Trail of Tears Essay Example | Topics and Well Written Essays - 500 words

Trail of Tears - Essay Example Their journey did not end there. Next, they followed an old trail to Hopkinsville, Kentucky, and continued to the Ohio River. From there they began crossing into southern Illinois near the mouth of the Cumberland. The death suffered by this innocent nation is staggering. One of every 4 Cherokee died on this forced journey. The journey was named the "trail of tears" because of all the death experienced and witnessed by the Cherokee. Perhaps the most compelling part of this piece was the story of Tsali. Tsali made the ultimate sacrifice. Knowing full well that he would be killed, he fought back and ultimately surrendered after killing two men. Indeed, he was a hero. His story is one that this piece takes pride in without over stating the point. Whether we wish to or not, we are forced to visualize this period through the prose presented by Brown. She allows the reader to understand that the "Trail of tears" is not just a hokey title to some sad group. It was an atrocity that made that trail and we ought to know it and know it well.

Management and Business Essay Example | Topics and Well Written Essays - 1500 words - 3

Management and Business - Essay Example Through its Technical Training College, KLM UK Engineering also offers Aviation Safety Agency Part 147 provisions. The company increasing customer base comprises Europe highly established airline operators plus leasing firms like British Airways and Air France. The main base of the company is Norwich International Airport, and the company has three hangars, around eight bays and a wider on site workshop. Moreover, the company has a line maintenance stations located at Edinburgh airport, Glasgow airport and Norwich airport. Due to the constant changing nature of the air industry, the burden on the company is mainly on its staff training. The challenge of training its technicians to support the maintenance demands of constantly renewed fleet is becoming heavy. This is mainly because modern Aircraft are being added to the growing carrier fleet with more advanced equipments, flight decks, and advanced forms of control structures. In addition to the incorporation numerous structural materials, therefore, the challenge is to get and maintain the right human resources and factors to ensure that its personnel skills keep pace with the constantly changing nature of the industry. The technology is changing at very a  rapid pace compared with the speed at which the company personnel are being acquainted with the changing landscape. Cost management is also a major challenge facing KLM UK Engineering due to the increasing industry wide concerns on maintenance efficiency (KLM UK Engineering Limited 5). KLM UK Engineering Limited mission is to offer its clientele with enhanced service solutions leading to safe and dependable aircraft delivered within the client schedule necessities under most favourable cost. KLM UK Engineering invests in talented plus experienced professionals and sustenance systems to enable its customers to attain their operational goals. We offer a competent, rate effective, and specialized aircraft maintenance management, in addition to providing

