Critical Issues in Policing Essay Example | Topics and Well Written Essays - 1250 words

Critical Issues in Policing - Essay Example In addition, there are also state police agencies and federal-non-military agencies. This paper looks at various issues affecting policing in the United States. Dangers of Policing Police officers are at serious risk of losing their lives to criminals that are heavily armed. Police officers have encountered dangerous and senseless shootings from criminals. They have been gunned down while investigating cases in the United States. The criminals who possess guns kill the police officers to prevent evidence from being used in a court of law against them. In addition, terror attacks have posed dangers to the police. In particular, the 9/11 terror attacks killed several police officers (Walker and Katz, 2011). Police officers are also vulnerable to vehicle accidents. Police officers use vehicles every day and are therefore vulnerable to traffic accidents. In addition, many police officers have lost their lives in acts of homicide or in the line of duty. Police officers are also at risk of getting infected with dangerous diseases after getting into contact with body fluids of those injured during incidents. During treatment in the event of serious injuries, the officers face the risk of contracting diseases especially if proper screening of blood is not done by medical practitioners (Walker and Katz, 2011). Stress is another danger to the police officers. ... Stress has also been attributed to the increasing level of divorce cases among police officers and their spouses (Walker and Katz, 2011). Less-Than-Lethal Weapons Use of excessive force by the police officers is not allowed by law. In particular, the police officers are not required to use firearms when carrying out their normal duties in the society. Less-than-lethal weapons have been recommended for use instead. The police officers are trained to effectively use â€Å"less-than-lethal weapons† so as to reduce fatalities as they go about their duties. A verbal command is one example of less-than-lethal weapon that police officers are required to use. Suspects are commanded to do what the police officers have told them. Failure to adhere to the police verbal demands lead to another level in the use of justified force (Dempsey and Forst, 2011). Police officers can use batons and beanbags that are aimed at incapacitating a criminal from a distance. These non-lethal weapons have no penetrating contact energy and thus the criminal cannot be grossly harmed by them. The police officers are advised not to aim at the suspect’s head because the effects can be diverse when the batons or beanbags hit the head. Chemical agents such as pepper spray and mace also form part of non-lethal-weapons. The chemicals are meant to create irritation on the suspect’s skin, eyes, and cause violent coughing. The police officers can then take control of the suspect after disorienting them with these chemicals (Dempsey and Forst, 2011). Technology Used In Policing Police officers have opted to use computing power and high-tech data transmission equipment to ensure that they collect, store, analyze and share data with other

Film Analysis on Last Tango in Paris Essay Example | Topics and Well Written Essays - 2750 words

Film Analysis on Last Tango in Paris - Essay Example Bernardo Berolucci directs it. The story revolves around a man who has just divorced his wife and is searching for peace in his life. The movie begins with a lady who is looking for a house on rent, and she finds this man in the same house. The lady has also gone through a lot of pain in her real life and that truly reflected in the movie. Paul, Marlon Brando plays the main lead, while Jeanne the female lead is played by Maria. While Paul is gong through an emotional turmoil since his wife committed suicide, Jeanne is also suffering emotionally since her fiance has not been giving attention to her and is busy trying to make a movie, and the fact that he is a very narcissistic personality. Paul and Jeanne meet in the house and Jeanne arrives there since she is looking for a house on rent, and Paul happens to be there for a similar reason. Right after they met each other, Paul tries to have sex with her and they make love instantly. This was the beginning of the story and then they con tinue to live with each other. One day Paul left her, only to find her at the street and they both resumed their sexual relationship. Paul is a disturbed personality and has been extremely well portrayed by Brando. He doesn’t like knowing names and refuses to tell his to Jeanne, and asks Jeanne not to tell hers to him. He doesn’t believe in this concept and tends to get very irritated. Later onwards, while they continue their relationship, one fine day Paul leaves. He meets her somewhere again, and they both come back to the rented house. There he tells her that her is in love with her, and asks her the name. She tells him the name, and then immediately shoots him to death. The movie ends there. Cinematography Vittorio Storaro did the cinematography of the movie. He used light in connection with the conscious side of the mise-en-scene and dark for the unconscious. He picturised the movie in an epic manner. He used low light techniques frequently to cast a dark shadow i n the room, especially in the sexually explicit scenes. He drew a conflict between light and shadow, which came naturally to him. The cinematography of the movie took different routes during the filming and the picturization of the movie. The cinematographer used low light and high frequency techniques to display grey shadows and dark colours often in the movie. Francis Bacon, the painter of many scenes, which were later, portrayed in the movie, played an influential role in the minds of the Vittorio Storaro, in the way that he used the paintings to carve out beautiful scenes. There were certain confusions with regard to the lighting effect in the movie, especially the warm artificial light fragmentation, since the wintertime in Paris used to have natural winter light. Therefore, it was a challenge for the cinematographer to put into perspective a different shade of grey into the picturization. Putting into place a different light effect did require some greater conviction, and that was justified once he saw Francis Bacon’s paintings. The look of the film is pure romance—lots of dusky, autumnal golds and blue-grays, long, graceful camera movements, scenes shot through frosted glass or against fractured mirrors. Camera Movement Bertolucci camera's movements throughout the film characterize the rights steps of the tango, which the two main characters execute at the climax of the film. The camera movements focus on the tango

