Technology and Crime

Criminal Law Research Paper Whenever a new technology is found, like a double-edged sword, it often brings both more convenient life and possibility of danger in which potential exploitation of gap that might occur in its initial developing stage. For the past 20 years, computer related technologies and industry have been continuously advancing at radical speeds that greatly changed our way of life. The introduction of internet and digitalization of data has saved us enormous time and work required otherwise would have been wasted. On the other hand, however, it aided whole new types of property offences that are distinct from traditional ones to arise which posses’ difficulties in dealing with them by traditional way of approaching property offences. The main difficulties are, first, ‘Offences that were traditionally committed as interpersonal offences can now be committed at extreme distances and without the personal involvement of any victim. Second, the object of such offences may not amount to larcenable property or, indeed, property at all. [1] Examples of these crimes include, electronic funds transfer crime, electronic money laundering, [2]counterfeiting, and software piracy. [3] Contrary to traditional property offences, computers coupled with telecommunications technology enables offenders not to leave any traces of usual biological evidence in interpersonal offences such as finger prints or hair that could lead to the offender through forensic tests. Even if the police traced back the co mputer that the fund transfer crime was originated, the actual offender would be uncertain if it’s located in internet cafe which is used by numerous customers. This anonymity is considered the major attraction for offenders with advanced computer skills to commit such crimes. This paper will discuss the effectiveness of the current law in protecting the people from the new treats and possible policies or methods that could be implemented by authorities to combat this matter. ::The Current Doctrine and issues:: It is obvious to find that property rights have been the most important feature in our society since the beginning of the civilisation as the oldest written law, the Code of Hammurabi[4] which dates back to 1750 BC, contains codes that protected individual property. Protection of ownership encourages people to work at their full potential in return for increase in their wealth and power that gives satisfaction and security. If such protection was absent, stealing and damaging personal possessions to satisfy the needs and wants would have been occasional and we might not have been able to achieve the standard of living and the social security we enjoy now. Under the current common law system, properties are protected by both case law and statutes. Obviously regarding the history of development, there are countless case laws relating to property matter. Statutes are also implemented in order to provide protection of the rights for aiding the courts if the kind of the offence is the new one and there are no relevant authorities available for judges to rely on. Those protections have been building onto one and another from strong foundations and nowadays physical property protection by the law seems quite drastic. However the dawn of the digital age introduced a whole new range of offences that cannot be categorised by traditional methods. ::Absence of Specific victim or damage:: What would be the damage to the bank if their internet banking facility has been used for electronic money laundering? There is no person harmed or any physical property damage done to the bank. When a personal computer which happens to belong to a CEO is hacked and confidential information about a report that is not intended for releasing to the public that predicts a shape rise in share prices caused by exceptional performance is retrieved by the hacker and he/she and his/her friends make millions of dollars based on that information, is it possible to measure the damage? Or does it even exist? As exampled, some new types of illegal acts do not create specific victim or damage or the both. In order to regulate these treats, the definition of property has been extended to ones that take forms of electronic data and even to intellectual ones. By recognising such properties it is now possible to identify the damage incurred and the victim which enables us to enforce the traditional doctrine of property offences approach. To reward the victims for the damages they suffered under the civil law and to prosecute the offender and enforce penalties under the criminal law. :Types of new offences:: Hacking and intrusion into a computer system is the most common form of computer based crime, hackers usually commit this offence in order to gain confidential information or to inspect the level of security measures in place for preparation of other offence[5]. Rarely, some hackers attempt to break into a system that’s guarded by strong security system and dam age the system itself just to demonstrate the ability of him or her self. This kind of act is also known as electronic vandalism[6]. The next most common offence is the intellectual property offences such as breaching copy rights by making illegal duplicate of intellectual property, for example, books, movies, music and games. This type of offence is becoming more and more ordinary as the fast broadband internet access’s being available to most of the households enabling such illegally copied materials to be circulated and distributed at fast rate even crossing borders without any obstruction. Electronic funds transfer crime and electronic money laundering are also major crimes that are becoming increasingly difficult to regulate with traditional counter measures. :Traditional Countermeasures:: Most common methods often chosen by the government is to take legislative and administrative action to deal with the problem before it gets out of hand. Russell emphasises in his journal ‘This method to criminalise has, however, a number of dangers. First, is the difficulty, noted by Dunning (1982, pp. 293-4), of over-codifying behaviour: one does not want to enact a new provision every time a new permutation of criminal behaviour arises. Ideally, the elasticity of a common law system will supply the omissions of the legislature but there are limits to which our judiciary will, and indeed can, go. ’[7], that there are limits in legislative and administrative approach that the society can take as legitimate. There is also the fundamental problem of difficulty when trying to battle the new offences with the traditional approach in quantifying the offences[8] since the nature and characteristics of the offences often leave no trace at all and also authorities might not disclose the information because of embarrassment or commercial inconvenience. Deceptive quantifying which makes the policy makers to take distorted view of the seriousness of the issue is also the problem. For example, ‘a pursuit of a US$0. 75 accounting error in a computer account led to the unravelling of an international espionage ring. ’[9] Event like this confuses the decision makers in deciding the level or degree of regulation should be imposed. Originality of the crime also creates great challenge to the authorities, globalization of networks and widespread of the internet permits offenders to stay in their own country and commit crime in the systems of foreign country. This poses exorbitant difficulties in determining the place of the occurrence of the crime in order to decide which prosecution authority should be handing the matter and where to collect and present evidence to. ::Possible Alternative methods of Prevention:: There are several proposed ways for the government to deal with the problem. Restricting the availability of new technologies themselves, or restricting certain people from possessing and using new technologies and so on†¦ Probably the most fundamental solution of all, considering the possibility of misuse of the technology, the researchers and developers in the initial stage of the process should apply crime prevention measures that prevents misuse of such vulnerable technologies and if the cost is too high to carry out the modification the government should always consider to subsidise the process because the cost of exploitation of the weakness of the technology might be even greater. But there is also possibility that those precautions implemented could be compromised and the additional development costs vaporised. The break of the DVD movie title encryption and area code protection by hackers and crackers which introduced Dvix is the good example of it. The next best cost effective way is commercial solution[10]. Various needs to protect one’s electronic assets from possible attackers would generate considerable market demand for electronic and informational security. Companies with expertise of those matters would grow and it would provide professional advices, helps and protection with reasonable fee that would be far more less than it would cost for individual demanders to develop such systems. Also from the demand for assuring the compensation for the damages caused electronically, new insurance policies would emerge and protect the losses incurred. When dealing with technologies that are developed for military or investigative use, it is best for the government to take action that prevents possession and use of those technologies by possible offenders. Such as code breaker program designed for military operations should be restricted for the use of the purposes intended only, to achieve that, it is best to isolate the program in selected systems that are not connected to the internet. However if the technology developed found to be viable for use by the public to improve their standard of life, it should be considered that more benefit would be realised by making it public depending on specific technology. A super fast speed satellite communication intended for space crafts would be viable to use for the faster internet connection than conventional technology. But it might also make it possible for hackers to get into the satellite’s control system and disable it causing extravagant disaster thus making the technologies availability restrictive is important. Those alternatives and traditional methods may stop offenders from commission of crime but it may also encourage imitating one as well. A news report that the government is banning all child pornography sites may attract people’s attention and they might try search that kind of sites since the anonymity of access which increases the demand for viewing such material that results growth of pornography sites. :Conclusion:: Implementing the traditional approaches to deal with new emerging types of crime involving new technologies does seem to work when the new type of crime shows some fundamental similarities with already existing crimes such as causing harm whether electronic or physical or financial. Since such offences are opposed by the society and could easily be crimina lised by legislation or administrative means without difficulty. Nevertheless, quantifying and implementing the right policy or legislation is too difficult because of exterritorial issues and lack of statistics. However, as the technologies used for commission of crime advances, so does the technologies used to investigate, exam, and share information with the public and the rest of the world which aids authorities in combating using traditional approaches. Mechanisms for surveillance and detection, blocking devices, and technologies of restraint and incapacitation could also be adopted to backup the weak points of the traditional approach. Yet, while implementing those mechanisms the authority should consider possibilities of infringe of privacy right. The use of â€Å"high-tech† means of restraint might well lead to fundamental changes in police practice. Easily available technological fixes may tempt reliance to the extent that traditional law enforcement skills become neglected due to their inconvenience and community relations will be overlooked and discarded. There would also be other social impacts of crime prevention technologies. It may include disproportionate use of restraint technologies against disadvantaged groups, such as people who are unable to afford security technologies. And a shift in the burden of crime to those prospective victims may occur. Nonetheless, it would look like a miscalculation if we are to back off from developing and researching new technologies for crime prevention and control simply because they may be used inappropriately. â€Å"The telephones, indeed, the wheel, have criminal applications, technologies in the hands of responsible, accountable professionals can enhance liberty, rather than threaten it,† Dr Grabosky said. Technology and Crime Control insists on that the direction of ultimate benefits of new crime prevention technologies to the public, their development and use should be based on thorough consultation and extensive testing, and those who use them should be appropriately trained and supervised. The authors of the journals conclude that there is not one fit-to-all overall solution to these new kinds of emerging crime due to the varied nature of computer-related criminal conducts. They suggest, however, that technological and market solutions will be just as, if not more, important as law enforcement. With the invisible hands of the market the authorities should be able to find the optimal way of combating the new crimes sided by new technology. Bibliography 1. Brown et al, Criminal Laws, The Federation Press 2. P Grabosky & R Smith, Crime in the Digital Age: Controlling Telecommunications and Cyberspace Illegalities, the Federation Press (1998) 3. Russell Smith, Criminal Exploitation of New Technologies AIC Trends and Issues in Crime and Criminal Justice No93 (July 1998) 4. New millennium Doosan English Encyclopaedia No11 Doosan cooperation (2000) 5. Australian Bureau of Statistics 1997, Recorded Crime, Australia 1996, ABS Catalogue No. 4510. 0, AGPS, Canberra (1998), Yearbook Australia, ABS Catalogue No. 1301. 0, AGPS, Canberra. 6. P. N. Grabosky, Russell G. Smith, Paul Wright, Crime and Telecommunications AIC Trends and Issues in Crime and Criminal Justice No 59 (August 1996) 7. Russell G. Smith, Stealing Telecommunications Services AIC Trends and Issues in Crime and Criminal Justice No 54 (April 1996) 8. Peter Grabosky, Technology & Crime Control, AIC Trends and Issues in Crime and Criminal Justice No 78 (January 1998) ———————– 1] Brown et al, Criminal Laws, The Federation Press pg 1058 [2] P Grabosky & R Smith, Crime in the Digital Age: Controlling Telecommunications and Cyberspace Illegalities (1998) The Federation Press chapter 1 [3] Russell Smith, Criminal Exploitation of New Technologies AIC Trends and Issues in Crime and Criminal Justice No93 (July 1998) pg 3 [4] Fo und in 1901 by French explorers in the Old Persian Capital of Shush (Susa), contains 282 codes consisting of criminal commercial, individual property laws – New millennium Doosan English Encyclopaedia No11 Doosan cooperation (2000) pg. 54 [5] Australian Bureau of Statistics 1997, Recorded Crime, Australia 1996, ABS Catalogue No. 4510. 0, AGPS, Canberra (1998), Yearbook Australia, ABS Catalogue No. 1301. 0, AGPS, Canberra. [6] P. N. Grabosky, Russell G. Smith, Paul Wright, Crime and Telecommunications AIC Trends and Issues in Crime and Criminal Justice No 59 (August 1996) pg 2 to 3 [7] Russell G. Smith, Stealing Telecommunications Services AIC Trends and Issues in Crime and Criminal Justice No 54 (April 1996) pg 3 [8] [9] P. N. Grabosky, Russell G. Smith, Paul Wright, Crime and Telecommunications AIC Trends and Issues in Crime and Criminal Justice No 59 (August 1996) pg 3 [10] P. N. Grabosky, Russell G. Smith, Paul Wright, Crime and Telecommunications AIC Trends and Issues in Crime and Criminal Justice No 59 (August 1996) pg 5

