becoming victims themselves. In other words, viewers identify with the victims and experience their terror vicariously.Horror also frightens viewers because of their apprehensions; they fear being victims themselves. Finally, horror usually features a satisfying ending that viewers enjoy. † American Horror Story has had its share of controversy with viewers already. Erin Brown, contributor for the Culture and Media Institute at the Media Research Center, writes: â€Å"The premiere of â€Å"American Horror Story† wasn't just sexually and physically repulsive. Flashback scenes also featured a large dose of verbal and mental cruelty toward a Down syndrome girl – including her mother, played by Jessica Lange, wishing she'd aborted her.To add to the violence, sex and abuse, there were 13 versions of the word â€Å"s**t,† and such delightful terms as â€Å"p***y† and â€Å"c**ksucker. † With all this objectionable content, Entertainment Weekly still named American Horror Story one of its â€Å"Top Ten Things We Love this Week† putting it on their famous â€Å"Must List† in the October 7 issue. â€Å"This show has a potential to literally be shattering to all of the things that we consider to be normal ,† one of the actors said during production. † Many parental reviews of the show describe it as disturbing, terrifying, and even repulsive.The three main age groups discussed in the Reactions to Disturbing or Frightening Media Content chapter of Fundamentals of Media Effects, 3-8, 9-12, and 12-17, are all thought to be too young for most parents. Some critics also consider American Horror Story to be a strained and overexcited mess. Though there are many frightening elements to the show, most of them are written off as cliche. The fact that in society today we are so used to seeing violence and sexual content in media, these happenings in the show are not as disconcerting as they would have been in the decades prior to the twenty-first century.

Five Force Industry Analysis Essay

The Company distributes its products principally through third-party computer resellers. The Company is also continuing its expansion into new distribution channels, such as mass merchandise stores, consumer electronics outlets and computer superstores, in response to changing industry practices and customer preferences. The Company’s products are sold primarily to business and government customers through independent resellers, value-added resellers and systems integrators; to home customers through independent resellers and consumer channels; and to education customers through direct sales and independent resellers. In order to provide products and service to its independent resellers on a timely basis, the Company distributes its products through a number of Apple distribution and support centers. Business customers account for the largest portion of the Company’s revenues. Business customers are attracted to the Macintosh in particular for a variety of reasons, incl uding the availability of a wide variety of application software, the reduced amount of training resulting from the Macintosh’s intuitive ease of use, and the ability of the Macintosh to network and communicate with other computer systems and environments. Apple personal computers were first introduced to education customers in the late 1970’s. In the United States, the Company is one of the major suppliers of personal computers for both elementary and secondary school customers, as well as for college and university customers. The Company is also a substantial supplier to institutions of higher education outside of the United States. In the United States, the Company’s formal commitment to serve the federal government began in 1986 with the formation of the Apple Federal Systems Group. Although the Company has contracts with a number of U.S. government agencies, these contracts are not currently material to the Company’s overall financial condition or results of operations. Presently, the United States represents the Company’s largest geographic marketplace. The Apple USA organization, based in Campbell, California, focuses on the Company’s sales, marketing, and support efforts in the United States. Products sold in the United States are primarily manufactured in the Company’s facilities in California, Colorado, and Singapore, and distributed from facilities in California and Illinois. Approximately 45% to 46% of the Company’s revenues in recent years has come from its international  operations. The Company has two international sales and marketing divisions, consisting of the division and the Apple Pacific division. The Apple Europe division, based in Paris, France, focuses on opportunities in Europe as well as in parts of Africa and in the Middle East. Products sold by the Europe division are manufactured primarily in the Company’s facility in Cork, Ireland. The Apple Pacific division, based in Cupertino, California, focuses on opportunities in Japan, Australia, Canada, the Far East, and Latin America. Products sold by the Pacific division are manufactured primarily in the Company’s manufacturing and assembly facilities in California, Colorado and Singapore. A summary of the Company’s Industry Segment and Geographic Information may be found in Part II, Item 8 of this Form 10-K under the heading â€Å"Industry Segment and Geographic Information†, which information is hereby incorporated by reference. Raw materials Although raw materials, processes, and components essential to the Company’s business are generally available from multiple sources, certain key components are currently obtained from single sources. For example, certain microprocessors used in many of the Company’s products are currently available only from Motorola, Inc. Any availability limitations, interruption in supplies, or price increases relative to these and other components could adversely affect the Company’s business and financial results. Key components and processes currently obtained from single sources include certain of the Company’s