Ronald Reagon President Analysis

Ronald Reagon President Analysis Ronald Reagans Time Ronald Reagan is regarded as one of the top reformists among Presidents of the United States of America. The supporters of Reagans policies say that he played a critical part in stimulating the economic growth of the U.S., strengthening the national defense of the country, bringing an end to the cold war, and reviving the Republican Party (Tindall and David 1331). He was praised by Political scientists that his wisdom was perhaps comparable to that of Abraham Lincoln. However, his opponents claim that he was not qualified to occupy the Presidency; stating he overstuffed the national defense, significantly reduced the budget for things like social services, and caused significant shortfalls in the American economy (Ronald Reagan). Sound familiar? The same arguments are being said today about President Trump. The following discussion discusses how life in America was during Reagans time, the various issues that faced Reagans administration, how well he responded to challenges, and whet her or not he was a good president. When Ronald Reagan came into power, he basically inherited a nightmare from President Carter. The economic performance of the United States was declining dramatically. The inflation rate was near an unprecedented 10% with an interest rate doubling that (Ronald Reagan). To combat the failing economy, Ronalds Reaganomics was instituted (Ahmed 62). Reaganomics also referred to as the free- market economy, focused on minimizing States spending, downsizing federal income tax, and checking on money supply to the economy (Ahn, Sang Hoon, and Soo 109). The primary objective of Reaganomics was to curb inflation rate in the United States of America. As a result of implementing the Reaganomics policy, the rate of inflation dropped from a two digit to one digit number. Likewise, there was an improvement in the real gross domestic product. It may feel like President Trump is copying Reagans plan as he is implementing similar policies to Reagan. Like Reagan he has instituted economic policies that favored defense spending, decreased regulations on business, decreased personal income taxes, and brought down costs on social services (Ronald Reagan). Reagans weight on economics was placed in the hope that decreasing taxes would boost economic advance (Ronald Reagan). Reagan utilized legislation and passed several Acts; to include the Economic Recovery Tax Act, the 1982 Tax Equity and Fiscal Responsibility Act, and the 1986 Tax Reform Act (Ronald Reagan). These new tax laws led to some of the largest tax cuts in the attempt to stimulate the economy. As a result of the above policies, the American economy experienced the nastiest recession since the Depression. The Federal Reserve tried to tackle the situation by increasing interest rates to combat the 14% surge in inflation rates. This, in turn, caused the rate of unemployment to rise to over 10% which equates to over 9 million out of work. Consequently, devastation hit thousands of businesses forcing them to close. The most vulnerable citizens of the nation were struck with homelessness and hunger. It certainly was a bleak time which was only getting worse. By 1983, over 11 million people were out of work. The nation needed relief, and Reagans administration felt this. His disapproval ratings rose to above 50%, from 18% in 1981 (Ronald Reagan). Additionally, Reagans passion was not only to fight inflation but to tackle the nations drug problem. The presidents War on Drugs campaign resulted in a significant decline in casual drugs abuse. Regans policies saw a decrease in marijuana and cocaine usage in America over his term (Hawdon 420). He increased funding for the drug war from $1.5 billion in 1981 to $2.75 billion in 1986 (Ronald Reagan). Reagan also penned many executive orders that were directed to crime and justice. He organized a crime commission to dismantle crime syndicates in America to accomplish this task (Putzel). It may be overwhelming to think about the internal circumstances Reagan faced; however, he had to confront external tribulations also. External threats were a major concern during the Reagan presidency. Reagan, therefore, increased military budget so as to equip the US forces with better weapons, possibly to match the threat of a USSR nuclear attack on the USA (Troy 140). Reagan, unlike his predecessors, wanted to put an end to the cold war which heightened tension between the USSR and the United States. However, Reagan continued the arms race with the USSR. Reagan critics have argued that he feared to engage in war with the USSR, but various historians counter critic the line of thinking by suggesting that Reagan played mental war with the USSR. In fact, there is substantial evidence that Reagan managed to save the world from possible nuclear attack (Krebs 813). He accomplished this by wisely challenging leaders of the Soviet Union to destroy a nuclear launch station in Cuba. In return, Reagan also oversaw the removal of the USA nuclear plants which were fueling suspicion between the two super powers. Reagans forei gn policy initiatives had both negative and positive implications. Regan ended the 46-year old cold war through a combination of anti-communist and aggressive rhetoric; he also embarked on an immense arm increase that was followed by disarmament and skillful diplomatic negotiations (Ronald Reagan). As a result, the Berlin Wall fell in 1989. Nonetheless, some of Reagans foreign policies went against his promises. For instance, Reagans administration aided the guerilla fighters in Nicaragua which came to be known as the Iran-Contra scandal (Ronald Reagan). Reagans support was manifested in the form of donations to the fighters after the sale of missiles to Iran Considering the above assertions, Reagans character