American Literature

Edwin Arlington Robinson- father/mother/ 2 brothers died. Love of life married brother. Never Married. Wanted to be poet since age 11 and chose to live In poverty. Wrote traditional poems. Old-fashioned but deals with modern problems. Philosophy: Behind â€Å"the peaceful and genteel communities of small-town America† lies a substrata of failure, â€Å"loneliness, and terror. † Conflict with light and dark with the individual. Major Works; The Children of the Night, The Man Against the Sky, and The Man Who Died Twice. Quotes; I finally realized I was doomed, or elected, or sentenced to life, to the writing of poetry†¦Major Works; A Boys Will, North of Boston, West-Running Brook. Quotes; â€Å"l am not a teacher but an awakener. † ; Education is the ability to listen† ; â€Å"Poets are eke baseball pitchers. † ; â€Å"In three words I can sum up everything† ; A poem begins In delight and ends in wisdom† ; â€Å"The world Is full of willing people† ; â€Å"And where an epitaph to be my story I'd have a short one ready for my own. † Mending Wall, Home Burial, The Road Not Taken, Birches, Fire and ice, Stopping by Woods, Desert Places, Design, Nothing Gold Can Stay, Out Out, Departmental. T. S. Eliot; The Hollow Men, The Love Song of J. Alfred Frock.William Carols Williams- pediatrician. Images, suggest rather than offer, present concrete Images, strive for Pictures from Brushes, Paterson, The Farmer's Daughter and Other Stories. Quotes: â€Å"If you can bring nothing to this place† ; â€Å"The better work men do is always† ; â€Å"When they ask me, as of late† ; â€Å"If they give you lined paper, write the other way. † ; â€Å"It is difficult to get the news from poems† ; â€Å"Poets are damned but they are not blind† ; â€Å"One thing I am convinced more and more is true and that is this† ; Tract, The Great Figure, The Red Wheelbarrow, This Is Just to Say, A Sort of Song.E. E. Cummings- 3 months in French prison, Harvard. Unorthodox punctuation, compressed spacing, literary cubism. (Grasshopper) Images: avoid click ©s, create new rhythms, use common speech. Philosophy; spontaneous, rebellion against conformity, authority, exploitation of life, romantic and sexual love. Major Works; Tulips and Chimneys, XSL Poems, ViVa, No Thanks, 1 * 1, Agape: Seventy-One Poems, The Enormous Room. Quotes; â€Å"The most wasted of all days is one w/o laughter. ; â€Å"To be nobody but yourself in a world which is doing† ; â€Å"A political is an erase upon which† ; â€Å"The poems to come are for you and me† In Just, My Sweet Old Etcetera, I sing of Loaf glad and big, If There are any heavens, Plato Told, I thank you God, she being brand-new, Jimmies got a soil, Old age sticks, Pity this busty monster unkind, L(a), Next to of course God America l, look at this, who are you, little l, Maggie and mills and molly and may, I carry your heart with me, I like your body when it is with your. Longboats Hughes- Lawrence, Topeka.Black writer. Rhythms of Jazz and blues. Oral tradition of black culture. Philosophy: direct engagement with people, pride of heritage, promotion of racial Justice. Major Works; The Dream Keeper, Montage of a dream deferred, Not Without Laughter. Quotes; â€Å"A dream deferred is a dream denied. † ; â€Å"l have discovered in life that there are ways† ; â€Å"Humor is laughing at what you haven't got when you ought to have it. ; â€Å"Like a welcome summer rain† ; â€Å"l swear to the Lord† ; â€Å"l will not take but for an answer. † ; â€Å"Well I like to eat sleep drink and be in love. ; â€Å"Oh god of dust and rainbows† ; â€Å"7 * 7 + Love = † The Energy Speaks of Rivers, The Weary Blues, Song for a Dark Girl, Trumpet Player, Motto, Harlem, Dream Variations, I too sing America, theme for English B. F. Scott Fitzgerald- named af ter cousin who wrote star spangled banner. Wife was Zelda. Heavy drinker. Zelda became mentally ill. Clear lyrical prose. The American Dream. Philosophy: The lost generation, all gods dead, all wars, fought, all faiths hake. Major Works; The Side of Paradise, The Beautiful and the Damned, The Great Gatsby, Tales of the Jazz Age, Tender is the Night, The Last Tycoon, The Curious Case of Benjamin Button.Quotes; â€Å"In a real dark night† ; The test of a first-rate† ; â€Å"Sometimes it is harder† ; â€Å"First you take a drink† ; â€Å"Either you think or else others have you think for you† ; â€Å"Family quarrels are bitter things† ; â€Å"I'm a romantic† ; â€Å"It is in the thirties† ; â€Å"Never confuse a single defeat with a final defeat. † ; â€Å"The world as a rule† ; â€Å"The faces of most American women† ; â€Å"Show me a hero and I will write you a ragged. † ; â€Å"There are no second ac ts in American Lives. † Babylon Revisited allegory, gothic romance. Philosophy; southern memory, reality, myth.Major Works; Sartorial, As I lay dying, light in august, Abyssal, the unvanquished, go down Moses, intruder in the dust, the sound and the fury. Quotes; â€Å"Given the choice† ; â€Å"The young man or woman writing today' ; â€Å"Always dream and shoot higher than you know you can do† ; â€Å"If I were reincarnated† ; â€Å"A mule will labor 10 years† ; â€Å"Loving all of it even while he had to hate some of it† ; â€Å"I believe that man will not merely endure. He will prevail. A Rose for Emily Ernest Hemingway; mother dressed him as a girl until he was 6. Suffered from malaria, skin cancer, anemia, depression, diabetes, high blood pressure.Etc. Survived 2 plane crashes in 2 days. Athletic prose, iceberg theory writing style. Major Works: The Sun also rises, in our time, men w/o women, a farewell to arms, death in the afternoon, the snows of Kilimanjaro, for whom the bell tolls, the old man and the sea. Quotes; â€Å"Always do sober† ; â€Å"But man is not made for defeat. † ; â€Å"Courage is grace under pressure. † ; â€Å"Every mans life ends the same way.. † ; â€Å"Madame all stories if intended far enough end in death† ; â€Å"Never think that war no matter how necessary' ; â€Å"The world breaks everyone and afterward many are stronger at the broken places. The Hemingway Hero; suffered traumatic experience and lives.. Code Hero Big Two-Hearted River John Steinbeck; Journalistic, lyrical, biblical rhythms. Philosophy; fight against poverty/ social injustice, combo of realism, romanticism, and naturalism. Major Works; Tortilla Flat, The long valley, the red pony, of mice and men, the grapes of wrath, the pearl, the log from the sea of Cortez, cannery row, east of Eden, the winter of our discontent, travels with charley. Valued privacy. Wrote screenplay for Lifeboat . American Literature ?American literature is any written work of art that is created in the United States. American literature is like all literature, it has literary experiences and contextual history of America. It depicts how America has changed is still changing today. American literature has changed over time just like most canons of literary works. The uniqueness of American literature is that America from its beginning had a special philosophy of life and freedom. The special philosophy of life and freedom that made American literature so unique was reflected in its writings.Americans believed and had faith that God was and is the given of all our rights and freedom. We as Americans had faith in ourselves that we could succeed in anything that we try doing. The literature that we Americans wrote made life worth living because it was displayed for the world to read and understand that life was what we made it. Also by Americans having the ability to spring back from diversity made life worth living and George Washington was a perfect example of this. Literary canon is basically a suggested list of readings that belongs to a country or a certain period in time.Literary canon contains literary works that is mainly by authors who are accepted as an authority in their field and their writings constituting a serious body of literature in any given language. The works that are collected that is included in a literary canon is approved largely by cultural and academic institutions and is observed as literature of that language. Literary work’s popularity is not based only on the quality, but on the relevance of what matters to the context historically, socially, and artistically.Literary canon relate very well to what is going on in society because of what is most important at that time work is being written. The context of the society, whether it is historical, social, or artistic, that is basically the topic. Ethnic writers express the special challenges of realism, natural ism, and regionalism within the American literary experiences. Realism labels a movement in English, European, and American literature that gathered force from the 1930s to the end of the century.Realism attempted to record life as it was lived rather than life as it ought to be lived or had been lived in times past. William Dean Howells stated that realism â€Å"is nothing more and nothing less than the truthful treatment of material. † Present-day literary theorists are probably more aware of what may be called â€Å"the crisis of representation†-the difference between representation and the thing represented-than were these realists of the late nineteenth and early twentieth century.Naturalism is understood by some as an extension or intensification of realism. It introduces characters from the fringes and depths of society whose fates are determined by degenerate heredity, a sordid environment, and/or a good deal of bad luck. Regionalism writing, another expression of the realist impulse, resulted from the desire both to preserve a record of distinctive ways of life before industrialization dispersed or homogenized them and to come to terms with the harsh realities that seemed to be replacing these early and allegedly happier times.By the end of the twentieth century, every region of the country had a â€Å"local colorist† to immortalize its natural, social, and linguistic features. Ethnic writers define literature as literature that is written by people of a different culture, language, religion, or race. It differs from the canon of traditional American literature because literary canon is a list of work from American instead of from a different race or religion. The historical, socio-political, and cultural topics that might be covered by ethnic writers would be slavery and how the slaves were treated during that time.Slavery is a topic that can be covered under all three. Government issues are a topic that could be covered under so cio-political. The debate against government issues such as health care and taxes could be something that ethnic writers could write about. It does not differ from the canon of traditional American literature because the writings have to be by authors who are accepted as an authority in their field and their writings of literature in any given language. American Literature A . Some of the best names that come into mind when one speaks of modern English literature and fantasies are Editha, and Kate Chopin. Their works stand tall in the golden pages of modern literature, influencing most people of this generation and many more to follow. They have painted and breathed life into each character of the novel, The Awakening, with great magical artistic skills. Such is the greatness and purity of the artists that they are believed to have given birth to a completely new form of writing that the modern Literature is so proud of.Hence they are considered premodern. There are some more writers such as Tolkien who have contributed immensely towards this. â€Å"I believe, Mr. Tolkien has succeeded more completely than any previous writer in this genre in using the traditional properties of the Quest, the heroic journey, the Numinous Object, the conflict between Good and Evil while at the same time satisfying our sense of historical and social reality† (W. H . Auden, 1956). The greater the power, the more dangerous is the abuse. The truth in the statement is well proved in Tolkien’s The Hobbit.The