An Example of True Fidelity with the Source Text A Scanner Darkly

An Example of True Fidelity with the Source Text A Scanner Darkly Up until comparatively recent times, it used to account for a common assumption among critics that, in order for cinematographic adaptations of a particular literary piece to be considered successful, they must be thoroughly consistent with the original literary work’s discursive aspects. This point of view, however, can no longer be considered as such that represents an undeniable truth of True Fidelity with the Source Text: A Scanner Darkly specifically for you for only $16.05 $11/page Learn More The reason for this is quite apparent – the highly dynamic realities of a post of True Fidelity with the Source Text: A Scanner Darkly specifically for you for only $16.05 $11/page Learn More What it means is that, in order for the film-adaptation of a particular novel to be considered successful, it has to be capable of ensuring a long-term survivability of the contained meme (a literary equivalent of the biological term ‘geneâ€℠¢), regardless of whether the author is being aware of it or not (Dawkins 206). Yet, just as it is being the case with the replication of genes, the reproduction of memes implies that their phenotypical manifestations must be necessarily adjusted to the surrounding social environment. In other words, it is specifically the discursively relevant cinematographic adaptations of literary texts, which can be defined truly successful. The watching of Linklater’s film leaves very few doubts, as to the fact that the director did succeed in ensuring the fidelity of the original novel’s memetic aspects. One of the reasons why it appears to be the case is that, even though that the director had made a deliberate point in altering some dialogues between the featured characters and in adjusting the deployed settings to be more reminiscent of the realities of the 21st century’s living, the main memetic ideas that are being promoted, throughout the film’s entirety, perf ectly correlate with that of the original novel. These ideas can be conceptualized as follows: American drug-subculture is embedded in many individuals on a genetic level, which is why there can be no victory in the morality/religion-fueled ‘war on drugs’, by definition. The governmental officials that most enthusiastically support an ongoing ‘war on drugs’, are in cahoots with drug-traffickers. It is a commonplace practice among police officers to use illegal narcotics on a regular basis. The perception of a surrounding reality, on the part of committed drug-addicts, never ceases being thoroughly distorted, which is why these people should not be subjected to any moral judgments. It is needless to mention, of course, that the majority of psychologically adequate persons would refer to these ideas as being self-evident. However, in order for the cinematographic representation of the earlier mentioned memetic ideas to be capable of generating a commercial income (this is why movies are being produced, in the first place), it needed to be contextually relevant, so that viewers would be able to relate to the conveyed semiotics emotionally.Advertising Looking for critical writing on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More This is exactly the reason why Linklater’s adaptation features a number of formal deviations from the original novel, which nevertheless do not undermine the extent of this film’s adaptational fidelity. For example, there is a memorable scene in the novel, in which the character of Barris reveals the price of his newly purchased sport-bike, â€Å"I saw it (bike) in the neighbors yard and asked about it and they had four of them so I made an offer of twenty dollars cash and they sold it to me† (Dick 63). Initially, this scene was meant to promote the idea that drug-addicts are being quite incapable of realizing the moral/legal implications of buying stolen goods. After all, the fact that he was only asked for twenty dollars, in exchange for a brand-new bike, did not alarm Barris even slightly. In Linklater’s adaptation, however, Barris brags about having bought this bike for fifty dollars (00.19.51). Nevertheless, this formal inconsistency between Linklate r’s film and Dick’s novel can be well explained, once we recall the fact that the purchasing power of twenty dollars in 1977 was much higher, as compared to what it is being the case nowadays. Therefore, while striving to protect the fidelity of his cinematographic adaptation, Linklater did not have any other choice but to ‘increase’ the price for the stolen bike by thirty dollars. In its turn, this allowed him to ensure that the members of contemporary viewing audiences would regard this particular element of the plot’s unraveling thoroughly plausible. Hence, a certain paradox – even though that, in respect of how he went about incorporating the earlier mentioned scene in his movie, Linklater did deviate from the original text, this did not undermine the overall extent of his adaptation’s fidelity. Quite on the opposite – by ‘increasing’ the price of Barris’s bike, the director was able to increase the exten t of film’s discursive soundness – hence, making it more cognitively ‘digestible’. Nevertheless, the memetic integrity of Linklater’s adaptation is not only being merely maintained by the fact that the director had rightly decided in favor of adjusting the characters’ monologues to be reflective of the realities of a contemporary living in America, but also by his decision to utilize the rotoscoping animation-technique, as a tool for ensuring the film’s expressionist appeal (Ward 60). There seem to have been a number of rational reasons, which prompted Linklater to proceed with taking advantage of this specific technique. First, rotoscoping makes possible for the director (which has a limited production-budget) to significantly enhance the background settings and to incorporate the elements of ‘super-naturalness’ into the otherwise conventional plot. Given the essence of Dick novel’s themes and motifs, Linklaterâ₠¬â„¢s decision to use this technique appears thoroughly justified. One of the reasons for this is that, while addressing life’s challenges, many of the novel’s characters never cease being affected by hallucinations: (Jerry Fabine is trying to wash off (Bob Arctor is perceiving Barris asimaginary bugs in the shower) an insect) Yet, in order for the on-screen hallucinogenic images to be considered emotionally powerful, they must radiate the spirit of Freudian ‘uncanny’, when viewers are being prompted to explore their own image-related unconscious fears and anxieties. This is where the utilization of rotoscoping comes in particularly handy. As Bouldin pointed out, â€Å"The rotoscoped image draws its power from its contagious contact with an original. Through this ‘material connection’ the rotoscoped animated body is able to conjure the uncanny, supplemental presence of an absent body (13). There is even more to it – without the deplo yment of this technique, the director would hardly be able to explore the motif of a ‘scramble-suit’, which does not only reemerge throughout the novel’s entirety, but defines the overall philosophical significance of Dick’s literary masterpiece (Hurwitz 27). Apparently, by having applied rotoscoping to the live-images, captured with the digital camera, Linklater was able to advance the novel’s original idea that, contrary to the assumption that secret agents’ anonymousness increases their chances to apprehend evildoers, it in fact causes them to adopt the existential mode of those they formally oppose. The second major motivation behind the deployment of rotoscoping, on Linklater’s part, appears to have been concerned with both: the director’s strive to remain faithful to the original novel and his proper assessment of Dick novel’s clearly expressionist nature. After all, one of this novel’s major characteristics is the lack of a logical/spatial interconnectedness between the featured events. This could not be otherwise, because Dick had made a deliberate point in narrating his story from the point of view