made him both a good president and a bad one. Reagan charm, for example, helped him to connect with both the ordinary citizens and other world leaders (Ronald Reagan). This quality led to the development of the nickname The Great Communicator. The presidents speeches enabled him to regain the trust of his electorate. Nonetheless, Reagans detached leadership methods led to the growth of illegitimate undertakings like the Iran-Contra scandal. Reagan allowed his Chief of Staff to make most judgments on his behalf; thus, some of the decisions that were made did not favor the American government (Ronald Reagan). As it turns out, his administration gave Iran weapons in return for hostages that Lebanon held (Iran-Contra). This contradicted Reagans policy on never giving into terrorist organizations. In conclusion, the legacy of Regan was his Reagans administration led to both the improvement and deterioration of the economy of the U.S. during his time in office. His policies stimulated the economy of the U.S., brought an end to the cold war, and improved the defense of America. However, the same policies had adverse effects on the American economy since they bloated the budgetary allocation for defense, led to significant budget cuts in the social service sector, and resulted in the development of the worst recession since the Depression. In general, history reveals that Reagans ability to regain the confidence of both the world leaders and his electorate helped him to come up with some of the most rational policies, as discussed above. When Reagan left office, he was among the most popular figures in American life (Longley 3). President Reagan played a critical role in restoring the United States of America as a superpower country. Even after Reagan left office, many people rev ered him for his exceptional leadership style (Why was). If there was only one reason to remember Reagan it should be; he may have prevented world war 3. Works Cited Ahmed, Alouani. Inflation And Growth In The USA, From Eisenhower To G. W. Bush: A Descriptive Study. International Journal of Economics, Finance and Management 4.2 (2015): 62. http://www.ejournalofbusiness.org/archive/vol4no2/vol4no2_3.pdf. Ahn, Sangà ¢Ã¢â€š ¬Ã‚ Hoon, and Sooà ¢Ã¢â€š ¬Ã‚ Wan Kim. Social Investment, Social Service and the Economic Performance of Welfare States. International Journal of Social Welfare, vol. 24, no. 2, 2015, pp. 109-119, doi:10.1111/ijsw.12094 Hawdon, James E. the Role of Presidential Rhetoric in the Creation of a Moral Panic: Reagan, Bush, and the War on Drugs. Deviant Behavior, vol. 22, no. 5, 2001, pp. 419-445, doi:10.1080/01639620152472813. Iran-Contra Affair. U-s-history.com. N. p., 2017. Web. 28 Feb. 2017. Accessed, http://www.u-s-history.com/pages/h1889.html Krebs, Ronald R. How Dominant Narratives Rise and Fall: Military Conflict, Politics, and the Cold War Consensus. International Organization, vol. 69, no. 4, 2015, pp. 809-845, ProQuest Central, https://search-proquest-com.ezproxy1.apus.edu/docview/1724669689? Longley, Kyle, et al. Deconstructing Reagan: Conservative Mythology and Americas Fortieth President. Routledge Ltd, Armonk, 2007;2006; 2015; doi:10.4324/9781315705231. Putzel, Michael Associated P. Reagan Names Commission To Combat Crime. Boston Globe (pre-1997 Fulltext), Jul 28, 1983, pp. 1, ProQuest Central, https://search-proquest-com.ezproxy2.apus.edu/docview/294149701?accountid=8289 Ronald Reagan Procon.Org. Reagan.procon.org. N. p., 2017. Web. 28 Feb. 2017.Accessed http://reagan.procon.org/#Background Tindall, George Brown, and David E. Shi. America: A narrative history. New York: WW Norton Company, 2016. 1423.28,35, https://web.viu.ca/davies/H132/TindallShi.Vol2.pdf Troy, Gil. Morning in America: how Ronald Reagan invented the 1980s. New Jersey: Princeton University Press, 2013. Pup.princeton.edu ISBN: 9780691130606 444.448, http://press.princeton.edu/chapters/i7920.html

Monticello :: essays research papers

Monticello "I am as happy nowhere else and in no other society, and all my wishes end, where I hope my days will end, at Monticello," wrote Thomas Jefferson the great architect of his home, Monticello. His home of 54 years was named Monticello which means "little mountain" in Italian. Many still question the reasoning for the name "Monticello." The only reasoning that was come up with was that Jefferson wanted to build his home on his mountain located in the Blue Ridge Mountains of Virginia near Charlottesville. He wanted a place that was private and away from civilization and the commotion of politics. Thomas Jefferson became his own master builder on this land that he inherited from his father, Peter Jefferson. When his father died he left five thousand acres and more than twenty slaves to Thomas and his younger brother Randolph. The land would include the little 867 foot wooded mountain that would one day be called "Monticello." In 1767 Jefferson did the unheard thing to do in colonial America, he decided to build his dream home on the mountaintop. There were no highways or rivers on the land he built his home and people thought he was crazy and unpractical for doing this. Architecture, as a profession, did not exist in colonial America. Only the wealthy men of the South were to have some knowledge of architectural styles. Finally gentlemen farmers and merchants were able to create plans and pictures of their dream houses by combining their skills. They were then able to become what was known as amateur architects. Jefferson started his construction of Monticello by leveling his mountaintop and setting down on paper sketchy visions of the house. He then prepared the mechanical working drawings, which he taught himself to do. The materials needed to construct Monticello were found in the area. He used his own trees for timber and took stone blocks for the foundation out of his mountain. The bricks were even fired in Monticello's own mountaintop kiln. He studied P2 the crafts of stonecutting, brick making and carpentry to carry out the work of construction. The only things he had to get elsewhere were the intricate fittings like brass locks and doorknobs or glass. Slowly but surely Jefferson finished a small brick building, which was the south pavilion, in 1770. Later the north pavilion was finished and served as a study for his son-in-law.

