Runic alphabet,

Interrogated and first grade, for example, many children write â€Å"b† instead of â€Å"d,† and may sometimes confuse â€Å"p,† â€Å"q,† and â€Å"g. Teachers see these errors all the time, and gradually work to help kids fix them. But as a caring parent, should you worry? The stakes are high. DO these letter problems signal something deeper, such sidesaddle? To sort out the hype, we turned to two pros: Linda Selves, Executive Director of the New York branch of the International Dyslexia Association, and Eileen Marjoram, PhD. A past Board President of that organization, a professor of special education, and a teacher and tutor in private practice with dyslexic children for more than thirty years. Here's what they have to say when it comes to three common fears about Wesleyan, and identifying it in kindergarten and first grade children: Myth You'll know its dyslexia when a kid flips letters or misspells a lot. Fact: While some dyslexic people may do this , it's not the main problem! Dyslexia, explains Selves, â€Å"is a neurologically based learning disability† in which â€Å"people have difficulty associating sounds with letters. Lots of kids who write â€Å"b† for â€Å"d,† or reverse other letters, are just making rookie mistakes; what's more serious is when they cannot hear the â€Å"b† in â€Å"bear,† and think, instead, that it may be a â€Å"d† or â€Å"p. † Backwards letters alone re not cause for worry, according to the experts. In kindergarten, explains Marjoram, dyslexic kids will have trouble in several related areas. Taken together, these Signs indicate that a child is not making the all-important connection between letters, sounds, and word meaning. Instead of worrying yourself sick about reversed letters, â€Å"l would look further,† says Marjoram.If by the end of a full year of good instruction in kindergarten, a child can't do all or most of the following, the n it's time to be concerned: easily name all the letters of the alphabet, with most sounds detect rhyming words ear initial sounds, like the â€Å"c† in cat. Identify basic sight words like â€Å"is† or ‘the† recognize â€Å"environmental print† like the word â€Å"stop† on a roadside sign Myth #2: You can't really diagnose dyslexia until a kid is seven or eight. Fact: Kindergarten is not too early to evaluate a child. In fact, says Selves, â€Å"Early intervention is key†¦.The longer you wait, the more the problem grows. † Children quickly realize when something is wrong. Its all too easy for them to conclude, â€Å"l can't read so I must be really dumb,† Selves says. If your kindergarten does display most of the signs above, both Selves and Marjoram emphasize that you should seek an evaluation with a qualified specialist, either through your school or through independent experts such as those certified by the International Dyslexia Association. Don't let your school convince you to wait. Early intervention makes a huge difference. Http:// c mm/ magazine nee/article/ Kinder Stories, Poems, and Literature from the Viking Age 13th century Icelandic manuscript Our knowledge of the Viking people comes from several sources. One valuable source is the literature from the period. Norse people loved stories, and some of the stories and poems they themselves wrote, and that their ascendants wrote still survive. Stories about the Norse were also written by their contemporaries, including both their trading partners (such as the Arabs) and the victims of their raids (such as the Christian clerics who kept the historical records in Europe).This section describes written records the Viking-age people left behind. Language The Norse spoke Old Norse, which they called downs tuna (the Danish tongue). With minor variations, this language was spoken throughout the Norse lands during the Viking period. Old Norse is one of ten branches that cake up the Indo-European family of languages which have been spoken throughout Europe and southern Asia for the last 3000 years. Old Norse is the root language from which the modern Scandinavian languages descended, and is a close relative of modern English, Dutch, and German.During the period from 550050 AD, rapid linguistic changes occurred, which separated the Norse from other Germanic people on the European continent to the south and west. During the Viking age, language was no barrier to communication across the Norse lands; from Greenland to the Baltic, nearly the same language was spoken throughout. However, there is evidence that, despite the common language, a man's homeland could be identified by his speech.Some scholars today would go further and say that by the start of the Norse era, significant differences already existed between East Norse (Sweden and Denmark) and West Norse (Norway and the Atlantic settlements such as Iceland) dialects. Writing and Runes The footwork runic â€Å"alphabet† (so called for the sounds of the first six letters in the runic row) was in wide use throughout northern Europe from roughly the 3rd to the 12th century. At first, 24 letters were used, but in the 9th century, he footwork alphabet was simplified to 16 letters, beginning in Denmark, then rapidly spreading throughout the region.Many variations of the footwork rune row were used; one of the Danish variants is shown above. In the same way that a modern reader of English would recognize all these glyphs as representing an upper case a Viking-age reader would recognize the many ways a rune might be represented. The runes consist of straight lines, typically in the form of a vertical (a stave) with diagonal branches (twigs). The lack of any curves makes the runes easy to carve into wood, bone, or stone, which were the normal writing materials mongo the Norse.Runes are found carved graffiti-like into historical buildings and statuary not j ust in northern Europe, but all across the continent, clearly showing the extent to which the Norse roamed over Europe. The marble lion shown in the sketch to the left is from outside Piraeus, near Athens, Greece, where some unknown Norse traveler carved runic graffiti into the shoulder of the beast. Judging from the number of inscriptions found on stones in Nordic lands that were clearly intended to be seen and read, and from the number of everyday objects inscribed with runes, it is possible that such of the Norse population could read runes.Many of the inscriptions are in the form of memorial stones, such as those illustrated below on this page. These stones are highly public memorials. There's scarcely any reason to erect them if most of the population could not read them. Many everyday objects are found inscribed with the owner's name, or the maker's name, or other messages. Runic inscriptions have been found ranging from trade and legal documents such as bills of sale, all the way to coarse lavatory scribbling. Some runic inscriptions are clearly just for fun; a comb was found inscribed â€Å"l am a comb†.Some inscriptions may have been the equivalent of â€Å"Post-It' notes; one wooden Ernestine from Bergen is inscribed: â€Å"Cathy says come home†. Additional evidence of widespread literacy comes from the old Icelandic literature. In an episode from Importations (chi 34), it was not considered the least bit remarkable that a poor, unnamed Icelandic from the northern quarter was able to read the inscription on a buried treasure chest. In chapter 18 of Vigilant saga, Striker ¶g's father HLempel left a rune stick on the path where Vigorous and Transit were sure to find it as they rode to the ship that loud take them away from Iceland.On the stick were Striker ¶g's words saying she wanted to marry no other man but Vigilantly. There was no question that V(giggling would be able to read the message. > ¶r ¶our challenged Klaus to a wres tling match via a message on a rune stick in chapter 12 of Savorsla saga. Interestingly, just two chapters later, Klaus and Gar(s found runes carved on a ship naming the skipper, which Klaus was unable to read. He demanded that Grim read them. Wooden writing tablets provide additional evidence of the widespread use of runic writing among ordinary people.The tablet shown in the photos is a odder reproduction. The historic tablets are about 20-CACM high (about 8-12 in) and were filled with blackened wax within their raised borders. A pointed iron stylus was used to write in the wax (top right). The reproduction stylus in the photos is set in an antler which allows a nice grip and which can be used to smooth the wax and erase unwanted writing (bottom right). The wooden surface of historical tablets from the Norse era bear marks where the stylus broke through the wax, and the marks show that the runic alphabet Was being used.These tablets are more commonly found in rural areas, ether th an in towns, suggesting that even remote farm dwellers could read and write runes. On the other hand, objects have been found inscribed with runes which appear to be utter nonsense, or filled with errors. Perhaps it made perfect sense to the craftsman who made the object. Or perhaps, realizing that the object he just made needed to decorated with runes, but not knowing the footwork, the artisan simply made up something rune-like. The medium of choice for runic inscriptions was probably a stick or scrap of wood, which explains why few runic inscriptions are found today.Extraordinary conditions re required for the preservation of these wood scraps over the centuries since the Norse era. The runic writing shown to the right is one of a number of wooden merchant's markers excavated in Bergen. It indicates the owner's name, and was meant to be stuck in or tied to a pile of merchandise. It can be difficult to transcribe and translate runic writings. One difficulty is that there are more s ounds in the language than there are runes to represent them. Thus a single character could represent one of several sounds.Another difficulty is the variations in the various footwork alphabets that were in use ring the period. Further, archaic or otherwise unknown words were used in runic inscriptions. Runes were frequently incorporated into the isomorphic designs (left) favored by the Norse. Additionally, every effort was made to reduce the space required to inscribe the message and the number of runes that needed to be carved. So, for example, if a rune repeated, only the first rune was carved and the second discarded. Generally, there were no breaks between words or between sentences. Runes could be written left to right or right to left.The â€Å"facing† of the runes makes it clear which way to read. For inscriptions longer than one line, alternating lines were frequently written in opposite directions, first leftwards, then rightwards. Sometimes, the lines bent around at the end, so that one line reads left to right and the next line right to left and upside down. The effect is shown with English text using Roman letters to the right. Some rune stones (such as the R ¶k stone shown to the left) have text crammed onto every surface of the stone, with lines reading upwards, downwards, leftwards, and rightwards.Further, runes could be coded into other figures, called cryptic runes. The intent is not always clear. Perhaps it was meant to highlight a portion of the text, or to show off the skill of the person carving the runes. And perhaps it was meant to hide the meaning of the text to those who did not now how the runes were encoded. One example of cryptic runes are skips;near (ship runes), where the twigs adorn the stem and stern of the ship. The number of twigs in a figure indicated two numbers. The rune was coded by these two numbers.The first represented a particular TTT (grouping of runes within the footwork), and the second indicated which ru ne in the grouping was meant. Shown to he right are two figures from a series of cryptic runes in an Icelandic manuscript. Portion of rune stone with several same-stave runes Same-stave rune with missing portion restored Same-stave rune separated into individual runes Transcription into Roman letters Another example of cryptic runes is same-stave runes, in which all of the twigs branch from a single stave.The composite image to the left shows an example of this kind of runic inscription. The left image shows a small portion Of the SÃ'‘ender Kirby Stone in Denmark that uses same-stave runes for a portion of its message. The stave of interest in this example is the second room the left. The stone was damaged in this region, and a portion of this stave is missing. This part of the stone is shown in the second image, with a speculative reconstruction of the missing portion. The individual runes are shown in the next column, and the transcription into the Roman alphabet in the final co lumn.The complete message is >Orr vigil run, or â€Å"Door hallow the runes†. Another form of cryptic runes is visible at the top of the R ¶k stone, above left. With the coming of Christianity, and its educated