author makes his political report in this twentieth-century fable that could be relished as an elating and exhilarating story. He, very well comments upon the abuse of political power and how the poor and down trodden fall prey to the diplomacy of sly rulers. In the midst of haziness between an imagination and reality this twentieth-century fable portrays the evil in Middle-Earth as totalitarian evil and that war is an immense ingredient of this malevolence. Many premodern authors have flourished on the fantasy genre. Age cannot wither their novels nor custom stale their infinite variety.The best, modern novels seem inexhaustible. They are a permanent source of inspiration for humanity. Fantasy literature generally encompasses unreal, nonhuman creatures, unusual powers, created mythologies and imaginary settings. Frost, who can also be termed as a premodern poet remains faithful to the spoken language of his time. His language, in the poem, is a mixture of playfulness and seriousness. He portrays regionalism with its rich stock of images, situation and anecdotes. This in turn provides an abundant source for metaphors and symbols.The conversational tone and the dramatic situation in the poem strike the readers. The picture at the core of â€Å"Mending Wall† is striking. Two men convene on terms of good manners and sociability to put up a barricade between them. The wall is erected out of convention, out of tradition. Nevertheless the very ground works against them as well as makes their task thorny. The two neighbors thrust stones, back on top of the wall; however as a result of hunters or elves, or the chill of nature’s imperceptible hand, the boulders topple downward yet again.The informal fashion and lack of rhyme masquerade the ploy in Petit the Poet. Some of his most praised and entertaining work s involve Petit the Poet and Seth Compton, marvelous creations of Edgar Lee, best reveal his blending of wit with humor. His personal and conversational style makes the reader involved in his tone and mood. He takes the reader into confidence through his easy and delightful pace. Furthermore it appears quite realistic with some witty descriptions.The tone is very somber and the reader cannot help but a distinct hopelessness, of the plight of human beings not being able to choose what they remember, and also that the memories cherished today, will be much different than the memories cherished tomorrow. C. Mending Wall Robert Frost was born in San Francisco, U. S. A, in 1874. Disenchanted with the lofty subjects of many American poets, Frost opted to write about country life with which he was most familiar. In the poem, â€Å"Mending Wall† shows sound posturing, a form of writing based on the tones of everyday speech.In his collection, North of Boston (1914), Frost began to exp eriment with poems of monologue and dialogue, which critics have called his dramatic poems. The present poem, â€Å"Mending Wall† too reflects his interest in dramatic and natural speech. The stanzas of the poem â€Å"Mending Wall† are straightforward also sound more akin to an extraordinary human frame of mind than a fuming portrayal of the poet’s neighbor. A breakdown of the rhyme scheme sends the reader into a mesmerizing situation and the words is comparatively free from portentous and dark imagery. Robert Frost’s poetry is well known for its intensely personal and touching theme.A great deal of Frost's verse is confessional and reveals his life experiences through metaphor or explicitly. â€Å"Mending Wall† asserts his abhorrence for a wall or a barrier between human beings. This Frost does through the exercise of powerful imagery articulated through language, structure, and tone. A wall divides the poet's land from his neighbor's. They get to gether to saunter to the wall and mutually mend it, when it is spring time. â€Å"Something there is that doesn't love a wall, That sends the frozen-ground-swell under it, And spills the upper boulders in the sun,And makes gaps even two can pass abreast†. (Lines 1-4) The speaker sees no reason for the wall to be kept–there are no cows to be contained, just apple and pine trees. He does not believe in walls for the sake of walls. The neighbor chooses to stick to his father’s words: â€Å"Good fences make good neighbors. † The poet remains skeptical and impishly forces the neighbor down to come across the outdated interpretation. However his neighbor will not be persuaded. The poet visualizes his neighbor as a leftover from a reasonably obsolete time. He is an existing paradigm of an old orthodox.Nevertheless the neighbor merely goes back over the saying. Frost retains five stressed syllables designed for each line; however he shows a discrepancy in the fee t widely to maintain the usual dialogue in the rhyme. The dearth of radiance, gloom and unhappiness, have been brought into play. Perceptibly the wall is thought of as a vengeance for transparency, light and security. The turnaround of proceedings in the poem reiterates the dismay of hostilities and the futile misfortunes that could have been evaded if those drawn in would have scrutinized the dealings they were caught up with.Even though the reader of the poem gets the notion of the neighbor portrayed in the poem by Frost, he does not subsist outside of descriptions of men from the past or historical pictures. The poet’s neighbor is, in many senses, of a weak temperament rather undeserving of examination because there is nothing that detaches him an ordinary human being. There is realization that hostilities are but a ploy to gain power and supremacy over the feelings of people. A sense of guilt revolves around the entire novel and expresses that wars are unfortunate and onl y a gamble where the leaders resort to exploit the poor, down trodden masses.â€Å"Mending Wall† is a lingering recollection of life events and dreams that have spiraled out of control due to hostilities. The hopes and dreams that once seemed so right and so justifiable become shattered because of the wall that inflicts the very core of the poet’s soul. Frost remains faithful to the spoken language of his time. His language, in the poem, is a mixture of playfulness and seriousness. He portrays regionalism with its rich stock of images, situation and anecdotes. This in turn provides an abundant source for metaphors and symbols. The conversational tone and the dramatic situation in the poem strike the readers.The picture at the core of â€Å"Mending Wall† is striking. Two men convene on terms of good manners and sociability to put up a barricade between them. The wall is erected out of convention, out of tradition. Nevertheless the very ground works against them a s well as makes their task thorny. The two neighbors thrust stones, back on top of the wall; however as a result of hunters or elves, or the chill of nature’s imperceptible hand, the boulders topple downward yet again. â€Å"The work of hunters is another thing: I have come after them and made repair Where they have left not one stone on a stone,But they would have the rabbit out of hiding,†(lines 5-8) Even then, the neighbors carry on with their work of mending the wall. The poem, consequently, looks as if it contemplates typically on themes like, human construction of blockades, separation, and hostility. What sets in motion in unsophisticated candor ends in intricate symbolism. This wall-building work appears primeval, as it is portrayed in formal, conventional terms. It engrosses â€Å"spells† to work against the â€Å"elves,† and the neighbor comes into view as a Stone-Age savage at the same time as he lifts and carries a boulder. â€Å"We have to u se a spell to make them balance:‘Stay where you are until our backs are turned! ‘ We wear our fingers rough with handling them. Oh, just another kind of out-door game,†(lines 18-21) Frost’s treatment of objects of nature shows that he does not idealize or glorify them. His attitude towards the stone wall is not actually that of a realist, nor so much of a romantist. Frost’s poems on natural objects are not dealt with as the starting point for the mystical meditation. Like other poems, â€Å"Mending Wall† carries a moral but the moral is indirectly presented either as a dramatic situation. Frost’s poems are profoundly philosophical in spite of their homely diction.In â€Å"Mending Wall†, he uses symbolism to communicate a deep rooted principle. The symbolism in the poem comes out as an indirect method of communication. The poem has a surface meaning but it also shows a deeper significance, which is understood only through a closer scrutiny of the poem. D. Edgar Lee Masters is acclaimed as one of the leading humorous poets of the world. He has produced some of the best works of his time. His readers have long appreciated him for his classical interpretation of human nature and several critical thematic concerns of society but yet in a most humorous, easy and light hearted representation.One of the simplest and easy flowing poems of Edgar Lee is Petit the Poet. The informal fashion and lack of rhyme masquerade the ploy in Petit the Poet. Some of his most praised and entertaining works involve Petit the Poet and Seth Compton, marvelous creations of Edgar Lee, best reveal his blending of wit with humor. His personal and conversational style makes the reader involved in his tone and mood. He takes the reader into confidence through his easy and delightful pace. Furthermore it appears quite realistic with some witty descriptions.The tone is very somber and the reader cannot help but a distinct hopelessness, of the plight of human beings not being able to choose what they remember, and also that the memories cherished today, will be much different than the memories cherished tomorrow. The poem is composed to 18 lines. The concluding verse shows an analogous allusion. â€Å"Seeds in a dry pod, tick, tick, tick, Tick, tick, tick, what little iambics, While Homer and Whitman roared in the pines? † The concluding part of the poem brings us backwards in time, which allows the reader to view true accounts and suffering that people have to endure in a village.Thus Petit the poet, no doubt is thought to appall us yet again but with a twist. Thus the irony in, Petit the poet, comes through as we read it. The analytical issue of Seth Compton is beautifully depicted with a humorous disposition. The poet describes human behavior through the process of loving and forgetting. The poet tactfully and with an aroma of humor, describes the social and moral matters of the modern times from the perspective of a clean hearted human being. He craftily incorporates humor to the arena and at the same time, trying to bring into light the disgrace of corruption.For this kind of his writing, he has been also long criticized for his more moderate representation of the extents of social illness of the time. The Poet is distressed to see the state of the people after death. The circulating library that he constructed was son disposed off. â€Å"When I died, the circulating library Which I built up for Spoon River, And managed for the good of inquiring minds, Was sold at auction on the public square† The poem gives a feeling that Seth Compton has been keeping a note of all the happenings after his death.During the period when the poem was written, although seemingly flowing in a positive direction, human relations were beginning to withstand new strains, trapped now in a cleverer and more civilized society. These relations were more official and formal than social and personal. This new form of the society was less institutionalized but at the same time was more difficult to resolve or combat. This new tactic, intoxicated with the velvety diplomacies of pity, care and tolerance, made things even worse. Very ironically and rightly, the Poet criticizes the aspects of morality in terms of critical social concerns. American Literature Mark Twain's celebrated novel Tom Sawyer (1876) has generally been considered by literary critics