Mulveys Theory Of The Male Gaze |Critique

Mulveys Theory Of The Male Gaze |Critique In masochism, as in the infantile stage of the helpless dependence that marks its genesis, pleasure does not involve mastery of the female but submission to her. This pleasure applies to the infant, the masochist, and the film spectator as well. (Studlar 782) How does Studlars work on fetishism and masochism challenge Mulveys theory of the male gaze? Discuss in relation to films from classical era and contemporary cinema. Refer to film screened in this unit and films of your choice, with attention to mise-en-scene and narrative structure. Studlar challenges Mulveys theories on the male scopic pleasure as the bearer of control. Studlar also challenges Mulveys statement of the female as lack and instead suggests a sense of power from this lack; the female as a film complexity, being not necessarily the subject of the male gaze but rather the holder of the gaze. Firsly, I will discuss Mulveys theories and Studlars challenges, and compare and contrast the two. After discussing both theories in relation to one another, I will then call on examples from classic and contemporary cinema to justify my arguments and discuss the trends of Contemporary cinema with regards to psychoanalysis. In article Visual Pleasure and Narrative Cinema, Mulvey argues in mainstream cinema, in relation to patriarchal society, women are being portrayed as an erotic object to be looked at in movies as well as an attraction to male gaze. Her theory explains that women are playing passive part in movies while men hold the strong and active character and play as a prominent subject. Therefore, Mulveys theory on male gaze is determined as a sexual pleasure in which male are able to obtain by looking at portrayal of female. (Laura Mulvey (1975). Visual pleasure and Narrative Cinema, in Gerald Mast, Cohen Baudry (eds). Film Theory: An Introduction. 5th ed, pp 746-757. Objectification of women in classical era and contemporary cinema as erotic and sensual figure is still applied. Mulveys work in this theory has been supported by feminist theory; it can be seen in the following quote from literary critics standpoint: In 1975, when Laura Mulvey published her groundbreaking study of woman in film her position as a signifier for the male other, as a projection of male fantasies, and, finally, as a bearer not maker of meaning she gave new shape and direction to the interdisciplinary field of womens studies, motivating scholars in many subject areas to examine and, most interestingly, re-examine the political, cultural, social and literary achievements of women through the ages (Despotopoulou, 569). (Despotopoulou, Anna. Fannys Gaze and the Construction of Feminine Space in Mansfield Park Modern Language Review 99 (2004): 569-583) Films such as The War of the Worlds (1953), The Thing from Another World (1951) give close to no female role/s who take part in advancing the narrative. But that is not to say that all films painted women as an indispensible element of spectacle (Mulvey 750). For example the 1939 film The Women by Metroà ¢Ã¢â€š ¬Ã‚ Goldwyn Mayer Productions is notable for its allà ¢Ã¢â€š ¬Ã‚ female cast. Although the content of the film could be argued, this is a clear example of women controlling the film narrative. Furthermore, her theory of male gaze can be seen in film Fifth Element. The character Leelo which is played by Milla Jovovich in the movie portrayed her as passive object erotic to be looked at. In mise-en-scene and narrative term, it can be shown that her character was touted as the Supreme Being and regarded as the ultimate weapon to counteract the attack from the evil being harming the world. However, the Supreme Being is also subjected to objectification with repetitive display of her breasts, body and being gazed by the casts (which, in effect, also enables its spectators to look at her in an erotic manner). While she is labeled as the Supreme Being, she certainly looked inferior, weak and vulnerable to Korben Dallas (Bruce Willis). Korben was the one who rescued her after being shot in the air duct. Mulvey argues women are regarded as fetishistic display for male viewers pleasure and the spectators embodies the subject (the active role), while the narrative film stands for the object which is the passive position (Carolina Hein, 2006, p. 4). Her concept of to-be-looked-at-ness, exemplifies that women were simply shown on screen in classic Hollywood in order to provide men with visual pleasure and have an erotic impact. Mulvey argues that the distinctive key protagonist within a classic Hollywood film was male and the audience members where similarly typically expected to be men. In classical era as well as contemporary cinema, women are generally passive characters who looked to males for protection and rescue. Gaylyn Studlars theory of Masochism and Perverse Pleasure refutes Laura Mulveys theory of Male gaze. According to Studlar, the viewing pleasure are transmitted to the spectators is derived from total submission to the female. Her theory believes that by using masochism, women are portrayed as idealized power figure, which are both dangerous and comforting, not such as discarded object (Studlar, 1985) (Gaylyn Studlar (1985) Masochism and the perverse pleasure of the Cinema, in Gerald Mast, Cohen Baudry (eds). Film Theory: An Introduction. 5th ed, pp 773-790). In my point of view, Studlars theory of masochism enables bisexual dualism. It means this theory creates an ability of freeing up gendered subjectivity to spectators in mainstream cinema. It technically enables viewer to see both genders, male and female as powerful object. Moreover, this theory confirms the conventional perception of womens incapacity, means that it can influence and change peoples perspective towards woman as being lack and weak. In classical era, movie like Alien (1979) exemplifies women as powerful character. The female character Ellen Ripley leads strong, independent and professional women character. In Alien, Ripley is the strong female character who makes active judgments and survives what is trying to kill her. The male characters activity is largely passive most die quickly, others wait for her command. It is Ripley who makes the plan to defeat the alien which works, while the powerless male Captain makes bad judgments as his unsure plan fails. (Movie analysis: Women in horror films: Ripley, the alien, and the monstrous feminine by Daniel Stephen, http://www.helium.com/items/132886-women-in-horror-films-ripley-the-alien-and-the-monstrous-feminine). Studlars theory in submissive masculine look term, the masculinity factors which are men supposed to portray is symbolized through women character. Instead of being passive character in the movie, Ripley plays as an active and protagonist character which is the opposite of Mulveys theory of male gaze. Ripley holds the gaze from the beginning of the movie until the end of it. One of the final scenes of the film takes place in an escape pod where singleà ¢Ã¢â€š ¬Ã‚ handed, Ripley manages to overpower the invading alien. Ripley is shown as a character that is able to complete tasks that men were otherwise unable to complete. Likewise, Aliens representation of feminism shows women as alien to themselves (Jeffords 74). Jeffords, Susan. Battle of the Big Mommas: Feminism and Alienation. Journal of American Culture 10.3 (1987): 74. This portrayal of women releases the character of Ripley and eventually feminism. Ripley is shown as a Company Woman, reaffirmed at the end of the film when despite The Companys betrayal of herself and the entire crew, [she] disposes of the alien only to sit down and complete her captains log (Newton 297). Newton, Judith. Feminism and Anxiety in Alien in Symposium on Alien. Science Fiction Studies 7. Ed. Charles Elkins. 1980. 297. Her place in this Company Creates the questioning of her position in a patriarchal society. Another example of Studlars theory in contemporary cinema is Disney movie called Mulan.