clergy reading and writing Latin, runes were displaced by the Roman alphabet (modified to it the needs of the various northern European languages), written with pen and ink on vellum. However, runes continued to be used for many centuries, since the materials for runic writing were always readily at hand: everyone carried a knife, and a stick could be picked up from anywhere.The Viking-age people did not develop a written culture until the arrival of the church. In the Viking age, runes were used for short notes only. The Viking culture was oral, and long works were remembered using poetry. Runes certainly could have been used for longer messages in the same way as Roman characters, but hey were not. Perhaps the Norse people saw no need to preserve long works in writ ten form, even though everything was in place to do so. Only a single rune stone containing a complete poem survives, although many stones contain individual verses.In chapter 78 of Sells saga, >regular asked her father Gill to compose a memorial poem, telling him she would carve the verses into a rune stick (rises ; kefir). Whether that was common practice or not is conjectural. The R ¶k stone is an extraordinary rune stone over four meters high (13 feet) and is covered on all five sides with runic inscriptions. The front (and the beginning of the inscription) is shown to the left, and the reverse is shown in the photo above left. Many of the rune stones, particularly later ones, are memorial stones, which commemorated the dead and may have served as declarations of inheritance.The purpose of the Rook stone is subject to debate, but may well be a memorial Stone, as well. Poetry Surviving poems show a wide range of topics and tones: respectful and reverent; boastful and proud; wit ty and humorous; threatening and defiant; vile and obscene. However, scurrilous or satirical poems were banned cause of the injury they caused to the subject and to his reputation. Poems, being a divine gift from ? ¶in (the highest of the gods), were thought to have special power. Poems had the power to bestow honor on a worthy man and to remove honor from a wretch.A skillful poet could earn a valuable reward from a generous king, or save his head from an angry king, by creating a well composed poem. Poems praising a woman were banned, both because of the publicity and the possible effect it might have on her reputation, but also because of possible spell binding effects the poem might have. (Surviving love memos suggest the ban was regularly ignored. ) On hearing certain kinds of poetry (for instance, poetry implying that a man was womanish), a man was at liberty to kill the person reciting the poem. The proscribed types of poetry are described in the medieval Icelandic lowbrow G ar;g;s (K 238).Norse poetry does not have the regular rhythm and end-rhyme that one conventionally associates with poetry, but rather uses alliteration and irregular stress which falls on the most significant words in each line. Norse poetry can be divided into three classes, depending on form and content. Rune poems were usually inscribed on monuments and serve to praise an individual. They are brief and usually have a simple meter and style. Decide poems describe the Norse gods and ancient Norse heroes and their exploits. Decide poetry also has relatively simple meter and style.The stories are exciting, packed with action, and frequently contain valuable object lessons. Little can be said about the development of decide poetry, but it was probably in place and in use at the start of the Viking age. Classic poems typically praise the deeds of notable people, and they were usually written during the lifetime of the person being raised. While some of the surviving classic poetry date s from the medieval period, many of the poems are believed to date from the Viking age. The R ¶k ironstone shown above on this page records one stanza of classic poetry and dates from the middle of the 9th century.The Israeli ironstone shown to the right is the only classic verse in the elaborate dry;takeTTT meter known to have been written down in the Viking age. It dates from roughly the year 1 000 and is located in Land in Sweden. While the decide poetry is uniformly anonymous, much of the surviving classic poetry is credited to a particular tote at a particular place and time. The classic poems have complicated meters, strict patterns of alliteration, and ornate metaphoric language, with wordplay to delight the sophisticated listener. The poems usually celebrate the exploits of a particular king or leader.Since, in the Viking age, exaggeration was considered to be mockery, and since mockery' was considered a lethal insult, these poems are thought to be reliable testimony to th e events, even though (in some cases) they weren't committed to writing for centuries after their composition. Unfortunately, the factual information in such poetry tends to be limited. Classic poetry uses a variety of circumlocutions, such as kenning's. A kenning uses a phrase as a metaphor to represent an idea. The usual form is a noun, qualified by another noun in the genitive case. For instance sweat of the sword is used to mean blood, or horse of the sea to mean ship.Some of the kenning's can only be understood by someone with an extensive knowledge of the culture and of the great stories. For example, flame of the Rhine is used to mean gold but would probably be understood only by someone who is familiar with the V ¶lasagna saga in which the great gold treasure of the V ¶lulus NCAR ended up t the bottom of the river Rhine. Kenning can have multiple levels. For example, a poet might use a kenning for gold, and then use that phrase in place of the word â€Å"gold† in yet another kenning, such as flame of the sea- stead's path.Sea-stead's (ship) path is water, so flame of the water refers to gold. Some kenning's depend on hyperbole. Enemy of gold refers to a man who does not like gold and gives it away: a generous man. Some kenning's take the form of puns, such as using sky of the eel to represent ice in identifying someone as an Icelandic. The form of Norse poetry is complicated beyond the wordplay of the innings. The need to fit strict rules of alliteration and rhyming and rhythm result in verses in which multiple ideas are being formed simultaneously. (This concept is illustrated on the classic stanza page. Because Icelandic is a highly inflected language (word forms change depending on their usage in a sentence), it's possible to jumble the word order yet retain the meaning of a sentence. Norse visual arts share this property (left). Exceedingly complicated forms are used all over a figure to create a single unified image. It's been suggested that this similarity between poetry and visual arts derives from the name underlying sensibility, some innate appreciation of the baroque form in Norse culture. Because of its complexity and wordplay, wonder whether classic poetry could be understood by a listener hearing a verse for the first time.There are examples in the stories that support this belief, such as chapter 18 fog(slab saga. B ¶rids overheard a verse spoken by her brother, Gillis, in which he took credit for the killing of her husband, Programs. Not until she returned home did brd(s interpret the verse and understand its meaning. I may be overstating my case. At least one scholar of classic otter has told me that he believes the verses were easily understood by a listener in the saga age. Additionally, in an oral culture, it would be important to recall poetry without error.Because of the complexities of Norse verse, a defect in a recalled verse would be immediately apparent, since the rhyme, rhythm, or alliterati on would no longer work. Any erroneous substitution would stand out. Thus, the complexity of the verse acted as a mnemonic aid to help recall the verse and to identify errors. This built-in error detection was one of the reasons that information conveyed by poetry during the Viking age as thought to be more reliable than information in prose. The 12th century authors who first wrote the histories and stories of Iceland viewed the words of poets to be more authoritative than other oral sources.Some modern scholars disagree, and they suggest that in oral form, even poetry is unlikely to remain unchanged over long periods of time. Literature Many of the important poems were composed in the 9th through 12th century. These were part Of the oral tradition, and were kept alive by repetition as they were passed from one generation to another. Poetry was likely a major form of entertainment for the Norse. Poets were held in high regard, not only for their ability to improvise poetic entertai nment on the spot, but also because they were the repository of the shared cultural experience.They were the vessel through which the culture was passed from generation to generation. Once committed to poetry, a thought was expected to last â€Å"as long as the land is inhabited† or â€Å"as long as the Norse language is spoken†. Story-telling was a popular entertainment wherever people gathered. Faster ¶RA saga says in chapter 23 that >origami Narrations told a story while sitting on his chair in front of his booth at the Ping. People sat all around him, listening to his tale. When an unexpected downpour forced everyone to leave and seek shelter, Poor ¶Ã‚ ¶r took advantage of the opportunity and killed Door(Mr..Beginning in the 12th century, educated men in Iceland, where the oral tradition was strongest, began to write down the important stories. Iceland Was unique among European countries at this time in having a population comprised of a large number of relativ ely free, land- owning farmers. These men had the means to commission the creation of books in their own language, rather than in Latin as was the rule throughout he rest of Europe. The oral story-telling tradition of the Islanders also favored writings in the vernacular.A wide variety of material was written down in the Icelandic language. One of the first books to be written in the northern lands was the Icelandic law codes, begun in the year 11 17. Prior to this time, the law codes were remembered and recited orally by the law speaker (logs ¶Guam ¶our) at the Piping. A short time later, a history of Iceland was written known as [slandering;k (the Book of Islanders) by Air FRR ¶I (the learned) around the year 1 130. Scholars wrote books describing how to use Roman letters to represent the sounds of the Icelandic language.The First Grammatical Treatise was followed by three others. The genealogy and history of Icelandic settlers were written down in Land;MBA;k (the Book of Se ttlement)s. European literature was translated into Icelandic, including stories of the lives of saints, and learned books on topics including astronomy, natural history, and geography. Travel books were written by Icelandic visitors to Europe. New stories were written to commemorate the exploits of kings or other great leaders. Some of these books were in the form f histories, such as Homemaking's, a history of the kings of Norway.Others described contemporary events, such as the sagas of the lives of Icelandic bishops, untangling saga, a compilation of sagas describing the events in the turbulent times when the sons of Stuart b ¶r ¶arson were changing the political landscape Of the Iceland. Islanders also wrote down the stories of their ancestors. These [sledding ¶guru (Sagas of Islanders, also called family sagas) remain compelling and entertaining reading today. They are a unique and new form of story-telling unlike anything that preceded them. Most of these sagas are thou ght to have been composed between 1200 and 1400.These stories tell of the tales of farmers and chieftains living in Iceland from the 9th through the 12th century. Many of them follow families for generation after generation, from the settlement era to the commonwealth period in Iceland's history. They are distinctive in that they tell heroic tales not about heroes, but about just plain folks: the early Islanders. Although distorted by the time that separates the events depicted and the writing of the stories, the family sagas present one of the best pictures we have of Norse society. We know the names of only a very few of the writers of these works.It was not customary to put the author's name on the manuscript. However, one author who can be identified with some certainty is Snorer Sturgeon (1 179-1241). A 20th century sculpture of Snorer by Vigilant is shown to the left. Snorer feared that the tradition of composing poetry to commemorate great men and great events was dying. For this, and other reasons, he wrote the Sonora dead, a four part textbook on writing classic poetry. The book summarizes Norse mythology (necessary for the poet to understand the innings), teaches the language of poetry, and presents examples of the various verse forms.