The Host Chapter 4: Dreamed

It is too dark to be so hot, or maybe too hot to be so dark. One of the two is out of place. I crouch in the darkness behind the weak protection of a scrubby creosote bush, sweating out all the water left in my body. It's been fifteen minutes since the car left the garage. No lights have come on. The arcadia door is open two inches, letting the swamp cooler do its job. I can imagine the feel of the moist, cool air blowing through the screen. I wish it could reach me here. My stomach gurgles, and I clench my abdominal muscles to stifle the sound. It is quiet enough that the murmur carries. I am so hungry. There is another need that is stronger-another hungry stomach hidden safely far away in the darkness, waiting alone in the rough cave that is our temporary home. A cramped place, jagged with volcanic rock. What will he do if I don't come back? All the pressure of motherhood with none of the knowledge or experience. I feel so hideously helpless. Jamie is hungry. There are no other houses close to this one. I've been watching since the sun was still white hot in the sky, and I don't think there is a dog, either. I ease up from my crouch, my calves screaming in protest, but keep hunched at the waist, trying to be smaller than the bush. The way up the wash is smooth sand, a pale pathway in the light of the stars. There are no sounds of cars on the road. I know what they will realize when they return, the monsters who look like a nice couple in their early fifties. They will know exactly what I am, and the search will begin at once. I need to be far away. I really hope they are going out for a night on the town. I think it's Friday. They keep our habits so perfectly, it's hard to see any difference. Which is how they won in the first place. The fence around the yard is only waist high. I get over easily, noiselessly. The yard is gravel, though, and I have to walk carefully to keep my weight from shifting it. I make it to the patio slab. The blinds are open. The starlight is enough to see that the rooms are empty of movement. This couple goes for a spartan look, and I'm grateful. It makes it harder for someone to hide. Of course, that leaves no place for me to hide, either, but if it comes to hiding for me, it's too late anyway. I ease the screen door open first, and then the glass door. Both glide silently. I place my feet carefully on the tile, but this is just out of habit. No one is waiting for me here. The cool air feels like heaven. The kitchen is to my left. I can see the gleam of granite counters. I pull the canvas bag from my shoulder and start with the refrigerator. There is a moment of anxiety as the light comes on when the door opens, but I find the button and hold it down with my toe. My eyes are blind. I don't have time to let them adjust. I go by feel. Milk, cheese slices, leftovers in a plastic bowl. I hope it's the chicken-and-rice thing I watched him cooking for dinner. We'll eat this tonight. Juice, a bag of apples. Baby carrots. These will stay good till morning. I hurry to the pantry. I need things that will keep longer. I can see better as I gather as much as I can carry. Mmm, chocolate chip cookies. I'm dying to open the bag right now, but I grit my teeth and ignore the twist of my empty stomach. The bag gets heavy too quickly. This will last us only a week, even if we're careful with it. And I don't feel like being careful; I feel like gorging. I shove granola bars into my pockets. One more thing. I hurry to the sink and refill my canteen. Then I put my head under the flow and gulp straight from the stream. The water makes odd noises when it hits my hollow stomach. I start to feel panicked now that my job is done. I want to be out of here. Civilization is deadly. I watch the floor on my way out, worried about tripping with my heavy bag, which is why I don't see the silhouetted black figure on the patio until my hand is on the door. I hear his mumbled oath at the same time that a stupid squeak of fear escapes my mouth. I spin to sprint for the front door, hoping the locks are not latched, or at least not difficult. I don't even get two steps before rough, hard hands grab my shoulders and wrench me back against his body. Too big, too strong to be a woman. The bass voice proves me right. â€Å"One sound and you die,† he threatens gruffly. I am shocked to feel a thin, sharp edge pushing into the skin under my jaw. I don't understand. I shouldn't be given a choice. Who is this monster? I've never heard of one who would break rules. I answer the only way I can. â€Å"Do it,† I spit through my teeth. â€Å"Just do it. I don't want to be a filthy parasite!† I wait for the knife, and my heart is aching. Each beat has a name. Jamie, Jamie, Jamie. What will happen to you now? â€Å"Clever,† the man mutters, and it doesn't sound like he's speaking to me. â€Å"Must be a Seeker. And that means a trap. How did they know?† The steel disappears from my throat, only to be replaced by a hand as hard as iron. I can barely breathe under his grip. â€Å"Where are the rest of them?† he demands, squeezing. â€Å"It's just me!† I rasp. I can't lead him to Jamie. What will Jamie do when I don't come back? Jamie is hungry! I throw my elbow into his gut-and this really hurts. His stomach muscles are as iron hard as the hand. Which is very strange. Muscles like that are the product of hard living or obsession, and the parasites have neither. He doesn't even suck in a breath at my blow. Desperate, I jab my heel into his instep. This catches him off guard, and he wobbles. I wrench away, but he grabs hold of my bag, yanking me back into his body. His hand clamps down on my throat again. â€Å"Feisty for a peace-loving body snatcher, aren't you?† His words are nonsensical. I thought the aliens were all the same. I guess they have their nut jobs, too, after all. I twist and claw, trying to break his hold. My nails catch his arm, but this just makes him tighten his hold on my throat. â€Å"I will kill you, you worthless body thief. I'm not bluffing.† â€Å"Do it, then!† Suddenly he gasps, and I wonder if any of my flailing limbs have made contact. I don't feel any new bruises. He lets go of my arm and grabs my hair. This must be it. He's going to cut my throat. I brace for the slice of the knife. But the hand on my throat eases up, and then his fingers are fumbling on the back of my neck, rough and warm on my skin. â€Å"Impossible,† he breathes. Something hits the floor with a thud. He's dropped the knife? I try to think of a way to get it. Maybe if I fall. The hand on my neck isn't tight enough to keep me from yanking free. I think I heard where the blade landed. He spins me around suddenly. There is a click, and light blinds my left eye. I gasp and automatically try to twist away from it. His hand tightens in my hair. The light flickers to my right eye. â€Å"I can't believe it,† he whispers. â€Å"You're still human.† His hands grab my face from both sides, and before I can pull free, his lips come down hard on mine. I'm frozen for half a second. No one has ever kissed me in my life. Not a real kiss. Just my parents' pecks on the cheek or forehead, so many years ago. This is something I thought I would never feel. I'm not sure exactly what it feels like, though. There's too much panic, too much terror, too much adrenaline. I jerk my knee up in a sharp thrust. He chokes out a wheezing sound, and I'm free. Instead of running for the front of the house again like he expects, I duck under his arm and leap through the open door. I think I can outrun him, even with my load. I've got a head start, and he's still making pained noises. I know where I'm going-I won't leave a path he can see in the dark. I never dropped the food, and that's good. I think the granola bars are a loss, though. â€Å"Wait!† he yells. Shut up, I think, but I don't yell back. He's running after me. I can hear his voice getting closer. â€Å"I'm not one of them!† Sure. I keep my eyes on the sand and sprint. My dad used to say I ran like a cheetah. I was the fastest on my track team, state champion, back before the end of the world. â€Å"Listen to me!† He's still yelling at full volume. â€Å"Look! I'll prove it. Just stop and look at me!† Not likely. I pivot off the wash and flit through the mesquites. â€Å"I didn't think there was anyone left! Please, I need to talk to you!† His voice surprises me-it is too close. â€Å"I'm sorry I kissed you! That was stupid! I've just been alone so long!† â€Å"Shut up!† I don't say it loudly, but I know he hears. He's getting even closer. I've never been outrun before. I push my legs harder. There's a low grunt to his breathing as he speeds up, too. Something big flies into my back, and I go down. I taste dirt in my mouth, and I'm pinned by something so heavy I can hardly breathe. â€Å"Wait. A. Minute,† he huffs. He shifts his weight and rolls me over. He straddles my chest, trapping my arms under his legs. He is squishing my food. I growl and try to squirm out from under him. â€Å"Look, look, look!† he says. He pulls a small cylinder from his hip pocket and twists the top. A beam of light shoots out the end. He turns the flashlight on his face. The light makes his skin yellow. It shows prominent cheekbones beside a long thin nose and a sharply squared-off jaw. His lips are stretched into a grin, but I can see that they are full, for a man. His eyebrows and lashes are bleached out from sun. But that's not what he is showing me. His eyes, clear liquid sienna in the illumination, shine with no more than human reflection. He bounces the light between left and right. â€Å"See? See? I'm just like you.† â€Å"Let me see your neck.† Suspicion is thick in my voice. I don't let myself believe that this is more than a trick. I don't understand the point of the charade, but I'm sure there is one. There is no hope anymore. His lips twist. â€Å"Well†¦ That won't exactly help anything. Aren't the eyes enough? You know I'm not one of them.† â€Å"Why won't you show me your neck?† â€Å"Because I have a scar there,† he admits. I try to squirm out from under him again, and his hand pins my shoulder. â€Å"It's self-inflicted,† he explains. â€Å"I think I did a pretty good job, though it hurt like hell. I don't have all that pretty hair to cover my neck. The scar helps me blend in.† â€Å"Get off me.† He hesitates, then gets to his feet in one easy move, not needing to use his hands. He holds one out, palm up, to me. â€Å"Please don't run away. And, um, I'd rather you didn't kick me again, either.† I don't move. I know he can catch me if I try to run. â€Å"Who are you?† I whisper. He smiles wide. â€Å"My name is Jared Howe. I haven't spoken to another human being in more than two years, so I'm sure I must seem†¦ a little crazy to you. Please, forgive that and tell me your name, anyway.† â€Å"Melanie,† I whisper. â€Å"Melanie,† he repeats. â€Å"I can't tell you how delighted I am to meet you.† I grip my bag tightly, keeping my eyes on him. He reaches his hand down toward me slowly. And I take it. It isn't until I see my hand curl voluntarily around his that I realize I believe him. He helps me to my feet and doesn't release my hand when I'm up. â€Å"What now?† I ask guardedly. â€Å"Well, we can't stay here for long. Will you come back with me to the house? I left my bag. You beat me to the fridge.† I shake my head. He seems to realize how brittle I am, how close to breaking. â€Å"Will you wait for me here, then?† he asks in a gentle voice. â€Å"I'll be very quick. Let me get us some more food.† â€Å"Us?† â€Å"Do you really think I'm going to let you disappear? I'll follow you even if you tell me not to.† I don't want to disappear from him. â€Å"I†¦Ã¢â‚¬  How can I not trust another human completely? We're family-both part of the brotherhood of extinction. â€Å"I don't have time. I have so far to go and†¦ Jamie is waiting.† â€Å"You're not alone,† he realizes. His expression shows uncertainty for the first time. â€Å"My brother. He's just nine, and he's so frightened when I'm away. It will take me half the night to get back to him. He won't know if I've been caught. He's so hungry.† As if to make my point, my stomach growls loudly. Jared's smile is back, brighter than before. â€Å"Will it help if I give you a ride?† â€Å"A ride?† I echo. â€Å"I'll make you a deal. You wait here while I gather more food, and I'll take you anywhere you want to go in my jeep. It's faster than running-even faster than you running.† â€Å"You have a car?† â€Å"Of course. Do you think I walked out here?† I think of the six hours it took me to walk here, and my forehead furrows. â€Å"We'll be back to your brother in no time,† he promises. â€Å"Don't move from this spot, okay?† I nod. â€Å"And eat something, please. I don't want your stomach to give us away.† He grins, and his eyes crinkle up, fanning lines out of the corners. My heart gives one hard thump, and I know I will wait here if it takes him all night. He is still holding my hand. He lets go slowly, his eyes not leaving mine. He takes a step backward, then pauses. â€Å"Please don't kick me,† he pleads, leaning forward and grabbing my chin. He kisses me again, and this time I feel it. His lips are softer than his hands, and hot, even in the warm desert night. A flock of butterflies riots in my stomach and steals my breath. My hands reach for him instinctively. I touch the warm skin of his cheek, the rough hair on his neck. My fingers skim over a line of puckered skin, a raised ridge right beneath the hairline. I scream. I woke up covered in sweat. Even before I was all the way awake, my fingers were on the back of my neck, tracing the short line left from the insertion. I could barely detect the faint pink blemish with my fingertips. The medicines the Healer had used had done their job. Jared's poorly healed scar had never been much of a disguise. I flicked on the light beside my bed, waiting for my breathing to slow, veins full of adrenaline from the realistic dream. A new dream, but in essence so much the same as the many others that had plagued me in the past months. No, not a dream. Surely a memory. I could still feel the heat of Jared's lips on mine. My hands reached out without my permission, searching across the rumpled sheet, looking for something they did not find. My heart ached when they gave up, falling to the bed limp and empty. I blinked away the unwelcome moisture in my eyes. I didn't know how much more of this I could stand. How did anyone survive this world, with these bodies whose memories wouldn't stay in the past where they should? With these emotions that were so strong I couldn't tell what I felt anymore? I was going to be exhausted tomorrow, but I felt so far from sleep that I knew it would be hours before I could relax. I might as well do my duty and get it over with. Maybe it would help me take my mind off things I'd rather not think about. I rolled off the bed and stumbled to the computer on the otherwise empty desk. It took a few seconds for the screen to glow to life, and another few seconds to open my mail program. It wasn't hard to find the Seeker's address; I only had four contacts: the Seeker, the Healer, my new employer, and his wife, my Comforter. There was another human with my host, Melanie Stryder. I typed, not bothering with a greeting. His name is Jamie Stryder; he is her brother. For a panicked moment, I wondered at her control. All this time, and I'd never even guessed at the boy's existence-not because he didn't matter to her, but because she protected him more fiercely than other secrets I'd unraveled. Did she have more secrets this big, this important? So sacred that she kept them even from my dreams? Was she that strong? My fingers trembled as I keyed the rest of the information. I think he's a young adolescent now. Perhaps thirteen. They were living in a temporary camp, and I believe it was north of the town of Cave Creek, in Arizona. That was several years ago, though. Still, you could compare a map to the lines I remembered before. As always, I'll tell you if I get anything more. I sent it off. As soon as it was gone, terror washed through me. Not Jamie! Her voice in my head was as clear as my own spoken aloud. I shuddered in horror. Even as I struggled with the fear of what was happening, I was gripped with the insane desire to e-mail the Seeker again and apologize for sending her my crazy dreams. To tell her I was half asleep and to pay no attention to the silly message I'd sent. The desire was not my own. I shut off the computer. I hate you, the voice snarled in my head. â€Å"Then maybe you should leave,† I snapped. The sound of my voice, answering her aloud, made me shudder again. She hadn't spoken to me since the first moments I'd been here. There was no doubt that she was getting stronger. Just like the dreams. And there was no question about it; I was going to have to visit my Comforter tomorrow. Tears of disappointment and humiliation welled in my eyes at the thought. I went back to bed, put a pillow over my face, and tried to think of nothing at all.