of a person with the history of a long-term drug abuse. There is, however, even more to it – Dick’s novel does not only reflect the author’s personal disillusionment with the lifestyle of a drug-addict, but also his disillusionment with how the representatives of a ‘moral majority’ in America propose the society’s ‘unproductive elements’ should be dealt with. Apparently, the absence of a spatial continuity in the original novel signifies Dick’s frustration with the euro-centric idea of a linear progress; as such, that defines the actual meaning of the surrounding reality’s emanations. What it means is that, in order for the cinematographic adaptation of Dick’s novel to end up thoroughly faithful to the novel’ s original spirit, it also had to be shot in the expressionist manner, concerned with the affiliated directors’ strive to help viewers to experience the depicted reality’s subjective aspects (Gianetti 4). Unfortunately, this could only be accomplished at the expense of undermining the adaptation’s appeal to broader audiences. Yet, being an intellectually honest person, Linklater nevertheless decided in favor of constructing the adapted plot in a manner thoroughly adjusted to the original novel’s clearly defined expressionist spirit of a spatially undermined connectedness between the consequential scenes. As the director noted, â€Å"So much of Hollywood screenwriting and storytelling is all about keeping a highly toned or a sharply structured story. Youre supposed to chip along, one thing into the next, everything important, you know all that by-the-book storytelling. But Ive always been allergic to that; especially in a piece like this thats so fundame ntally a character piece† (Johnson 340). Apparently, it was specifically Linklater’s acute understanding of the discursive significance of the original novel’s expressionist aesthetics, which prompted him to go about ensuring his adaptation’s faithfulness by the mean of exposing viewers to the perceptually subjectualized developments of the plot. Therefore, there is nothing utterly surprising about the fact that there are a number of unmistakably expressionist editing-related overtones in Linklater’s adaptation. For example, the actual meaning of conversations that take place between the characters can rarely be grasped outside of what accounts for the film’s overall motif of existential frustration and social alienation. The same can be said about the significance of contextually disconnected images from hidden survey-cameras, to which viewers are being periodically exposed. These images are supposed to strengthen the sensation of a spatia l disorientation, on the part of viewers, so that their psychological state, while at the theater (or in front of a TV-screen), would be more attuned to the theme of identity-loss, explored in the original novel. A clearly dissonant musical score, used in Linklater’s adaptation, also contributes to the establishment of a proper perceptual mood in viewers rather substantially. Nevertheless, it is specifically the director’s deployment of the earlier mentioned rotoscoping technique, which contributes to the strengthening of this adaptation’s expressionist overtones more than anything else does – hence, increasing the extent of the concerned cinematographic piece’s fidelity to the original novel. The reason for this is quite apparent – there is a dreamlike quality to the motioned images on the screen, because they are being continually altered in a barely noticeable, yet persistent manner (Freedman 41). Finally, Linklater’s utilization o f rotoscoping helped to create prerequisites for his adaptation to be fully consistent with the process of Americans growing progressively secularized. As of late, the pace of this process has gained a particularly powerful momentum, due to the recent discoveries in the field of neurology that remove last remaining doubts, as to the fact that there is no such a thing as ‘soul’, which can exist outside of one’s body. After all, it nowadays does not represent much of a secret to just about every intellectually advanced individual that the workings of one’s psyche are defined by the essence of chemo-electric reactions inside of his or her brain. For as long as there are no obstacles on the way of chemo-electric reactions’ normal flow, the functioning of people’s consciousness allows them to experience the three-dimensional sensation of ‘self’ (when awake). However, even a slight mechanical damage to the cortex area of one’s b rain can produce a dramatic impact on the sense of his or her self-identity – often without affecting the integrity of the concerned individual’s ability to address cognitive tasks. Hence, the actual significance of the scene in Linlater’s adaptation, where Bruce (Arctor) realizes that there are tiny blue flowers (the source of substance D) growing amidst corn-plants at the New Path’s agricultural plantation – despite the fact that the institution’s other inmates do not seem to acknowledge these flowers’ presence. Because it has been mentioned earlier by the film’s secondary characters that, in order to be admitted to the New Path, former drug-addicts are being usually required to undergo a lobotomy (which could have explained their inability to see blue flowers), viewers are left with no choice but to wonder whether, despite Bruce’s newly acquired identity of a ‘human vegetable’, he is in fact continues to act as a police informer. Simultaneously, this prompts viewers to disregard the metaphysical/religious ideas as to what can be considered the actual roots of one’s consciousness, which in turn makes them more adapted to the highly secularized realities of post-modernity. The earlier provided line of argumentation, in regards to the discussed subject matter, leaves few doubts as to the fact that Linklater’s adaptation is not being only faithful to the original novel, but also to the currently ongoing process of Westerners getting rid of progress-impending prejudices, in regards to what the representatives of the Homo Sapiens species really are. Therefore, it will not be much of an exaggeration to suggest that the earlier outlined memetic ideas, contained in Dick’s novel, will indeed be able to survive into the future – hence, guaranteeing a ‘literary immortality’ to the author. This is because, in full accordance with the provisions of Hutcheo n’s theory, Linklater did a perfectly good job, while ensuring the fidelity of his cinematographic adaptation of the original A Scanner Darkly. A Scanner Darkly. Ex. Prod. Richard Linklater. Burbank, CA.: Warner Independent Films. 2006. DVD. Bouldin, Joanna. â€Å"Cadaver of the Real: Animation: Rotoscoping, and the Politics of the Body.† Animation Journal 12 (2004): 7–31. Print. Dawkins, Richard. The Selï ¬ sh Gene, Oxford: Oxford University Press, 1976. Print. Dick, Philip 1977, A Scanner Darkly. Web. Esther, John. â€Å"The Transparency of Things: An Interview with Richard Linklater.†Ã‚  Cineaste 31.4 (2006): 64-65. Print. Freedman, Yacov. â€Å"Is It Real†¦ or Is It Motion Capture?: The Battle to Redefine Animation in the Age of Digital Performance.† The Velvet Light Trap 69 (2012): 38-49. Print. Gianetti, Louis. Understanding Movies. 9th ed. Upper Saddle River: Prentice Hall, 2001. Print. Hurwitz, Matt. Nothing is Real Richard Linklat ers A Scanner Darkly.  Videography 31.7 (2006): 22-30. Print. Hutcheon, Linda Gary Bortolotti. â€Å"On the Origin of Adaptations: Rethinking Fidelity Discourse and ‘Success’ – Biologically.† New Literary History 38.3 (2007): 443-458. Print. Hutcheon, Linda. â€Å"On the Art of Adaptation.† Daedalus 133.2 (2004): 108-111. Print. Johnson, David. â€Å"Directors on Adaptation: A Conversation with Richard Linklater.†Ã‚  Literature Film Quarterly 35.1 (2007): 338-341. Print. Ward, Paul. â€Å"Independent Animation, Rotoshop and Communities of Practice: As Seen Through A Scanner Darkly.† Animation 7.1 (2012): 59-72. Print. Zhang, Yingjin. â€Å"From Shakespeare’s Drama to Early Chinese Cinema: Authority and Authorship in Literary Translation and Film Adaptation.† Yearbook of Comparative and General Literature 54 (2008): 83-102. Print.