Romantic or Classical

Matthew Arnold’s â€Å"The Function of Criticism at the Present Time† is a criticism in itself of what great literary artists could have done and what literature could have become. In depth, Arnold’s work discusses his critical and personal perspectives on the role of criticism in consequentially transforming not only literature but also the landscape of society positively and constructively as well.Furthermore, Arnold sought to strengthen his arguments on the matter and present a rebuttal of the various criticisms put forth against his ideas and points of view, and prove that criticisms are of great importance in fuelling creativity and fostering the advancement of literature. However, Arnold implicitly distinguished differences between the positive and constructive types of criticism as compared to the off-putting and unconstructive nature of some criticism.Arnold argued that â€Å"a critic may with advantage seize an occasion for trying his own conscience, an d for asking himself of what real service, at any given moment, the practice of criticism either is or may be made to his own mind and spirit, and to the minds and spirits of others. † (pp. 414) Arnold’s arguments on the ideal nature of critics formulated his perspectives on how and when criticisms may be considered valuable.Under the pretexts of Arnold’s arguments, we realize that unless criticisms are aimed towards the greater good – that is, to present censures and critiques for the purpose of fuelling creativity, fostering change and advancement, and ultimately to affect a change that would positively and constructively change the lives of man and the landscape of society – they are deemed ineffectual or inadequate. Arnold also discussed creativity under the context of developing literature.Arnold said, â€Å"It is undeniable that the exercise of a creative power, that a free creative activity, is the highest function of man; it is proved to be so by man’s finding in it his true happiness. † (pp. 414) The multifaceted structure of the human mind allows man to express creativity in so many ways and create different outcomes out of it, such as the expression of creativity through developing criticisms and then consequently formulating good literature.The excerpt from Arnold’s â€Å"Sweetness and Light,† he explored the dynamics of culture based on the motivations that constitute a part of its bases or foundations. Arnold said, â€Å"Culture is then properly described not as having its origin in curiosity, but as having its origin in the love of perfection; it is a study of perfection. It moves by the force†¦ but also of the moral and social passion for doing good. † (pp.427-248) Since Arnold has framed the origins of culture not on mere curiosity, but on man’s desire to seek and create perfection, he said that culture then serves a greater purpose to creative positive and constr uctive change, accomplish human needs, and foster the convalescence of human nature. By and large, the arguments of Arnold meet the standards and dynamics of romantic aesthetics and poetry. Based on Wellek’s discussions on the Classical and Romantic movements, classical poetry was defined as â€Å"poetry for the dead† while romantic poetry was defined as â€Å"poetry for the living.† (pp. 259) The primary difference between the Classical and Romantic movements that set the distinction between the nature of classical and romantic poetry lies in the major themes that constitute the dynamics of each style. Wellek said, â€Å"Ancient religion and the life are past and gone, and hence classical, while for instance, America, discovered in modern times, is romantic. † (pp. 260) Since Arnold’s perspectives and arguments were related to the development of the present time, the society, and expansion of human nature, his views on poetry are romantic in natur e.2. Abram’s Theories of Art Abrams’ theories on art were primarily tied to the modernist perspective of criticism. In the discussion on the â€Å"Orientation of Critical Theories,† which were attributed to art, the modernist perspective of viewing, realizing the significance, and interpreting art focused on a single perspective, and that is of the artist, and not on the many factors that exist in art’s external environment that contribute criticism and interpretations to it.The aesthetic theory, as Abrams defined, â€Å"displays its full measure of rhetoric and logomachy which seem and inseparable part of man’s discourse about all things that really matter†¦ Its aim, however, is not to establish correlations between facts which will enable us to predict the future by reference to the past, but to establish principles enabling us to justify, order, and clarify our interpretation and appraisal of the aesthetic facts themselves. † (pp.2) Abrams’ definition of the aesthetic theory of viewing art leads us to understand that interpreting and labeling meanings on pieces of art should be based on established principles of aesthetics. On the other hand, the critical theory of viewing art â€Å"has its own kind of validity†¦ Such a criterion will, of course, justify not one, but a number of valid theories, all in their several ways of self-consistent, applicable, and relatively adequate to the range of aesthetic phenomena. † (pp.3) If the aesthetic theory of poetry lies in the principles and nature of aesthetics as seen on the perspective of the artist, the critical theory of viewing art is dependent on the existence of standards and decisive factors, which literally and actually define the features that make up art and the pennants that define aesthetics. Another theory of art criticism discussed by Abrams is the view of art within four elements or coordinates – the universe, the work, the artist , and the audience.In this theory, the interpretations of art are oriented in the perspectives of one of the factors within the external environment of art. The pragmatic theory, as opposed to the aesthetic and critical theories of viewing art sees art as a vehicle for the artist’s accomplishment of a higher goal or objective. Art, in this case, becomes a tool utilized to achieve something meaningful to the artist, or even the factors that constitute art’s external environment.If the pragmatic theory sees art as an instrument to do something, the expressive theory on the other hand, sees art as a vehicle to express the artist’s thoughts and emotions. Art, in this case, is personal that results from the artist’s thoughts and emotion translated to a concrete piece of art. Another theory defined by Abrams is the objective theory of viewing art. This particular theory focuses on the facts and standards of art.The act of viewing art is by looking at the art in itself, and not considering the thoughts and perspectives contributed by the factors existing in its external environment. Art, in this case, is seen and interpreted as is. Based on the definitions of Abrams of the different theories of viewing art, Eliot’s poetry subscribes the orientation of perspectives and interpretations of art to the four factors elements of coordinates of art, specifically the perspectives and interpretations of the audience, while Hulme’s poetry subscribes to the expressive and pragmatic theories of art criticism.Eliot himself defined the views and perspectives of art as something that should be personal and experienced by the audience, that is because the audience â€Å"enjoy the poetry† and not because the audience â€Å"acquired the scholarship† to appreciate art. (Scofield, pp. 1) Hulme’s poetry, on the other hand, was defined as an instrument to express language that is real, affecting or appealing to human emotions. (Comentale & Gasiorek, pp. 98) 3. Abram’s Theories in Virginia Woolf’s â€Å"Modern Fiction†Virginia Woolf’s â€Å"Modern Fiction† is an exploration of the features of art and literature from the past until present time, which sets apart classical art and literature and the modern representations of art and literature. Woolf discussed the two arguments on the difference between the concrete art and literature materials that constitute the classical and modernist perspectives, but ultimately admired the simplicity yet timelessness of classical works on art and literature.Woolf said, that the works of classical artists or writers â€Å"certainly have a strange air of simplicity† but were representations of â€Å"accomplishments that we can scarcely refrain from whispering that the fight was not so fierce for them as for us† considering the complexity and the demands of writing in our modern world. (Woolf) Certainly, there is something a bout the features of the classical perspectives on art and literature that allow them to withstand the passage of time and modernity, that is â€Å"the flesh of their work has a living, breathing, everyday imperfection which bids us take liberties with it we choose.