How Does the Scoring Curve Work for the ACT?

The ACT is a standardized exam most commonly taken by juniors and seniors in the United States. Many college admissions committees require either an ACT or SAT score, and some states now use the ACT as a high school graduation requirement. The test is well known nationally and its results are recognized by the most competitive colleges and universities in the country. For this reason, it comes as a bit of a surprise that ACT scores are not as commonly understood as one might expect. In fact, there are many misconceptions about ACT scores and their meaning, including the idea of an ACT scoring curve.       In this post, we will outline how ACTs are scored and what the implications of this scoring are on testing decisions and score comparisons. Read on to learn more about how the ACT scoring curve works. The ACT is offered in the United States six times per year, and while it’s common to think that your test will be scored on a curve in relation to the other tests taken on your test date, this is actually incorrect.   Your ACT is scored through a series of careful calculations. First, the number of questions you got right on each separate section is tallied. This results in what is known as a raw score. The raw score is simply the number of correct answers you submitted, and this number is not readily apparent on your score report. Instead, you see a score that is scaled. Your raw score is converted to a scaled score ranging from 1-36. These are the scores headlining your score report and are the numbers you’re probably most familiar with if you’ve researched ACT averages or benchmarks. Your scaled scores for each separate section are then averaged to calculate your composite score. Fractions more than or equal to one half are rounded up to the nearest whole number, while fractions under one half are rounded down to the nearest whole number. Your composite score is the first number that appears on your score report and is widely accepted as the most important indicator of your success on the test. Raw scores are converted to scaled scores by using a test-specific curve designed to correct for slight variations in the difficulty of each test. The curve is not based in any way on the performance of your peers. While we’re most accustomed to hearing about curves that are plotted in relation to other scores on the test, for the ACT this is not the case. Instead, the curve is calculated based on the specific difficulty of the ACT that you took. Because there are multiple versions of the test administered each year, it’s necessary to account for slight variations in how difficult each test is. Questions are weighted by difficulty and each test’s specific curve will take this into account. Again, multiple versions of the ACT are administered throughout the year and the difficulty of each test will vary. But generally, there is no single test administration that is easier than another. Even if a single test was easier, the score conversion process is designed to negate this difference on your scaled score. That is to say, if you did happen to take a slightly easier version of the exam, the scale to convert your raw score would be slightly steeper, making any mistakes more significant than they would be on a harder version of the test. Because many people do not understand the scaling process, there are some misconceptions about choosing a specific test date. One common misconception is that you should avoid taking the test during a particular month if there may be a large group of strong students taking the test, since this would throw off the scoring curve. Some people might say that the October test date is typically the most competitive, since many high school seniors are taking the test for the last time. But this idea is actually false, since the scoring curve does not depend on the scores achieved by other students taking the test at the same time as you. For example, if you take the ACT during a month when many strong students are also testing, and many of them score a perfect 36, your score will be the same as it would have been had they not taken the test. Your scaled score is dependent only on the independent difficulty of the particular version of the ACT that you took. The performance of your peers bears no weight on your converted score. Unless you have an official ACT Converted Score Chart produced specifically for the version of the test that you’re trying to score, you cannot convert your own raw score to the scaled score. On official practice tests, you are given a conversion chart made specifically for that test. While the chart changes only slightly from one version of the test to another, it cannot be reliably used to convert scores from other versions of the ACT. To get an idea of what the converted score chart looks like, and the process for scoring an ACT, check out page 60 of the official Preparing for the ACT Test booklet, which contains a complete practice test and its specific ACT Converted Score Chart. There is no magic formula when it comes to scoring well on the ACT. No test dates are easier than others, no test facilities will administer an easier test on any given day, and no amount of peer influence will change the way your raw score is converted to the 36-point scale. The only way to ensure that you receive the highest ACT score you’re capable of is to maximize your studying and test preparations. Some students find a study group helps to keep them on track and hold them accountable. Other students find that a personal ACT tutor is the most effective means of preparing. Still others prefer studying independently. Whatever the case may be for you, make sure to begin your test preparations well ahead of time. Here are some study guides to get you started: In addition to studying the test content, be sure to study test strategy and format as well. You should go into the test knowing exactly what to expect on test day so that there are no surprises to throw you off your game. Be familiar with the instructions for each individual section, the pacing of each section, and the general content knowledge required. While there is no single test date or facility that will magically transform your ACT score from drab to fab, there are certainly measures that you can take in advance to set yourself up for the most successful testing experience possible. Don’t overlook the value of proper planning and prior preparation as you get ready for your ACT test day. To learn more about the ACT test, check out these posts: With our free ACT checklist, you’ll get tips on how to strategize and get ready for the ACT. Enter your name and email below to download the checklist.

African Music (East Africa) Essay Example | Topics and Well Written Essays - 1250 words

African Music (East Africa) - Essay Example African music is an art that can be traced way back before the colonial period and has developed to the modern music production, which has been influenced by technology, as well as African and western cultures. These numerous languages come with their cultures in way of life and behavior. However, the dominant languages among them and their environment seem to influence the countries’ cultures and art. The highest percentage of the East African community comprises of Bantu speakers, majorly speaking in Swahili (in Kenya and Tanzania), Ganda in Uganda, and Kinyarwanda and Rundi in Rwanda and Burundi respectively. Swahili is spreading fast across the region, but English and French have increased in popularity among the societies. It has become easy for artists to compose music and poetry in these diverse languages to communicate with people in a much more familiar way; considering there are still native speakers who do not understand official languages of these countries. Vernac ular influence in music: Existence of music in historic times in East Africa can be proven through the evidence of line figure rock art, which showed people playing musical instruments, at least as demonstrated by the rock paintings estimated to have existed over 30,000 years ago, in sites of lake Victoria, Sigindia, and Kondoa districts of Tanzania (Nannyonga-musuza and Solomon 34). In most rural areas, people speaking one language are densely populated in one area, while in cities and towns, the population comprises of people speaking different languages and from different cultural backgrounds. The same thing applies to East Africa, taking an example of Kenya; kikuyu is spoken highly in central Kenya, Kalenjin in the rift valley, Luo in the western parts around L. Victoria, and Cushitic languages on the north eastern part of the country. Kenya has moved ahead investing on media stations that relate to the people in their vernacular languages. The broadcasting stations communicate the messages from the news table and music in the same language. There are broadcasting stations which use official languages (English, Swahili, French, Ganda, Rundi, and Kinyarwanda) for general public communication, but would eventually promote the different cultures and languages in their music, to harmonize these cultures within the society. This promotes distinct peoples’ cultures and artistic works of poetry and music relating to similar issues that the language speakers deal with. Often, the native speakers and their cultures identify themselves by use of certain musical instruments. For example, Ramogi FM and Nam Lolwe FM broadcast in Luo language and the people would want to dance and sing to their musical genre, which uses instruments like nyatiti, traditionally called ‘thum,’ (an 8 stringed traditional instrument played with fingers or plectrum) (â€Å"Prof. Charles Nyakiti,†13). Most of the ethnic groups around Lake Victoria in Uganda and north ern Tanzania use the instrument in traditional music and competition events. The common feature of nyatiti music dancers in East African region is dancing with pride, like an eagle, shaking limbs, shoulders, and fingers. Religion: Individual movements and community settlements in the past enhanced cultural adoption, growth of different faith, and conflicts in East Africa. Music and religion go hand in hand in any part of Africa. Christianity and Islamic religions have been dominant among others, and rely on music to lay out the history and teachings of the religions. During the pre-colonial period, Christianity spread fast in the main lands of East Africa,