Spanish Words for Use Around the Home

Spanish Words for Use Around the Home If youre like most of us, chances are you spend more time at home than you do anywhere else. So if youre looking at expanding your Spanish vocabulary, you might consider starting with some of the places youre most familiar with. Following, then, are the most common Spanish words used for places and items in the house. Note that many of the words can vary with region, and many of the words can have other meanings in other contexts. For example, while dormitorio is a common word for bedroom, it also can refer to the sleeping car of a train. Rooms and Areas of the House attic: el tico, el desvn, el entretechobasement: el sà ³tanobathroom: el baà ±o, el cuarto de baà ±o, el retretebedroom: el dormitoriocloset, wardrobe: el armario, el roperocourtyard: el patioden, study: el estudiodining room: el comedorentryway: la entradafamily room: la estancia, el cuarto de estargarage: el garage, la cocherakitchen: la cocinaliving room: la sala de estar, el salà ³nroom: el cuarto Words for Built-in Features ceiling: el techocupboard: el armario, la despensadoor: la puertaelectrical socket: el enchufe (de pared)faucet: el grifofloor: el suelo (floor that is walked on), el piso (level of a building)(kitchen) counter: el mostrador (de cocina), la encimera (other words are also used in various areas)lamp: la lmparalight: la luz, la lmpara, la lmpara de techo (ceiling light), el plafà ³n (ceiling light)mirror: el espejoroof: el tejadosink: el fregadero, el fregadero de cocina (kitchen sink), el fregadero de baà ±o (bathroom sink)stairs: la escalera, las escalerastoilet: el vter, el wter, el inodoro, el servicio, el retretewall: la pared (inside), el muro (outside)window: la ventana Words for Appliances and Furniture bed: la camablender: la licuadorachair: la sillachest of drawers: la cà ³modacouch, sofa: el sof, el divndishwasher: el lavavajillas, el lavaplatos, el friegaplatos (These are all compound nouns.)drier (for clothes): la secadorairon: la planchaoven: el horno (el horno microondas, or simply el microondas, microwave oven)stove: la estufa, la cocina (usage varies with region)table: la mesatoaster: el tostador, la tostadoravacuum cleaner: la aspiradorawasher (for clothes): la lavadora

Building Technologies Essay Example | Topics and Well Written Essays - 750 words

Building Technologies - Essay Example Social shaping of a building technology is related to the ways and customs, in which the physical structure, apparatus, and modus operandi used, cooperate with the social needs and customs of the community. The characteristic plan of the medieval cities was built with a spacious design, which was always enclosed by city walls, reflecting a grid arrangement. The most idiosyncratic feature of the medieval cities was the colossal community locales or edifices. These edifices were brought into use for the purpose of water supply, amusement, business, and administration. The average income families lived in open areas as compared to the rich who resided in high raised apartments. A medieval city could be called as a "densely congested network of narrow winding streets, lined with high house fronts, a pattern relieved only occasionally by open squares and marketplaces." (Friedrichs, in Chant, p147) enclosed by closely fortified barricades with shielded entrances and fortified towers. The building technology used up for military also affected the lay out of the medieval cities. When the military had to settle in populated areas, they used to build their own towns that were typical of the military model. The basic form of these medieval cities were in the fortified walls and castles shaped directly to help the military and weapon siege techniques. Stone city walls restricted external city development, hence the affinity for houses and buildings to be intimately packed together and to be built high. The material of walls used was concrete, which was used in combination with brick and mortar which made the walls strong to defend the city in times of invasion. Since the supply of land was restricted within the walls, concrete buildings were allowed to 5 storey. The medieval cities also used up a large quality of natural materials, like wood and stone for the construction purposes. Lime-mortar and wall reinforcement through the use of sandstone columns allowed Islamic cities to expand when mud-bricks did not allow buildings above a single storey (Chant & Goodman, 1999: p137). In addition, the religious buildings in a medieval city were the focus of the common people. The structure and design of these buildings involved the forms of Roman Basilica but adapted to hold a larger audience. At times, new technologies were also experimented which allowed for the establishment of very high cathedrals that subjugated the perceptible room of medieval cities. In medieval cities, the use of horse for transport purposes soon replaced the use of ox, for the agricultural use. This was necessary, as the crowded cities were not built to allow for the passage for wheeled vehicles. To conclude, the medieval building style imposed a level of universality of beliefs, speech, and administration outlines. The communal areas for use or entertainment and religious buildings brought reputation to the head of state. Thus we can say that the medieval cities were socially shaped. Bibliography 1. Alsford, Steven, "Florilegium Urbanum", http://www.trytel.com/tristan/towns/florilegium/flor00.html [27 April 2003; consulted on 26 June 2004] 2. "Armenian Architechture - Virtual ANI", http://www.virtualani.freeserve.co.uk/

The Role of Multimodal Communication in Cooperation Essay

The Role of Multimodal Communication in Cooperation - Essay Example The knowledge about the topics, beliefs, targets, nature etc must coincide for good results. These common grounds must be checked before the interaction. After that the interaction can expand the basis of linguistic and physical co presence. In expanding the scope of the communication, the media is capable of restraining the ease of attaining the common ground. The commonality in the methods is also affected in following the medium of communication. It is better to develop theoretical understanding of the attitudes of shared visual spaces. This improves grounding and also the performance regarding the topics of common belief. 1 After this the parameters that make difference in visual communication systems that are used for complex and collaborative researches were considered. By applying these features to real world settings, the pragmatic way of deploying these methods to attain more benefits for reasonable costs can be assessed. If this is successful, then creating of a technology that enables the accurate estimation of the focus attention in the settings can be determined. This is believed to be an important role the visual channel can play. There are some techniques available for analysis of effectiveness of multimodal interaction. The potential of psycholinguistic models were recognised to have this potential. Though they are recognised to have potential of analysing, there are some limitations. The techniques based on conversation analytic model of breakdown and repair can be termed as the rational approach for introducing a protocol for coding repair. The terms in this approach are computer mediated communication, evaluation and conversation analysis.     