How Far Should We Curb The Freedom Of Individuals? Essay

There are many facets of freedom, and in my essay, I will discuss many of these such as freedom of speech, freedom of beliefs and freedom of actions. When it comes to rights and freedoms there is a paradox because without responsibilities we have no rights and without restrictions we have no freedom. But what exactly is freedom? The dictionary defines freedom as; ‘1. personal liberty, as from slavery, serfdom etc. 2. liberation, as from confinement or bondage, 3. the quality or state of being free, esp. to enjoy political and civil liberties, 4. exemption or immunity: freedom from taxation, 5. the right or privilege of unrestricted use or access: the freedom of a city, 6. autonomy, self-government, or independence, 7. the power or liberty to order ones own actions, 8. Philosophy, the quality esp. of the will or the individual of being unrestrained, 9, ease or frankness of manner: she talked with complete freedom, 10. excessive familiarity of manner, 11. ease and grace, as of mo vement. I will begin with the individual right to freedom of speech. We all take for granted that we have freedom of speech, but some places such as Communist China have heavy limits on the freedom the individual has to express their opinion. For example, in 1991, in Tiananme Square, many Chinese students objected to this heavily censored regime and there was uproar that led to the death of many students, one even being ran over by a tank. All that for freedom of speech. In Britain, we have freedom of speech to an extent, in fact compared to China, we have huge freedom, it is a liberty we take for granted. But should we have that much freedom of speech? Here is an example; there is a political party that has headquarters near you. The leaders of this party believe that all people whose lineage goes back to other countries should be returned to that country and only white Christians should remain living in Britain. Members of this party pass out leaflets to students from the local secondary school on their way home. Should these individuals freedom of speech be maintained? The answer is that we can’t stop people expressing their opinion. If their freedom is maintained and they continue to spread their racist propaganda, then the leaflets could persuade the children who read them to be violent towards other races. (Scenario came from AS Guru website). If the freedom of speech is taken from these individuals then how do we ensure our own freedom of speech will be maintained? What if someone disagrees with us? The reality is that we do have freedom of speech and we can’t be stopped expressing our opinions, but in some circumstances, the freedom should be curbed to ensure people aren’t offended or hurt by another person. Another individual freedom we take for granted in Britain is freedom to choose what religion we are part of or to what extent we take our beliefs. For example, Hindus have no choice about their religion because they are born into Hinduism. But most people living in Britain can decide whether they want to be Christian, Jewish, Buddhist etc. But should we be allowed to do that? Many people join cults in this country and other ‘free’ states such as America and as a result can be convinced to commit suicide in extreme cases. For example, there have been many mass suicides as a result of cult leaders instructing their vulnerable followers to do so. An example of this sort of incident is the megalomaniac Reverend Jim Jones case. In November 1978 he ordered the 911 members of his cult to drink cyanide poison after brainwashing them. In cases such as this, should the right of the individual be maintained to allow them to join a cult, or should we intervene and stop them joining in the first place? We can argue that in this kind of case the freedom of the individual should be curbed for their own safety, but in reality if we heavily curbed the freedom for one thing, maybe it would have to be curbed for other individuals for different rights they hold. I believe that everybody has the right to freedom of conscience; freedom of religion and spiritual practice, and to exercise them both publicly and privately because everyone is different and the extent and exact details of their beliefs as a result will be different. I do think though that when it becomes as obsessive as cults that perhaps somebody should intervene, if only for the individuals’ safety. When we think of our freedom to act however we feel, we think we have full freedom to conduct ourselves however we please. This is not the case though. We do not have the freedom to murder, rape or beat other people whenever we please. If we commit an offence such as this then we are charged and in some cases, imprisoned. Should offenders have their personal freedom removed as a punishment? My personal opinion is that if somebody has committed an offence severe enough to be placed in prison, then yes, their physical freedom should be taken from them. A personal liberty such as being able to walk down the street being removed, to me, is a good enough punishment. However, sometimes, people have their freedom removed against their will. For example, they are taken hostage. Their liberty is forcefully taken away and so their freedom is curbed. This links to terrorists, because it is usually terrorists who take hostages. What gives terrorists the right to remove a person’s freedom? What gives a terrorist the right to fly a plane into a building full of people, knowing they are going to cause mass devastation such as in the recent attack on the USA? Shouldn’t their freedom have been curbed to prevent such a huge loss of life such as in that attack? But there is only an extent as to how much we can curb their freedom to express their opinion. The fact that they chose to express their feelings in such a violent and extravagant manner suggests that individual freedom should be curbed to avoid anything such as horrific happening again, but most people, no matter how they felt, wouldn’t show their opinion like that. Perhaps people should feel that they don’t have the individual freedom to commit such a terrible act and then nothing like such as the American attacks. On the subject of freedom of actions, we don’t have the freedom to decide whether or not we pay taxes. For example, where would we finance all of the public services that taxes pay for if they didn’t exist or if individuals decided not to pay them? Taxes are spent on the National Health Service, the Police Force, Fire Service and Roadwork for example. If people didn’t pay these taxes then we would have to pay for hospital treatment and to see a doctor etc like in Europe. Street lighting would not be funded and we’d walk down dark streets and roads would be full of potholes and have other problems. Peoples’ freedom of choice therefore is curbed, and I think rightly so because otherwise the services we take for granted would simply not exist. So after looking at the arguments for and against the curbing of individual freedom, I personally believe that it should be curbed in a lot of ways for both the good of the individual and the others around them. Yes, we should be able to freely express our opinion, but in a civilised manner, and we should be free to conduct ourselves in our own ways as long as those methods we use don’t hurt other people.