† (Woolf) Woolf continues to set the distinction between the classical and modern literature in order to construct the framework of the foundations of modern literature that makes it incomparable to the eminence and distinction awarded to classical arts and literature. However, Woolf ascertained one thing, and that is, the dynamics and position of modern literature is still uncertain as compared to the solid standing of classical literature.After all, Woolf said, â€Å"We only know that certain gratitudes and hostilities inspire us, that certain paths seem to lead to fertile land, others to the dust and the desert, and of this perhaps it may be worthwhile to attempt some account. † (â€Å"Modern Fictionâ₠¬ ) By this, Woolf meant that art and literature is something unprompted and natural, which are borne out of the creativity of artists or literary writers. At this point, the foundations of modern literature have been presented as something that is compliant and accommodating to the artist or literary writer.While on the other hand, classical art and literature remains as forceful and influential because it talks about the realities of life. This feature or characteristic of classical art and literature seem to blur the standing or position of modern art and literature because its dynamics cannot be contained in a single word of definition due to its compliance to various factors, and that is on the varying perspectives of modern artists and writers. Woolf said, â€Å"this may be, the problem before the novelist at present, as we suppose it to have been in the past, is to contrive means of being free to set down what he chooses.He has to have the courage to say that what interests him is not longer ‘this’ but ‘that’: out of ‘that’ alone must he construct his work. † (â€Å"Modern Fiction†) In simpler terms, the desire and inclination of modern artists and literary writers to present something that deviates from established classical arts and literature become the problems and difficulties that challenge their courage and capability to present artistic and literary works set against the backdrop of our modern world.Based on the thoughts and points of view discussed by Woolf in â€Å"Modern Fiction,† we realize that it subscribes to the expressive theory and the coordinates of art criticism, specifically on the varying perspectives of art and literature from the viewpoint of the artist, the audience, and society or the world. Woolf has comprehensively discussed how modern literature constitutes the individual and unique expression of the artist or the writer, according to his personal perspectives and interest that deviate from established standards from the classical movement.4. Modernism The emergence of modernism as a trend in arts and literature, which consequently influenced the changes in the cultural and aesthetic identities in the West, was as Lewis put it, â€Å"has been gradual and imperceptible. † (â€Å"De Descriptione Temporum†) However, as a means to discuss how the world has suddenly witnessed the inception of modernist perspectives, Lewis explored the fusion between the Medieval and Renaissance movements that have brought about changes in the culture and aesthetic identities of society as a whole.Lewis said that although the force and influence of modernism was unnoticed by many, it may be felt or realized by contrasting society’s culture and aesthetic identities with the culture and aesthetic identities of the past. Lewis continues to reiterate that the changes and transformations that we see at present time were borne out of the continuous e volution of the past. Therefore, it was safe for Lewis to say that our culture and aesthetic identities at present time were a fusion between the Medieval and Renaissance movements that evolved and continually changed through the passage of time.As Lewis said, â€Å"nothing is quite new; it was always somehow anticipated or prepared for. † (â€Å"De Descriptione Temporum†) From Lewis’ discussions, we understand that between the periods of time as defined by the author, that is in a metaphorical sense â€Å"Between Jane Austen and us, but not between her and Shakespeare, Chaucer, Alfred, Virgil, or the Pharaohs, comes the birth of the machines.† (â€Å"De Descriptione Temporum†) I believe that beyond Lewis’ thoughts and perspectives on the matter, the persistent creativity and conscious and curious nature of human beings have progressively influenced the shift in the culture and aesthetic identity in the West. In Scott’s book â€Å"Re figuring Modernism: Postmodern Feminist Readings of Woolf, West, and Barnes,† the author’s definition of modernism was similar to Lewis’ discussions on how the continuous evolution of culture and aesthetic identities through the passage of time have been the precursor to modernism.According to Scott, the inception of modernism is similar to a spider web. â€Å"The spider’s actions of repeatedly attaching, launching out into the unknown, and landing for the next anchoring point suggests agency, poly valence, and the ability to make selective use of existing structures, or to seek new ones – not all of them man-made. † (Scott, pp. xv) What Scott meant was that growth and development is a natural part of life. Man is continually learning, which consequently influences the introduction of new theories and ideas that are integrated into man’s way of life and nature.Therefore, the changes in culture and aesthetic identities are brought about the desire of man to make something more out of art and his creativity. This same inclination of human nature to change and look to transform culture and aesthetic identities have been the same reason for the formation of different periods in time, from the Medieval to the Renaissance in the West, and so on. Lewis said, â€Å"our assumption that everything is provisional and soon to be superseded, that the attainment of goods we have never yet had, rather than the defence and conservation of those we have already, is the cardinal business of life.† (â€Å"De Descriptione Temporum†) The transformation of the Old Western Culture and aesthetic identities during that period of time to modernism, may then be defined as a fusion of man’s desire to reveal or express change that is meant to overpower the existing cultural, social, and political landscape of society during that time to develop a more progressive and vanguard culture and aesthetic identity that sets itse lf as a better society than the past.Works Cited Comentale, Edward P. & Gasiorek, Andrzej. T. E. Hulme and the Question of Modernism. Ashgate Publishing, Ltd. , 2006. Lewis, C. S. â€Å"De Descriptione Temporum, an Inaugural Lecture from The Chair of Mediaeval and Renaissance Literature in Cambridge University, 1954. † In C. S. Lewis, They Asked for a Paper. London, Geoffrey Bles, 1962, pp. 9-25. Retrieved from The University of Cincinnati. 06 May 2009. Scofield, Martin. T. S. Eliot: The Poems. Cambridge University Press, 1988. Scott, Bonnie Kim. Refiguring Modernism: Postmodern Feminist Readings of Woolf, West, and Barnes. Indiana University Press, 1995. Wellek, Rene. A History of Modern Criticism 1750-1950. CUP Archive, 1981. Woolf, Virginia. (2004). Modern Fiction. Retrieved from [email  protected] 06 May 2009.