to slightly less accomplished on a technical and thematic level than its purported sequel, The Adventures of Huckleberry Finn, (1885).Although many reasons for this discrepancy in the level of critical reception of the two works may be reliably cited, one of the contributing factors to the critical reception of Tom Sawyer both on its initial publication in the nineteenth century and during its present status in critical estimation is the function of literary realism. In short, because Tom Sawyer represents to most literary critics a â€Å"less sophisticated† execution of Twain's literary technique, it also functions a less developed example of Twain's expression by way of literary realism.Important, also, is that fact that Twain was and is viewed by critics as one of America's foremost realist writers and Twain's realism is regarded as having had a liberating influence on American literature as a whole: â€Å"It led him to make use of the vernacular and ultimately to develop popular speech, as an instrument for character portrayal and effective narrative, to near perfection,† (Long 102) which, in turn, led to the first authentically American idiom in fiction.However, as in Huckleberry Finn, the aspects of realism (or verisimilitude) which permeate Tom Sawyer, also function as â€Å"scaffolding† for mythic ideas and iconographic expression which directly contradicts the purpose and function of literary realism itself. In essence, by regarding realism in Tom Sawyer not a governing principle of Twain's aesthetic, but rather as a tool or a literary device which is used to convey a deeper theme or aesthetic — namely romanticism — can be identified.In Twain's case, the romantic or idealized strains of his theme in Tom Sawyer relate directly to the myth of American expansion and prosperity which were as prevalent cultural fascinations in nineteenth century America as they are in twenty-first century America.Before Tom Sawyer itself can be examined in light of its use of realism as a literary device, it is important to restate what the (critical) understanding of literary modernism is really all about and what literary modernism meant to the writers who comprised the movement in its earliest stages and what literary realism means to contemporary literary critics, and specifically those critics who have turned their energies to explicating Tom Sawyer.It should also be pointed out that Twain presents special problems even for the most studious and energetic of critics because his work is founded, first adn foremost upon humor, which is a very difficult literary premise to quantify and define in critical terms. Despite the fact that â€Å"criticism is notoriously helpless in the presence of writing that is really funny† (Smith 1), specific aesthetic principles and influences can be rooted out and separated to so me extent from the over-riding satirical vision in Twain's work.Any attempted critical understanding would be greatly aided in first accepting Twain as a literary realist as this designation is the most expedient as to opening a â€Å"clear window† into the purported purpose and themes of Twain's writings. Literary realism comprised an artistic response to the changing social conditions beginning in the 19th century which saw a dominant rise of industry, science, and rationality in western culture. Realism attempted to develop a literary idiom which was able to convincingly portray the actual events and circumstances of life.The movement toward realism can be seen as an artistic mode of grappling with changing and frightening circumstances of western culture. In addition to seeking out themes of social significance, writers such as Zola, Dos Passos, Eliot and Flaubert — advanced a narrative technique which â€Å"jettisoned rhetoric–a stylized language of elevat ed expression designed to demonstrate that the writer had mastered the tradition of polite letters–for everyday speech, (Borus 22) so that highly-stylized narratives still evoked the realism of everyday speech and everyday life.Part of the technique of literary realism involved the use of dialect, sometimes extensively, to create the sense of verisimilitude which was essential to the realist aesthetic. The combination of real-world dialect and the studies technique of the realist writers resulted in a unique blend of linguistic styles which resulted in a generating a set of readers who considered themselves â€Å"cultivated readers of dialect, † (Barrish 37). because realist writers sought to evoke in extensive detail, the living settings of their works, many realist writers were committed to regionalism — that is, they wrote about the world they experienced directly.Examples of this are Faulkner who wrote extensively about a fictional Southern county which was based on counties which actually existed. Realist writers desired to create fiction that felt and read as close to real life as possible in order to allow readers to â€Å"see† and experience aspects of life which would otherwise have remained unknowable to them. With this bit of critical history in mind, one further aspect remains quite important relative to Twain and that is the fact that â€Å"realism as a guiding principle of criticism† (Smith 5) has been rigidly and thoroughly applied to Twain's work with the resulting conclusion that â€Å"shortcomings [†¦] have led to its gradual abandonment during the last quarter of a century on both sides of the Atlantic. † (Smith 5). What are these shortcomings, specifically? The answer to that question is complex and lies in the seemingly comprehensive nature of Twain's realism. The fact that Twain's realism is distinct from naturalism or purely journalistic writing is his sophisticated employment of realism as a device, rather than as a guiding principle of theme or overall technical approach.In other words, because â€Å"Mark Twain's realism does not stop at externals† (Smith 29) that same realism must by necessity engage emotional, psychological, and â€Å"spiritual† (or mythic) concepts and identities which are by definition elusive of any â€Å"realistic† depiction. By delving deeper than â€Å"externals† Twain must, by necessity, abandon verisimilitude as a guiding aesthetic principle and instead accept it as a device, like a single color on a painter's pallette.In order to illustrate this somewhat elusive point, it must be emphasized that Twain's external realism is devastatingly powerful adn accurate, almost â€Å"photo-realistically† so. Twain is obviously quite capable of conveying â€Å"the special atmosphere of each characteristic environment† (Smith 29) and from this mastery of description of the external world, the reader is led to â €Å"trust† that Twain's excursions into the â€Å"inner† world will be just as faithfully rendered and just as obviously based on â€Å"reality.† However, a clear, if subtle, distinction separates Twain from â€Å"photorealistic† artists. A key aspect to Twain's particular use of realism is that â€Å"His purpose is not to say everything, nor even to present everything in an objective way† (Smith 30) but render the impression that what is described, whether it be a river, or a young boy's stream-of-consciousness inner-monologue, is a faithful representation of the actual world.By rendering the impression of realism rather than a rote â€Å"copy† of nature, â€Å"Twain allows himself to pursue his inquiries into reality with varying intensity, to support his observations with a wider or a narrower range of evidence† (Smith 30) and, by doing so, achieves an acumen which is capable of â€Å"misleading† he reader into mistaking wha t is actually a mythic or romantic impression as a realistic observation.To demonstrate this concretely, a single mythic aspect of Tom Sawyer can be isolated and compared with Twain's realistic prose-style to indicate the duality of his narrative idiom, where realism generally indicates, if at an oblique angel, a mythic undertone. For example, the â€Å"treasure-hunt' sub-plot of Tom Sawyer conveys the uniquely American myth of â€Å"striking it rich† through pure luck adn adventure.This is in fact a very durable American myth, the myth that anyone despite his or her stature in life can â€Å"hit pay-dirt quickly, blindly, almost accidentally† (Coulombe 16) and like Huck and Tom become â€Å"rich entirely by good luck† (Coulombe 16). Such a myth was used by Twain not only in Tom Sawyer and in his other of his fictional works, but also as an attribute of his own author-persona.Twain cultivated a deliberate distortion of his biography by attempting to further the notion that his accomplishments were â€Å"effortless and intuitive—a rustic genius rising naturally to the top† (Coulombe 16). In this case, literary biography plays a contributing role to thematic explication because Twain's true experience belied the myth he inserted into Tom Sawyer regarding wealth adn the pursuit of adventure. In reality, Twain was a careerist â€Å"who worked diligently, even desperately, to earn success and money† (Coulombe 17).The aforementioned biographical detail is mentioned merely to illustrate that Twain,had he been truly interested in being a literary realist and depicting the authentic world he had experienced would have obviously dismissed any mythical ‘treasure hunt† ending in blind, wild fortune as being over-the-top romantic, and perhaps even foolish. At this point, it is useful to examine the manner by which Twain attempts to insert verisimilitude into what is essentially a mythic fantasy.he does so retrospective ly by describing what appears to be a very convincing description of the rection of the little town of St. Petersburg to the boys' discovery of treasure: THE reader may rest satisfied that Tom's and Huck's windfall made a mighty stir in the poor little village of St. Petersburg. So vast a sum, all in actual cash, seemed next to incredible. It was talked about, gloated over, glorified, until the reason of many of the citizens tottered under the strain of the unhealthy excitement.Every â€Å"haunted† house in St. Petersburg and the neighboring villages was dissected, plank by plank, and its foundations dug up and ransacked for hidden treasure–and not by boys, but men–pretty grave, unromantic men, too, some of them. (Twain 285) This attempt to balance a romantic myth with a deliberately anti-romantic description of the aftermath of the discovery is thorough right down to Twain's choice of diction.The word â€Å"unromantic† is specifically clever and powerful in forwarding a sense that Twain's treasure hunt is grounded in reality and not in a boyish, culturally incited fantasy. Every detail seems to have been accounted for right down to the observation that â€Å"The village paper published biographical sketches of the boys† (Twain 285) which made them celebrities. Here it is interesting to note that Twain's romantic urge and his urge to restrain his story in verisimilitude are operating at equal strength and simultaneously.If Twain is capable of obscuring what are essentially romantic myths beneath a veneer of realism as was demonstrated by the preceding description of his expression of the â€Å"rags to riches† myth of America, what other myths might be discovered under the narrative surface of Tom Sawyer? Obviously, because Twain embraces the presence of violence in American as a part of his role as a realist writer, depictions of violence and of death in Twain deserve special attention in regard to the myths they may o r may not express beneath the highly detailed and unusually accurate level of narrative description employed by Twain.While it is true that — for Twain â€Å"The sight of a pistol blazing or knife flashing, followed by the red blood gushing from a death wound, was actuality † (Long 99) it is also conspicuously true that Twain's depiction of violence in Tom Sawyer is â€Å"not prevailing, and as in the realism of Howells,† and that in Twain â€Å"happiness, not sorrow, was the general rule† (Long 99) despite the actuality of violence