Poopie Pants :: essays research papers

Poopie Pants When is the End of the World?   Ã‚  Ã‚  Ã‚  Ã‚  The end of the world has indeed in no doubt been a concept that has grasped the minds of both ancient and modern civilizations. Both new and old civilizations are actually very different from each other. While technology is getting better, the old ancient religous views slowly diminish. Although the two are very different, the both have the same destructive result.   Ã‚  Ã‚  Ã‚  Ã‚  The majority of ancient belif in the end of the world comes deeply from their religon. In essence, they belived that their god(s) would destroy them by a natural disaster such as a flood because of their sins. An example of this is that the ancient Romans belived that Zues will flood the world hoping the cleanse earth of all sin. Because Mount Olympus was up so high in the sky, a flood was the natural disaster of choice because it will keep the gods safe. Other religons too belived in a mass flood in the hope to clense of sin. One of the most famous is the Catholic tale of Noah and the Ark. Here, God floods the earth for fourty days and fourty nights while it was Noah’s responsibility to put two of each animal in the ark, hoping to start a new world when the flood was over; much similar to what the ancient Romans belived. No matter what the ancient religon, they really belived deeply in their religon in some sort of natural diaster.   Ã‚  Ã‚  Ã‚  Ã‚  In todays modern world, as technology grew, more different medthods grew out from the two dimentional religous view. To expand on this idea, during the space race in the ‘60s, scientist have learned the devistating effect an asteroid has if the earth was to be struck by one. If it hits land, the dust would cover the earth and not let sun light in killing plant and animal life. We are not even safe if an asteroid were to hit the ocean. Scientist have determined that an asteroid the size of Manhatten would hit the ocean, it would cast a four-hundred foot or bigger tidal wave and engulf most of the continents ocean line. Speaking of Manhatten, eversince the completion of the Manhatten project, humanity has the ability to destroy the world with nuclear, hydrogen, and atom bombs.