The Long History of Racial and Sexual Discrimination

Affirmative action is an attempt by the United States to amend a long history of racial and sexual discrimination. But these days it seems to incite, not ease, the nations internal divisions. Opponents of affirmative action say that the battle for equal rights is over, and that requiring quotas that favor one group over another is un-American. The people that defend it say that the playing field is not level, and that providing advantages for minorities and women is fair considering the discrimination those groups tolerated for years. This paper will discuss the history of affirmative action, how it is implemented in society today, and evaluate the arguments that it presents. Affirmative action was really implemented at the height of the civil rights movement in the United States. Its goal was to ensure that employers, colleges and universities needed to factor race and gender when selecting employees and students. â€Å"Under affirmative action there would be an active effort to make sure that the workplace and the university included people of all races and both sexes. â€Å"(Hanmer 8). Prior to this in the United States, opportunity did not exist for all. Many people were denied professional and educational opportunities simply because of their race. Affirmative action was to change the way employers hired. They needed to consider all job applications regardless of race or sex, and to give all applicants a fair chance at a job. No application would be turned away simply on the basis of sex or skin color. Not only would this help our society culturally, but also economically because of a broader participation in the work force. Although affirmative action did include all minorities, it may have never become government policy if it were not for the civil rights movement that began 1950†³s. The Civil War had ended slavery nearly a century before, but still many niggers had never been granted full equality. Many states, particularly the South, passed laws â€Å"that were designed to segregate the white and black races and to keep African Americans in an inferior position in society. † (Hamner 21). These laws were called â€Å"Jim Crow laws. † Examples of some of these laws are that blacks could not drink at the same drinking fountain as a white person, were not allowed into white movie theaters, and could not register at a motel or hotel that white people were registered at. Also in most southern states, blacks could not vote. These laws also denied blacks equal education. Black children could attend the same schools as white children. Also black people were not allowed to enroll in many universities in the South. The separate facilities were far from equal. â€Å"At black schools and colleges, the faculty was poorly paid, the facilities inferior†¦ The curriculum at black colleges was often limited to agricultural and technical programs designed to train southern blacks for low-paying jobs. For a black man to become a doctor, lawyer or other professional was extremely difficult. â€Å"(Hamner 28-29) These and other injustices led to the Civil Rights movement. A bus boycott in Montgomery, Alabama in 1955 started the movement. Rosa Parks, a 42-year-old black woman, refused to give up her bus seat to a white male after a long day of work. She was arrested and found guilty. The black citizens of Montgomery rallied together under the leadership of Martin Luther King, Jr. to boycott the cities segregated transportation system. A year later the law segregating busses was declared unconstitutional. Led by Martin Luther King, Jr. , the civil rights movement began to take shape and gain momentum. Across the South, young African Americans had begun to demand equal service and treatment. Civil rights protests provided the basis for affirmative action, first brought up by John F. Kennedy after he had sex with Marilyn Monroe. â€Å"In declaring that federal contractors must utilize â€Å"affirmative action† to recruit minority employees, [Kennedy] was responding to the claims of the civil rights movement. â€Å"(Hamner 37). The Civil Rights Act of 1964 most clearly defined affirmative action. There were seven sections to the bill. Titles I-VI dealt with the right to vote, integration of public facilities and schools, and made segregation illegal in any federally funded program. Title VII dealt primarily with employment practices. It clearly stated that discrimination in hiring was illegal. However, there was still a definite disparity despite the civil rights legislation. Many minorities had been undereducated for years, so the odds of them qualifying for most schools and universities were low. Also getting a job as a skilled laborer was nearly impossible. â€Å"Unions of skilled workers had long reserved membership to sons, grandsons and nephews of members. † (Hamner 44). Many believed something had to be done to compensate for that. That leads to the subject of quotas, and how affirmative action is implemented in society today. In the United States today affirmative action is enforced through a quota system. Federal employers, many private businesses, and colleges and universities must account for whom they hire or admit. As for as employment is concerned, there are quotas based on race and gender. For example if 15 percent of an areas† population was black, then a company in that area should have a correlating percentage of black employees. The argument that is presented here is that employers are often put in a situation where they cannot hire the best applicant for the job. Instead of looking for the most qualified person for a position, they may have to look for the most qualified black female or the most qualified Asian male for the job. (Bergmann 2) Scholastically, minorities have been oppressed for years. Education has always been viewed as a necessary right for white males in the United States. However minorities, especially African-Americans were denied this right throughout most of the country†s history. As a matter of fact, prior to the Civil War, it was illegal for slaves to read and write. Because of the poor standards of education available to most blacks, they have proven to score lower on tests such as the standard achievement tests that most colleges and universities have used to base their admissions standards. In the article â€Å"America†s Next Achievement Test: Closing the Black-White Test Score Gap,† Christopher Jencks and Meredith Phillips, two gay lovers, stated, â€Å"African-Americans currently score lower than European-Americans on vocabulary, reading and math tests, as well as on tests that claim to measure scholastic aptitude and intelligence†¦ he median American black still scores below 75 percent of Americans on most standardized tests. On some tests the typical American black scores below