and death in human experience.One might rightly ask: how is such a proposition: that violence and death do not preclude human happiness based in realism? Plainly, one does not require an observational adn descriptive acumen that is equal to Twain's to readily perceive that violence and death in the real world often do preclude human happiness. Clearly, Twain's depiction of violence, like his depiction of material ambition and the attainment of wealth, partakes of a mythic rather then realistic expression.This mythic appraisal of violence and human mortality allows Twain to establish the entire framework of Tom Sawyer on the mythic scaffolding of death and rebirth. In fact, † The Adventures of Tom Sawyer is constructed on a loose framework whose major elements include games of death and games of resurrection† (Aspiz) and these â€Å"games† are purely mythic rather than realistic both in conception and execution.Because it is mythic violence and mythic death that Tom interacts with in the novel, he and the other characters depicted in the novel seem to â€Å"exist on the manic edge beyond which lurks the menace of destruction and the unknown† (Aspiz) but the teetering over and falling â€Å"over the edge† which is repeatedly depicted by Twain in Tom Sawyer results in â€Å"the illusion that all experience is ultimately reducible to entertainment† (Aspiz).Imagination is stronger than the mere presence of death and its associated pains in Twain's fictional world, which is propelled in part by startlingly realistic descriptions and observational details. The result is paradoxical: Murder, grave-robbing, the withholding of life-saving evidence, impulses to suicide, simulated disasters, numerous close brushes with death, the violation of sanguinary oaths, wrenching fear and guilt, and numberless suppressions of the truth and miscarriages of justice are all transformed, through masterful orchestration and narrative control, into entertainment.(Aspiz, 108) Of course it is the power and depth of Twain's â€Å"masterful orchestration and narrative control† which drives the perception on the reader's behalf that Twain's mythic expressions of pain, death, and sorrow are as meticulously accurate as his objective descriptions of rivers, school-houses, and grave-yards. The paradox is born out of the divergence of the mythic and realist strains of Twai n's own consciousness and his narrative expression. The character of Tom Sawyer is, himself, an expression of this paradox and duality.Tom is ultimately portrayed as heroic, but also realistically, so that his flaws can be easily spotted and used to increase the ironic impact of the novel. In fact, careful study of Tom's behavior throughout the novel reveals that â€Å"Tom was neither noble nor pure. Rather, he was often vindictive, violent, and obscure—much like the natural world to which he was linked† (Coulombe 129) and — ironically — it is within this construction of nature, as a character, that Twain achieves a more dour and realistic expression.Twain's impulse to romanticize even human bigotry is evident in his depiction of Injun Joe and Muff Potter, during the trial-scene when Muff fallaciously confesses to murdering the Doctor. Historical reality dictates that it was white men who cam and tricked the native American tribes out of their lands and d estroyed their culture, a fact readily available to anyone, even in Twain';s time, who cared to exert minimal energy doing research.However, rather than seizing on this massive historical reality, Twain opts to facilitate the extant prejudice against racial types that existed in his time, and continue to exist, by positing a mythic â€Å"half-breed,† Injun Joe, who is more cunning and diabolical than the white society he despises. During the trial scene, Muff Potter is confronted with his knife which was used by Injun Joe to slay the Doctor in the cemetery.Potter's reaction is pitiful â€Å"Potter lifted his face and looked around him with a pathetic hopelessness in his eyes. He saw Injun Joe, and exclaimed: â€Å"Oh, Injun Joe, you promised me you'd never– † (Twain 100) and then, slowly, Potter realizes that he must confess to his crime. The reversal of historical reality is chilling. In reality, Native Americans were often controlled and victimized with liquo r and in Twain's depiction, the half-breed, Injun Joe, has turned these realities on their head.It is the Indian who is dastardly and manipulative; and it is the white man, Muff Potter, who is drunkenly victimized and falsely sentenced to death. Such reversals under the fluent realism of Twain's technique can only be considered, rightly, as propaganda. By no stretch of the imagination can propaganda ever be regarded as realistic or objective, so it is obvious that on at least three major themes: materialism, mortality, and racial prejudice, Twain embraces a mythic, rather than realistic, mode of expression in Tom Sawyer.Again, as in the treasure-hunt scenario, Twain attempts to balance his mythically driven conceptualization of race with what appears to be a cogent adn realistic description of the court-room itself and the boys' reaction to Potter's confession: â€Å"Then Huckleberry and Tom stood dumb and staring, and heard the stony-hearted liar reel off his serene statement, the y expecting every moment that the clear sky would deliver God's lightnings upon his head,† (Twain 100).This passage, in fact, only strengthens the essentially culturally chauvinistic impulse of the courtroom scene by positing the half-breed no only as a notorious murderer but as an enemy of the white man's God. Twain's romanticism may be rightly regarded as determinant in the thematic expression of Tom Sawyer. In every case, it is mythic impulse rather than natural or historical realism that drives both the conceptualization and execution of the scenes in Tom Sawyer and the associated themes which these scenes express.Rather than solidifying the aesthetic ideas of literary realism, Twain's use of the idiom in Tom Sawyer is sublimated to his interest in forwarding culturally resonant, American myths which would ostensibly engage and entertain his audience. It is quite possible that Twain's own material ambitions, as previously mentioned, drove, at least in part, his decision to make a literary concession throughout Tom Sawyer to romantic myths, a concession which completely eradicated any claim that might be made on Twain's behalf that the novel embodied literary realism.Works Cited Aspiz, Harold. â€Å"Tom Sawyer's Games of Death. † Studies in the Novel 27. 2 (1995): 141+. Barrish, Phillip. American Literary Realism, Critical Theory, and Intellectual Prestige, 1880- 1995. Cambridge, England: Cambridge University Press, 2001. Borus, Daniel H. Writing Realism: Howells, James, and Norris in the Mass Market. Chapel Hill, NC: University of North Carolina Press, 1989.Coulombe, Joseph L. Mark Twain and the American West. Columbia, MO: University of Missouri Press, 2003. Long, E. Hudson. Mark Twain Handbook. New York: Hendricks House, 1957. Smith, Henry Nash, ed. Mark Twain: A Collection of Critical Essays. Englewood Cliffs, NJ: Prentice-Hall, 1963. Twain, Mark. The Adventures of Tom Sawyer. New York: P. F. Collier & Sons, 1920. American Literature If I was teaching a course in American Literature since 1865, the texts that I would choose to teach would be â€Å"Tulips† by Sylvia Plath, Leaves of Grass by Walt Whitman, Sula by Toni Morrison, Wise Blood by Flannery O’Connor, The Great Gatsby by F. Scott Fitzgerald, Housekeeping by Marilynne Robinson, The Adventures of Huckleberry Finn by Mark Twain, â€Å"The Yellow Wallpaper† by Charlotte Perkins Gilman, Daisy Miller by Henry James, and Drown by Junot Diaz.I feel that it is important to chronologically span the 150 or so years of literature in this time period, to choose a diversity of authors in terms of gender, race and sexuality, to represent the nation regionally as well as possible, to include texts that focus on important issues in the nation including immigration, gender equality and race relations, and to focus on texts that are relatively accessible and reflect the time period in which they are written. With these texts, I feel that this is accompl ished.Chronologically, this list is relatively complete – there are texts that represent the period of reconstruction (The Adventures of Huckleberry Finn) and that are from around ten years ago (Drown). Indeed, different aspects of this list speak to the Industrial Revolution and ever-changing face of America through technological advancement, and others discuss the ways that race and gender exist in the time period in which they are written (â€Å"The Yellow Wallpaper† and Sula, for example).Further, not only do these texts represent a breadth of time periods, but they also show different regions of the United States, including the South (Wise Blood) and the West (Housekeeping), with the typical representation of the Northeast and many texts that are not necessarily central to any specific region.Through providing a diversity of chronological and regional representation, I feel that students, especially in a nation that is not as familiar with the United States as we are, would be able to get a better feel of how the United States changed over the past 150 years and how the different regions of the United States face different challenges. Just as it’s important to represent different literal aspects of the United States, it’s just as important to represent the diversity of people that make the nation up.By providing works from authors like Toni Morrison and Junot Diaz, students would get a perspective on the African American and immigrant experience in the United States, respectively. Indeed, America exists differently for the immigrant characters in this collection of Diaz short stories than it does for the characters seeking the American Dream in The Great Gatsby, and it’s important for students to explore these differences among communities in the U. S.Indeed, this collection of texts also reflects issues that are of the utmost importance in the United States – â€Å"Tulips† and â€Å"The Yellow Wallpaperâ €  discuss what it means to be a woman and how motherhood or marriage can trap women, for example. Wise Blood explores the intricacies of religion, and more specifically Christianity, in the South, and Sula thoroughly discusses how black Americans live in the â€Å"Bottom† while whites live at the top long after the conclusion of the Civil War.Students reading my list of texts would be exposed to a breadth of issues, while also reading canonical literature that explores natures such as Leaves of Grass and the work of Henry James and his take on relationships and people. All of the works that are included in this list cover so many different aspects of American Literature, and together they paint a picture that represents the time period and nation as well as any ten-piece collection can.Regionally, canonically and chronologically, the list covers all of the essential points present in American literature, and it also touches on multiple issues of diversity within the texts as well as issues central to American culture in these different time periods. These poems, short stories, novellas and novels are an excellent window into American Literature as well as the ever-ubiquitous American culture, and I would be excited to teach these texts to any classroom. 