The effect of acid rain on building materials Essay Example for Free

The effect of acid rain on building materials Essay Due to dissolved carbon dioxide rainwater is naturally acidic in the form of the weak carbonic acid. However gases such as sulphur dioxide and nitrogen oxides cause acid rain, which is responsible for the corrosion of buildings and damage to the wildlife. The burning of fossil fuels releases these gases into the atmosphere when the small quantities of sulphur react with the oxygen in the air, forming sulphur dioxide. The aim of this investigation is to investigate the way in which one factor alters the rate of erosion of building materials such as stonework and metals. To conduct this experiment I can use marble chips (calcium carbonate) or magnesium ribbon and in place of sulphuric acid dilute hydrochloric acid will be used. This is because sulphuric acid produces an insoluble salt which prevents any further reaction with the acid. The two possible equations for the experiment are: 1) Mg + 2HCl MgCl + H 2) CaCO? + 2HCl CaCl + CO + H O I have decided to conduct my experiment using magnesium ribbon and so equation 1 will be used. Here is a list of the factors which I could investigate: Volume of acid Concentration of acid. Temperature of reaction Mass/length of magnesium ribbon Particle size (no. of strips of magnesium) The factor which I have decided to investigate is the volume of hydrochloric acid. The range of volumes I have opted to use are 10cmi , 20cmi , 30cmi , 40cmi and 50cmi. The concentration of acid will remain at 2M throughout the investigation and the investigation will be conducted at room temperature. Also 1 strip of magnesium ribbon of mass 0. 05g will be used throughout the investigation. For each volume of acid used I will time how long it takes for 50cmiof hydrogen gas to be produced and collected in a gas syringe. Apparatus Conical Flask (with bung) 100cmi gas syringe Scales Measuring cylinder Stopwatch Hypothesis I believe that as the volume of acid increases so will the rate of gas produced. This is because there will be more acid molecules and so there will be more chance of collisions between the magnesium and hydrochloric acid, thus a higher rate of reaction. I believe that the volume of acid will be directly proportional to the rate of reaction and so the following will be true: Therefore, if the volume of acid is doubled then the rate of gas produced should double. Diagram Method First of all the gas syringe was connected to the conical flask. 0. 05g of magnesium ribbon was weighed using the scales and placed inside the conical flask. The first volume of 2M hydrochloric acid, 10cmi , was measured out using a measuring cylinder and then added to the flask. Simultaneously the stopwatch was started and the bung was placed on the conical flask. When 50cmi hydrogen had been collected the stopwatch was stopped. This was repeated 3 times with each of the volumes of hydrochloric acid, 10, 20, 30, 40 and 50cmi. For each volume an average time was calculated and then using that time the rate of reaction was calculated with the following equation: Rate (cmi /s) = Volume of gas produced (cmi ) Time (s) Results Time Taken (s) Volume of HCl (cmi ) Reading 1 Reading 2 Reading 3 Average Reading Rate of Reaction (cmi /s).

Dance Team :: Argumentative Persuasive Dance School Essays

Dance Team The Twin Cedars Community School District Board of Directors should decide in favor of funding a school dance team. Twin Cedars, a small country based school of approximately 500 students K-12, has never had the benefit of having a dance team. Two years ago, three Twin Cedars students got together with their dance instructor, Shannon Smith, an alumnist of Twin Cedars, and suggested that the school should have a dance team. Smith volunteered her time to coach and choreograph for a new dance team. Smith took this idea to the principal of Twin Cedars, Mike Helle. Helle agreed to allow Smith to start a dance team that could practice at school, but refused to fund the program as an extracurricular activity. This meant that if there was to be a dance team, all funds would have to be raised by the dance team members alone and Smith would have to volunteer all of her time and effort without being paid. Despite these two points Smith agreed to start the dance team. Auditions were held, a team was formed, and the team members began choreography for their first routine. The new TC dance team had their own fundraisers and went asking for donations from local businesses, to help support the new team and help pay for dance team costumes. The team managed to raise enough to buy cheap costumes for all of the members. The new dance team had practice two days a week at 7:00 a.m. all year. They performed at a few football and basketball games throughout the year. The next school year came around and the whole process was repeated. During this year the dance team even managed to put together a Saturday night show at the school, that included other surrounding school’s drill and dance teams. In the two years of the team’s existence the school administrators allowed for the use of the building for practice, they allowed the team to perform at sporting events, and they allowed the the team to have shows. On top of that, they announced the dance team as the Twin Cedars dance team and even added a new spot in the Twin Cedars Yearbook to allow for pictures of the dance team. The school took all the privileges of having a school dance team, yet took none of the responsibilities a school has for an extracurricular activity.

Learning Process

Navreet Mann Professor Stanley November 29, 2012 The Learning Process â€Å"Learning to write is a complex process, both individual and social, that takes place over time with continued practice and informed guidance,† is a very complex quote. There is so much meaning and context to this one quote, that can really get the writer thinking. As for myself, I agree with this quote quite a lot but still to a certain extent.Everyone has their own mindset, but for me I do agree that learning to write is a complex process, individual and only sometimes social, and definitely does take place over time with continued practice and informed guidance (proof shows that). To start off with ‘learning is a complex process,’ as for this part of the quote I totally agree. At times, I can spend hours, sometimes days, just thinking about how to start my essay, research paper, etc. Then once you finally find your thesis and actually do begin, the complexity still doesn’t end.You have to continue to find more details, analysis, background, and a lot of other things for whatever you might be writing. One example of a complex paper I wrote in this English 10 class would have to be our first essay, â€Å"My Sacred Grounds. † I can clearly remember that it took me forever to start, to find a life experience to talk about and then to have to add details. The whole paper probably took me over a course of three to four days to just write the first draft. For the next part of the quote I only agreed to an extent of.. ‘learning to write is both individual and social. Like I said before, everyone’s writing process depends on themselves, but as for me I feel that most of the writing process is just individual and only social when you need it to be. Such as, when I write, I write without any help and its an all independent process, but then again at the same time its social because I write for my professors, get help from different sets of people at times like peers, the writing center, and sometimes even my professors. Lastly, once again I agree completely with the last part of the quote that learning is a process ‘that takes place over time with continued practice and informed guidance. To just learn how to write basics it takes us, as students, years to learn. We have to go through elementary, middle, and then finally high school with the basics of learning how to write until finally in college we are slowly let go and taught to continue to learn by ourselves. Even then the learning process never truly ends, especially not for writers, you learn as you write for the rest of your life. Also, just as the quote says we learn with ‘informed guidance’ meaning most of the time someone is there to check our work like our peers or professors. Overall, writing truly is a very complex process and this quote sums it up really well!