How Does the Nature of Children’s Friendship Change with Age

How does the nature of children's friendship change with age? Within this essay I will be looking at how children's friendships change in nature as they age. I will begin first by defining what is meant by the term friendship. I will then examine theories on stage and age development in relation to the development of friendships, exploring research which suggests that the nature of a child's friendship is based on their age.I will look at conflicting research which suggests that although stage's of friendship may be categorized, that there is conflicting research to suggest the ages at which this behaviour manifests itself may not be the same for each child. Finally I will summarize by concluding how the nature of children's friendship changes with age. The very definition of what the term friendship actually means in itself is difficult to clarify and categorize. A dictionary definition defines friendship as an attachment from mutual esteem, and a friend as someone who is loving or attached to another.As an adult it can seem easy to define who are friends are, they are like minded individuals whom we share common interests with, people we trust and socialize with. Other people within our adult life are associates, work colleagues or general acquaintances. The category of friend is reserved for those whom we have developed a bond with and in most cases an emotional attachment to. However, when we consider this in relation to the nature of children's friendship this dictionary definition and an adults view of friendship may not hold true for all children.It also over simplifies the nature and dynamics involved in friendship. Barnes (2003, pg 49) highlights this when he discusses the many experiences children have of friendship, and the emotions and experiences these friendships expose children to, for example it affords them the opportunity to share experiences, develop communication and develop a sense of closeness to another person, however in contrast to this Barnes tells us that friendships in childhood introduces children to a to conflict situations and emotions such as jealousy, anger and loneliness.Best to leave a line space between paragraphs. The significance of childhood friendships can be a difficult area to gauge. The importance of these relationships and the subsequent impact on a child is not something which can be measured with any certainty. Allison James, an anthropologist, states the difficulty of guaging impact but also acknowledges the significance of childhood relationships and the importance of these ‘friendships' in preparing children for later life and adult roles. participation in this tangled web of social relationships helps to shape identity and sense of self which is assumed as s/he moves towards adulthood to become a person in society†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. the actual process of socialisation can only ever be haltingly documented† (James, 1993 cited in Kehily and Swann, 2003. pg 51). James admission that research in this area can be difficult to record and analyse is supported by Barnes when he discusses the reminiscing of childhood by adults in later life â€Å"none of this is to deny the the value of personal reminiscence†¦Ã¢â‚¬ ¦.. ut it serves as a reminder not just to accept it in an unquestioning way† ( Barnes, 2003, pg. 51) American psychologist Robert Selman supports the theory that the nature of children's friendships is influenced by their social understanding which develops as they age. Selman carried out research whereby he posed ‘dilemma's' through scenarios to children aged between three and fifteen, he then questioned the children on their solutions to these dilemma's and recorded these interviews.In doing this Selman came to the conclusion that the nature of friendship could be categorized into four distinct stages, related to four distinct ages. Barnes (2003, pg 56) outlines Selman's four stages, ‘Momentary physical playmate† this is the stage whereby children, usually around the age of three to five will categorize their friends as those who live in their locality, go to the same school and who partake in similar activities.The second stage is ‘ One-way assistance' this is the stage whereby children do things to please another, within this stage Selman acknowledges that although at this stage children may try to adapt to others the friendship is still one sided and there is little evidence of the reciprocal nature of friendship, the age at which this occurs in most children is between the age of six to eight years old. The third stage of Selmans theory is the â€Å"fairweather co-operation† stage usually evident in children aged between nine and twelve years.Within this stage children begin to see the consequence of their actions and begin to act accordingly, that is to say they appreciate that their actions and the actions of their friends are now evaluated and hence they begin to become adapt able taking into account the thoughts, needs and preferences of their ‘friends'. Within this stage Selman argues that children may encounter conflict and disagreements which in turn may cause these friendships to peter out as opposed to enduring. Selmans final stage is called â€Å"mutual concern† this is usually seen around the ages of eleven to fifteen.Within this stage Selmans research suggested that children have developed the skills required to develop stronger friendships based on a mutal understanding Within this stage friendships can survive minor conflicts, Selman acknowledges the fact that, through his research, he found the way in which children describe their friendship has now changed, he found that descriptions were not