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

Asbestos - Research Paper Example Previously, people did not know the risk associated with asbestos and began to use asbestos in a wide range of activities. With the due passage of time and extensive research by researchers, it was found that asbestos were responsible for a considerable proportion of health risk attached with people. People are both directly and indirectly affected by asbestos. People are directly affected by asbestos through inhalation of considerable amount of asbestos by people in their working environment. Asbestos fibers when exposed to air causes air pollution which indirectly affects people. Direct contact with person who inhaled asbestos can also affect the health of people. It was revealed that exposure to asbestos caused a number of health diseases. A few of them were manageable and some were fatal. Asbestos particles which are released into the air are inhaled by humans by breathing or through a membrane called mesothelium. The inhalation of these fibers can make cells more cancer prone. E arlier mainly the mining workers were exposed to asbestos and affected by it, but due to the wide acceptance of asbestos in industries, schools and housing, the number of people affected by asbestos has increased. The consequences of asbestos inhalation are usually associated with the amount of asbestos the person is exposed to, how often the person is exposed and the tenure of exposure. The main effects can result in asbestosis, pleural mesothelioma or lung cancer (Asbestos, 2010). With the increase in awareness of health diseases associated with asbestos, continuous efforts have been made to minimize its impact on human health. In 1970, the Congress in US passed the Occupational Safety and Health Act with a view to protect workers from occupational hazards. EPA also monitors the exposure of asbestos through its regulations which is known as National Emission Standards for Hazardous Air Pollutants. This regulation

Rhode Island v. Innis, 446 U.S. 291, Stewart J Case Assignment

Rhode Island v. Innis, 446 U.S. 291, Stewart J Case - Assignment Example Miranda safeguards are there when â€Å"a person in custody is subjected to either express questioning or its functional equivalent†. The respondent Innis was arrested with the accusation of robbing a taxi driver. Five days ago, a taxi driver was robbed and found dead because of being fired in the head with a shotgun. This was the second robbery that led to respondent’s arrest. When he was arrested, he was repeatedly informed about his Miranda rights and allowance to contact a lawyer. After listening multiple times about his Miranda rights, the respondent informed that he would require the assistance of a lawyer. Three officers took him in the patrol car and they were forbidden by Captain Leyden to ‘question the respondent or intimidate or coerce him in any way’. While discussing handicapped children in the area who could use the handgun, officers showed their concern. They did not invite the respondent to the discussion, but he interrupted their conversation and informed them that he could show them the location of the gun. He was again informed about his Miranda rights, but he said that he kn ew about his Miranda rights, but he â€Å"wanted to get the gun out of the way because of the kids in the area in the school†. The Court found the respondent guilty without violation of his Miranda Rights. The case applicable here is Miranda v. Arizona that informed the respondent about his constitutional rights. The Supreme Court of Rhode Island decided that Innis was repeatedly informed about his Miranda rights and allowance of consultation to his lawyer, but he willfully confessed about his crime. He was not interrogated by the police officers in any way.

Patricia Benner Essay Example | Topics and Well Written Essays - 1250 words

Patricia Benner - Essay Example Benner went on to work as nurse for several years, including a period in an intensive care unit, an emergency room, as a staff nurse, and in home care. She then returned to academia, as a researcher at the University of California. In 1984, she authored the work which set out the basic principles of her influential theories – From novice to expert – Excellence and Power in Clinical Nursing Practice. Benner had become very interested in the Dreyfus model of skills acquisition, and, in this work, adapted this to nursing. Her main intention in doing so was to answer the question ‘how do nurses learn to do nursing?’ (enursescribe.com). This book was based on 21 sets of interviews Benner had conducted with newly-graduated nurses and their preceptors. Additionally, Benner interviewed or observed some 51 experienced clinical nurses, a further 11 newly-graduated nurses, and 5 senior nursing students, hoping ‘to further delineate and describe characteristics of nurse performance at different levels of education and experience’ (Benner, 1996, p.xiv). Among Benner’s many other works are the 1996 book Expertise in Nursing Practice: Caring, Clinical Judgement, and Ethics, with Christine Tanner and Catherine Chesla, and Caregiving, with Suzanne Gordon and Nel Nodding, published in the same year. Her work has had an enormous influence on nursing training and practice, and already in 1985, the year after the publication of From novice to expert, she was elected to the fellowship of the American Academy of Nursing. Benner has also been elected an honorary fellow of the Royal College of Nursing. This influence has also spread well beyond the United States. For example, Benner’s work has provided the basis for a redesigned system of nursing practice and education in three states in Australia (earthlink.net). Benner proposed that a

Human Resource Management 1 Research Paper Example | Topics and Well Written Essays - 1500 words

Human Resource Management 1 - Research Paper Example In the following paragraph we are going to discuss about all the six features of a multicultural organization – Pluralism  refers to the mixed group of members in an organization and it also means taking proper measures to involve all the employees entirely that are different in terms of the central group dominating the organization. The concept of pluralism should take into account all the factors relating to race, religion, language, ethnicity, gender and culture which proves to be the basic component of a person’s identity and hence are sensitive facets of a person’s life. Pluralism is a part of the acculturation process. Acculturation helps to a great extent to introduce the concept of pluralism among the employees. Acculturation is the means by which the cultural disparity between the host/dominant cultural group and a minority cultural group are treated or resolved. There are a number of options for practicing acculturation within the organization, among which the most well-known being: 1. An unilateral procedure by which members of the minority culture take on the values and norms of the principal group within the workplace (this is called assimilation); 2. A course of action by which both majority and minority members of different cultural backgrounds accept some customs and rules of the other group (this is known as pluralism); 3. A state of affairs where there is modest scope of variation from each of the culturally different groups (this situation is referred to as cultural separatism). Pluralism further refers to the means of encouraging the minority culture groups are to enact the practices from the other cultural groups as well as from the dominant cultural group. They are as a result capable of retaining a sense of individuality within their minority cultural group. The concept of acculturation on the other hand is related to the cultural (customs and attitudes) characteristic of amalgamation of the diverse teams, as contra sting to simply make themselves physically available in the same setting (Buenker & Ratner, 2005, pp.18-20). Full structural integration:  An organization generally comprises of people from various backgrounds and different locations. When the firm has minority team members offering their service at every organizational level like responsibly handling all functions and enthusiastically taking part in all work teams, then it is said that the firm has attained full structural integration. Though, in order to obtain an appropriate knowledge of the structural integration framework it is significant to look further than the organization oriented summary data, and study the cultural blend in terms of function, individual work team and the level of work done. This involves dealing out with educational specializations and the variations in expertise and treating those evenly all through the organization. Full integration of informal networks:  integration in informal networks in a multi cultural organization is fostered through supervising and mentoring programs, particular social occasions and sustaining the cultural groups for the minorities. Such firm

Interaction with a Group of Students from UAE Assignment

Interaction with a Group of Students from UAE - Assignment Example Though the young guys from the UAE did respond, they seemed to be a bit hesitant and restrained. It appeared that something was holding them back. In retrospect, now that I have accrued a little cultural literacy, I think that being from UAE, which is a nation with a high Uncertainty Avoidance Index, my initiating a conversation in a spontaneous and abrupt manner made them feel a little ambiguous and anxious (Geert Hofstede 2). In consonance with a their cultural dimensions, our friends from the UAE must have been a little startled to be accosted by a group of young strangers, who were trying to interact with them as if they were long lost friends. However, as our interaction proceeded, things became a little more relaxed and comfortable. We learnt that the young people were students from a reputed business school located at Abu Dhabi and the two mature gentlemen accompanying them were their professors. We showed a great interest in knowing as to how they found the academic environment at Abu Dhabi, the subjects they liked and the careers they intended to pursue after finishing their degree in business. They warmly responded to our curiosity and proceeded to talk about the topics they found really interesting. In the meantime, my friend Steven, who was also pursuing an MBA, asked one of the professors about his opinion regarding an international business issue. The professor proceeded to talk about the issue with a smile. However, as he was talking, Steven interrupted him and candidly contradicted the gentleman regarding a specific aspect of the topic being discussed. Suddenly we felt that a foreboding sense of seriousness too k over the entire group from the UAE. The professors seemed a bit irked and disturbed. Today, I think, UAE being a country with a very high Power Distance Index, the instance of Steven discernibly contradicting a senior professor, must have seemed disrespectful to our Arab friends (Geert Hofstede 2).