Color symbolism in the great gatsby

Nick Caraway, the narrator, Is one of the few characters who does not exhale the major laws that the other characters do. He Is able to see what Is wrong In society, at the same time as what Is positive about people, and his viewpoints are what characterize those In the novel. Nick moves to West Egg In the summer of '22 and begins his life as a bond man after the Great War. It Is who he meets In that summer that the novel Is about, using rich colors to describe his surroundings and having long pollens of people.Colors within the novel help to characterize the people around Nick, describing the nature and characteristics of people by associating them with certain colors. BLUE Nick tends to have a positive opinion of Jay Gatsby, often putting him on somewhat of a pedestal in comparison to many others he met in the summer. Gatsby is a war hero that Nick knew in the war and who later is his neighbor on West Egg. Gatsby is often associated with the color blue, blue only coming up a few ti mes when not associated with Gatsby, the only other reference to blue is of T. J. Eagleburger eyes.Blue is used to characterize people as watchers, or omnipresent people. After Wilson, a mechanic and husband, loses his wife Myrtle in a car accident, Wilson looks out the window at â€Å"the eyes of Doctor T. J. Cocklebur, which had Just emerged, pale and enormous, from the dissolving night. ‘God sees everything†(107). Wilson describes the eyes of Cocklebur as the eyes of God, seeing through the deception his wife had played on him for so long. The Cocklebur eyes are a billboard in the Valley of Ashes, they have been there for a long time and oversee everything, much like a man on a pedestal or God would be able to do.Cocklebur is viewed as God with his blue eyes seeing everything. Nick notices the eyes â€Å"brood over the solemn dumping ground†(15). People often blame events on God or claim his nonexistence because they do not erectly see an outside help when the y have problems. People claim that God only sees what happens on Earth and does not actually help his creations, leaving them to fend for themselves and having them make their own decisions. No one directly helps In the situations that are within the book; no outside hand helps with the problems nor guides any character to righteousness.Cocklebur sees but does not do. He Is a God. Gatsby Is much Like Cocklebur In the fact that he watches without action. Gatsby went to war and left behind Daisy, his love, only to find her married when he got home. Gatsby then saved up and bought a home across the bay from Daisy and watched from afar, watching over her but never contacting her. Nick goes out to his lawn the in the night after having reconnected with his cousin Daisy and, Nicks old heavens†(14). He notices Gatsby on and that â€Å"he stretched out his arms toward the dark water in a curious way'(1 5).Gatsby is reaching for, what we later learn, is the light at the end of Daisy's dock. While he wants to partake in Daisy's life, like many believe God wishes to do in our lives, he restrains himself. He instead watches for Daisy and takes clippings about her life from the newspaper. Nick says that they are choosing their part of the local heaven, and God presides and watches from heaven. Gatsby watches and overlooks Daisy's life like God would humanity. Gatsby is characterized as a God character because of his inaction; this puts him on a pedestal, elevating the view of him.God is not hated, he is loved, and Gatsby is well loved by Nick. Gatsby would be free from Nicks criticism due to his love for him. Gatsby has parties in his â€Å"blue gardens†(25† that chauffeurs dressed in â€Å"robin's-egg blue†(27) invite people to. Parties are where Gatsby looks to find Daisy, hoping that she will one ay stumble into one and he will be reunited with her. Gatsby is always present at these parties but no one can ever remember seeing him or talking to him when asked. Furthering the idea of omnipresent, Gatsby has control over the chauffeurs and they follow as he says.He is watchful through them but doesn't need to be seen. WHITE Gatsby is often associated with blue, but he is also connected to white. Many characters are seen in white at some point in the novel and it is used to describe the appearance of innocence or false purity. Daisy and Jordan are both introduced in a Larry of white: â€Å"The windows were ajar and gleaming white against the fresh grass outside that seemed to grow a little way into the house. A breeze blew through the room, blew curtains in at one end and out the other like pale flags twisting them up toward the frosted wedding-cake of the ceiling†¦ Woo young women were buoyed up as though up upon an anchored balloon. They were both in white, and their dresses were rippling and fluttering as if they had Just been blown in after a short flight around the house† Jordan and Daisy are given almost an d ethereal appearance in the scene, like little angels or cherubs. They wear white like young innocent brides at a wedding, innocent and pure. Their appearance of innocence is dusted in white, from the curtains, to the ceiling, to the dresses on their bodies. They are almost described as birds, flying around the house in the wind and finding themselves tied to the ground again.Not only birds, but birds captured in a room or cage, making you feel sorry for them and wanting to set them free into the wind. They seem dainty and young, the innocence of babes surrounding them and protecting their view of the world. In reality though, Jordan and Daisy are both corrupt. Everyone likes to say that white in The Great Gatsby means innocence, probably because (1) that's easy to say and (2) everyone else is saying it. Buddhist is hardly the picture of girlish innocence. At the end of the novel, she's described as selfish, careless, and destructive.Jordan cheats on her golf matches, moving the ba ll closer to the hole, and Daisy has affairs and is unfaithful in mind and body. Neither is as innocent as they would like you to believe. Their innocence is false and used to protect the image of femininity the characterized Jordan, and especially Daisy. Gatsby is also described in white, showing his desire to be liked and seem innocent and pure. Gatsby is gone from Daisy for 5 long years, in which she had related to Daisy, there became opportunity for Gatsby to reconnect with his old love.Nick invites both Gatsby and Daisy over for tea one afternoon and Gatsby wears â€Å"a white flannel suit, silver shirt, and a gold-colored tie†(55). Gatsby has not seen Daisy in over 5 years and wants to make a good impression on her, to make her see him as good and honest, better than the man she was currently married to. He may have known her when they were young but the time had past and he wanted to remind her of the times before all that had happened and when they were innocent and e re, before they were tainted by the lives they currently lead.He wanted to remind Daisy of the time they spent together in Louisville in her â€Å"white roadster†(49). Gatsby uses white to seem innocent in the moment and to show his pure intentions towards Daisy. While the use of white by characters in their dressing might be unintentional, they subconsciously want to send a message to another party within the novel. There is an underlying nervousness with Gatsby involving his meeting of new people or the reconnection of him and Daisy. The focus on color and the appearance of purity indicates the desire to have a specific image about them.Nick also dresses up in white flannels to make a good first impression. Upon being invited to on of Gatsby great, grand, glorious parties Nick â€Å"dress[sees] up in white flannels† and crosses the short distance between his house and Gatsby (27). Nick had never met Gatsby before and even told Jordan at dinner, the same one where he reconnected with Daisy and Tom, that he had never met his neighbor but knew that he was Gatsby. Nick is nervous, to the point of becoming drunk one of two times in his life, and wants to make sure that Gatsby likes him.Nick searches out his host, trying to be a good guest and thank him for the invitation, further indication that Nick wants to be seen in a favorable light. Nick is searching out, not only Gatsby, but Gatsby approval of who he is. He is like a small school boy trying to please the teacher by bringing them a glistening apple on the first day of school. Nick is brining himself, dressed up in his nice, white duds, to please the metaphorical teacher of Gatsby. While Nick seems least corrupt and has the fewest flaws of all of the characters within the novel, he wants the others to know Just how good of a character he has.While Nick is not flawed like the others within the novel, he is still human, and there is a falsity of the persona he puts on to show people. Nick does no t want to be seen as the rest of the crowd. He does not share their flaws but he is not above them all. The distinction of the way he acts is accentuated by the color white, furthering his appearance of innocence in the events of the summer. GOLD White is pure like the shell and outside of an egg. The problem is that the white part never indicates if the inside will be rotten or not. While â€Å"white is unblemished morality' and false purity, gold is corruption, greed, and money (Huber 2011).Nick and the others in the novel live on either East or West Egg. The eggs are similar in shape but different in personality and culture. On the outside though, everyone on either egg tries to hide who they are and