based on physical descriptions, which had been the case with younger children but were now based on psychological attributes.Selman's theories on stage development of friendships can be compared with other researchers who also concluded tha t their were specific points in a child's life whereby the nature of their friendship differed dependent on age, Barnes (2003, pg 55) comments on Bigelow and La Gaipa (1980) who also categorized the nature of friendship based on particular age/stage brackets. Bigelow and La Gaipa argued that the changing nature of friendship developed alongside children's cognitive development.That is to say as children develop their cognitive understanding and have experiences of social interaction and the nature of their friendships develop and this can be categorized in general terms into particular ages. Barnes uses Zick Rubin, an American psychologist, to illustrate this staging theory, â€Å"Rubin (1980) likens this to climbing a ladder and resting at each rung in order to consolidate the new level of interpersonal awareness that has been achieved† (Barnes,2003, cited in Kehily and Swann).This categorization of stage development is not a new concept in the 1950's and 1960's Jean Piaget a Swiss psychologist through years of research developed theories regarding child development and the stages which children will act in a certain way based on their cognitive development, however â€Å"Increasingly psychologists have adopted a ‘lifespan perspective' which recognizes that development is a process that continues from birth to death†¦Ã¢â‚¬ ¦ he end of childhood, as well as the beginning and middle, is not fixed by chronological age' (Morrow, 2003). It is therefore important not to wholly focus on the age of a child and assume that they will fit into a pre-defined category or stage, in my opinion what Morrow highlights for us is that development isn't fixed in to particular ages and stages, it suggests to me the way in which children and adults act can be determined by other factors such as their surroundings and the experiences they have.Avoid using too many quotations in U212 essays – use them sparingly. We want to hear your answer primarily in your words. Although it can be argued that â€Å"slotting†children's friendship development solely into age brackets isn't conclusive, it is helpful in determining the changing nature of friendship. By using stage development theories such as Selman's or Piaget's theories on the cognitive development of children we can use these ‘stages' to further explore the changing nature of friendship within a wider context.In the case of Selman, research was carried out by interviewing children of varying ages and asking them to comment on scenarios, a different approach in determining the changing nature of friendship has been explored through the observation of children in the context of play and life experiences and comparing these social interactions against the stage models.By taking an ethnographic approach studying children, this involves the direct observation and analysis of their communications, sociologist William Cursaro (1985) explored the way in which children talked abo ut friendship with each other. Through his studies Cursaro identified six distinct ways in which children talked in relation to friendship these included instances whereby children talked about ‘friends' as a method to gain access to play or categorized ‘friends' as the people they were playing with.Cursaro's research was based around children aged between three and five year old and in his findings highlights that empathetic behaviour is displayed even in children at this young age, if we compare this to Selmans stages of friendship development this empathetic behaviour should be seen at around the age of eleven onwards according to his research. Barnes (2003, pg 61) uses Allison James own findings from her study of four year olds to support Cursaro's findings.James (1993) suggests â€Å"through it's discrete performance that children learn about and experience friendship, which means that social contexts in which children find themselves, not simply their age, play th e greater part in shaping children's understanding of the concept† James and Cursaro offer a contrasting view to that of Selman and Piaget in the way in which children develop their friendships. It is clear that age alone can not truly determine how a child will behave towards their ‘friends' and that considerations relating to social experiences and environmental influences have to be taken into account.Common held beliefs, discourses, can also influence the way in which children will behave and react in relation to friends and friendship, factors such as culture, gender and social status will also have a bearing on a child or adults behaviour and thus influence the way in which they behave and feel they should behave. What is clear is that research offers no definitive model on the changing nature of children's friendships it cannot be precise in relation to age when a child will move from one stage to another it merely confirms the fluid nature of friendships.Previous sentence is too long and is actually three separate sentences. However what is apparent is the importance and significance of friendships need linking words or an introduction of some sort here for this quote;gt; â€Å"friendships are among the central ingredients in children's lives from as early as age three†¦Ã¢â‚¬ ¦. through adolescence. Friendships occupy, both in their actual conduct and in the world of thought and fantasy, a large proportion of children's waking hours. They are often the sources of children's greatest pleasures and deepest frustrations. † ( Rubin,1980, cited in Barnes, 2003, pg 52).