Metaphysics; Plato and Aristotle Essay

a. Introduction As a major assignment for this course, you are to write an essay paper on a topic relating to the subject matter of the course and drawing on course material. This should be a new paper, written by you individually, specifically for this class. You have two options to do this assignment. First option: You can write an essay paper in a rather classic style by selecting one of the listed topics in part b. If you decide to do the first option, you are required to pick one of the listed topics and write a philosophical essay according to the description provided for each topic. Second option: You can conduct a philosophical project and write an essay on the findings of the project. For this option, you need to become an â€Å"undercover philosopher† and interview 5 different people on a philosophical topic given in part c. The final outcome of your project should include the interviews results and your own analysis. Regardless of the option you choose you are required to follow these criteria: You are required to do only one of the mentioned options. But it is better to make decision as soon as possible since it will take time to accomplish either of them. This assignment is due no later than 11:59 p.m. on Monday, April 28. Late papers will only be accepted with an appropriate excuse and a point deduction. Your paper will be submitted via TurnItIn through the Blackboard site for the course. Just so you are aware, TurnItIn automatically checks your paper for plagiarism and will catch it if you try. No email or paper submission will be accepted. You should use the MS Word template file provided in your Blackboard. Papers not prepared in that format will not be graded. The final paper should be named as: Your Last Name_Your EU ID_Your Course Section.DOCX o For example if your last name is Jones and your EU ID is mhj034 and you are in PHIL 1050 section 001 then your file name should be: Jones_mhj034_001.docx. Another example: Ahmadi_kia9801_002.docx for student named Ahmadi with kia9801 as EU ID taking 002 section of the course. There must be â€Å"_† (underline) character between name, EU ID, and class section. o EU ID is the ID you use to login to your Blackboard account. You can find your class section by looking at the title of the course listed in your Blackboard account. Your paper must be no less than 1000 and no more than 1500 words (this is content only; this is not counting name, title, footnotes, bibliography, etc.) Papers with less than 1000 or more than 1500 words will be graded with a point deduction. You may find a PDF copy of Writing Philosophy on Blackboard, it is strongly recommended that you utilize this resource to help you write a good paper. All sources, including assigned readings, must be formally cited according to the Chicago Manual of Style (resources for which can be found online). Use of secondary sources is strongly encouraged but not required. Remember that failure to cite sources technically constitutes plagiarism! For further information, you can review the university’s policy on academic integrity at: http://www.vpaa.unt.edu/academic-integrity.htm. Regarding citations, long quotes of 4 or more lines are not allows and will result in a noticeable point penalty if used. Remember also that not only direct quotes also paraphrasing of another person’s material must be formally cited. All sources must be listed as footnotes. No bibliography or reference list at the end of the paper is required. Further details about citation can be found in the MS Word template file in your Blackboard account. This assignment makes up 25 out of 100 points for your final grade. You will be graded equally on writing, your summary of material, and your own critical response. Beyond these you can lose points for having a paper that is too short, failing to cite sources, or in any other way failing to adhere to the instructions and criteria for the assignment. Grading Criteria: An â€Å"A† paper is one that follows all format requirements, is at the standards of college writing, contains an excellent summary of course material, and  shows careful thinking about the topic. A â€Å"B† or â€Å"C† paper is one that follows most format requirements, is at or near the standards of college writing, contains a summary that shows a good or at least basic understanding of course material, and shows your own thinking about the topic. A â€Å"D† or â€Å"F† paper is one that is well below the paper requirements or the standards of college writing, contains a summary which shows a poor understanding of course material, and/or where any thought of your own on the topic is lacking. And, of course, any paper containing plagiarism will receive an â€Å"F†. Given that this a college course, it is expected that all students are capable of a certain level of writing quality. If you feel that your writing skills are not the best, I would strongly encourage you to seek help from the UNT Writing Lab (http://www.unt.edu/writinglab/). b. First Option: Classic Essay For your essay you may select from a list of topics below. Your topic will involve two aspects. First, you should summarize a theory or set of theories of philosophy that we have learned or discussed in class. Second, you should give your own argument for what is the proper view regarding that topic. Your paper must have both a summary of course material and your own original thinking on the topic, in roughly equal measure. Essay Topics: If you decide to write a classic essay paper you are required to choose one of the following topics. Otherwise you could do the second option described in part c. (1) Metaphysics; Plato and Aristotle: First,  summarize Plato’s theory of the Forms as ultimate reality (â€Å"The Republic†). Then, summarize Aristotle’s theory of the four causes and form/matter as ultimate reality (â€Å"Physics†). The second half of your paper should critically compare and contrast the two, and give your own argument for which you think is more correct, and ultimately state and argue for what you think the true nature of reality is. (2) Knowledge; Descartes and Hume: The first half of your paper will involve summarizing Descartes’ view of knowledge (â€Å"Meditations†), then summarizing Hume’s view of knowledge (â€Å"Enquiry Concerning Human Understanding†). The second half of your paper should critically compare and contrast the two, and give your own argument for which you think is more correct, and ultimately state and argue for how you think we acquire true knowledge and what the limits of knowledge are. (3) Cogito; Argument and Counter-Argument: The first half of your paper involve summarizing Descartes’ arguments in support of Cogito and philosophical implications of it (â€Å"Meditations†), then summarizing an strong counter argument from another philosopher (Modern or Contemporary) against Cogito and its implications. The second half of your paper should critically compare and contrast the two, and give your own argument for which you think is more correct, and ultimately state and argue for the relevance and validity of Cogito argument. (4) Ethics; Aristotle and Kant: The first half of your paper will involve summarizing Aristotle’s virtue ethics (â€Å"Nicomachean Ethics,† books I and II), then summarizing Kant’s deontological ethics (â€Å"Foundation for the Metaphysics of Morals†). The second half of your paper should critically compare and contrast the two, and give your own argument for which you think is more correct, and ultimately state and argue for what you think is the proper approach to ethics, including whether ethics should be approached through good character or rules for action. (5) Knowledge and Method; Aristotle and Descartes: The first half of your paper will involve summarizing Aristotle’s view on knowledge and method (â€Å"Physics†), with emphasis on the Empiricist method and his teleological account of nature; and further will involve summarizing Descartes’ view (â€Å"Meditations†), with emphasis on the Rationalist method and Cartesian doubt. The second half of your paper should critically compare and contrast the two, giving the pros and cons of each as well as your own  critical reflection on the proper approach and method for knowledge. c. Second Option: Philosophical Project For this option you are required to interview five different people on a philosophical topic listed below. First you need to understand the topic well in order to conduct your interviews. Then you pick your interviewees and ask the questions. You need to accurately record their answers. Then you summarize each interviewees’ responses in a very concise but clear paragraph. To do this you need to extract the philosophical core implied in the answers. You should not simply write down everything they say, because only philosophical arguments of their responses are important and relevant to this work. You should ask your questions is a way that makes interviewees reveal their principles or assumptions regarding the topic. Then you give your original thinking on those philosophical arguments and principles by comparing, criticizing, and challenging them. Generally speaking, your essay should include at least 8 paragraphs. First paragraph should include the questions you asked in your interviews. Five next paragraphs could be dedicated to the summaries of five interviews, and one paragraph for comparing the philosophical arguments and criticizing them, and one last paragraph for presenting your original thoughts on the issue. You should be creative in your questions and let the interviewees speak in their own voices. However you should guide the interview so that you can grasp the underlying philosophical principles. You should not include the interviewees name or identity in the paper. This is absolutely against UNT regulations for such research. Also you don’t need IRB approval since this is only a class assignment and the results will not be published in any way. Interview Topics: (1) Ethical relativism. The main question is â€Å"is ethics relative or absolute?†. However in addition to this question you should ask more questions to make the interviewees clear about their idea of ethical principles. You should ask interviewees to explain their reasons with examples. Also you can challenge their responses by giving them counter-examples. For example, for a person who thinks ethics is relative, a  counter argument could be â€Å"then everything is correct at the same time† or â€Å"why killing innocent people for fun is always wrong then?† Or for a person who believes that ethical principles are absolute, a counter example is â€Å"what if an ethically wrongdoing (such as lying to a murderer, or torturing a terrorist) is the only way to stop a disaster?† (2) Absolute Truth. The main question is â€Å"is there an absolute truth?† You should ask interviewees to explain their reason. Also you should ask them if absolute truth de pends on human mind or whether or not is attainable by human mind. A challenge to people who believe in absolute truth is â€Å"how exactly they know there is an absolute truth?† or â€Å"how can they justify their position?† On the other hand, if they believe in relativity of truth, then the challenge is â€Å"then everything can be true or false at the same time and this is contradictory (isn’t it?)†. Also you can ask if scientific truths are relative in their opinion or not. In addition, they should make it clear on what parameters truth depends (e.g. social contract, power, culture, personal preference, utility, etc). And also if truth is relative then why do we think we know the physical world better than ancient thinkers (don’t we?) (3) Environmental Ethics. The main question is â€Å"do we have moral duty to nature and environment?† You should ask questions such as â€Å"are we morally responsible for nature and environment?†, â€Å"is there anything morally wrong about destroying nature (intentionally or unintentionally)?†, â€Å"what if destroying nature is necessary for human life?† and â€Å"what makes us responsible for nature?† You can also ask questions about what elements and aspects in nature makes us responsible. For instance, we are responsible because it is useful for us, or because it is beautiful, or because animals and plants are alive (like us), or it is because of the next generations that we are responsible? Or combination of them. You should clarify what sort of ethical relationship each interviewee is assuming between them and nature. Also do they think that human is just a plain member of ecosystem or special member who stands above everything because it is human being? Also â€Å"to what extent we should care for nature?† (4) Existence. The main question is â€Å"what makes our existence valuable?†. You may ask questions such as â€Å"why we are here?†, â€Å"why we should not kill ourselves?†, â€Å"what is the most valuable in human life?†, â€Å"what makes life worthy of living?†, â€Å"what is  valuable about existence?†, â€Å"is the any purpose in human life?† and â€Å"is there any meaning in human existence?†. (5) Being Human. The main question is â€Å"what is human being?† Under this topic you should ask the interviewees to give a very clear and concise definition of human being and then ask them further questions to challenge their definition. For example, if human being is defined as a rational animal, then why we consider mentally impaired humans as human being? The main concern in this topic is to clarify the essence of human being. Also you should ask them to explain how philosophy/science/religion can help us understand the nature of human being. Also you may ask them to clarify whether or not human being has a fixed nature /essence. In this regards you can ask â€Å"do you think human beings have changed in their nature/essence over the course of history?† Also you may ask them how can we grasp the truth about human nature. P

Criminology Theory Case Study Example | Topics and Well Written Essays - 500 words

Criminology Theory - Case Study Example Ashley's mother had every right to be worried. In July 2006 Simpson took notes of another phone call from her not long after a man who was suspected of murdering Ashley had been released on the word of a jailhouse informant who had said that Ashley had stolen drugs from this person. Not long after that, Ashley's mother was told that no charges would be laid and to this day the murder has remain unsolved. Ashley's mother died on November 19, 2006 after falling ill after the death of her daughter. Becker (1963) describes labelling theory as describing a situation where a group of people who fail to act within the accepted norms of society are ostracized, isolated and in some cases persecuted because of their behavior. Using the term "outsider" Becker (1983) explains that although individuals may act out in certain ways and that this can be considered a primary deviance, that many of these people become involved in secondary deviance or criminal behavior.

Natural Gas Plants Research Paper Example | Topics and Well Written Essays - 1250 words

Natural Gas Plants - Research Paper Example Natural gas is also known to be a necessity of this world. Gas in its pure form is of no particular use to the human beings but after being furnished in a Natural Gas Plant it can be used for several purposes. In some parts of the world it is used as a purpose of fuel and in some parts of the world it is used to light fire. Natural Gas Plants use different processes through which they can produce the sort of gas required by the individuals. It is seen that raw form of gas needs to pass through different stages to produce the productive gas. The processes respectively are known as Removal of Oil and Condensed particles, removal of water, separation of the gas liquids and lastly the removal of carbon dioxide and sulfur from the gas. Gas Plants use Low Temperature Separator, Liquid and Solid desiccant dehydrators, and Fractionators. This report would further revolve around Gas Processing Plants and would provide with further details about it. Natural Gas Plants use different devices to filter out the natural gas into productive forms. This report would revolve around the two main components of natural gas production which are Fractionators and Liquid and Solid Desiccant dehydrators. Both these components are used by almost all the gas plants to effectively produce the right form of gases. Fractionators use the different boiling points of hydrocarbons to their advantage whereas the dehydrators use different solutions which have the power to absorb and adsorb. The different processes in purifying gas would also be described in this report with emphasis on the two main components. This report would present with findings about the natural gas plants as a whole and not specifically about certain plants (Scott et al 1999) Gas in its pure form consists of many impurities which need to be filtered by the gas plants so that the gas can be used by the consumers.