their corruption with their white clothing, homes, and decorations. Many of the characters have corruption associated with them, even if the measure of how bad it is differs. Gatsby and his golden feasts with â€Å"pigs and turkeys bewitched to a dark gold†, show his money an d corruption (26). While Gatsby is characterized with beautiful language and pleasant interaction with and that is where his money came from.All of his purchases were paid for with money gained through illegal means. While the nature of Gatsby and his intentions are pure, like his white flannel suit, his money is not. Gatsby also wears a â€Å"gold tie† upon meeting Daisy again at the tea that Nick planned(55). Gatsby wants to prove that he is good by wearing his white flannel suit but he unconsciously also announces his wealth to Daisy. Daisy has always been attracted to wealth and opulence, and Gatsby achieved his status in an effort to win Daisy over again with the money she always desired him to have. The gold tie represents Gatsby money, but not only that.It is also the corruption required to gain the money so quickly and continuously throughout the years. His corruption goes beyond Just the fact that he gained money through ways that were immoral and against the law. He also pursued a married woman, having an affair with her. Gatsby, had he been able to let go of the past, would have been able to accept that Daisy was married and that he could no longer pursue her or have her in any way, even physically. Before they commit any sins of adultery, Nick and Daisy go to Gatsby house after tea. In Gatsby garden there is the â€Å"pale gold odor of kiss-me-at-the-gate†(60).No regrettable actions have occurred yet but the sentiments that will soon occur are alluded to by the flowers color-scent and its presence in Gatsby yard. Gatsby will eventually send his servants away to protect his secret affair with Daisy, but the affair never is open to the public like that of Myrtle and Tom's. Gatsby and Daisy have to â€Å"kiss at the gate† before they rush home. The scent of the flowers and its association of gold coincide with the nature of the relationship that Daisy and Gatsby carry out. An affair is never indicating positively of ones character . Gatsby and Daisy both have flaws that lead hem to the affair.Daisy did not marry out of love, but out of greed and desire to be wealthy. It is that same sort of desire that led her back to Gatsby. While she was now a married woman, she continued to fulfill her fantasy and pursue the love she had with Gatsby. Gatsby is corrupt because he knowingly took a married woman, pursued her, and then proceeded to have an intimate relationship with her. He did it because he thought it would benefit both him and Daisy later, that they would be happy. Gatsby corruption is a unique kind, not directly for his own benefit but for someone he thinks will benefit his life in the end.Gatsby has Daisy and Nick has Jordan. From the beginning of when they met, Daisy desired to match Nick and Jordan up together â€Å"Ill sort of- oh- fling you together†(13). Nick never stated that he wanted Jordan, one of Daisy's flaws is assuming she knows what others want, and they usually will consent because sh e has a way about her that is hard to ignore, but they never usually tell her that they want it in the first place. Nick never stated that he desired Jordan; he was interested and confused by her aloof nature but never stated a desire for her. Nick is an upstanding individual with no real flaws of nature or morality.Jordan, despite Nick's initial knowledge, is actually a liar and corrupt in her own nature. At one of Gatsby parties earlier in the summer, Nick found Jordan and went around with her â€Å"slender golden arm resting in† his (28). Jordan plays golf, a rich mans sport, and was accused of cheating by moving her ball closer to the hole than it actually fell. Jordan denied the accusations, claiming that she played a fair game and was not a liar. Later the retracted their statements, presumably under the influence of a large stack of bills pushed their way. Jordan buys her innocence with money and corrupt action to cover ere other corrupt actions.While the white of an e gg seems pure and delicious, the rotten inside will eventually be seen. Jordan can cover herself with white dresses in a white ceiling room with white curtains around, but she cannot alter her true and corrupt nature. GREEN A major idea of the novel is corruption of society, additionally the American dream is expressed as a want from all of the characters. They all want to live they perfect life, have families, and to be able to have no worries of money. The desire and hope is seen through the emotions and sentiment connected to the color green.Daisy has green light at the end of her dock and Gatsby reached for it â€Å"trembling†(1 5). Daisy is Gatsby everything, his dream, his hope, his future. Gatsby went off to war believing that he would come home to find Daisy waiting for him, that they would have a happy future. He had the hope to believe that he would be able to leave for war and come back to everything being as it was, as if stopped in time. Gatsby is described by Ni ck in the beginning of the novel â€Å"it was an extraordinary gift for hope, a romantic readiness such as I have never found in any other person and which it is not likely I shall ever find again†(2).Gatsby was a romantic person with the ability to wait for long periods of time purely on the hope that the future would come and be what he wished. Gatsby realizes Just what the green light means to him when he is reunited with Daisy and she is on his lap: â€Å"If it wasn't for the mist we could see your home across the bay said Gatsby You always have a green light that burns all night at the end of your dock. ‘ Daisy put her harm through his abruptly but he seemed absorbed in what he had Just said. Possibly it had occurred to him that the colossal significance of that light had now vanished forever.Compared to the great distance that had separated him from Daisy it had seemed very hear to her, almost touching her. It had seemed as close as a star to the moon. Now it was again a green light on a dock. His count of enchanted objects had diminished by one†(61-62). Gatsby had desired Daisy for so long that he had not realized that he substituted the green light at the end of Daisy's dock for the real and actual Daisy. Gatsby had had that light as a hope and beacon for all that he did. It was a hope for the future, for the coming day, for what he would do next.The green light directed and guided him in the night and day, eloping him chose in difficult situations and lending him guidance on his life choices. Gatsby life goes downhill from the moment he reconnects with Daisy and loses hope and his sense of direction for the future. He knows he wants to be with Daisy but he has already done everything he had planned for the past 5 years. He is at a loss and doesn't know what to do next. He loses hope and starts destroying the life he built. He fires servants, stops the parties, and loses the spark that made him so likable in the beginning of the nov el. It [green] represented the hope of a better life ND the birth of the American Dream because in this new found land you could have anything you wanted if you worked hard enough†¦ Green also represents corruption and the failing or death of the American Dream† (â€Å"Color Symbolism in the Great Gatsby'). The green light is not the only green associated with Gatsby, of the few instances the color is mentioned, Gatsby or something Gatsby owns is usually hope and loss of hope he has when he is younger, Just before becoming Jay Gatsby. When Dan Cody meets him, â€Å"It was James Gate who had been loafing along the beach in a torn green Jersey' (98).Gatsby came from a penniless family and did not have very much to have hope in, given his circumstances. He was without means to make anything of himself and there was not much hope in the lower income classes of the time for gaining anything higher than their current position. The â€Å"torn green Jersey' represents the hope lessness of Gatsby prior to his meeting of Dan Cody. Once he had met him, Gatsby had a goal, he Joined the army, met Daisy, and became very wealthy. After he had met Cody he no longer wore the green Jersey, he had other, nicer clothes and he no longer felt the hopelessness associated with the lower income groups of society.His transition away from this hopelessness shows character growth and gives background to Gatsby story. CONCLUSION The Great Gatsby, a novel by F. Scott Fitzgerald, highlights characteristics in characters using the colors blue, yellow, white and green. Blue is the omnipresence of both Gatsby and T. J. Cocklebur, the characters that keep vigil over the long island sound and the people in it. They are those who represent God's presences and judgment of the actions of those throughout the novel. Yellow is corruption and money.Gatsby wears gold and has golden items, thing he bought with dirty money room a false business. Cordon's golden arm helps her cheat in golf, a nd Daisy is obsessed with Gatsby money and has no negative thoughts of the affair she carries on with Gatsby. White is the false innocence of the characters and the protecting of femininity for Jordan and Daisy. They are characterized with white but are not as pure as they seem and the association is always in accordance with their femininity: their dresses or physical appearance. Green is the ever present hope and desire for Daisy and the past she and Gatsby shared.