Teen pregnancy Case Essay Example for Free

Teen pregnancy Case Essay Effects Teen pregnancy causes dramatic changes to a teen girls lifestyle, emotional well-being and body. According to PregnancyCenters.org, some of the most long-lasting effects of teen pregnancy involve the emotional stress of planning for parenthood, or planning for adoption. Prevention/Solution The only guaranteed method of avoiding teen pregnancy is abstinence. If a teen does decide to become sexually active, she should talk to her parents, physician, counselor or other mentor or health-care professional about available methods of birth control. Mainstream MTVs hit shows 16 and Pregnant and Teen Mom have brought teenage-pregnancy awareness and prevention into mainstream popular culture. Sponsored Links Are you a Teen Girl? Having sex has consequences! Come read the stories from other teens. www.StandUpGirl.com Family Problems? Find resources and help for Filipino families www.usapangpamilya.com Want to get pregnant? Many people carry genetic mutations that can be passed on to offspring. genetestnow.com Pregnancy = Numb Fingers? Relax. Take a Deep Breath. We have the Answers. No More Numb Fingers TherapyGloves.com/numbfingers.html Related Searches Teenage Pregnancy Help Teen Pregnancy Pregnancy Facts Pregnancy Abortion Unplanned Pregnancy More to Explore Reasons Why Teenagers Get Pregnant How to Support a Pregnant Teenager 9 Infertility Causes in Young Women (Parent Society) Is That Normal? 9 Surprising Age-Related Changes (Shape) Whats this? References National Campaign to Prevent Teen and Unplanned Pregnancy: 50-State ComparisonsCost of Teen Childbearing National Campaign to Prevent Teen and Unplanned Pregnancy: BrieflyTeen Pregnancy Rates in the United States, 1988-2006 MSNBC: HealthTeen Birth Rates Highest in Most-Religious States Photo Credit Thinkstock Images/Comstock/Getty Images Read more: What Is Teenage Pregnancy? | eHow.com http://www.ehow.com/facts_6005988_teenage-pregnancy_.html#ixzz2IPDAfzYE