Primate Observations Research Paper Example | Topics and Well Written Essays - 1250 words

Primate Observations - Research Paper Example Different species of the order primates responded differently to their respective subsequent environments thereby resulting in unique adaptive features thereby becoming completely different animals. Humans are the most civilized of the primates and possess distinct features from the rest of the non-human primates such as monkeys, chimpanzees, and apes among others. However, some of the non-human primates possess characteristics similar to those of humans thereby corroborating the common ancestry theory and the theory of evolution all of which seek to explain the origin of the different animals (Waal and Frans 55). Apes are arguably the largest arboreal animals implying that they are the largest mammals living in trees. The primates are of the biological family known as Hominoidea of the family Homo thereby making them very closely related to humans. They therefore have numerous personality traits similar to those exhibited by humans. The primates are herbivores and natives of Africa and East Asia owing to the existence of large tropical services that provided adequate habitation. Currently, they live in different parts of the world owing to animal transportation by humans and their own migrations as conflict between them and humans heighten. However, some of the apes can eat other animals a feature that quantifies the primates as being both carnivores and herbivores. Monkeys on the other hand are a category of primates of the family cacopithecidae. Just as any other primate, they are natives of Africa and parts of East Asia and are of numerous species. The deferment species possess different features with a majority of the species being arboreal while others leave on the ground. Monkeys have tails that they use frequently in their daily survival activities. They are smaller than any other primate is and live in groups consisting of both males and females. Apes and monkeys as observed during the tour of the zoo exhibit a number of traits similar to those of huma ns while others are strange and therefore set them apart from the rest of human primates. Their different characteristics are results of their different habitats occurrences that validate the evolution theory and its elated adaptations. Apes and monkeys live in groups, they are social animals a feature that distinct the primates from the rest of other mammals. The animals are social and therefore live in societies consisting of males, females, and children. In their societies, the adults protect the young ones and provide them with food. This is typical of humans who are also very social and coexist peacefully with one another despite the constant competition for food among other resources. Additionally, humans show affection and protection to their children. The monkeys and apes showed great protection to their babies often carrying them below their bellies. In case they released their babies, the mothers ensured that the company was safe and only among other monkeys or apes. This way, the other apes teased the baby and played with it before sharing their meals with it. Additionally, the apes and the monkey showed affection to the old amongst them. While they fought for the food thrown at them, they never scrambled for those that fell close to the old. This is synonymous to human who are the most civilized primates and show great affection to both their old and the young. The theory of evolution and the evolution of humans assert that before inventing the upright position, humans just like the rest of the non-human primates carried their babies on their underbellies (Kinzey 34). This position proved convenient for walking on the four feet and for handling both food and tools. The primates at the zoo corroborated this claim. With their babies in

Dracula chapter 1-12 Essay Example | Topics and Well Written Essays - 500 words

Dracula chapter 1-12 - Essay Example During his travels, he gets several hints that he is heading into great danger, but he tries to talk these fears away, even after he meets his host, a very creepy man who has many of the characteristics we today recognize as being vampires. Harker becomes a prisoner of the castle and has many disturbing experiences. His entries end with his desperate plan of escape, knowing he is about to lose his soul to an evil creature or creatures. The story then picks up through a variety of communication forms – letters, journal entries, newspaper articles, etc. These more fully flesh out Mina and introduce the characters Lucy Westenra, John Seward (a physician at the lunatic asylum near Dracula’s new London home), Dutch doctor Van Helsing, the lunatic Rensing and a few other minor characters. Through these pieces of correspondence, the reader learns about the arrival of Dracula to Britain and the mysterious illness that befalls Lucy, eventually leading to her death by the end of Chapter 12, as she is treated by Seward and Van Helsing. Mina escapes Lucy’s fate in these chapters because she is called away to Buda Pest in order to help nurse Harker, who was found suffering from brain fever. She returns to England just in time to hear about Lucy’s death. Reading through these chapters was enlightening. Although I thought I knew the story, I had never realized the strange way that it is delivered, as a series of writings made by the characters themselves. This approach continuously reminded me to view the story from the characters’ perspectives rather than my own. When I was reading about the warnings of the villagers and the description of Dracula, my own experience told me the character is obviously a vampire and Harker is already trapped. Looking at it from the character’s perspective though, I suddenly realized that everything I think I know about vampires

Pre-modern and Modern Political Philosophy Essay

Pre-modern and Modern Political Philosophy - Essay Example Pre-Modern period: Locke and Hobbes Locke and Hobbes are representatives of â€Å"state of nature† political philosophy. On the one hand, â€Å"state of nature† is rather dangerous for the society. There is a lack of security for the society and in spite of the fact that people honor each other and keep their promises and the atmosphere is friendly and pleasant, violent conflicts may occur. Hobbes underlines an obligatory subjection of people to ever existent hazards and violence and no society may exist on the background of unsafe conditions for individual’s existence. Both, Locke and Hobbes underline that the evolution from the state of nature to the civil society does not disturb human nature. Moreover, they claim that when an individual transits from the nature of state to civil society he is improved for sure. Basically, their views of state of nature were different: for Locke state of nature is a peaceful place and for Hobbes it implies brutality, a place f or violence. Therefore, these phlosophers use theoretical tool of â€Å"state of nature† in two different ways: for Hobbes, â€Å"a common Power† is required for people to provide them with safety conditions for existence and avoid conditions of â€Å"Warre† (Hobbes, p. 75). ... Thus, further ideas of Hobbes about a sovereign imply that the latter is the protector of people, the supreme authority. For Locke, sovereign power should be in hands of citizens. In other words, position of Hobbes may be interpreted as relevant to the development of the States with authoritarian regime and Locke’s views are relevant to the States with democracies. Modern Period: Hegel and Marx For Hegel, history’s progression is the realization of absolute mind. In spite of the fact that this concise definition of concept of â€Å"history† was mainly criticized, it should be viewed as an objectification and abstraction of a more multifaceted definition. The main critic of Hegel’s history conceptualization was Marx. Hegel’s philosophy was considered by the latter as an â€Å"inapplicable† philosophy. Hegel’s valuable idea was about history’s progression as the progression of the Spirit from a state of a lesser to a greater freed om. Of course, materialist philosophy developed by Karl Marx contradicts with Hegel’s historical developments. While contrasting spiritual and materialistic philosophies of Marx and Hegel, it can be seen that the moving force for historical development for Marx is material production, not an individual. For Hegel, an important motive forces is mind. The main goal of the State for Hegel is its serving for the needs of people and protection of the private property. For him, the government represents the highest form of ethical life or, in other words, it regulates and corrects internal conflicts of the civil society. For Marx, the civil society is the â€Å"base† for mutual co-existence of productive

The History of the Railroads Research Paper Example | Topics and Well Written Essays - 1250 words

The History of the Railroads - Research Paper Example Smith’s theory that propagated dependence of individualism that oozed out of the nation at this time period. Capitalism is a spectacular form in which societies are created. Capitalism is based on market democracy in which consumer spending is a vital component of driving the economy of supply and demand. One of the reasons why the American economy thrives is due to the spending ability of the middle class in this country. Compared to other nations, American families, in contrast, are able to afford more products on a grand scale than most countries around the globe. In essence, capitalism defined America. America’s obsession with Industrial began with Slater’s mills in which textiles became the primary market to produce. Although it may seem a new age, most workers were orphans or children who owed the debt to the nation. The drive of capitalism for this country relied on many factors that included slavery, turned raw goods into products, factories, and the abil ity to produce such a drastic workforce. Jefferson understood and acknowledged this problem. He feared that America could not be properly industrialized due to the fact that it would not attract workers. Hence, the need to build factories around villages became critical components towards the move to industrialize America. ...The large plantations in the south gave the rise to slave labor was the fertile farmland in the Midwest enabled the United States to accomplish several things. First of all, the invention of Eli Whitney’s cotton gin initiated the rise to slave labor in the rich land that extended beyond from Carolina to Texas, which expanded the United States border. The fertile land gave boosted the American economy, which contributed to the development of the United States. The south had to dramatically shift its economy to tobacco and cotton to agriculture. In the north, corn supply was enhanced along with the focus on producing textiles. Cities such as New York and C hicago became the top commerce cities that built its economic empire due to the industrial revolution. The creation of the Erie Canal became the hallmark of water commerce that enabled America to lower shipping costs of raw goods from nation to nation. In midst of all this, Chicago became America’s fresh water supply and became a fur trading port for all entrepreneurs. With all these factors accumulating, the need to invent railroads became extremely crucial. The United States quest to become the â€Å"Steel giant† was pivotal for the development and the expansion of railroads. Railroads were the internet at this particular time period as it literally transformed the dynamic economic commerce of the nation. Building the first transcontinental railroad meant steel, a drastic labor force, expanding towards the West and cooperating with the natives. A key element that should not be focused that dramatically eased the way for capitalism is the fact that public infrastructu re dominated the scene during this era.