Seven Categories of Computers

Seven Categories of Computers Free Online Research Papers There are seven categories of computers. The first one that I will discuss is the personal/ desktop computer. This type of computer fits on a desk and can range in price from a couple hundred dollars to several thousand dollars. These computers can vary from special purpose to general purpose depending on the demands of the person purchasing it. These computers have developed over time and performed similar tasks as the computers we use today. However the technology 10 years ago was less sophisticated and therefore the memory and storage capacity of these computers greatly affected their performance. The next type of computer we will discuss is mobile computers and devices. In this category the item typically fits in your hand or lap and can cost between one hundred dollars to several thousand dollars. This category has developed substantially over the past decade, and depending on the needs of the consumer it may be general purpose such as a cell phone or they can be used as special purpose in circumstances such as the devices electricians use. These devices have shrunk in size, which have allowed them to become mobile and not stationary devices. The next category is gaming consoles; these are either small boxes or hand held devices and cost several hundred dollars or less. These devices began as such consoles as Atari and before that the classic pinball machine. These devices commonly play disks or cds that you insert in the machine and therefore the usage can be considered general. Servers are considered to be the size of a small cabinet and can cost upwards of a million dollars. This form of computer is very specific in what it does, and is extremely complex due to the thousands of simultaneous connections. Once again as technology has advanced the size of these devices have shrunk substantially. Mainframes can be up to the size of a full room and are used for a very specific purpose. These can cost several million dollars, and once again these machines have advanced substantially to allow more computing power at faster speeds as well shrinking the size of the unit. The technological advances which have been made have allowed these units to be responsible for approximately 83% of the transactions in the world. Supercomputers are the fastest, most powerful, and most expensive computer in existence. These units can store more than 20,000 times more data than that of a personal computer, and are used for mathematical calculations and simulations in aerospace, nuclear energy and weather forecasting. Embedded computers are miniature and are considered special purpose. The functions of these units are a component of larger products such as a car. The prices of these systems are embedded in the price of the larger unit. These units have developed rapidly in the last decade especially in the automotive industry offering tools such as GPS, and active cruise control. Before the time of these machines people were forced to keep records and control data manually, whether it is a nurse writing hand notes for a doctor, or a person having a map in their personal cars. As technology advances to meet the changing needs of consumers the technology becomes more advanced and smaller, offering more for less. Due to the high demand in technology and the ever changing demand in products computers have forever changed the consumer, and in effect will constantly change and be developed in order to meet the demands of tomorrow. Research Papers on Seven Categories of ComputersBionic Assembly System: A New Concept of SelfRiordan Manufacturing Production PlanIncorporating Risk and Uncertainty Factor in CapitalOpen Architechture a white paperThe Project Managment Office SystemThe Effects of Illegal ImmigrationTwilight of the UAWDefinition of Export QuotasResearch Process Part OnePETSTEL analysis of India