2nd Essay: Southern Literature is fraught with guilt, struggle and a resistance to dominant American cultural norms.Three of the most important authors in Southern Lit, Zora Neale Hurston, William Faulkner and Flannery O’Connor, are all incredibly attentive to issues important to all Southern people, but they each discuss Southern life in a different form. While all three deal with the integral issues of race relations in the South, the constant struggle with the separation of the North from the South, and what exactly it means to have a Southern identity, each of these authors does this in a very different manner.Hurston focuses on African American dialect and unique experiences within those communities, Faulkner traditionally discusses close-knit small town communities in a stream of consciousness and highly narrative manner, and O’Connor takes a highly moralistic tone, with a focus on religion and community in the South. Hurston’s â€Å"Sweat† is similar to her most famous Their Eyes Were Watching God in that gender struggles and dialect within African American communities are showcased. Indeed, one of the central conflicts in â€Å"Sweat† is the struggle for dominance within the relationship between Delia and Sykes Jones.Even though aspects of Southern femininity and masculinity are inherent to this struggle, femininity is the focus as this is typical of Hurston and the protagonist, and thereby where the reader’s sympathies more dominantly lie, is with Delia Jones. The work focuses on how African American communities exist, with a focus on Delia’s humming and the music that’s present, thereby demonstrating a focus on a n oral tradition that doesn’t necessarily exist within Faulkner and O’Connor’s work.Further, the end of the short story demonstrates how women are able to obtain dominance in relationships, if they ever are able to do so, through Sykes’ horrifying death. Indeed, this story demonstrates many of Hurston’s focuses, and it shows typical struggles within Southern African American communities in terms of gender relations and oral traditions versus dominant narratives. Faulkner’s â€Å"Barn Burning† is different from this in that its focus is on a father and son, and also on the town in which the characters live.Indeed, the story begins in â€Å"The store in which the justice of the Peace's court was sitting† and continues to focus on the actual location and Southern-ness of the setting. Like Hurston, the dialogue of â€Å"Barn Burning† is uniquely Southern, with the characters saying the word â€Å"it† as â€Å"hit,â⠂¬  thereby demonstrating Southern dialect and accents in a way that separates it from any Northern dialogue. Also like Hurston’s work, the story discusses race relations in the South, though necessarily from a white perspective instead of a black perspective.Because of this, the community at the center of the story is a white community instead of a black community, and it thereby emphasizes race relations and oppressive institutions within Southern society instead of exploring the ways in which African American communities form themselves. While there are no explicit O’Connor works on the syllabus, it would be remiss to discuss Southern writing without using O’Connor as an example.In her â€Å"A Good Man is Hard to Find,† for example, the explicit focus of the narrative is on what it means to be a good person, and how a criminal is not necessarily a more evil and corrupt person than a grandmother without good intentions. While the criminal who murders t he family who are at the center of the story is clearly not a â€Å"good man,† neither is the matriarchal grandmother who is central to the story: indeed, she would have been good if â€Å"it had been somebody there to shoot her every minute of her life.† O’Connor discusses Southern society in terms of morality and religion throughout her novels and short stories, and within this discussion also exists issues of race relations, Southern society and dialect, and other things. Indeed, O’Connor, Faulkner and Hurston all recognize the differences between the South and other regions in the United States, the unique moral and community systems that exist there, and demonstrate these aspects differently. 3rd Essay: William Carlos Williams’ â€Å"The Red Wheelbarrow† and e.e. cumming’s [my sweet old etcetera] both rely on unconventional, modernist poetic form and use this form to convey separate messages. Williams’ poem uses its form t o put emphasis on a dependence on the smallest things – indeed, the form and subject of â€Å"The Red Wheelbarrow† hinge on the wheelbarrow itself, and demonstrate how form and subject are both integral to a poem’s ultimate message. Similarly, cummings’ unconventional form is different from almost any other poet and uses multiple definitions of etcetera.Both poems show how form is as essential to function as subject and literal messages are, and both use this form to reiterate the meaning of the poem. Williams’ â€Å"The Red Wheelbarrow† is from a time period in which poets were able to play with form and think more consciously about how a poem can be unconventional in form and still convey a message. Indeed, this poem more or less relies on form to convey that message. What is so interesting about this poem is that there is no terribly clear message in the poem; in fact, it initially seems to not say much of anything and instead to toy arou nd with words.However, the way the poem is structured, the seemingly insignificant nouns are placed at the forefront. As the poem reads, â€Å"so much depends / upon / a red wheel / barrow† (lines 1-4). Here, the poem does in fact depend on the â€Å"barrow† – every couplet in â€Å"The Red Wheelbarrow† hinges upon a second one-word line that consists of a relatively common and insignificant noun. The nouns continue to locate the poem. The red wheelbarrow is â€Å"glazed with rain / water / beside the white / chickens† (lines 5-8), showing that while each couplet is grounded by the final one-worded line, the entire poem is grounded by the wheelbarrow.Indeed, all of the lines refer back to it: it is the thing that is glazed with rainwater, and it is the thing that is beside the white chickens. The first couplet itself makes it increasingly clear that the wheelbarrow is at the center of this poem in multiple ways: everything in the poem depends on it literally, as is stated in the first two lines, but it is also structurally at the center of the poem. William Carlos Williams is able to use this unconventional form to make a statement about what is important – after all, how can so much depend on a wheelbarrow unless Williams demonstrates it in this unconventional way?Similarly, e. e. cummings poem [my sweet old etcetera] challenges ideas of what the â€Å"etcetera† of the poem is by introducing it in a form that allows multiple interpretations. Indeed, the poem begins with â€Å"my sweet old etcetera / aunt lucy† (lines 1-2), and also includes references to it as â€Å"not to / mention shirts fleaproof earwarmers / etcetera wristers etcetera† (lines 11-13), â€Å"my / mother hoped that / I would die etcetera† (lines 13-15), â€Å"my / self etcetera lay quietly† (lines 19-20), and â€Å"dreaming, / et / cetera, of / Your smile / eyes knees and of your Etcetera† (lines 23-27).All o f these uses of etcetera are different and challenge what exactly the word means: indeed, the word literally refers to a continuing list of things, but here sometimes it’s used in an apathetic sense, sometimes as a euphemism, and other times as its definition connotes. Like â€Å"The Red Wheelbarrow,† this poem hinges on the definition of one word, and because of seemingly spontaneous line breaks and capitalization, that word carries entirely different meanings at different places in the text.Interestingly, in the last parenthetical notation, etcetera refers to both the never-ending list of actions of the speaker and also, presumably, the body of the woman who is being described, thereby showing the many definitions of the word. Both â€Å"The Red Wheelbarrow† and [my sweet old etcetera] use relatively unconventional form to challenge traditional notions of established words and concepts. By relying on a different method of poetry and description, both writers a re able to disrupt these ideas that are so closely tied to the words, and also to redefine both the words and the poetic form that they are using to describe them.4th Essay: If I could choose any two authors to explore more fully, I would pick Zora Neale Hurston and Henry James to look at further. Not only are these two authors very different in terms of their writing styles, but they also are from different time periods and different literary perspectives, with Hurston generally describing communities and concrete people more fully while James writes conceptually and canonically in a way that focuses on narrative and other literary forms.Both authors speak to different audiences, both of which I at least partially identify with, and I look forward to reading more by each author. In this course, we read â€Å"Sweat† by Hurston, which I wrote about for one of my other essays. I really enjoy this work not only because I enjoy Southern literature, but also because it focuses on a different aspect of identity than many of the authors that we’ve read in this course.Indeed, Hurston focused on African American oral narratives, and was actually often involved in sociological work and gathering African American folktales to preserve in writing instead of simply within an oral tradition. Because her life was not always spent in looking at writing through a strict literary lens, I think that she has a unique perspective in representing life as it truly exists within communities that are not typically discussed in popular fiction.She herself grew up in an African American town, and is particularly knowledgeable and gifted and representing these types of communities. I would love to read Their Eyes Were Watching God if only because it is similar to â€Å"Sweat† but, as a novel instead of a short story, allows more time to delve into a character’s mindset and to develop a sense of what it means to live within an African American community. Furthe r, I think that Hurston has a unique and powerful style that explores language in a way that many authors simply don’t.She is able to write using heavy symbolism and metaphors throughout her prose, but she’s also able to interesting, intelligently and authentically portray the language that exists within black southern communities, something that most authors would not even think about discussing. Indeed, because of her early life in a unique community that most canonical authors do not understand, her sociological work on oral narratives within black communities, her interesting view on language and style, and her emphasis on women’s issues and gender equality, I would love to look more closely at Zora Neale Hurston’s body of literature.Henry James is also an incredibly important figure in American Literature, but for very different reasons than Hurston. Indeed, James style is not as accessible or engaging as Hurston’s often is, and he is much mor e cerebral in the issues that he chooses to tackle. As Daisy Miller demonstrates, though, James has a terrific understanding of how to manipulate narrative to show multiple dimensions of characters, and his other work demonstrates this even further.The novel which I would most like to read by him is The Turn of the Screw, primarily because it is both a frame narrative (similar to the Canterbury Tales), which provides many unique and interesting insights into narrative, and also because it is a unique version of a ghost story that is much more literary in style than most of what gets represented in popular culture today. Because James is so able to take on narrative, I enjoyed Daisy Miller thoroughly: not only were the characters deep, complex, round and interesting, but the timeline was also challenging.I really enjoy reading Henry James because he is, in many ways, timeless – while his work is obviously dated in certain ways in terms of subject and the setting, the human con dition is so central to everything that he writes that it can be understood outside of this context. Because of his narrative abilities, interest in the human psyche and innate human struggles, challenging prose that pushes different ideas of symbolism and identity, and the innovative subjects that he chooses to write about, I would also very much enjoy looking at what else Henry James has written.