A Classic Shakespearean Comedy Essay Example for Free

A Classic Shakespearean Comedy Essay The Chicago Shakespeare Theatre at Navy Pier manages to combine an extravagant and lavish, while at the same time still very intimate, theatre setting with professional acting performances in every production shown. However, the production of As You Like on March 5, 2011 perhaps best exemplifies these significant qualities crucial to Shakespeare plays. Directed by, Gary Griffin, the production is able to captivate the entire audience for the complete duration of the play through its brilliant illustration of spectacle as well as strong narration. However, the most significant factor of the production would undeniably be its inclusion of an alliance of narrative, dramatic, and spectacle elements all intertwined in the overall production. Griffin depicts a traditional Shakespearean comedy with the use of vivid set design and perfect actor selection in the production of As You Like It in a way that separates the comedic production from any other previous Shakespeare play I have seen. The production does so by being able to masterfully combine Shakespearean comedic elements with deeper connotations about self-identity and the power of love crucial to all productions of As You Like It. The thematic elements prevalent throughout the production are contemporary in regards to all Shakespearean comedies in that the play revolves around mistaken identity, the many forms of love, and the resolutions of all misunderstandings in the end of the play. However, the way in which Griffin’s overall production is able to enthrall the audience through brilliant acting, audience inclusion, and beautiful theatre design in such a way that the audience isn’t forced to exert much personal imagination makes As You Like It a classic example of an ideal Shakespearean production. The Chicago Shakespeare Theatre, the producing theatre for director Gary Griffin’s adaptation of As You Like It, is a professional theatre venue and company located on 800 East Grand Avenue in Navy Pier. The theatre is ornately designed with the intent to transform the audience’s connotation of setting and to make them believe/ give the appearance that they are in an actual Shakespearean Theatre without the use of their imagination. The theatre space used for the production of As You Like It is called Jentes Family Auditorium and features a total of 510 seats on three levels surrounding the courtyard theatre’s â€Å"thrust stage†. This specific theatre was modeled/ designed with inspiration coming directly from the Royal Shakespeare Company’s Swan Theatre, evident at first glance, and thus creates an immediate intimate relationship between the actors, stage/ set design, and the entire audience seated around the three sides of the stage. While part of the set is elevated as a â€Å"stage†, the entire area/ space of the theatre is used by the actors throughout the production; when this is incorporated with the fact that no seat is more than thirty feet from the stage, a feeling of intimacy between actors and audience is ever-present. For instance, the audience is engaged into the action of the play immediately by the way in which the stage extends through the middle of the first-floor seating allowing the appearance/ feeling of the actors walking directly out into the middle of the audience members. In an analysis of the overall production of As You Like It it is evident that even though the set, stage, and use of props and vivid images are riveting, the inclusion of an â€Å"all-star ensemble† of some of Chicago’s finest actors is truly the underlying nature in exemplifying the statement that the production is indeed Shakespeare’s â€Å"glorious romantic comedy†. The actors play courtiers, clowns, philosophers, and locals all who are under the classic comedic spell of the trials and conquests of love as the main character, Rosalind, must disguise herself as a boy in order to escape the royal court. The characters, following Rosalind’s lead, venture into the timeless Forest of Arden where Rosalind finds herself trapped by love and mistaken identity in her attempt to teach the man she loves how to win the women of his dreams. A traditional element present in the production of Shakespearean comedies such as As You Like It, is undeniably the inclusion of both a dominant and a secondary major female characters. The significance of the secondary female lead is often determined by the skill of the actress portraying that role. The actress can make the character seem somewhat mysterious and forgettable, as seen by the DePaul student’s portrayal of Hero in Much Ado About Nothing, or she can appear as significant and mesmerizing as the lead female. In Griffin’s production of As You Like It this notion of the importance of ctor/ character portrayals is illuminated. For instance, one of the most memorable characters in the entire play is Cecilia, the secondary female character played by Chaon Cross. Cross is able to depict the comedic character almost perfectly through well-rounded acting and clear knowledge of Shakespearean language. In Cecilia’s character, Cross symbolizes a playful, charming, immensely loyal, witty and charismatic supporting female role. This is apparent in her juxtaposition of speech and comedic body language. Crucial plot and thematic elements of As You Like It are depicted by the actors as well. For instance, the review on human life illustrated by the character Jaques, played by Ross Lehman in this production, is witnessed in  Lehman’s acting skills in his performance as Jaques. He emphasizes the faults and ambitions of life in a funny and touching manner by offering both comedic and emotional moments for the audience throughout the play. There are many other characters in the production that portrayed memorable performances illuminating the underlying themes and comedic elements present in the correct use/ knowledge of Shakespearean language and acting. These actors included:   Kate Fry as Rosalind, Matt Schwader as Orlando, Dennis Kelly as Adam, Phillip James Brannon as Touchstone, Matt DeCaro as Duke Frederick, Kevin Gudahl as Duke Senior, and Elizabeth Ledo as Phoebe. Each character possesses unique and intricately detailed costumes and character traits crucial to the understanding of the overall production. The costumes are vivid with detail and evoke the use of imagination and feeling that the audience is witnessing the action of the play within actual setting of certain scenes (whether the orchard, royal court, or forest). The differences in characters’ personality, social class, and hierarchy alongside other characteristic elements are illuminated through the costumes intricate glamour and detail juxtaposed with a more simplistic but still vibrant use of props and set. In addition to individual actor performances, the Chicago Shakespeare Theatre’s production of As You Like It signifies the epitome of Shakespeare’s ’â€Å"glorious romantic comedy† through the use of a unique/ one of a kind setting. The set designs present are an attractive and ubstantial visual supplement to the action taking place on stage at every point throughout the progress of the play. This can be perceived in almost every scene of the production but is most notably present in the opening scene, depicting a lush/ vivid apple orchard with minimalistic use of props, as well as the more luxurious forest setting that accompanies it. The scenery presented by lighting, sound, props hanging from the ceiling, and the perception of depth in the stage prominently adds to the attraction and understanding of the production. The lighting and music of the production present in set/ scene changes enhances the plot developments as well as the overall journey and adventure portrayed in the play’s narrative nature. The set design of various different scenes is thus completely believable and enchanting; employing the audience’s complete inclusion into the imaginative world of the production. Alongside the appearance of setting in the various scenes, the intricately detailed costumes are exquisite and add a visually appealing aspect to the performances of the actors. At the same time, the creativity and uniqueness of each character’s costume mandates the audience’s teleportation from the feeling of watching a traditional play to the feeling that they are in fact present in this magical/ timeless world of As You Like It. Overall, As You Like It, a production shown by the Chicago Shakespeare Theatre, is a professional and glamorous portrayal of traditional/ contemporary Shakespearean comedy. Every aspect of the theatre and production is employed into the narrative element of the play which makes this adaptation of As You Like It unlike any other theatre experience. For instance, the elaborate theatre space is perfect for setting the mood of seeing a professional Shakespearean production and the way in which the stage is the center of vision no matter where you sit in the audience allows sound to travel in a surreal, surround sound manner only enhances this feeling. The actors’ use/ knowledge of Shakespearean language in conjunction with their use of space (entire theatre used as stage while most of the action is mere inches away from the first row of audience members) makes the production flow well while at the same time enhancing the professional feel of the production as well. In this professional nature of the production nearly every aspect and element of Shakespearean comedy is exemplified. Through Gary Griffin’s production of As You Like It, the Chicago Shakespeare Theatre is able to directly exemplify the notion of ideal Shakespearean plays and why these plays still remain so popular and relevant in our society today even four hundred years later.

love is present in most

love is present in most In Monzà ³s â€Å"El perquà ¨ de tot plegat† the topic of love is present in most, if not all, of the 30 stories. However, it is represented in different ways and this is what I want to look more closely at. I have chosen the topic of love because it is interesting, intriguing, fascinating, and applies to everyone in the world. Love can be very different- for example impersonal, interpersonal, familial and platonic, romantic and even religious. Nevertheless, the type of love I want to focus on and the type of love that Monzà ³ describes in his book is mostly interpersonal and romantic. However, before starting to analyse Monzà ³s conception of love I would like to clarify what is meant by interpersonal and romantic love. Love in general is a mixture of emotions which we feel when we have a strong affection and attachment to something or someone, and it can be used to describe any feeling ranging from general pleasure to a deep attraction between people.   Interpersonal love stands for the love between human beings and it is a much stronger feeling than just liking someone, and romantic love obviously refers to passionate desire and intimacy. The general conception of love is that it is something very complex and is difficult to define because there are many different feelings and emotions involved. However, different people have different views on love and I will talk about Monzà ³s conceptions of love and the way he sees it. I will firstly investigate the existence of a perfect relationship and whether it can actually exist, and then I will look into why relationships end, because I think that Monzà ³s conception of love is based mainly on these two points. After reading â€Å"El perquà ¨ de tot plegat† I got an impression that Monzà ³ is quite critical of love and talks of it in a sarcastic way. All of his stories are about real people and real-life situations, but they are very exaggerated and I doubt that these situations can happen in the exact same way as he describes them in his book. Also, from Monzà ³s stories we get an idea that love is never perfect and that there is always something lacking. It is as if people are never satisfied with what they have, and strive for more without realising how much they have already got. Sometimes, it even goes as far as trying to change the other person although this is not the best decision. Monzà ³ demonstrates this in his story â€Å"Pigmalià ³Ã¢â‚¬  where the narrator tries to make the girl a perfect lover. Although he succeeds in this, it only brings him unhappiness as he realises that he has created a slut, and not someone he can love. This story is a very good example of w hy infidelity happens, as it proves that when people are bored in a relationship, they start thinking about cheating. In this case, it is the girl who wants to experiment and try something new with other people, so the narrator has to throw her out at the end because he cannot imagine her with any other man and he does not want her to be with anyone but him. In addition, Monzà ³ seems to believe that love cannot be pure and that something always has to be proven, given or justified. A very good example of this can be seen in â€Å"La Fe† where the female character wants her boyfriend to prove to her that he loves her. She cannot just accept this fact; she has to have a proof that he is telling her the truth. After reading Monzà ³s stories, it became evident that infidelity is one of the main ideas that he uses to define love. It seems as if for him, love cannot exist if there