Country and Rap Music Essay

The types of music that people listen to are very diverse. Country and rap music are just two of these types of music and the composition of audience that listen to these types greatly vary. The primary reason is that country music is commonly identified with white people who live in the countryside while rap music is commonly associated with black people living in urban cities. For the most part, rap music is relatively a new type of music as compared to country music which, as a result, makes it more appealing to the younger generation. The older generation, on the other hand, are more inclined to listen to the type of music that grew up with, especially country music. One of the unique features of rap music is the way in which the lyrics are vocalized. The sound of rap music usually involves the rhythmic speaking of rhyming lyrics dubbed with the so-called â€Å"beats†. The beats are usually created separately through the use of percussions and other synthesizers. On the other hand, country music usually involves distinct guitar picking patterns with a slightly â€Å"blues† feel. More often than not, country songs involve the use of acoustic guitars although there are instances when the electric guitars are also used in certain parts of the song. The way in which the lyrics are sung is melodic, aptly cohering with the chord pattern of the song. Most country songs are easy to listen to since country music is less of the aggressive type, so to speak. These songs usually tell the story of the country life where the days are reminiscent of the outdoor life close to nature. There are also times when country songs express the love affairs of individuals. But unlike other forms of music, country music is â€Å"a more gentle approach to putting emotions† into music, in a manner of speaking (Lewis, p. 44). Rap music, on the other hand, usually expresses the experiences of an individual in the suburban or urban areas. Most of rap songs commonly involve the narration of how a young black American has to survive and rise to meet the challenges of surviving in a cruel society. These songs also have become stereotyped as the music of young people with a rebellious attitude who are part of violent gangsters in local neighborhoods. Thus, it is not hard to identify rap music as an aggressive type of music. Because of the wide generation gap between the time when either one of the two gain much prominence, there is likewise a great deal of difference between rap and country music in terms of its audience or followers. Rap music, being a relatively new type of music emerging and gaining prominence only in the later part of the 80s—with the exception of the theory that the origins of rap being traced as far back as the time when African-American slaves were chanting rhymes while doing work—the composition of its audience can also be said as younger (Sullivan, p. 613). On the other hand, country music has been around long before the birth of rap music. That being said, a large part of the those who listen to country music belong to the older generation although, of course, it can also be said that there are also young people who listen to country music. Not surprisingly, a portion of those who listen to country music may likewise be composed of those who live in the countryside since they can easily relate to the messages behind each country song. The same can also be said about rap music; those who live in more urban areas have the tendency to lend their ears to rap songs as they can easily relate to the message of most rap songs. For example, the rap songs of the artist â€Å"50 cent† may appeal more to younger people who reside in cities and other urban areas whereas the country songs of Johnny Cash may appeal more to older people who live in the countryside. However, these comparisons do not necessarily mean that there are no countryside people who listen to the rap songs of 50 cent or that there are no urban people who listen to the country songs of Johnny Cash. The point is that it is more likely for urban people to easily associate themselves with the songs of rap artists whereas it is more likely for countryside people to easily relate themselves to the songs of country artists. Rapping can also be done without the accompaniment of any musical instrument. It can even be done in simple impromptu gatherings in common places such as in local streets in the neighborhood. As for country music singing, it is difficult to say if a song is sung in a country music style without the accompaniment of musical instruments such as guitars. At the least, a singer would have to need a guitar in order to sing a country song or to make the song sound â€Å"country† in a recognizable way. In more recent times, rap music has been gaining a steady stream of following from the public with the increasing prominence of several rap artists. Country music, on the other hand, has been kept alive by several younger artists although the likes of Johnny Cash and his generation of country musicians have kept a steady support from the public listeners through the years. If there is one similarity between the two distinct musical genres, it has to be the fact that both country and rap have become cultures on their own. Rap music has become a culture tat has been embraced by individuals which, as a matter of fact, has even resulted to certain divisions among its musicians—the so-called East and West sides. Likewise, country music has created its own sense of culture manifested in the rural areas. Works Cited Lewis, George H. â€Å"The Creation of Popular Music: A Comparison of the ‘Art Worlds’ Of American Country Music and British Punk. † International Review of the Aesthetics and Sociology of Music 19. 1 (1988): 35-51. Sullivan, Rachel E. â€Å"Rap and Race: It’s Got a Nice Beat, but What about the Message? † Journal of Black Studies 33. 5 (2003): 605-22.