Photography Essays Monstrous Imagery

Photography Essays Monstrous Imagery Chasing the Dragon: Capturing the Significance of the Monstrous Chapter One: What is a monster? There are perhaps two kinds of monster: the monster that sprung from our own hands and changed into something uncontrollable, and the monster that is experienced as alien, preternatural, generally an unfathomable creature, and frightening because of its mystery. It is impossible to decide which is more frightening, since both suggest an Other, something resistant to human power, and while the first kind draws attention to man’s mortal limits and potential for self-destruction, the second highlights the extent of human ignorance and insignificance in relation to external forces. Both kinds of monster, however, share an ability to induce extraordinary fear, and both have a solid foundation in mythology, since man has always feared what he could not explain and has translated his fears into metaphorical shapes of fearful creatures since time began. Both man-made and alien monsters, too, share a self-referential semiotic structure in literature, art, psychology and mythology. In t he history of the human subconscious, fears have always preceded monsters. Monsters are representative. They are representative of all the things we are unable to control, and the uncontrollable fear that is generated by these things. They are representative, then, on more than one level, as they are simultaneously our fear and the object of our fear. All (â€Å"bad†) monsters are synonymous with fear – our fearand as such the monstrosity we perceive in even â€Å"external† beasts like aliens, dragons, sea monsters and circus freaks, is something generated by us, the beholder. They are also representative of anything threatening, as Robert Thomas’ definition in â€Å"The Concept of Fear,† explains â€Å"not only what is likely to threaten life, injure our bodies, cause physical pain, which is seen as   ‘dangerous’ or ‘threatening.’ The monster retains an almost unique power to represent, subjectively, something different to whoever beholds it. But its representative power operates on a universal level too: in Judith Halberstam’s book Skin Shows (1995) she seems to suggest that the semiotics of a monster’s meaning should maintain a certain fluidity, as its interpretation is so unstable, and contingent upon social, political and religious climates. Halberstam expounds on the role of literary and cinematic texts in channelling our fear of monsters, since â€Å"the production of fear in a literary text (as opposed to a cinematic text) emanates from a vertiginous excess of meaning† While one might expect to find that cinema multiplies the possibilities for monstrosity, the nature of the visual always, in fact, operates a kind of self censorship, whereby our visual register reaches a limit of visibility surprisingly fast. It is our imaginations that make the invisible nature of monsters, the very essence of their unknown-ness, so enduringly frightening. As Paul Yoder eloquently expresses it, â€Å"What we cannot see frightens us most. Reason competes with   imagination to establish boundaries around the external stimuli and, thus,   clearly establishes a means of remaining separated from that which harms us.   But reason will ultimately prove ineffective without a frame of reference grounded in a context of physical reality to establish a solidified boundary between the real and the unreal, the natural and the supernatural. Without this definitive context, reason is unable to mark the separation between two modes of perception, so as an audience or a reader, we are forced to hesitate, resulting   in a moment of suspense, the first stage in   externalizing the feeling and producing an externally constructed emotion of   fear.† The monster walks the line between life and death, and the most terrifying monsters transform others into fearful beings too, removing their essence, or everything they cherished. Medusa, for example, had no natural animation herself, just wriggling snakes that performed a grotesque impersonation of the natural and winsome effects of wind through hair.   In some ways she epitomises monstrousness, as her fearful power was an extension of her fearful quality – her deathly stillness. Medusa, of course, used petrification to turn others to stone, and inadvertently brought about her own end through the reflection of her enemy’s shield. Thus Medusa is a warning to all monsters: eventually, the supernatural force of the deadly stillness will be turned onto itself by the superior power of animated defences of the natural. My aim in this study is to juxtapose the metaphorical â€Å"monsters† that have permeated our language and mythologies with the visual interpretations of the monstrous, as it has been translated into photography and the assumptions of pop culture. The ultimate goal in this study is to arrive at some definition of â€Å"monster† based on a societal interpretation of the outsider and examine how fear of the â€Å"Other† is internalized. It is the manner that we, as a society, perceive our â€Å"Other†, which will ultimately control the paths our visual representations of monsters take, as mythical archetypes within the horrors of our minds. Chapter Two: Creating and defining the monstrous: the codes of photography Monsters have long been obeisant to a certain visual code, albeit a very difficult one to define. Sometimes they are brightly coloured, sometimes scaled up or down, humanoid, hairy, toothy, slimey, legless, millipedal, whatever they look like, they look exaggerated, surprising, startling, unexpected. If we read about them, the mental image is a perplexingly blurry one; if we see them in horror movies, their most frightening moment is always just before they appear. Monsters vary so wildly in their representation because the visual properties of the monster are actually incidental to its fear-producing power. The monster can look like anything, the more surprising the better – a chair; a beachball; the Prime Minister because the fear is our fear, and the fear created the monster: it was there first, deep inside us. The visual arrangement of the monster is merely a trigger to that primal fear. It seems to me that the writer with the most monstrous pen is Herman Melville, and the photographer with the most monstrous eye is Ansel Adams. Both contrast light and dark incessantly: for Melville with his extraordinary white whale, pallor is something to be afraid or suspicious of, perhaps even suggesting the diabolical. Whiteness is both, â€Å"the most meaningful symbol of spiritual things, nay, the very veil of the Christian deity,† and â€Å"the intensifying agent in things the most appalling to mankind†. In a world controlled by Christian orthodoxy, the whiteness of purity, the shroud, and death, lead to life everlasting. On the sea, however, white represents a loss of hope, for it â€Å"shadows forth the heartless voids and immensities of the universe and thus stabs us from behind with the thought of annihilation.† A photograph remains an abstraction, even in its most primitive state as a sort of document or record and Adams’s skill lies in his ability to conceal his role as contriver, abstracter, imaginist, within the rhetorical apparatus of scientifically objective reality. He shuttles, perpetually, between the reality of texture and the affectation of emphasised texture; his is a statement about the difference between something existing and something being noticed, which partly accounts for his famous privileging of black and white. When unnecessary distractions arise from ranges of colours are removed, the impact of an image can be multiplied. In efforts to define- or perhaps contain it, the practice of photography has been laboriously distinguished from other visual forms and practices, particularly painting and film. Adams is interesting because he refuses the forces of classification, not static enough for photography, too theatrical and contrived for regular representational convention. In the article Looking at Photographs, Victor Burgin writes: â€Å"The signifying system of photography, like that of classical painting, at once depicted a scene and the gaze of the spectator, an object and a viewing subject. Whatever the object depicted, the manner of its depiction accords with laws of geometric projection which imply a unique point of view. It is the position of point-of-view, occupied in fact by the camera, which is bestowed upon the spectator.† Even more emphatically than painting, photography maps an animated, infinitely subjective and ever changing world into a two dimensional, static image of a finite moment.   