displays, microprocessors, mouse devices, keyboards, disk drives, CD-ROM drives, printers and printer components, ASICs and other custom chips, and certain processes relating to construction of the plastic housing for the Company’s computers. In addition, new products introduced by the Company often initially utilize custom components obtained from onl y one source, until the Company has evaluated whether there is a need for an additional supplier. In situations where a component or product utilizes new technologies and processes, there may be initial capacity constraints until such time as the suppliers’ yields have matured. Materials and components are normally acquired through purchase orders, as  is common in the industry, typically covering the Company’s requirements for periods from 90 to 180 days. However, the Company continues to evaluate the need for a supply contract in each situation. If the supply of a key single-sourced material, process, or component to the Company were to be delayed or curtailed, its ability to ship the related product utilizing such material, process, or component in desired quantities and in a timely manner could be adversely affected. The Company’s business and financial performance could also be adversely affected, depending on the time required to obtain sufficient quantities from the original source, or to identify and obtain sufficient quantities from an alternate source. The Company believes that the suppliers whose loss to the Company could have a material adverse effect upon the Company’s business and financial position include, at this time , Canon, Inc., General Electric Co., Hitachi, Ltd., IBM, Motorola, Inc., Sharp Corporation, Sony Corporation, Texas Instruments, Inc., Tokyo Electric Co., Ltd., and/or their United States affiliates, and VLSI Technology, Inc. However, the Company helps mitigate these potential risks by working closely with these and other key suppliers on product introduction plans, strategic inventories, and coordinated product introductions. The Company believes that most of its single-source suppliers, including most of the foregoing companies, are reliable multinational corporations. Most of these suppliers manufacture the relevant materials, processes, or components in multiple plants. The Company further believes that its long-standing business relationships with these and other key suppliers are strong and mutually beneficial in nature. The Company has a supply agreement with Motorola, Inc. (see Exhibit 10.B.12 hereto). The agreement with Motorola continues for five years from January 31, 1992 unless otherwise mutually agreed in writing by the parties. The Company single-sources microprocessors from Motorola. The supply agreement does not obligate the Company to make minimum purchase commitments; however, the agreement does commit the vendor to supply the Company’s requirements of the particular items for the duration of the agreement. The Company has also from time to time experienced significant price incre ases and limited availability of certain components that are available from multiple sources, such as dynamic random-access memory devices. Any similar occurrences in the future could have an adverse effect on the Company’s operating results. Item 2. Properties The Company’s headquarters are located in Cupertino, California. The Company has manufacturing facilities in Fountain, Colorado, Sacramento, California, Cork, Ireland, and Singapore. As of September 30, 1994, the Company leased approximately 5.2 million square feet of space, primarily in the United States, and to a lesser extent, in Europe and the Pacific. Leases are generally for terms of five to ten years, and usually provide renewal options for terms of up to five additional years. Certain of these leased facilities are subject to the Company’s restructuring actions initiated in the third quarter of both 1993 and 1991. The amount of space leased by the Company may decline in the future as the leases for facilities subject to restructuring actions are terminated pursuant to agreements with landlords or expire as scheduled. The Company owns its manufacturing facilities in Fountain, Colorado, Cork, Ireland, and Singapore, which total approximately 920,000 square feet. T he Company also owns a 450,000 square-foot facility in Sacramento, California, which is used as a manufacturing, service and support center. The Company also owns the research and development facility located in Cupertino, California, and a centralized domestic data center in Napa, California which approximate 856,000 and 158,000 square feet, respectively. Outside of the United States, the Company owns a facility in Apeldoorn, Netherlands, which is used primarily for distribution, totaling approximately 265,000 square feet, in addition to certain other international facilities, totaling approximately 553,000 square feet. The Company believes that its existing facilities and equipment are well maintained and in good operating condition. The Company has invested in additional internal capacity and external partnerships, and therefore believes it has adequate manufacturing capacity for the foreseeable future. The Company continues to make investments in capital equipment as needed to meet anticipated demand for its products. Information regarding critical business operations that are located near major earthquake faults is set forth in Part II, Item 7 of this Form 10-K under the heading â€Å"Factors That May Affect Future Results†, which information is hereby incorporated by reference. Information regarding the Company’s purchase of its remaining partnership interest in Cupertino Gateway Partners, formed for the purpose of constructing the campus-type office facility that is now wholly owned by  the Company, may be found in Part II, Item 8 of this Form 10-K under the heading â€Å"Commitments and Contingencies†, which information is hereby incorporated by reference. â€Å"Other countries† consists of Canada and Australia. Prior year amounts have been restated to conform to the current year presentation. Net sales to unaffiliated customers is based on the location of the customers. Transfers between geographic areas are recorded at amounts generally above cost and in accordance with the rules and regulations of the respective governing tax authorities. Operating income (loss) by geographic area consists of total net sales less operating expenses, and does not include an allocation of general corporate expenses. The restructuring charge and adjustment recorded in 1993 and 1994, respectively, are included in the calculation of operating income (loss) for each geographic area. Identifiable assets of geographic areas are those assets used in the Company’s operations in each area. Corporate assets include cash and cash equivalents, joint venture investments, and short-term investments. 