World War Two and the B-24 Bomber

Several aircraft from the World War Two era have achieved iconic status. The F4U Corsair, TBM Avenger and the B-17 and B-29 Super fortresses are all legendary in their service for the Allied cause. There is another such aircraft that never achieved the fame of those mentioned but was critical to the Allies war effort none the less. The Consolidated B-24 Liberator was the work horse of the Allied fleet. Its entrance into the war came at a critical and vulnerable time for Allied survival in Europe. After proving its effectiveness in early missions the B-24 would go on to be used in all theatres of the conflict.It was the most numerous, most versatile and possibly the most effective Allied plane of World War Two. The Design Stage The B-24 bomber was designed as part of the strategic bombing plans drawn up by the Allies in the 1930s. Built by Consolidated Aircraft of Ypsilanti, Michigan, the bomber took its first flight in late December of 1939. Consolidated was a subsidiary of the Ford Motor Company, an icon of American business. The Ford factory was able to produce more than four hundred B-24s per month. By 1941 the plane would enter wartime service. High demand in 1942-43 prompted Consolidated to expand its production facilities.The San Diego plant was increased to three times its original size. A new plant was built in Fort Worth, Texas. The flagship plant was built in Willow Run, Michigan in 1942. At the time this plant was the largest industrial plant of any kind in the United States. In the process thousands of Americans were put to work. The vastness of the Willow Run Plant made for some interesting accommodations. At a certain point in the assembly line the planes would be mechanically turned at a right angle. The purpose was to avoid having the planes crossing into a neighboring county where taxes were higher.Consolidated had received the contract to produce the B-17 bomber only one year earlier in 1938. After examining the capabilities of the B-17, the A rmy requested a faster and higher flying plane. The updated plans would result in the building of the B-24 Liberator. Designed as a strategic heavy bomber the airplane was affectionately referred to as the â€Å"Lumbering Lib† by the RAF pilots who used it to patrol the Atlantic. 2 â€Å"Liberator† would then be incorporated officially as part of the aircraft’s name. The plane almost immediately went into heavy production. A mainstay of the Army andNavy air forces, it was also used by the RAF (Royal Air Force) and the RCAF (Royal Canadian Air Force). The plane cost about $300,000 to build. By wars end over 19,000 B-24s had been built 3. This exceeds the total of any other Allied aircraft. 1. Philip Makanna. 1995. Ghosts in the Skies: Aviation of the Second World War. (San Francisco: Chronicle Books), p. 156. 2. Philip Makanna. 1995. Ghosts in the Skies: Aviation of the Second World War. (San Francisco: Chronicle Books), p. 157. 3. Bill Gunston. 2000. History of Military Aviation. (London: Hamlyn Pub. ), p. 93.Bomber design was still in its infancy and the B-24 did have some problems. It was prone to fire due to the placement of its fuel tanks. The only way to enter or exit the plane was through the bomb bay, a difficult proposition in a crisis situation. It was also somewhat cumbersome to fly. The plane’s designers had to make these tradeoffs in order to maximize the performance and the long range capability of the aircraft. The plane was also somewhat vulnerable to enemy fire, given its relatively lightweight construction. The high altitude capability of the plane helped minimize this threat.There were a substantial number of orders for the plane even while it was still only a prototype. In addition to the three dozen ordered by the Army, the French and British had each ordered more than three times that number. The French order was cut short by the German invasion in 1940. The British received their order and immediately put the p lanes to use on critical missions. Introduction to the War Ultimately, the B-24 would serve a wide ranging role in all corners of the conflict. It would be used to â€Å"equip 45 groups all over the world† 4. The initial role for the B-24 was to conduct deep ocean patrols.The British were in dire need of a long range patrol aircraft, Prior to the arrival of B-24s in the Atlantic, German U-boats were wreaking havoc on Allied shipping. British reconnaissance activities had a limited range. The arrival of the B-24 allowed the Royal Air Force to patrol much farther out into the ocean. As a result the U-boats were driven back into areas where they could be more easily targeted. The ultimate result was impressive – â€Å"The arrival of radar-equipped RAF B-24s in _____________________________________________________________________ 4. Bill Gunston. 2000. History of Military Aviation.(London: Hamlyn Pub. ), p. 93. Ireland†¦temporarily ended sinkings in the mid-Atlanticà ¢â‚¬  5. In 1942 the British began to use the B-24 in long-range bombing missions in the Middle East. Up to this time the plane had primarily served in recon and transport functions. American entry in to the war also led to a buildup of forces in England. Had the RAF Atlantic patrols not been effective; it is likely that the buildup would have taken much longer and Britain may have been lost. â€Å"The Mighty Eighth† was among the early American air groups transferred to Britain 6. The eighth brought with them numerous B-17s and B-24s.As the British and American forces continued to gain their footing, their mission would gradually evolve from the Atlantic patrols to the long range bombing missions over Germany. In the early years of the war radar equipped B-24s proved more than a match for the German U-boat menace. The RAF was able to drive the U-boats out of the middle Atlantic, at least for a while. The Germans would make modifications to U-boat strategy to counter the eff ects of the B-24s, but safe passage for shipping at this vital stage would play an important role in stemming the German tide.The British were able to gain their footing and the Americans were able to get a foothold in Europe. By defeating u-boats, the allies established control of the Atlantic, Saved Britain and made possible the invasion of Nazi-occupied Europe. 7 _______________________________________________________________________________________________________ 5. Charles Gross. 2002. American Military Aviation: The Indispensable Arm. (College Station, TX: Texas A&M University Press), p. 106. 6. Bill Gunston. 2000. History of Military Aviation. (London: Hamlyn Pub. ), p. 93. 7. Charles Gross. 2002.American Military Aviation: The Indispensable Arm. (College Station, TX: Texas A&M University Press), p. 207. The plane would also become a key asset in the Pacific theater. With the B-29 still in development, U. S. forces needed a long-range bomber to cover the vast distances of th e Pacific Ocean. As additional bombers came on-line, the B-24 proved especially amenable to modification for different purposes. In that sense â€Å"It was altogether more versatile† than the B-17 and B-29 8. In the Pacific, the B-24 was considered the â€Å"standard† heavy bomber. Range was a primary asset of the B-24.Its ability to complete 2,000 mile missions without refueling made it possible to conduct missions far out at sea or over hostile territory. The plane could carry over 8,000 pounds of bombs. For defensive purposes, it was armed with ten . 50 caliber machine guns. The B-24 had been among the early generation of long-range bombers developed in between World Wars one and two. Even so, the aircraft boasted many new innovations and capabilities. Its design also allowed for great flexibility of use. Some B-24s were modified for use in reconnaissance missions. Their high altitude capabilities added to their effectiveness in this role.The B-24s engines also had the power for the plane to be used in transport of materials and personnel. A few were used as fuel tankers. The B-24 was even used as a VIP transport plane. The Prime Minister of Britain, Winston Churchill, used one as his personal transport plane. Turbo supercharged engines were first added to the XB-24B model along with body armor and self sealing tanks. Power driven turrets and additional nose guns were added to the 24C. The development of the Norden bombsight enabled the B-24 to drop its bombs accurately from a vertical distance of up to five miles.All in all the B-24 8. Christopher Chant. 1992. The Military History of the United States (Vol. 9). (New York: Marshall Cavendish), p. 91. Liberator was a fearsome weapon of war. The Liberator: †¦had the defensive firepower and high altitude performance to fight their way through screens of Axis fighters and then deliver their bombs with pinpoint accuracy. 9 The B-24H produced in 1943 was an even more formidable weapon. This ver sion had a power-operated gun turret in the nose of the aircraft. It also had an auto pilot system and a refueling system.An improved version of the Norden bombsight provided even better bomb accuracy. Analysis and Conclusion The B-24 Liberator filled a critical gap in the offensive and defensive capabilities of the Allied air forces. It was heavily relied upon throughout the war. In the early part of the war it provided a vital strike capability against the German U-boats in the Atlantic. The B-24 also proved itself in peace time. It was used well into the 1950s by the Coast Guard for rescue and weather recon missions. Near the end of the war and half a world away a B-24 launched the first radar guided air to ground missile in 1945.At the beginning of the war long-range bombing formation tactics were still in their infancy. Losses for the B-17 and the B-24 were high. As the war continued, tactics improved and the B-24 in particular became more effective. The B-24 was flexible enoug h to be used in all theaters of the war. Not only was it a constant presence in Europe and the Pacific; it also performed well in Africa, India and the Middle East. The Liberator ultimately made its name in the Battle of the Atlantic. The â€Å"Atlantic ________________________________________________________________________ 9. Christopher Chant. 1992.The Military History of the United States (Vol. 9). (New York: Marshall Cavendish), p. 126. Gap† was an area of the ocean where German submarines had previously operated with impunity. This threatened to cut of England from critical military and humanitarian supplies. The B-24 was the first aircraft with the range to effectively patrol the gap. For this reason it has been credited by some with saving Britain. It is possible that without them, attrition could have weakened Britain to the point where they were vulnerable to invasion. The redesigns of the B-24 were both effective and creative.Many of the ideas for these modificatio ns came from soldiers in the field. In one example, soldiers used a damaged B-24 to design a transport plane. Back in the United States, Consolidated put their ideas into mass production. The B-24 was rugged, innovative and flexible. It might be argued that its greatest effect on the war came from the sheer number of planes produced. More B-24s flew in the war than any other plane. The Ford Motor company was the unquestioned master of mass production. It had an unrivaled ability to produce huge numbers of machines very quickly.It is this type of industrial might that eventually overwhelmed the Axis powers. The B-24 Liberator was symbolic of that power. Notes 1. Philip Makanna. 1995. Ghosts in the Skies: Aviation of the Second World War. (San Francisco: Chronicle Books), p. 156. 2. Philip Makanna. 1995. Ghosts in the Skies: Aviation of the Second World War. (San Francisco: Chronicle Books), p. 157. 3. Bill Gunston. 2000. History of Military Aviation. (London: Hamlyn Pub. ), p. 93. 4. Bill Gunston. 2000. History of Military Aviation. (London: Hamlyn Pub. ), p. 93. 5. Charles Gross. 2002.American Military Aviation: The Indispensable Arm. (College Station, TX: Texas A&M University Press), p. 106. 6. Bill Gunston. 2000. History of Military Aviation. (London: Hamlyn Pub. ), p. 93. 7. Charles Gross. 2002. American Military Aviation: The Indispensable Arm. (College Station, TX: Texas A&M University Press), p. 207. 8. Christopher Chant. 1992. The Military History of the United States (Vol. 9). (New York: Marshall Cavendish), p. 91. 9. Christopher Chant. 1992. The Military History of the United States (Vol. 9). (New York: Marshall Cavendish), p. 126.