Classical and highly stylised black and white images, such as those that have made Adams most famous, take the abstraction one step further by removing all colour from our inescapably multicoloured world. What remains is one of two things which really amount to the same: an alien – monstrous landscape, or our own landscape from an Other’s point of view. The use of colour in photography has been shunned repeatedly by many purists working to a realist agenda. Compared to black and white it is considered more superficial, crassly realistic, mundane, less abstract, ultimately less artistic. Altering light and shade in the darkroom enables a degree of artistic dishonesty. The camera may not lie, but the photographer very frequently does, especially the photographer with an artistic agenda. Whenever he dodges shadow detail and fires up highlights, increasing contrast or altering tone, Adams exercises and demonstrates a contrivance that amounts to a sort of visual poetry. Adams is on record confessing to severe manipulationof Moonrise over Hernandez, but more significant still is probably his interest in striking, unusual, dehumanised scenes and subjects which lend themselves so well to monochrome representation. These subjects I would characterise as â€Å"monstrous†: their stillness the only feature protecting us from terror †“ the brink of fear kept just out of reach by the amazing stationary quality of the images. Monsters are frightening when they are animated, but this is also when they are at their weakest, as we have seen. Adams’ works have the frozen, petrified, feel of a final visual imprint of a paralysed, dying beast. The night scene is extraordinarily affecting, partly because, as a genre, it is most famous for high contrast monochrome. It is the only time in our world really does seem black and white, so the image is almost an accurate representation, but not quite. It is the slightly alienating quality of this image, the slight lack of fit between representation and mental expectation, which makes it so beautiful. Many of Adams’s images are arresting because they are tuned to the timing of our mental calculations: they are ready to predict and confound our expectations by subtle acts of artifice and they play constantly, and good-naturedly, on the moment of our realisation. The monochrome of Adams is not a symptom of self-aggrandising pride in his iconic â€Å"artist† status, but a device to play with emphasis and expectation, a way of forcing us to look at the world in different ways. The British scientist and psychology pioneer, Sir Francis Galton (1822-1911), was responsible for many studies we might now associate with â€Å"monstrous† photography in a different sense. Galton generated controversy in many ways even in his own time; as an early eugenicist he was the first to study the nature-nurture debate through the use of real pairs of twins. Galton’s Eugenics experiments in the 1870s had the ostensible aim of â€Å"improving† the human race by selecting individuals with desirable traits and encouraging them to breed, while simultaneously to check the birth-rate of the Unfit. Perhaps his most famous means of studying behavioural traits across different social demographics was photography. Galton aimed to surpass individual behavioural idiosyncrasies and arrive at generalisations about human behaviour, through a crudely arranging a number of photographs into a composite. His most famous study of this sort aspired to investigating criminal behaviour – and this was the study which most clearly demonstrated both a fear of and damaging assumptions made about Victorian society’s â€Å"Other†: the monstrous convict. Galton took a number of face-shots of men convicted of murder, manslaughter and other serious crimes, then carefully printed them all to the same dimensions. By photographing a number of them, then carefully aligning the images onto the same photographic plate, a composite photograph was assembled. Rather than Galtons enabling him to produce a clear image of a criminal face, Galton’s results produced pictures that of men with a generic kind of working class look. Galton’s â€Å"monster† seemed to be created from the false confidence of new technologies and that afforded by the new shamanism surrounding his â€Å"science†. His results seemed to show that any member of the lower classes was a potential criminal and advised that selective breeding could be used to replace the lower classes by those from superior stock. An extension of the same reasoning and method, and extraordinary bias towards the visual, could come to the conclusion that some racial groups were inherently superior to others, and indeed this was what happened, as Eugenics, while starting as an attempt to scientifically improve the human condition was of course later used to support Nazi policies of extermination of Jews, gypsies and others. Photography theory has traced something undeniably monstrous integral to the abstract, literary property of the photograph. After his father’s death, Paul Auster was compelled to sort through the house full of the objects left behind. Despite the fact that all his father’s artefacts, everything from an electric razor, to tools and cancelled cheques—bore a kind of ghostly trace of their owner, Auster prefers to focus on the photographs he finds stored in a cupboard in the bedroom. It is as if he hopes they might reveal some information about his father that unusually real, through their power to capture his image. Roland Barthes’s work Camera Lucida affords Auster’s grim quest with some context. After a determined effort to define photography â€Å"in itself,† the second half of his book sees Barthes turning to a kind of personal dialogue with a photograph of his recently deceased mother. While sorting a stack of photographs of his mother, Bar thes notices that â€Å"none of them seemed to me really ‘right’†that is, although he â€Å"recognized a region of her face, a certain relation of her nose and forehead, the movement of her arms, her hands† Barthes can’t â€Å"find† his mother’s essential â€Å"being† in any of her pictures. Barthes’s task then changes from sorting photos to â€Å"looking for the truth of the face I had loved† in the stack of images. There is something intrinsically alien about the meaning of photographs, and to this extent they are monsters to us, and our memories. Auster, too, seems to be seeking â€Å"truth† in the photographs of his lost parent. He writes, â€Å"It seemed that they could tell me things I had never known before, reveal some previously hidden truth† Unlike Barthes, who is looking for something he knows about his mother but can’t find in her images, Auster hopes that his father’s photographs will betray some evidence of a private man, some part of his father that had been carefully concealed from the world. The â€Å"very essence† of photography, according to Barthes, is that it shows what has been. Chapter three: Reacting to monstrous imagery Many spaces are terrifying to us, and soon become populated by â€Å"monsters† of the cosmic psyche. The arctic wasteland is crawling with yetis, every dark corner has a ghost, and every desert is thick with monstrous mirages, terrifying to the extent that they represent a void, a nothingness, at best, the fear of the unknown. They are alien landscapes- mammals struggle to survive, and the plants we do find in deserts barely seem designed to aid our survival. There is a certain security about filling the void with sign-posts, even if, in the ultimate post-modern irony, those signs only point to themselves. In this sense the iconography of the desert shares a metaphorical shape with Barthes’ self-reflexive definition of photography; it is as if the horrors of the desert, the horrors of the self-created metaphor, and the fearful void constructed by the photograph that signifies nothing are all connected and perhaps even the same. Auge’s words explain the problem of imaging the desert, If a place can be defined as relational, historical and concerned with identity then a space which cannot be defined as relational, historical or concerned with identity is a non place. The spaces which negate are unbearable and must be somehow psychically redeemed. Laura Cinti attempts this by attaching hair to the spineless cactus, for the cactus itself has of course beco me yet another iconographic space of complicated nothingness. Cinti’s work, if it demonstrates or states anything, demonstrates or states the extent to which the desert symbolism has been anxiously harvested from the plant. What looks like nothingness is mere misunderstanding, and what looks like improvement and liberation is naà ¯ve, appalling, abuse. Yet we are all guilty of some of this. None of us can bear the silence of the desert or make sense of the mute perpendicular. Michael Fried’s work in Realism, Writing, Disfiguration makes much of the damaging and paradoxical symmetry that exists between the hand and the eye. That is, the way we see the world is affected by the way we recreate it, but the way we reproduce it damages the way we see it. The whole theory operates on a larger metaphor controlled by vertical/horizontal semiotics. The desert cactus image is always a vertical formation on a horizontal axis: the opposition of life and death is present visually and immediately. But the desert is unique, as a horizontal space. We would normally expect a great expanse of flat ground to be bursting with life and promise, to oppose and define the sky. The desert, however, rejects life. Those who think cacti ugly must perceive them as canker sores, signifiers only of scorched earth. The desert space is an inversion of all th at we, as animals, have come to associate with health   and life. The cacti in the vista, then, can be interpreted in two almost completely opposing ways. Either they are the anti-tree, the anti-life, or they are vegetation and water, albeit in a different form- and consequently just as alienated from the sandy plains as we are. Despite the obvious oppositions, the desert is more like the sea than it appears. While the water reflects light, the desert reflects heat- and the art historian Michael Fried cites reflections as the connection between the inner and the outer. To the extent that they are concerned with reflections, indoor and outdoor scenes are treated as having the same character and affect. I feel sure the notion can equally be applied to a pair of iconographically opposing images. Interior and exterior scenes are, to Fried, clear metaphors for the inside and outside of the body, so perhaps the â€Å"external† hostility of the desert might set alongside the â€Å"internal† of the humane well-vegetated landscape. Perhaps the images represent a horizontality that reflect along a flat axis. The reflection must always be slightly imperfect for the object to be seen at all- and it is interference on the vertical axis that disrupts the reflection and reveals the illusion. In the desert, th is interference is embodied by cacti, which are surely the most authentic part of the landscape. Conclusions We have seen how monsters can be created and destroyed, and discovered that it is more interesting to explore their legacy as metaphorical forces in our language and psyches. In closing, I would like to look briefly at the example of Narcissus, whose monstrous transformation into a flower is richly representative and relevant, and resonates with much of the discourse