1995 Approximately 45% to 48% of the Company’s revenues in recent years has come from its international operations. The Company has two international sales and marketing divisions, consisting of the Apple Europe division and the Apple Pacific division. The Apple Europe division focuses on opportunities in Europe as well as in parts of Africa and in the Middle East. Products sold by the Europe division are manufactured primarily in the Company’s facility in Cork, Ireland. The Apple Pacific division focuses on opportunities in Japan and Asia; Australia and New Zealand; and the Caribbean region. Products sold by the Pacific division are manufactured primarily in the Company’s facilities in California, Colorado and Singapore. The Company distributes its products through third-party computer resellers, and is also continuing its expansion into various consumer channels, such as mass merchandise stores, consumer electronics outlets and computer superstores, in response to changing industry practices and customer preferences. The Company’s products are sold primarily to business and government customers through independent resellers, value- added resellers and systems integrators; to home customers through independent resellers and consumer channels; and to education customers through direct sales and independent resellers. In order to provide products and service to its independent resellers on a timely basis, the Company distributes its products through a number of Apple distribution and support centers. Raw materials Although certain raw materials, processes, and components essential to the Company’s business are generally available from multiple sources, key components and processes currently obtained from single sources include certain of the Company’s displays, microprocessors, mouse devices, keyboards, disk drives, printers and printer components, application- specific integrated circuits (â€Å"ASICs†) and other custom chips, and certain processes relating to construction of the plastic housing for the Company’s computers. Any availability limitations, interruption in supplies, or price increases relative to these and other components could adversely affect the Company’s business and financial results. In addition, new products introduced by the Company often initially utilize custom components obtained from only one source, until the Company has evaluated whether there is a need for an additional supplier. In situations where a component or product utilizes new technologies and processes, there may be initial capacity constraints until such time as the suppliers’ yields have matured. Materials and components are normally acquired through purchase orders, as is common in the industry, typically covering the Company’s requirements for periods from 90 to 180 days. However, the Company continues to evaluate the need for a supply contract in each situation. If the supply of a key single-sourced material, process, or component to the Company were to be delayed or curtailed, its ability to ship the related product utilizing such material, process, or component in desired quantities and in a timely manner could be  adversely affected. The Company’s business and financial performance could also be adversely affected, depending on the time required to obtain sufficient quantities from the original source, or to identify and obtain sufficient quantities from an alternate so urce. The Company believes that the suppliers whose loss to the Company could have a material adverse effect upon the   Company’s business and financial position include, at this time, Canon, Inc., General Electric Co., Hitachi, Ltd., IBM, Motorola, Inc., Sharp Corporation, Sony Corporation, Texas Instruments, Inc., and/or their United States affiliates, and VLSI Technology, Inc. However, the Company helps mitigate these potential risks by working closely with these and other key suppliers on product introduction plans, strategic inventories, and coordinated product introductions. The Company believes that most of its single-source suppliers, including most of the foregoing companies, are reliable multinational corporations. Most of these suppliers manufacture the relevant materials, processes, or components in multiple plants. The Company further believes that its long-standing business relationships with these and other key suppliers are strong and mutually beneficial in nature. The Company has also from time to time experienced significant price increases and limited availability of certain components that are available from multiple sources. Any similar occurrences in the future could have an adverse affect on the Company’s operating results. The Company has a supply agreement with Motorola, Inc. (see Exhibit 10.B.12 hereto). The agreement with Motorola continues for five years from January 31, 1992 unless otherwise mutually agreed in writing by the parties. The Company single-sources certain microprocessors from Motorola. The supply agreement does not obligate the Company to make minimum purchase commitments; however, the agreement does commit the vendor to supply the Company’s requirements of the particular items for the duration of the agreement.