Effectiveness of Ra 8049 or Anti-Hazing Law Essay

Under the Anti-Hazing Law, hazing is defined as â€Å"an initiation rite or practice as a prerequisite for admission into membership in a fraternity, sorority or organization by placing the recruit, neophyte or applicant in some embarrassing or humiliating situations such as forcing him to do menial, silly, foolish and other similar tasks or activities or otherwise subjecting him to physical or psychological suffering or injury. The physical, mental and psychological testing and training procedure and practices to determine and enhance the physical, mental and psychological fitness of prospective regular members of the Armed Forces of the Philippines and the Philippine National Police as approved by the Secretary of National Defense and the National Police Commission duly recommended by the Chief of Staff, Armed Forces of the Philippines and the Director General of the Philippine National Police [are not] considered as hazing†. (Section 1) Requirements 1. No hazing or initiation rites in any form or manner by a fraternity, sorority or organization shall be allowed without prior written notice to the school authorities or head of organization 7 days before the conduct of such initiation. The written notice shall indicate: 1) the period of the initiation activities which shall not exceed 3 days, shall include 2) the names of those to be subjected to such activities, and shall further contain 3) an undertaking that no physical violence be employed by anybody during such initiation rites. (Section 2) 2. The head of the school or organization or their representatives must assign at least 2 representatives of the school or organization, as the case may be, to be present during the initiation. It is the duty of such representative to see to it that no physical harm of any kind shall be inflicted upon a recruit, neophyte or applicant. (Section 3) Liability for Hazing Section 4 of the Anti-Hazing Law defines those criminally liable as principals and accomplices. Criminal Liability 1. If the person subjected to hazing or other forms of initiation rites suffers any physical injury or dies as a result thereof, the officers and members of the fraternity, sorority or organization who actually participated in the infliction of physical harm shall be liable as principals. The person or persons who participated in the hazing shall suffer: 1) The penalty of reclusion perpetua (life imprisonment) if death, rape, sodomy or mutilation results there from. 2) The penalty of reclusion temporal in its maximum period (17 years, 4 months and 1 day to 20 years) if in consequence of the hazing the victim shall become insane, imbecile, impotent or blind. 3) The penalty of reclusion temporal in its medium period (14 years, 8 months and one day to 17 years and 4 months) if in consequence of the hazing the victim shall have lost the use of speech or the power to hear or to smell, or shall have lost an eye, a hand, a foot, an arm or a leg or shall have lost the use of any such member shall have become incapacitated for the activity or work in which he was habitually engaged. 4) The penalty of reclusion temporal in its minimum period (12 years and one day to 14 years and 8 months) if in consequence of the hazing the victim shall become deformed or shall have lost any other part of his body, or shall have lost the use thereof, or shall have been ill or incapacitated for the performance on the activity or work in which he was habitually engaged for more than 90 days. 5) The penalty of prison mayor in its maximum period (10 years and one day to 12 years) if in consequence of the hazing the victim shall have been ill or incapacitated for the performance on the activity or work in which he was habitually engaged for more than 30 days. 6) The penalty of prison mayor in its medium period (8 years and one day to 10 years) if in consequence of the hazing the victim shall have been ill or incapacitated for the performance on the activity or work in which he was habitually engaged for 10 days or more, or that the injury sustained shall require medical assistance for the same period. 7) The penalty of prison mayor in its minimum period (6 years and one day to 8 years) if in consequence of the hazing the victim shall have been ill or incapacitated for the performance on the activity or work in which he was habitually engaged from 1 to 9 days, or that the injury sustained shall require medical assistance for the same period. 8) The penalty of prison correccional in its maximum period (4 years, 2 months and one day to 6 years) if in consequence of the hazing the victim sustained physical injuries which do not prevent him from engaging in his habitual activity or work nor require medical attendance. 2. If the hazing is held in the home of one of the officers or members of the fraternity, group, or organization, the parents shall be held liable as principals when they have actual knowledge of the hazing conducted therein but failed to take any action to prevent the same from occurring. 3. The officers, former officers, or alumni of the organization, group, fraternity or sorority who actually planned the hazing although not present when the acts constituting the hazing were committed shall be liable as principals. A fraternity or sorority’s adviser who is present when the acts constituting the hazing were committed and failed to take action to prevent the same from occurring shall be liable as principal. The presence of any person during the hazing is prima facie evidence of participation therein as principal unless he prevented the commission of the acts punishable herein. Accomplices The school authorities including faculty members who consent to the hazing or who have actual knowledge thereof, but failed to take any action to prevent the same from occurring shall be punished as accomplices for the acts of hazing committed by the perpetrators. Liability of Owners of the Hazing venue The owner of the place where hazing is conducted shall be liable as an accomplice, when he has actual knowledge of the hazing conducted therein but failed to take any action to prevent the same from occurring. Administrative Liability The responsible officials of the school or of the police, military or citizen’s army training organization, may impose the appropriate administrative sanctions on the person or the persons charged under this provision even before their conviction. The maximum penalty herein provided shall be imposed in any of the following instances: 1. When the recruitment is accompanied by force, violence, threat, intimidation or deceit on the person of the recruit who refuses to join; 2. When the recruit, neophyte or applicant initially consents to join but upon learning that hazing will be committed on his person, is prevented from quitting; 3. When the recruit, neophyte or applicant having undergone hazing is prevented from reporting the unlawful act to his parents or guardians, to the proper school authorities, or to the police authorities, through force, violence, threat or intimidation; 4. When the hazing is committed outside of the school or institution; or 5. When the victim is below 12 years of age at the time of the hazing. The law states that it applies to the president, manager, director or other responsible officer of a corporation engaged in hazing as a requirement for employment in the manner above mentioned. Lastly, the law specifies that any person charged is not entitled to the mitigating circumstance that there was no intention to commit so grave a wrong. Had the Anti-Hazing been in place in 1991, those acquitted of causing Lenny Villa’s death may still be languishing in jail. (Although, perhaps, had our prosecutors been more diligent in their prosecution of all accused in the death of Lenny Villa, there would at least have been more than 5 convictions – even without the Anti-Hazing Law.) But why do hazing deaths continue to occur despite the law? It is significant to note that the Supreme Court decision on the hazing-death of Lenny Villa, as quoted above, recognizes that: the hazing â€Å"rituals were performed with Lenny’s consent† and â€Å"even after going through Aquila’s grueling traditional rituals during the first day, Lenny continued his participation and finished the second day of initiation.† The law cannot prohibit some people from wanting to belong and willing to tolerate certain rituals to be accepted as a member of a group, nor can the law prevent some people’s inclination to violence or abuse. So at all times, the willing neophyte’s welfare depends on being hazed by a group of non-violent handlers. But that is never guaranteed. Since the risk exists that the neophyte will be hazed by a group of people prone to violence by nature, by pressure or some substance, it may be all left to the individual (or the family rearing him/her) to eliminate that risk by declining the membership (or convincing said individual to decline) as early as possible. We must see hazing as much more than a legal issue, say, like drugs. It is not enough to stop drug production and trafficking. People must learn to just say â€Å"No.† Those inclined to join should be aware that certain activities benignly termed as rites of passage may very well lead to funeral rites, of their own. (Siesta,2012) Statement of the Problem The purpose of the study was to investigate the effectiveness of a Fraternity or Sorority in a specific area, the benefits that an individual get from joining it and how it should be observed. Specifically, it sought answers to the following questions: 1. How effective is Republic Act 8049: Anti-Hazing Law? 2. Are the rules and limitations on practicing initiation rites under RA 8049 properly observed? 3. What are the perceived solutions proposed by the respondents to resolve the lack of implementation of RA 8049? Conceptual Framework 1. Hazing – Section 1. Hazing, as used in this Act, is an initiation rite or practice as a prerequisite for admission into membership in a fraternity, sorority or organization by placing the recruit, neophyte or applicant in some embarrassing or humiliating situations such as forcing him to do menial, silly, foolish and other similar tasks or activities or otherwise subjecting him to physical or psychological suffering or injury. The term â€Å"organization† shall include any club or the Armed Forces of the Philippines, Philippine National Police, Philippine Military Academy, or officer and cadet corp of the Citizen’s Military Training and Citizen’s Army Training. The physical, mental and psychological testing and training procedure and practices to determine and enhance the physical, mental and psychological fitness of prospective regular members of the Armed Forces of the Philippines and the Philippine National Police as approved ny the Secretary of National Defense and the National Police Commission duly recommended by the Chief of Staff, Armed Forces of the Philippines and the Director General of the Philippine National Police shall not be considered as hazing for the purposes of this Act. 2. Rules and Limitation – Section 2. No hazing or initiation rites in any form or manner by a fraternity, sorority or organization shall be allowed without prior written notice to the school authorities or head of organization seven (7) days before the conduct of such initiation. The written notice shall indicate the period of the initiation activities which shall not exceed three (3) days, shall include the names of those to be subjected to such activities, and shall further contain an undertaking that no physical violence be employed by anybody during such initiation rites. Section 3. The head of the school or organization or their representatives must assign at least two (2) representatives of the school or organization, as the case may be, to be present during the initiation. It is the duty of such representative to see to it that no physical harm of any kind shall be inflicted upon a recruit, neophyte or applicant. 4. Problems due to hazing – Physical injury – Damage or harm done to or suffered by a person or thing:   humiliation- The state of being humiliated or disgraced; shame. depression- A psychiatric disorder characterized by an inability to concentrate, insomnia, loss of appetite, anhedonia, feelings of extreme sadness, guilt, helplessness and hopelessness, and thoughts of death. Also called clinical depression psychological disorder- a psychological disorder of thought or emotion; a more neutral term than mental illness death – a permanent cessation of all vital functions; the end of life. 4. Strict implementation of the R.A 8049 or the Anti-Hazing Law shall be observed by the government because sometimes the government forget about this Republic Act and set it aside. Significance of the Study T he researcher considered the following institutions that will sort benefit of the study. These are the following: Government for them to take action and lessen the crimes that were brought up by unlawful initiation process. Society gives awareness to what are the rules and limitations that should be observed in the initiation process. Neophyte gives them awareness and let them understand what the legal procedures in conducting initiation process are. Future Researchers results of this study maybe used as reference by future researchers. Scope and Delimitation of the Study The parameters of the study pertain to the effectiveness and implementation of Republic Act 8049 which is known to be the Anti-Hazing Law. The researcher studies about the perception of law-makers and individuals expert in the field of law. The researcher prepared interview questions that will be answered by 5 or more respondents which happen to be law-makers and individuals expert in the field of law. The set of questions prepared by the researchers are bound with the questions in the statement of the problem, for example how effective is Republic Act 8049: Anti-Hazing Law, are the rules and limitation in conducting initiation rites are properly observed. Definition of terms Accomplice refers to one who knowingly, voluntarily, or intentionally, and with common intent and criminal purpose shared with the principal offender, solicits or encourages another to commit a crime or assists or attempts to assist in its planning and execution. Brotherhood refers to an association of men, such as a fraternity or union, united for common purposes. Congeniality refers to having the same nature, disposition, or tastes. Connation refers to a commonly understood subjective cultural or emotional association that some word or phrase carries, in addition to the word’s or phrase’s explicit or literal meaning, which is its denotation. Conviviality refers to fond of feasting, drinking, and good company; sociable. Curriculum refers to all the courses of study offered by an educational institution. Disdained refers to regard or treat with haughty contempt; despise. Dissipation refers to wasteful expenditure or consumption Fraternity refers to a chiefly social organization of men students at a college or university, usually designated by Greek letters. Freemason refers to an international fraternal and charitable organization with secret rites and signs. Initiation refers to a ceremony, ritual, test, or period of instruction with which a new member is admitted to an organization or office or to knowledge. Insignia refers to a badge of office, rank, membership, or nationality; an emblem. Law refers to a rule of conduct or procedure established by custom, agreement, or authority. Masonry refers to a work done by a mason. Menial refers to a person who has a servile or low nature Neophyte refers to a novice or beginner Protection refers to the state of being protected. Solidarity refers to a union of interests, purposes, or sympathies among members of a group; fellowship of responsibilities and interests. Sorority refers to a chiefly social organization of women students at a college or university, usually designated by Greek letters.