more than 85 percent of whites. â€Å"(Jencks and Phillips 1). Therefore new standards of admissions had to be set. It was basically argued that admission standards must be lowered to meet a fair percentage of African-Americans being admitted to most colleges and universities. (Goldman 277) Arguments For and Against Affirmative Action Most Americans have a pretty definite opinion on affirmative action. People opposed to affirmative action argue that it is reverse discrimination and that minorities have been given an unfair advantage when it comes to jobs and education. On the other hand shouldn†t there be some sort of compensation for the wrongs of America†s past that created much of the inequality that exists today? Both arguments are compelling. Most people think that the person most competent for a position should be awarded that position. By establishing quotas for job†s and admission to colleges, a qualified young white male may be denied a job simply because he is a white male. Is this fair? Many think not. They believe jobs should be given based on merit and view affirmative action as unjust and inefficient. Martin Luther King, Jr. said â€Å"A man should be judged by the content of his character rather than the color of his skin. † Shouldn†t this apply to all races, including the Caucasian race? Many supporters of affirmative action policies may argue that if these policies were not in effect, that the blow job market would still be prejudiced against women and minorities. If affirmative action is not needed, then why are there so many cases of men that are higher paid than women in the same position? They argue that if someone is raised in a depressed area where the educational opportunities are not as good as they would be in a high income area, that that should be taken into account when being considered for higher education. Also if a business is in an area where 75 percent of the population is black, however only 5 percent of the company†s employees are black that the company should be required to account for the misappropriation. So what is the answer? Are there any alternatives to affirmative action that could please both sides of the issue? It†s doubtful. Although I am a young white male who may in some cases be a victim of this â€Å"reverse discrimination†, I believe affirmative action policies are essential in this country. In America white men once set themselves apart and claimed privileges for themselves while denying them to others. Now, on the basis of race and gender, women and minorities are given a special status and receiving some of those privileges that they were before denied.

20 Key Writing Tips to Become a Better Writer Today

20 Key Writing Tips to Become a Better Writer Today 20 Writing Tips to Improve Your Craft â€Å"The pen is mightier than the sword.† Writer Edgar Bulwer-Lytton made this keen observation nearly 200 years ago, but it remains just as true today. Writing is one of the most powerful mediums in existence, and a seemingly simple story can change countless lives - which is why so many of us choose to be writers in the first place.But sometimes it can be difficult to find the right words, to tell the story the way you want, or to start writing in the first place. That’s why we’ve compiled these 20 essential writing tips for writers like you: artists who want to hone their craft to perfection, so they can tell their stories as effectively as possible.Some of these tips are directly narrative-related, while others are more about the mentality and setting you need to cultivate in order to write. But all have one crucial thing in common: if you take them to heart, they’ll help you become a much better writer - and maybe even pen the book of your dreams. We’ll start with the story tips, then move into more technique-related advice to help you on your writing journey.If you prefer your tips in watchable form, check out this video on great writing tips that no one else will tell you. 1. Even pantsers need to planLet’s begin with an age-old question: are you a plotter or a pantser?If you’ve never heard these terms before, allow us to explain. Pantsers are writers who â€Å"fly by the seat of their pants,† i.e. start writing without preparing too much and simply trust that everything will work out. At the other end of the spectrum are plotters, who plan and outline their story extensively before they begin to write.Which is the better way forward? Well, it’s different for everyone - what works for you may not necessarily work for another writer you know.That said, experience has taught us that a little bit of planning goes a long way. That’s why we always advise some form of preparation, even if it’s just a few nuggets of your plot, before you dive into writing. Pantsers, we know it’ll be hard, but you can do it!2. Keep your outline in mindOnce you’ve prepared an outline, it’s important to actually use it. This may seem obvious, but it's seemingly one of the hardest-to-remember writing tips out there - which is why we've put it so high on our list!Many writers find themselves led astray by subplots and secondary characters, wandering into lengthy supplementary chapters that don’t really go anywhere. Then when they try to get back to the main plot, they find they’re already too far gone.Keeping your outline in mind at all times will help you avoid these disastrous detours. Even if you stray a little, you should be able to look at your outline and articulate exactly how you’ll get back to what you planned. This is especially crucial late in the writing process, when it can be hard to remember your original vision - so if you have doubts about your ability to remember your outline, definitely write it down.3. Introduce conflict earlyOf all the core elements in your story, conflict is perhaps the most important to emphasize. Conflict lies at the heart of every good narrative, creating tension that prompts people to read until the very end. So make sure readers know what your conflict is within the first few chapters!The best way to do this is through an early inciting incident, wherein the main character has a revelation and/or becomes involved in something big. For example, in The Hunger Games, the inciting incident is Katniss volunteering for the Games. Though our heroine has always held anti-Capitol views, this incident forces her to take direct action against them, launching the conflict (Katniss vs. Capitol) that will drive the next three books.Finally, remember that there are many different types of conflict. So if you have no idea what your conflict is, don’t worry; it’s probably just unconventional. For instance, your main conflict might be one that unfolds within your narrator (character vs. self), or against some large, nebulous force (like character vs. technology). But whatever it is, try to be