Examine Nietzsche?S Statement in the Birth of Tragedy That It Is Only as an „Aesthetic Phenomenon? That Existence Can Be „Justified? to Eternity.

Examine Nietzsche’s statement in The Birth of Tragedy that it is only as an ‘Aesthetic Phenomenon’ that existence can be ‘justified’ to eternity. According to the qualities of ‘eternity’ and ‘existence’ that Nietzsche and Schopenhauer prescribe; it is by definition that something can only be justified in the phenomenal world: the world of ‘existence’. Although this statement describes existence justifying itself to eternity, The Birth of Tragedy tends to illustrate the inverse: eternity justifying itself appearing through existence. However the movement between the states of the ‘physical’ and ‘virtual’ is not directional in the empirically spatiotemporal manner that Schopenhauer takes on. Unlike transcendentalist ideas, what Nietzsche depicts is an apparent duality born in the fusion of the minds twofold reality that has knowledge and perception only of existence. Aesthetic phenomenon offers us â€Å"delight in semblance† and simultaneously offers a greater, metaphysical delight in â€Å"the destruction of the visible world of semblance† (BT: 24). The requirement that a phenomenon must be ‘aesthetic’ is universal in the sense that there is no requirement as to what an ‘aesthetic’ thing is. Supposedly it can be anything phenomenal â€Å"even the ugly and disharmonious is an artistic game which the will, in the eternal fullness of its delight, plays with itself. † (BT:24) Clearly there are degrees of ‘aesthetic’ quality that render more delight, but the delight is equally achievable in the interpretation as it is in the ‘phenomenon’ that is acting as a trigger. Maybe it is more appropriately imagined that ‘eternity’ justifies itself in the phenomenal: because the ‘justification’ takes place when an object awakens a sense of the ‘eternal’, so it is really a matter of seduction, and how effectively this ‘aesthetic phenomenon’ allows the noumenal to thrust itself upon the perceiver. But to say that this takes place wholly on account of how ‘aesthetic’ the phenomenon is, would be to ignore how easily the perceiver is seduced, or how he perceives all together. It is clear that different people find beauty in different things. It is also clear that some may find beauty in nothing, as with meditation. But that brings into question whether we can really have a ‘nothing’ in human experience, for even the most isolated and detached human experience cannot be fully impartial to the world of experience. The point however; is that although ‘aesthetic phenomenon’ is a necessity; it is the openness and imagination of the perceiver that allows the object to justify existence to the eternal. For beauty can exist in everything, but only on occasion do we see beauty to such high intensity that it awakens a recognisable feeling of the ‘eternal’. For Nietzsche, art is a more powerful form of ‘aesthetic phenomenon’, than naturally occurring beauty; the human is more familiar with art, often because it relates more to qualities in the realm of human experience, be it situational or emotional. This familiarity lures the perceiver into a greater degree of belief, acting as a catalyst to the erosion of self identity, as they more easily forget the self, and become overwhelmed by the ‘will’. Nietzsche places ‘attic tragedy’ at the peak of this process, as he mentions the audience become the play, and the combination of two separate art forms allows the birth of a new less physically obsessed, and more enchanting work of art. The degree, to which the audience can recreate the moment that the artist felt in creating the piece, depends partly on the artist’s ability to transfigure the feeling into an ‘aesthetic phenomenon’, but also on the audience’s ability to empathise (hence humanistic art is more effective). This ‘empathy’ or ‘mitleiden’, requires the demolition of the concept of the ‘individual’ and the rise of the innate primordial unity, in order for this eternal intensity, that Schopenhauer, quite carelessly called the ‘will’, to overtake. It is because art is a reproduction of the eternal in a phenomenal form that Nietzsche believes â€Å"we are far from truly being the creators of that world of art† (BT:5), the artist is merely the mediator of the eternal, who engages in procreation. The world that art ‘represents’ itself in is impartial to the world it came from. The description of the divine impregnating the humanly to beget a great ‘art’ generates a dualistic concept, that implies a transcendence from the noumenal into the phenomenal: â€Å"the continuous evolution of art is bound up with the duality of the Apolline and the Dionysiac in much the same way as reproduction depends