Challenges for reworking corrections Essay Example | Topics and Well Written Essays - 1750 words

Challenges for reworking corrections - Essay Example This paper shall discuss the solution of reinvigorating a new correctional leadership. Various materials from different authors and discussions shall be used in this paper in order to support this student’s chosen solution. Clear, Cole, and Reisig (2009) discuss that a strong leadership is needed in order to solve our problems in our corrections system. They cite the case of Martin Horn who runs the New York City Rikers system. Horn’s strong leadership was able to prove that it is important for a corrections manager to act fairly and reasonably; maintain a drug-free prison system; and make transactions transparent in order to ensure the public’s confidence in it (Clear, Cole, & Reisig, 2009). The authors also point out that with strong leaders, solutions can easily and effectively be implemented through a strong and determined vision, the leader’s ability to put the right people into the right kind of work, and the leader’s strong ability to motivate people into doing their best (Clear, Cole, and Reisig, 2009). These leaders can be seen in almost every corner of the globe; and the challenge is to attract these people and entice them into joining the corrections system. In a paper submitted by Dobel (2006), and published by the US Department of Corrections, he points out the importance of a strong leader who is ethical and mindful of his values. The author sets forth that since a leader holds a position of authority, most especially in an important area such as corrections, he is bound into a complicated system of obligations and responsibilities. A leader has to answer and be responsible for and to his colleagues, superiors, peers, offenders, and other clients (victims, the family members of the victims, and the offenders themselves) (Dobel, 2006). If the leader and the different corrections staff fail, then the corrections system itself can suffer the consequences.

Private Schools for ethnic minorities in Alberta, Canada Essay

Private Schools for ethnic minorities in Alberta, Canada - Essay Example The state can create a community that would be a single ‘cultural ghoulash’; or it can also create separate units/ghettoes for each ethnic group that would later be coerced to form a political unity. Thus, it would be â€Å"melting down the citizenry into a nation of â€Å"Americans† or â€Å"Canadians,† people who will largely share nationally defining characteristics and attributes, and, on the other hand, balkanizing them into officially structured units within the state, each with their own defining characteristics, attributes, and values†( Dickinson & Dolmage, 364). However one has to keep in mind that modern society does not function on such simple guidelines. It is not possible to bulldoze all the members and mould them into one cultural frame; and this is very apparent in the numerous leaks that have appeared in the so called ‘American cultural melting pot’; nor does ‘balkanization’ work, as we see in the failure of the former state of Yugoslavia.The ethnic groups in Canada fall broadly under a category of the population as those citizens who are not English or French in their origin and also not a member of the native Canadians. Young in his article speaks of 4 ways in which such a diverse and ethnic cultural racial group, can coexist peacefully within a social order. First, these groups can ‘assimilate’ and become a part of the host country’s culture, in this, they will have to forsake their own cultural origins.

How do the subject and form contribute to the meaning of an image Essay

How do the subject and form contribute to the meaning of an image - Essay Example One can guess by taking a peek at this painting that the horse is emotionally, psychologically, and physically charged as if being drawn into a battlefield. On the other hand, the image on the right shows a horse’s head with more naturalistic proportions and harmonious rhythms. This ancient Greek sculpture generates a completely different feeling and meaning. One can guess by taking a peek at this sculpture that the horse is at ease and is tranquil. The differences in form create differences in the content. The impact and meaning of an artwork is heavily influenced by the decision the artist makes with respect to the selection of color and value, line and shape, type of balance, and the work’s size. Similarly, the subject drives the meaning of a piece of art because the audience draws inferences about it by consulting the preconceived notions and impressions it has of the

How Monetary and Fiscal Policies were Implemented during the Recession Essay

How Monetary and Fiscal Policies were Implemented during the Recession - Essay Example In order to curb this, the government of the United States, and the international monetary fund, took some micro and macroeconomic measures to curb this trend, which led to a great economic down turn. This was achieved by using some monetary and fiscal policies. The monetary process is the process through which the central bank and other money rendering institutions of a country controls the supply of money, the availability of money and the cost of money or the interest rate so that they can achieve a certain common objective. These objectives are done towards the growth and stability of the economy. The monetary policies can be either the contractionary or the expansionary objective. The aim of the expansionary policy increases the total supply of money in the economy, while the contractionary policies decrease the supply of money in the economy. ... It is the mandate of the federal reserve of the United States to enact the monetary policies. Board of governors runs the Federal Reserve. The factors, which they considered and applied to curb inflationary tendencies, are the reserve requirements, discount rate, open market operations, and printing money. Most banks in many countries changed the reserve requirements to encourage more banks to start in order to increases the amount of money circulating in the economy. The central banks of these countries have the authority to change the amount that banks should hold in the central bank so that they can be given the right to operate. In the US, the Federal Reserve has the supremacy to set the quantity of the deposits that the associate banks can deposit in order to be given the mandate to operate. To curb the recession, the FED decreased the amount of reserve deposits. The motive was to encourage more investors in the banking industry therefore increasing the amount of money circulati ng in the economy. This monetary objective achieved its goal since more banks had more money at hand, which increased spending, and possibly inflation (East Tennessee State University web). The other monetary policy used was the discount rate. Discount rate is the discount on the rate of interest rate that the Federal Reserve charges on the banks on the money that they borrow from the Federal Reserve. The central banks decreased or lowered the discount rate during recession. Their objective was to encourage the banks to borrow money from the central banks at a lower rate to increase the amount of money circulating in the economy. This would in turn encourage

Annie Hall movie Essay Example | Topics and Well Written Essays - 1500 words

Annie Hall movie - Essay Example While the film presents some beautiful and tender moments between the couple, these are set against a contextual backdrop that suggests a breakup. The film commences on a nostalgic note, where Alvy is thinking about his relationship with Annie, the relationship that almost was. He muses, â€Å"I keep sifting through the pieces of the relationship through my mind, and examining my life and trying to figure out where did the screw up come?† (Annie Hall). Yet, this nostalgia is also intertwined with an underlying element of cynicism, because we know at the outset what the outcome of the relationship was – it ended in a break-up. Revealing the outcome at the very beginning of the film helps to set the foreground of the narrative and direct the conception of the audience towards the meaning of the film. It sets up the central question to be addressed in the film – why did the relationship between Annie and Alvy end? The nostalgic question posed by Alvy at the very beg inning of the film is followed by a stand up comedy routine, adopting an ironic, self reflexive tone that successfully reflects a combination of nostalgia and cynicism. One of the means employed in the film to distinguish the relationship of Alvy and Annie from the rest of the events occurring in the film is through the use of contrasts. An associative, metaphorical sequencing through stand up comedy segments is used at the beginning of the film, whereas a conventional, sequential narrative structure is used for the scenes dealing with Annie and Alvy’s meeting and courtship.

Virginia Woolf Essay Example | Topics and Well Written Essays - 1500 words

Virginia Woolf - Essay Example In the novel "To the Lighthouse", Woolf articulates her inner thoughts clearly with regards women's occupations and her notion of work. Mrs Ramsay, the main character in this novel, illustrates her creativity in social life as she finds comfort in her role as a loyal wife. Lily, however, despite criticisms hurled against female artists, evident in one of Mr. Ramsey's imprudent utterances that "Women can't write, women can't paint", firmly devotes herself to her vocation, as she is very passionate about her art. Mr Ramsey contentions about women and their vocations exemplify the Victorian assumptions that males and females have their 'assigned roles and they must adhere to it. In contrast, Mrs. Ramsey is a picture of a person satisfied with her life in her chosen endeavor. Often she would make comments about Lily and the girl's artistic leanings by saying, "With her little Chinese eyes and her puckered-up face, she would never marry; one could not take her painting very seriously; she was an independent little creature, and Mrs Ramsay liked her for it" (Woolf 17). Woolf, of course, highly regards artistry as a great occupation as she contends that, "women ought to be as well educated as men, indeed a great deal better immerses herself in an "abstract discipline" (her art). Woolf once stated that all vocations should be unlocked to anyone qualified for them regardless of gender, color or race. As Woolf defies stereotypical roles, her opinions both implicit and explicit, are fundamental in understanding life in her particular setting, and significant in comprehending her arguments on gender roles, work, profession, gender equality and social constraints on women in her generation. Woolf in these writings depicts the roles of women in nonconformist roles and careers in order to explore ideas of work and vocation. In her two works, each of the female protagonists is depicted differently. For instance, in her work, "A Room of One's Own", Woolf shows the progression o f women as they adopt a non-conventional career by 'having money and a room of their own to explore creative endeavors, actions considered taboo in Woolf's generation. In contrast, To the Lighthouse portrays a 'new woman' and her "work" or "vocation" through the novel's protagonists, Lily Briscoe who represents the new woman, adopts her professional career on professional and sincere level. Arnold Bennett stated that a "woman who adopts a professional career will be taken seriously". Lily follows this guide as she disentangles herself from the customary duties that women like Mrs. Ramsay holds, she instead shapes her artistry and stresses individuality through her vocation. In addition, Lily refuses to link her identity to that of men or husband as she has a distinct idea of marriage. The women's movement gave women the chance to cede their domestic duties and the freedom to voice up the difficulties that they were facing in life. Both Lily and Mrs Ramsey receive "vocational discouragement" from males, Lily holds onto her desires and treats her vocation like a 'god' and special gift that she