Images of Women in European Art

Images of Women in European Art John Berger is a critic of art, a novelist and a writer. He is also a painter. Berger is known for his book, The G which has won may awards. Berger is also known for his feature an art stick on Ways of seeing. He was born in England in 1926. He attended schools in England and then joined the army. His critic tradition stemmed while teaching drawing in London schools. After dropping from the army he avoided criticizing the Soviet Union but eventually his views of the same union became more acute. It is also beneficial to know that, in 1962, Berger drove himself out of Britain to a self imposed exile. The reason he exiled himself from Britain was because he had considered days in this country distasteful. The article Images of women in European Art is part of Bergers book Ways of Seeing. In this book, Berger has made the reader see art in a different dimension. He argues that the view of the world is not similar with the way it actually is. He uses pictures and not words in first chapters to try to make readers see themselves in a different dimension. An image of Women in European Art has different fallacies that portray the way he sees women in society. He argues in this article that women are sensuous objects that are there to arouse the male audience. He argues that there is a variance in being naked and being nude. Being naked is to be oneself but being nude is to be seen naked by other people. Berger asserts that women are inactive objects that are always available. The article is, therefore, criticized in several ways because of its portrayal of women in the European art. In this article, John Berger reconstructs the way of seeing and attends to perspective and conventions for visual dialogue based on the peoples collective and personal belief constructs. He analyzes the origin of art and the way in which people look at art which he specifies are affected by a chain of learnt assumptions about truth, genius and civilization form. He deals with geometric perspective; the setting of a vanishing point in paintings and the way in which man was induced to believe, he was the center of the uniqueness in the world as the spectator. His discussion of perspective and mans position, as a sole viewer with universal seeing power, informs his discussion of the inherent gender divisions initiated in early works of art. Not only was the viewers perspective god-like and all knowing, but it was overwhelmingly male. More specifically he demonstrates this point i n reference to European art. In the form, of European art, the spectator-owners and painters were always men and these men always saw women as objects. This unequal relationship is so deeply rooted in culture that it still shapes the consciousness of many women. Women in the society always see themselves in the manner in which men see them. They also treat themselves the way men treat them. They explore their own femininity. This is the chief legacy that he points out in this article. It also shapes the way in which the artists view women. Berger was a painter and, therefore, most of his opinions stemmed from his paintings. He clearly distinguished himself as a painter. The paintings of nude women hanged on museum walls were considered as some form of immoral act. They were seen as images of sex. They were considered as images that were there to be used and violated. The male nude forms of male paintings in museums had a different perspective according to Berger. He argued that in the past nude male paintings were seen as a way in which the imitated Christians messiah. They were seen as striving to be like Jesus. In todays paintings, male nudity is seen as not a way of immoral act but as a form of strength. They are considered to be exuding some form of virility. In these present days women, pictures that are nude are seen as a phonographic. These present opinions stem from the past portrayal of women. The question is, is there a difference in a nude man and a nude woman. They are both nude. Why is the woman portrayed in a negative form then? From the deep discussions of the past to the analysis of the present in the use of publicity images, Bergers ideas about the social and beauty assumptions that inform the way we see are fundamental to understanding the image saturated environment and media consumed lifestyle. From art history, and the basics about the changing nature of perspective to spectator viewing and notions of intimacy revealed in European nudes and modern publicity images, promoting lifestyle and brand identities, Ways of Seeing is complete in its dissection of the complexities of the visual culture and comprehensive in its exploration of our reality. Berger has played a role in modern female thinking by exploring how women are portrayed in classical painting and advertising. He takes on the subject so straightforwardly, taking into question the entirety of the womens classical images. Bergers conclusion and that of his interviewees are that the nude womens paintings hanging in the best European museums is nothing more than pornography. The women in those paintings are nothing but objects that can be consumed or violated. He so forcefully speaks against this part of the western canon. However, Berger is not without faults. His appeal of oil paintings portrays them as the highest of visual forms. This may not be the case. In history, photography is somewhat fuzzy, but according to Berger, photography, as a work of art, was finding its way into the finest galleries and museums in the world. Photography is now in the same class with other visual forms of art as almost equal. Bergers reliance on his own arguments and opinions, too, br ings problems. In almost half of his arguments, he has not had a single female critic discussing the subject. Berger proficiently weaves the visual with discussions on the subject of the visual in clear-cut and jargon less language. He clearly presents his views making cautious observations about the visual without looking into art school discussion-style solipsism, ambiguity, tautology, or prevarication. Berger also argues that judging women as beautiful is a way of an artists perspective. In Paris, a woman is judged by how beautiful she looks. Men are the ones who view and judge women as whether they are beautiful or not. This has been incorporated with judgment. A present is awarded to a woman who is tremendously beautiful. This judgment has given birth to what is normally considered like a beauty contest. Those women who are considered to be beautiful, gets the price, and those who are not, do not get any reward. This is how men have set standards for women to use in judging themselves. Does this mean that only women who are considered beautiful by men always win? Is it possible that there are other ways of judging women? Why is it that men are never evaluated in terms of their beauty? Women can also be evaluated a variety of other abilities and not how beautiful they are. There are women writers, painters who have excelled in this field and have won themselves prices (Berger, 197 2). The prizes to be won in beauty contests are owned by the judge. These judges are, in most cases, men. This means that women are available to them. It is also to say that these nude pictures have been placed to satisfy male urge and their desire to possess. Berger argues that, most of the nude paintings in museums have been hung to satisfy the sexuality of a man looking at the picture. Does it mean, then, that nude paintings are hung to satisfy the male sexuality only? Berger also argues that the womans sexuality should be minimized so that the male audience has control of passion being exuded. He further says that women are there to fuel and feed the males appetite. Who will feed the womans appetite if it is only the males that has to be fed? It is hypocrisy that men paint nude pictures of women because they enjoy looking at them and then shove picture to the woman to look at her shame. This is condemning the woman whose picture he had painted to amuse himself. While men look at women, women also look at themselves the way men are looking at them thus making a double audience for themselves. They, therefore, look at themselves as intensely conscious of how they are presented and how they look in the male eyes. He says that a woman who looks at herself is considered as a narcissist while a man who looks at whatever he likes is considered an art connoisseur. Berger argues that only a person can turn someone into being nude. This is taken a step further when Berger points out that the fan owner of a painting becomes the spectator owner of a representation of a woman; therefore, the spectator is depicted as the male and the nude image as the woman who is intended to flatter the man. Male spectators are applied in two ways in the following example that represents a picture: the exchange between Gerty and Bloom and the mention in the painting which was painted in the twentieth century. In Making a spectacle of Herself, Gerty MacDowell in the painting, Katherine Mullin Joyces; suggestive and arousal Gerty are compared to modest and sexually pure Flint of Cummins. She is seen like she is conscious of her beauty and her power to provoke the mans attention, but, Flint is totally unconscious of her beauty. This device is used most of the times to pass on a message to young ones. The prude and modest Flint serves as the role model for youthful Irish women. Mullin states that her reward for her diffidence is her u ltimate marriage to her childhood darling. On the other hand, the sexually open and provoking Gerty is left at the end not married. Why is it, then, that men paint pictures of nude women and later on condemns them? In this example, a naked woman was not married later. It is true even to date that those women who are portrayed as naked in the websites or televisions are rarely married. This is because men believe that they have exposed their nudity in a truly sinful way. Why then did they paint these pictures if they were not destroying the moral reputation of women? Bergers discussions of nakedness are taken further when he asserts that, in western Christian art, nakedness of male is a symbol of a struggle to be more like Christ, while that of female symbolizes lust and sin. The male nudity is, therefore, closer to perfection than that of female. The discussions by Miles, about Adam and Eve, are based on this argument, emphasizing that Eves believed guilt in the fall of man and her creation from the body of Adam have been conventionally treated as the reasons of Eves weakness to Adam. If Eve is a representation of every woman, her imperfections speak to the common limitation of women and their shared sinfulness. Based on Bergers Miles views, the treatment of all women by Christianity as potential witches and the credence of their expected vulnerability to evil are seen as unfairness paid to the depiction of women. There is, therefore, a great reason for the need of a new form of feminist art. Representation of women according to Berger has fallen victim to two systems a) The use of their bodies to provoke the male gaze and the ultimate objectification of women b) The aversive and negative treatment in western Christianity. The two systems are crucial factors that have contributed to the agenda approach used in art, literature, and on screens major types used in gender depiction, which was created by men for themselves. When these are examined, the hidden agenda in representation is exposed, and it sparks one of the most castigatory actions to sexual category politics: women discontinue watching the men in suits and embark on their own representation. In the Judgment of Paris, a story presumably originated by men, starts by displaying the, vanity of female: a dispute of three goddesses over their individual beauty triggers the meeting with Paris, the inducement and the consequences. Then their characters are with vindictiveness and conceit fleshed out, so there is no way that a safe decision can be made by Paris, let alone one that is just. The goddesses are blamed for all of it. Yet this story gives possibilities for the artist (who is not apprehensive with blame) to scrutinize the relationships between power and sexuality. Supposedly, as Berger suggests, Paris and other male viewers have the authority of judgment over the female beauty, but inside the world of the story, the real authority is with the goddesses. In the after effects the argument at Troy was about goddesses who were always responsible for the defeats and victories of men, by their unswerving divine intervention. The goddesss divinity has been artistically represented in various ways. Cranach decided to make their figures bright, but also weak and wife like. They are then infused with vigor by Reuben, but they are on display clearly, for us, as well as for Paris. The figures for Raphael are extremely powerful. They are nude; a world that is naked and filled with parity, but none of the representations undoubtedly represents the power of the power of goddesses over Paris to the level that is achieved by Watteau. The iconographic essentials are in this picture just as they are in Cranach and Raphael. Paris is shown sitting on the lower part of the picture before the key form of Aphrodite. Athena is on the right, and she is already dressed. Hera is retreating at the top of the picture and is followed by Peacock, having said all these. The picture is quite contrary in its components from any that had gone before this because it is representing a valuable genius in this painting; the power of Paris is utterly destroyed. Paris almost cowers, and the way she puts her hands humbly over her head is not a gesture of a judge who is conferring an accolade but that of a supplicant making a submission. Athena and Hera see this too with Hera conceding already and Athena appearing to be shielding herself from the power of the winning goddess. The situation is more intricate that this, for the power that Aphrodite has is openly sexual. All attention is on her as she disrobes (except for Hermes turned away, of course). However, all that can be observed by the spectators in the representation is her lower half. Cupid makes sure that Paris gets a clear view of the genitals of Aphrodites, and that, it seems that it is enough to secure h er victory. Berger considers nudity as a process and not an act. The question is what process? A European humanism, which tried to view nakedness in terms of individuality, argued that nudity should be arrived at by piecing different parts of the body. The reason for this argument is that painting pictures of nude women is a personal interest. There are parts, that he likes most, and, therefore, will want those parts painted for him. Conclusion Bergers representation of these facts about women; can be generalized as fallacies that try to define nudity of women. It is not fair that Berger has these opinions on women. The nude presentation of women poses several discussions on whether women are quite sensual objects that are just there for the amusement of men. The techniques, which Berger has used, are not a fair representation of women. Contrary to Bergers believes, women are not passive in the society and are not sexual symbols. The oil paintings of naked people of whether male or female constitute nudity and should be viewed in the same way as nudity in women is viewed.