on there being two sexes†(BT:1) whereas a sexual co-existence involves two opposites, that are of the same substance, Nietzsche is presenting a relation with the being and the immortal. But it seems he places this sense of superiority not in the aspects themselves, rather due to the difficulty of escaping worldly attributes and the natural inclination to view what is beyond us as greater than what we are or possess. He compares our awareness of our artistic significance to that â€Å"which painted soldiers have of the battle depicted on the same canvas† (BT:5) reiterating the impossibility of viewing artistic creation from both angles as player and spectator alike. Within the realm of existence, aesthetic delight serves the purpose of awakening that dormant innocence which provides openness to the primal spirit. This instinct put to sleep by our ‘view’ of the world that quantifies things; a cognition we naturally take on, as the phenomenal world becomes more apparent and through childhood we develop a new paradigm that becomes less aware of the qualitative. This becoming of the individual is characterised by experience, and traded with innocence. For Nietzsche ‘Aesthetic phenomenon’ is necessary to create delight which awakens our dormant self, by detaching us from our conscious understanding, and giving way to a higher delight. Nietzsche describes this battle between the innocent and experienced lenses as a trend not only in the life of the individual but also in culture and its cultivation. The cryptic relationship between Apollo and Dionysus parallels the trend in most cultures to become more like Apollo, and forget their wilder innate counterpart whose characteristics are often mistaken for hedonism. Eruptions of the Dionysian culture are evident in the Romantic period and during the ‘free love’ period in the 1960’s, both characterised by the use of drugs to liberate one from the sense of identity. These periods, unlike the Greek period, remained movements rather than revolutions, as the use of drugs, unlike the use of art was damaging to the economical requirement for a revolution. The Dionysiac’s disregard for conventional barriers, such as the sexual, arise from the ability to be intimate and empathise with any being more than the Apollonian can hope to achieve with even one. This is due to the Apollonian’s failure to ‘empathise’ as Schopenhauer would say, because they are too enthralled with the manifest of their ‘will’ in its represented form to see that the ‘will’ is universal; â€Å"whenever this breakdown of the principium individuationis occurs, we catch a glimpse of the essence of the Dionysiac† (BT:1) one who has no sense of self. Nietzsche’s vision of Dionysian art resolves the question Aristotle asks about the ‘tragic effect’: â€Å"Why is it that we voluntarily subject ourselves to depictions of the terrible in life? Schopenhauer called ‘tragedy’ the highest art form in which we surrender to the ‘feeling of the sublime’. As Nietzsche describes, our horror is replaced by a ‘metaphysical comfort’ where the terrible dissolves our vision of beauty in the Apollonian form; that is designed to protect us and secure our drive to live, this à ¢â‚¬Ëœveil of Maya’ is removed and â€Å"We really are for a brief moment, the primordial being itself†. It is because our Apollonian view of the world cannot remove its inherent characteristics, that the sublime is regarded by Schopenhauer as higher than beauty, and why for Nietzsche, the Dionysian aspect is more fundamental. Islamic Poet Khalil Gibran explains â€Å"The veil that clouds your eyes shall be lifted by the hands that wove it,† these idea raise the question as to whether ‘Aesthetic Phenomenon’ is justifying the world to eternity, or revealing eternity to the world, as ‘Aesthetic Delight’ propels the interpreter, detaching him from the phenomenal. Nietzsche; contra Schopenhauer, believes that the ‘terrible’ is not single handedly a higher form of art, as the Apolline realm is needed as the vehicle that humans understand, to transit one into the eternal. Hence for Nietzsche, ‘attic tragedy’ is the supreme art form that allows the Dionysian to impregnate the Apollonian; traversing the line between intoxication and dream, and being reborn in the world of the individual. Unlike music, which is a ‘mirror’ image of the Dionysian, a direct reflection from one world into the other, tragedy captivates the audience with Apollonian dreamlike images, through which the Dionysian chorus â€Å"Discharges itself†, dissolving the apparent dichotomy from a world of semblance, and unleashing the eternal. For Nietzsche the duality between Dionysus and Apollo is only a psychological one and his liking to the dominant organic notion of the Dionysian in The Birth of