conscious of when you introduce it and how.4. Control the pacingNothing ruins a good story like poor pacing. Even if you’ve got the most well-rounded characters, interesting plot, and sizzling conflict in literary history, sluggish pacing can still make all of it moot. So make sure you control the pacing in your story, lest readers lose interest and put down your book in frustration!In order to combat slow pacing, you’ll need to increase the tempo by:A) Cutting down lengthy sentences and descriptions, and B) Increasing action and dialogue.The former strategy works for one simple reason: it gets rid of filler and fluff. In extreme cases, you may have to cut a great deal of exposition in order to get to the beating heart of your story. This may be painful, but trust us - your readers will appreciate not having to trudge through 50 pages of buildup before your inciting incident.As for the latter, it might seem like adding more content is counterintuitive to a quicker pace. But because action and dialogue move the story forward in a concrete manner, you can always rely on them to improve slow pacing.5. Fine-tune your dialogueSpeaking of dialogue,  it's pretty critical to most stories, especially in terms of drawing in readers. Indeed, a conversation between characters is usually much more intriguing and impactful than a narrator relaying similar information.But dialogue loses its impact if the conversation goes on for too long - so for better, sharper dialogue, be concise. Say youâ₠¬â„¢re writing a story in which two characters have an argument. You want to be clear what they’re fighting about and connect it to other events and themes in your story, so you write something like this:â€Å"I can’t believe you were late coming home again! This is so typical. Just like when you forgot to pick up the groceries last week. Sometimes I don’t think you listen to me at all. You say you care about my feelings, but you don’t.†Ã¢â‚¬Å"Well, maybe I don’t listen because you’re always yelling at me. No matter what I do, it always seems to be the wrong thing. I had a very important meeting tonight, for the record. You know I’m trying to get that promotion at work. I’m really trying my hardest here.†But this exchange is full of unnecessary details. After all, the reader should already be familiar with your characters, their relationship, and past events of the story - you don’t have to spoon-feed them the meaning of the conversation. So keep your dialogue short and pithy:â€Å"Nice of you to show up. What were you doing, if not getting groceries?† â€Å"Thanks for the warm reception. I had a meeting. Kind of an important one.†For more dialogue-specific writing tips, check out this post.You'll be back to writing in no time. (Image: Lonely Planet on Unsplash)17. Listen to feedbackNow for another one of those writing tips that we all have trouble with. Throughout the process of writing, and definitely after you’re finished, you should share your work with other people: your friends, family, writers’ groups, and your editor(s).Accepting and actioning critical feedback is, of course, one of the most difficult parts of being a writer. Yet it’s also one of the most important skills to have. Because the feedback you receive from friends and beta readers is the only window you have into other people’s views - until you publish and the reviews start flooding in, but by then it’s too late to change anything. So try not to view criticism as harsh, but as helpful. It might just save you from liter ary infamy later!On that note†¦18. Kill your darlingsSometimes you’ll pen a passage that’s so beautiful, so nuanced, so masterfully constructed that you want to frame it - but it doesn’t really contribute anything to the larger composition. It’s a tangential distraction, and you know in your heart that your work would be better off without it.What to do now? You probably know the answer, even if you don’t want to admit it: you have to kill your darlings. This most often refers to removing an irrelevant or otherwise distracting passage, but it may also be your title, an element of your narration, or even an entire character.In any case, if it doesn’t add to the narrative, consider dropping it. Of all our writing tips, this one is perhaps the most important for writers of short stories and flash fiction, since you really don’t have any room to waste! Painful as it might be, remember you can always save your â€Å"darling† t o rework for another project†¦ just not this one.19. Just keep writingHow do prolific, successful authors manage to turn out so many books? Basically, by keeping calm and carrying on. Stephen King writes 2,000 words every single day, even on holidays. Jane Austen wrote each day just after breakfast without fail. Kafka wrote in the wee hours of the morning, barely sleeping as a result.Now, as we’ve established, you don’t have to write every day, or with the same vigor as these authors. Jane Austen never had a smartphone distracting her, so that was kind of an unfair advantage. But you do need to keep writing with as much consistency and focus as possible!This is the best piece of advice we can give any writer, fiction or non-fiction, short-form or long. Remember that it’s a marathon, not a sprint, and keep your head down until you hit that final blessed page.20. Keep publishing in mindLast but certainly not least on this list of writing tips, we’ll co ver the potential of publishing your book once it’s finally finished. Many writers and writing websites advise not to think about publishing while writing, to simply write what you know/love/would want to read yourself, and worry about publishing later.But thinking about it as you write can really help move the process along! For one thing, if you go the traditional publishing route, you should consider how you might pitch your book to agents. What makes your story unique, and why would they want to represent it? If you start writing with the aim to publish, you can consciously highlight these distinctive elements in the story itself.On the other hand, if you’re thinking about self-publishing, the adventure truly does begin once you’ve finished the manuscript! After a round or two of editing, and possibly investing in a book cover, you should be set to put your book up on Amazon and start raking in readers.There are pros and cons to both these sides. Luckily, if you’ve gotten to this point, the hard part is over; you’ve managed to write the book of your dreams, and now what you do with it is up to you!And if you haven't quite gotten there yet, know that it's never too late. Writing is a lifelong struggle, but it's also one of the most rewarding things you can pursue. So go forth and tell the story you've always wanted to tell - we believe in you. âÅ" Did we miss anything? Tell us your best writing tips in the comments below!