Guide to The Communist Manifesto

Guide to The Communist Manifesto The Communist Manifesto, originally known as The Manifesto of the Communist Party, was published by Karl Marx and Friedrich Engels in 1848, and is one of the most widely taught texts within sociology. The text was commissioned  by the Communist League in London and was originally published there, in German. While at the time it served as a political rally cry for the communist movement throughout Europe, it is so widely taught today because it offers a shrewd and early critique of capitalism and its social and cultural implications. For students of sociology, the text is a useful primer on Marxs critique of capitalism, which is presented in much more depth and detail in  Capital, Volumes 1-3. History The Communist Manifesto is the product of the joint development of ideas between Marx and Engels, and rooted in debates held by Communist League leaders in London; however, the final draft was written solely by Marx. The text became a significant political influence in Germany and led to Marx being expelled from the country, and his permanent move to London. It  was first published in English in 1850.   Despite its controversial reception in Germany and its pivotal role in Marxs life, the text was paid rather little attention until the 1870s, when Marx took a prominent role in the International Workingmens Association, and publicly supported the 1871 Paris commune and socialist movement. The text also captured wider attention thanks to its role in a treason trial held against German Social Democratic Party leaders. Marx and Engels revised and republished the text after it became more widely known, which resulted in the text that we know today. It has been popular and widely read around the world since the late 19th century, and continues to serve as a basis for critiques of capitalism, and as a call for social, economic, and political systems that are organized by equality and democracy, rather than exploitation. Introduction to the Manifesto A spectre is haunting Europe- the spectre of communism. Marx and Engels begin the manifesto by pointing out that those in power across Europe have identified communism as a threat, which they believe means that as a movement, it has the political potential to change the power structure and economic system that was currently in place (capitalism). They then state that the movement requires a manifesto and that this is what the text is meant to be. Part 1: Bourgeois and Proletarians The history of all hitherto existing society  is the history of class struggles. In Part 1 of the manifesto, Marx and Engels explain the evolution and functioning of the unequal and exploitative class structure that resulted from the rise of capitalism as an economic system. They explain that while political revolutions overturned the unequal hierarchies of feudalism, in their place sprung a new class system composed primarily of a bourgeoisie (owners of the means of production) and proletariat (wage workers). They wrote,  The modern bourgeois society that has sprouted from the ruins of feudal society has not done away with class antagonisms. It has but established new classes, new conditions of oppression, new forms of struggle in place of the old ones. Marx and Engels explain that the bourgeoisie have done this not just by control of industry, or the economic engine of society, but also because those within this class seized state power by creating and controlling the post-feudal political system. Consequently, they explain, the state (or, government) reflects the world views and interests of the bourgeoisie classthe wealthy and powerful minorityand not those of the proletariat, who are actually the majority of society. Next Marx and Engels explain the cruel, exploitative reality of what happens when workers are forced to compete with each other and sell their labor to the owners of capital. An important consequence, the offer, is the stripping away of other kinds of social ties that used to bind people together in society. Within what has come to be known as a cash nexus, workers are mere commoditiesexpendable, and easily replaceable. They go on to explain that because capitalism is premised on growth, the system is gobbling up all people and societies around the world. As the system grows, expands, and evolves its methods and relations of production, ownership, and thus wealth and power are increasingly centralized within it. (The global scale of todays capitalist economy and the extreme concentration of ownership and wealth among the global elite show us that the 19th-century observations of Marx and Engels were on point.) However, Marx and Engels wrote, the system itself is designed for failure. Because as it grows and ownership and wealth concentrate, the exploitative conditions of wage laborers only worsen over time, and these sew the seeds of revolt. They observe that, in fact, that revolt is already fomenting; the rise of the Communist party is a sign of this. Marx and Engels conclude this section with this proclamation: What the bourgeoisie therefore produces, above all, are its own grave-diggers. Its fall and the victory of the proletariat are equally inevitable. It is this section of the text that is considered the main body of the Manifesto, and is most often quoted, and taught as an abridged version to students. The following sections are less well-known. Part 2: Proletarians and Communists In place of the old bourgeois society, with its classes and class antagonisms, we shall have an association, in which the free development of each is the condition for the free development of all. In this section, Marx and Engels explain what it is exactly that the Communist Party wants for society. They begin by pointing out that the Communist Party is not a political workers party like any other because it does not represent a particular faction of workers. Rather, it represents the interests of workers (the proletariat) as a whole. These interests are shaped by the class antagonisms created by capitalism and the rule of the bourgeoisie and transcend national borders. They explain, quite plainly, that the Communist Party seeks to turn  the proletariat into a cohesive class with clear and unified class interests, to overthrow the rule of the bourgeoisie, and to seize and redistribute political power. The crux of doing this, Marx and Engels explain, is the abolition of private property, which is the manifest of capital, and the essence of wealth hoarding. Marx and Engels acknowledge that this proposition is met with scorn and derision on the part of the bourgeoisie. To this, they reply: You are horrified at our intending to do away with private property. But in your existing society, private property is already done away with for nine-tenths of the population; its existence for the few is solely due to its non-existence in the hands of those nine-tenths. You reproach us, therefore, with intending to do away with a form of property, the necessary condition for whose existence is the non-existence of any property for the immense majority of society. In other words, clinging to the importance and necessity of private property only benefits the bourgeoisie in a capitalist society. Everyone else has little to no access to it and suffers under its reign. If you question the validity of this claim in todays context, just consider the vastly unequal distribution of wealth in the U.S., and the mountain of consumer, housing, and educational debt that buries most of the population. Then, Marx and Engels state the ten goals of the Communist Party: Abolition of property in land and application of all rents of land to public purposes.A heavy progressive or graduated income tax.Abolition of all rights of inheritance.Confiscation of the property of all emigrants and rebels.Centralization of credit in the hands of the state, by means of a national bank with State capital and an exclusive monopoly.Centralization of the means of communication and transport in the hands of the State.Extension of factories and instruments of production owned by the State; the bringing into cultivation of waste-lands, and the improvement of the soil generally in accordance with a common plan.Equal liability of all to work. Establishment of industrial armies, especially for agriculture.Combination of agriculture with manufacturing industries; gradual abolition of all the distinction between town and country by a more equable distribution of the  populace over the country.Free education for all children in public schools. Abolition of children’s factory labor in its present form. Combination of education with industrial production, etc. While some of these might seem controversial and troubling, consider that some of them have and do exist in a variety of nations around the world. Part 3: Socialist and Communist Literature In Part 3 Marx and Engels present an overview of three different types of socialist literature, or critiques of the bourgeoisie, that existed at their time, in order to provide context for the Manifesto. These include reactionary socialism, conservative or bourgeois socialism, and critical-utopian socialism or communism. They explain that the first type is either backward-looking and seeking to return to some kind of feudal structure, or that seeks to really preserve conditions as they are and is actually opposed to the goals of the Communist Party. The second, conservative or bourgeois socialism, is the product of  members of the bourgeoisie savvy enough to know that one must address some grievances of the proletariat in order to maintain the system as it is. Marx and Engels note that economists, philanthropists, humanitarians, those that run charities, and many other do-gooders espouse and produce this particular ideology, which seeks to make minor adjustments to the system rathe r than change it (for a contemporary take on this, see the differing implications of a Sanders versus a Clinton presidency). The third type is concerned with  offering real critiques of the class structure and social structure, and a vision of what could be, but suggests that the goal should be to create new and separate societies rather than fight to reform the existing one, so it too is opposed to a collective struggle by the proletariat. Part 4:  Position of the Communists in Relation to the  Various Existing Opposition Parties In the final section Marx and Engels point out that the Communist Party supports all revolutionary movements that challenge the existing social and political order, and close the Manifesto with a call for unity among the proletariat with their famous rally cry, Working men of all countries, unite!

Dispute settlement mechanism in the WTO and developing countries Essay

Dispute settlement mechanism in the WTO and developing countries - Essay Example The purpose of this paper is to examine the mechanism of the world trade organization to settle the disputes that occur between the parties of the organization. Research will compare the system of GATT and the WTO system to settle disputes. In addition; it will explain how the system works. Also it will show the benefits that the system provides for developing countries. And it will be some cases of the disputes that the system remedied. The increasing predominance of the capitalist system, globalization and the consequent reduction of the world into some form of global village have resulted into the fast integration of the world’s economic system. This development is characterized by countries engaged in constant bilateral and multilateral relationships as they deal with each other with the highly dynamic and freer flow of goods and services in the international market in addition to the internationalization of production. David Held (1999) argued that historical evidence at both the world and country levels demonstrate that the higher level of trade today is inevitable – from the Classical Gold Standard period to the postwar growth in trade.1 An illustration of the growth of global trade is demonstrated in fig. 1. This phenomenon was made possible by the advances in modern technology, transportation and communications as well as the global trade liberalization that have paved the way for a highly evo lved economic system. Central to globalization is the World Trade Organization, the international body that institutionalized the world trade system. It is this organization that has worked to increase trade between countries by ensuring that tariffs, state control systems are lowered and protectionism by governments on domestic industries is eliminated. The environment that is created by the modern economic system often breeds conflict as countries navigate the complexities of trade. As nation-states become naturally enmeshed and interdependent