Tragedy is possibly a result of his youth, and desire to escape the overly Apollonian culture he endured and despised. Heidegger offers an interpretation of Nietzsche’s use of the word ‘Chaos’ that differs to those non-Greek translations whose etymology of the term, reduce it to words like ‘primordial’ that do not capture the meaning which echoed in its use in mythic tradition. Heidegger’s classical reading of the word imbues an idea of â€Å"that which yawns, the gaping out of itself. Applied to Nietzsche’s aesthetics, this would trivialise the role of the phenomenal which essentially repeats itself through time, in waves, a result of procreation that facilitates the reversal into the non-human, which is simultaneously the same effect as the eternal ‘gaping out of itselfà ¢â‚¬â„¢. The two dimensional effect is really of the same thing, and for Nietzsche has no direction or duration in the empirical senses of space and time; a concept better felt than imagined due to our impartiality, hence the difficulty Nietzsche mentions in describing notions such as the ‘eternal return’. To what extent then, does Nietzsche see the Dionysian and the eternal as relevant to one another, and separate from the Apollonian and phenomenal? If aesthetic delight leads the path from the phenomenal to the noumenal then at what point and to what degree do these dualistic entities that fit that divide the ‘physical’ from the ‘virtual’ relate to each other as properties? Nietzsche claims that attic tragedy is the art form which bonds the Dionysian with the Apollonian, the unison of opposition. He also differs from Kant and Schopenhauer on the nature of the duality between the noumenal and phenomenal, somewhat paradoxically, he accepts the superficial claim, but when digging into the root of the two spheres, becomes constrained by the possibility of analysing such a void, as Paul de Man claims; the reader is â€Å"condemned† to an â€Å"apparently endless process of deconstruction† . This assessment is unfair on Nietzsche’s attempt to find a ‘good’ answer and thus sacrificing a degree of clarity that is expected in describing something that language cannot describe: â€Å"language, as the organ and symbol of phenomena, can never, under any circumstances, externalize the innermost depths of music†¦ the heart of the primordial unity,† (BT:5) his passage summarises the futility of all phenomena in relating to the eternal, but the need for phenomena to create art as a birth giver to the eternal, whereby language is a weaker tool than music and tragic myth. In The Birth of Tragedy, Nietzsche constantly reiterates the predominant nature of the Dionysiac that â€Å"shows itself, in comparison with the Apolline, to be the eternal and original power† (BT:25). Although not entirely in keeping with Kant and Schopenhauer’s duality, he still bastardises the Apollonian state, highlighting the separateness of the two art forms. This must mean that there is a significant point where the border between states is crossed, in order to form the attic tragedy, and similarly must mean there is a point where the justification of the world to the eternal takes place. But Nietzsche offers no explanation, possibly because these dualities are only a manifestation, that grows as naivety is replaced by experience, and the dream state that verges on the state of intoxication succumbs to a newer ‘physical’ reality. But Nietzsche holds that these two artistic domains are â€Å"required to unfold their energies in strict, reciprocal proportion† so that one can only be â€Å"permitted to enter an individual’s consciousness as can be overcome, in its turn, by the [other]† (BT:25), if such is the case, then either Nietzsche believes these drives truly are the essence of a strict duality, or that they are too rigidly lain into the mindset to be abstracted from and comprehended as a whole. However, if the latter is the case, then the justification of the world to eternity is a human matter, a question of interpretation, where being superhuman is being eternal, and ‘aesthetic phenomenon’ plays no role. In later writings such as Thus Spoke Zarathustra he begins to point in this direction: â€Å"the human is something that must be overcome†, for existence is to some degree a sense understood by the being, but if one can go beyond the being, then one can go beyond world that requires justifying to eternity. His notion of ‘eternal return’ which suggests that the world repeats itself is more ambiguous on the nature of eternity and its relation to the phenomenal . Contra Schopenhauer; Nietzsche’s spatiotemporal relation to the world is not one of distance in space, or places in time, rather one of duration, where the movement between the ‘physical and ‘virtual’ reality is unmeasured, and