Psychodynamic Model Essay -- Psychology, Freud

RAD is one of the least researched disorders in DSM and it difficult to diagnose accurately (Chaffin et al, 2006). There is also difficulty in distinguishing between consequences of maltreatment, disorganized attachment and attachment disorder (Prior & Glaser, 2006). In the United Kingdom, according to British Association for Adoption and Fostering (BAAF), only psychiatrists can diagnose RAD and any assessment regarding RAD must include a comprehensive evaluation of child’s family history and individual history (BAAF, 2006). There are other disorders that share many symptoms with RAD and they are often co-morbid or confused by RAD, such as anxiety disorder, Post Traumatic Syndrome Disorder (PTSD), social phobia and conduct disorder (Sadock, 2004). The developmental psychopathology models which are going to be evaluated in this essay are: psychodynamic model and the family systemic model. Psychodynamic Model Psychodynamic model was developed by Sigmund Freud to describe the process of mind as flows of libido (psychological energy) in brain (Bowlby, 1999). In Psychology, Psychodynamics is the study of the inter-relationship between several areas of the mind, personality, or psyche, as they relate to mental, emotional or motivational focuses, emphasising on the dynamism of unconsciousness (Freud, 1923; Hall, 1954). Psychodynamics, basically, focuses on the formation of psychic energy (Hall, 1954) and its distribution over the human system and development by the virtue of interaction among ‘id’, ‘ego’ and ‘superego’ (Freud, 1923). Some of the key believes of psychodynamic are discussed here. Firstly, Freud believed that the mind is like an iceberg (Freud, 1953) , mostly hidden, and that free association would ultimately ... ...of this point of view the member of family could understand the patient’s situation and they can help them to be treated properly, and the patient have the support of the family. On the other hand, stressing too much on the family and not seeing other issues around the patient could be a weakness. The disorder may be caused by a medical issue or genetic and the approach could be criticising to be reductionist from this aspect. Conclusion In conclusion, from my point of view family systemic model seems to be better to justify and explain the attachment disorder. As attachment disorder is directly grounded in the family and the child’s relationship to caregiver (Bowlby, 1980), investigating on the family system to improve and treat the disorder can be seen more logically better and also the patient can have the family support around and rebuild the relationship.

Degeneration of Kurtz, Colonialism, and Imperialism in Heart of Darknes

Degeneration of Kurtz and Colonialism in Heart of Darkness       Kurtz was a personal embodiment, a dramatization, of all that Conrad felt of futility, degradation, and horror in what the Europeans in the Congo called 'progress,' which meant the exploitation of the natives by every variety of cruelty and treachery known to greedy man. Kurtz was to Marlow, penetrating this country, a name, constantly recurring in people's talk, for cleverness and enterprise. Joseph Conrad's Heart of Darkness is a portrait of the degeneration of the ideal of Kurtz symbolizing the degeneration of the ideal of colonialism as 'civilizing work'.    The fading of the idealist mirage of 'civilizing work' in Africa has to be one of the central themes of Heart of Darkness. This theme forms the background of the whole story, from beginning to end, before the character of Kurtz is even introduced.    The focus of Heart of Darkness is not on the direct effect of the colonial presence on the native population, but on the reflected effect on the colonial occupiers. Centrally, the whole story being told directly is the effect on Marlow of his colonial adventure. Marlow here reflects or represents his Western ideological origins coming to terms with the reality of the Congo. It was not merely the economic relations of commodity exchange which so often in the colonies, it was the respectability of society; it was the very identity of the occupying force and it was the emptiness of the western colonial myth of individualism. The degeneration of Kurtz is thus inseparable from the 'other' degeneration.    Marlow, on his return to civilization, learns from Kurtz's cousin that he was a "universal genius" (Conrad 71). What ... ...ause the heart of humanity does not lie in the individual, it lies outside, in society, in language, in active engagement with a human world. Kurtz was more capable than anyone else of conquering the world, but the world, and the savagery, conquered him.    Works Cited Adelman, Gary. Heart of Darkness: Search for the Unconscious. Boston: Little & Brown, 1987. Bradley, Candice. "Africa and Africans in Conrad's Heart of Darkness." (24 Jan. 1996). Online Internet. 3 October 1998. Available: http://www.lawrence.edu/~johnson/heart. Conrad, Joseph. Heart of Darkness. Ed. Robert Kimbrough. 17th ed. New York: Norton, 1988. Rosmarin, Adena. "Darkening the Reader: Reader Response Criticism and Heart of Darkness." Joseph Conrad Heart of Darkness: A Case Study in Contemporary Criticism. Ed. Ross C. Murfin. New York: St. Martin's, 1989.       Degeneration of Kurtz, Colonialism, and Imperialism in Heart of Darknes Degeneration of Kurtz and Colonialism in Heart of Darkness       Kurtz was a personal embodiment, a dramatization, of all that Conrad felt of futility, degradation, and horror in what the Europeans in the Congo called 'progress,' which meant the exploitation of the natives by every variety of cruelty and treachery known to greedy man. Kurtz was to Marlow, penetrating this country, a name, constantly recurring in people's talk, for cleverness and enterprise. Joseph Conrad's Heart of Darkness is a portrait of the degeneration of the ideal of Kurtz symbolizing the degeneration of the ideal of colonialism as 'civilizing work'.    The fading of the idealist mirage of 'civilizing work' in Africa has to be one of the central themes of Heart of Darkness. This theme forms the background of the whole story, from beginning to end, before the character of Kurtz is even introduced.    The focus of Heart of Darkness is not on the direct effect of the colonial presence on the native population, but on the reflected effect on the colonial occupiers. Centrally, the whole story being told directly is the effect on Marlow of his colonial adventure. Marlow here reflects or represents his Western ideological origins coming to terms with the reality of the Congo. It was not merely the economic relations of commodity exchange which so often in the colonies, it was the respectability of society; it was the very identity of the occupying force and it was the emptiness of the western colonial myth of individualism. The degeneration of Kurtz is thus inseparable from the 'other' degeneration.    Marlow, on his return to civilization, learns from Kurtz's cousin that he was a "universal genius" (Conrad 71). What ... ...ause the heart of humanity does not lie in the individual, it lies outside, in society, in language, in active engagement with a human world. Kurtz was more capable than anyone else of conquering the world, but the world, and the savagery, conquered him.    Works Cited Adelman, Gary. Heart of Darkness: Search for the Unconscious. Boston: Little & Brown, 1987. Bradley, Candice. "Africa and Africans in Conrad's Heart of Darkness." (24 Jan. 1996). Online Internet. 3 October 1998. Available: http://www.lawrence.edu/~johnson/heart. Conrad, Joseph. Heart of Darkness. Ed. Robert Kimbrough. 17th ed. New York: Norton, 1988. Rosmarin, Adena. "Darkening the Reader: Reader Response Criticism and Heart of Darkness." Joseph Conrad Heart of Darkness: A Case Study in Contemporary Criticism. Ed. Ross C. Murfin. New York: St. Martin's, 1989.