possibly non-existent as the removal of these relations change the way in which existence and the eternal can relate to one another. Walter Arnold Kaufmann asserts that Nietzsche’s conception of the ‘will to power’ is â€Å"perhaps just as much the heir of Apollo as it is that of Dionysus† ; his suggestion for a monist interpretation comes from Nietzsche’s idea that â€Å"quantitative degrees of power might be the measure of value†. Clearly Nietzsche in The Birth of Tragedy is unsure or unfinished on the nature of the duality between existence and the eternal, and where its root ends. But certainly, the matter of existence being justified to eternity is a matter of being itself, and the reception of the eternal is integral, where the ‘aesthetic phenomenon’ is just the key. The impartiality of the consciousness with the eternal requires such a key to open this door, but evidently there is a degree to which the mind can feel the eternal, and to say that only an ‘aesthetic phenomenon’ can achieve this is to say that the door can only be opened from one side. Bibliography Pg153: Nietzsche's philosophy of science: reflecting science on the ground of art and life – Babette E. Babich Pg 295 Nietzsche Knows no Noumenon – David B. Allison Pg199 Nietzsche, philosopher, psychologist, antichrist- Walter Arnold Kaufmann The Eternal Return of the Overhuman: The Weightiest Knowledge and the Abyss of Light. Journal of Nietzsche Studies 30 (1):1-21. – Keith Ansell-Pearson. Pg 39 The Prophet- Kahlil Gibran The Birth of Tragedy- Friedrich Nietzsche (Cambridge texts)

Creating a Culture of Professionalism among Students, Faculty and Research Paper

Creating a Culture of Professionalism among Students, Faculty and Staff - Research Paper Example It is mainly known as a historically black university comprising of a unique culture and ethnicity. It also comprise of a Carnegie Classification of Institutions for Higher Educational requirements like: research activity (Howard University, n. d.). It is such a type of institution comprising of experienced and dynamic faculties presenting quality education since 1867 to its students so as to retain its image worldwide. Along with this, they also desire to maintain a professional relationship within its students and faculties so that a professional bounding can be maintained. Moreover, the aim of the university is to connect the life of the students with their minds, the heart of a tradition, and the soul of a students and staffs (Howard University, n. d.). Key objective of this study is to highlight the positive impacts of professionalism culture among students, faculties and staffs so as to improve organizational performance and image. Apart from this, it also tries to highlight th e effectiveness of finance and operational decisions regarding the enhancement of the University in long run (Howard University, n. d.). Road Map of the plan of implementing computer training program in Howard University Source: (Kasar &Clark, 2000). ... Not only this, it might also help to create such a friendly type of environment that may be best for the students of all castes and creeds (Kasar &Clark, 2000). Stakeholder Analysis The stakeholders that might get engaged in such a planning program of developing a professional environment within all the staffs, faculties and students of the Howard University are foundation members, board of trustees, staffs, teachers, parents and students. Such type of a planning might become successful only with proper coordination and communication among them in order to fulfill the objectives. For example: Orientation program in the university for the introduction of computer trainings for the students performing researches to improve their technical knowledge and skills on the relevant topics. However, it might be possible only if the relevant teachers offer high level of guidance to these students. With the help of such coordinated efforts, the culture of professionalism may be visualized within all the members and faculties (Kasar &Clark, 2000). Project Requirements In order to implement the computer training program for the research associates, varied types of hardware and new software are essential. Apart from this, an efficient teacher is also essential to guide the students in the proper way. So that it might lead to successful result in the long run. For example: If the students comprising of laptops bring them, at the time of coaching classes, then it might prove effective in reducing the purchase of computers for the university. Then it might be extremely helpful in reducing the financial cost of the organization thereby enhancing its image among other rival colleges. However, this may be possible only if the students and faculties of the university of