surrounding art and spectatorship today. Turning to ancient mythology, we often find a wealth of instances where change itself is the terrifying aspect of the monstrous. Ovid’s metamorphoses provide a catalogue of such stories, and, more interestingly, represent the different ways that the metaphors of monstrosity are used to generate fear and alienation. Narcissus and Echo is a particularly rich example, among several in Ovid’s Metamorphoses, of a beautiful youth who died as a result of spurning sex. In Ovids retelling of the myth, Narcissus is the son of Cephissus, the river god and the nymph Liriope. The seer Tiresias foretold that the child would live to an old age if it did not look at itself. While many nymphs and girls fell in love with him, he rejected them all. One such nymphs, Echo, became so distraught that she withdrew to a lonely spot and faded until all that was left was a plaintive whisper. Meanwhile the rejected girls’ prayers for vengeance reached the goddess Nemesis, who caused Narcissus to fall in love with his own reflection. He remained transfixed by his reflection until he died. It is possible that the connection between Echo and Narcissus was an invention of Ovid, since there do not seem to be any earlier instances of the Narcissus myth which incorporate Echo. This myth lends itself to extensive and adventurous literary interpretation. When Narcissus eliminated the distance between his image and its reflection by touching the water with his face, the distance disappeared and took the image with it, as the water rippled and broke the reflected into pieces. The desire, however, remained, not disappearing with any distance covered by his attempts to escape it, and his difficulty with his passion for himself was not solved. The story is compelling to artists because it is about the power of sight, its dangers and its rewards. For Narcissus, salvation is possible as extension of distance, not as elimination of it. If he can cease to see his own image he will be saved but is precisely the need to see his face that is compelling and destroying him. As Angel Angelov writes, â€Å"Narcissus’ face is a metonymy of integrity, enraptured by its reflected self. The general paradox upon which the story is built comprises various details – in this case, the simultaneity of shapelessness and fixed contour – Narcissus’ image on the water surface was cut like chiseled Paros marble. Certainly, we can think about Alexandrinian influence (getting petrified because of amazement) but also about the Roman practice of sculpting, creating firm outlines. However, the presence in a definite social environment considered eternal, is a characteristic that is contrary to the out-social transience of Narcissus’ reflection.† In Narcissus: the mirror of the text. Philip Hardie explores various ideas around Narcissus as a post-modern signifier. The surface of water, that fragile barrier, becomes a Lacanian mirror and operates as an interface between Self and Other, dividing reality and illusion, as Narcissus, just like the reader, confronts an image that can never be real, but representative only of the viewer’s unfulfilled desire. Hardie argues that the story of Narcissus and Echo is Ovid’s cautionary treatise on the dangerously deluding, deceptively subjective property of sight and sound. Narcissus as Lucretian fool and Lucretian lover will be the victim of simulacral delusions, a frustrated lover situated ironically in a bountiful, pastoral landscape filled with false promise; inappropriately wistful even after his acknowledgement that the Other can only ever be a hollow reflection of the Self. According to this reading, all hope of something extraneous to the self, something objective, to love and life, is prohibited by this tale’s morality. The story is essentially tragic and ontologically didactic: indeed Ovid’s Theban histories are infused with the theme of empty signifiers and the dangers of useless introspection. Indeed the story’s equation of the bewitching power of sight with the sight of oneself has inspired recent writers to construct a kind of literary psychosis to describe the subjective subject, â€Å"The eye would be about the I, the subject, part of a monocular system perpetuating an illusion of wholeness, an Imaginary dyad, a tradition of the eye/I that would move through Kant, Husserl, and Merleau-Ponty, while the ear would be aligned with the other, with a fragmentary existence cut across by the Symbolic, by having subjectivity determined by and through an other,† It has been said that the product of every metamorphosis is an absent presence, and nowhere is this more apparent than in the Narcissus/Echo episode, a story irresistible to artists transfixed with the metaphysical paradoxes and word games. One artist well known for his precocious interest in semiotics was Nicholas Poussin. Poussin’s Echo and Narcissus depicts, unusually, a trio of figures in a triangular formation. Narcissus lies prone across the base, limp but muscular, his face a mask of sadness, his eyes empty. Echo behind him resembles a Greek statue, History, perhaps, again posing strangely in a balleric semaphor of sorrow. In fact, for all the story’s appeal Echo and Narcissus poses an obvious challenge to artists: Echo is said to have wasted away until only her voice was left. But a voice is rather difficult to represent in painting. From the outset, then, the story demands that mimetic pictorial realism must be suspended. The story gives artists like Poussin free license to create symbolic, literary pieces, with figures whose bodies are sculpted and whose faces are masks. We have seen how the image lends itself to ontological paradoxes, and it could be argued that the putti, the third figure in th is image, is a kind of representation of the artist’s presence inside his own artificial world. The putti carries a flaming torch, and stands next to a spear, clear indicators, Michael Fried would argue, of the artist’s palette and paintbrush. The art historian Michael Fried’s writing synchronises very well with the Echo and Narcissus myth, as it could well be characterized as the doomed ambition to structure impossible desire. Poussin’s works present a displaced metaphor for the mental and physical effort of painting. Thus Fried’s theory takes the anti-mimetic definition of realism one step further- although painting does not have to relate to what it depicts, it will resist immediacy, but relate in specific indirect ways to the person who depicts it. For Poussin, the impossible, yet desired, merger is one of inscriber and inscribed; for Ovid it is one of reader and listener. An erotics of the word and image is then as inevitable as one of ear and eye, and we find the transformation that characterizes the monster has as much to do with desire as it has to do with fear. This notion is borne out by Kristeva’s definition of the abject. The Concise Oxford Dictionary defines abject as Brought low, miserable; craven, degraded, despicable, self abasing, describing abjection as a state of misery or degradation, definitions which can be understood more fully through their expression: religious hatred, incest, womens bodies, human sacrifice, bodily waste, death, cannibalism, murder, decay, and perversion are aspects of humanity that society considers abject. As Barbara Creed sees it, â€Å"The place of the abject is where meaning collapses, the place where I am not. The abject threatens life, it must be radically excluded from the place of the living subject, propelled away from the body and deposited on the other side of an imaginary border which separates the self from that which threatens the self.† Hence the abject is something we deliberately exclude to preserve our illusion of a meaningful world. In Powers Of Horror:An Essay On Abjection, Kristeva identifies that we first experience abjection at the point of separation from the mother. This idea is drawn from Lacans psychoanalytical theory as she identifies abjection as symptomatic of a revolt against that which gave us our own existence. As Samantha Pentony explains it, â€Å"At this point the child enters the symbolic realm, or law of the father. Thus, when we as adults confront the abject we simultaneously fear and identify with it. It provokes us into recalling a state of being prior to signification (or the law of the father) where we feel a sense of helplessness. The self is threatened by something that is not part of us in terms of identity and non-identity, human and non-human.† Kristeva definition of the abject aligns it to what I have described as the â€Å"Other†,   The abject has only one quality of the object and that is being opposed to I. There will always be a connection between the abject and the subject: they define one another. When we find ourselves flailing in the world of the abject, we lose our sense of subjectivity, our imaginary borders disintegrate, and the abject becomes a real threat because there is no alterior – no sense of reality or self – to neutralise the threat or remind us of its illusory nature. So Kristevas theory of abjection is concerned with those suspended realms, changing forms, states of transition or transformation, â€Å"The abject is located in a liminal state that is on the margins of two positions. This state is particularly interesting to Kristeva because of the link between psychoanalysis and the subconscious mind.† Like Narcissus facing his reflection, or Medusa facing hers, we are attracted and repelled simultaneously by the abject. It induces nausea in our bodies and fear in our hearts. For Kristeva, these feelings arise from memories, specifically the first memory of separation from our mother. There is a thrill about horror and the macabre, and monsters represent ourselves in a state of change – when Kristeva describes one aspect of the abject as jouissance she suggests that through exciting in the abject, One thus understands why so many victims of the abject are its fascinated victims if not its submissive and willing ones. And furthermore, The abject is perverse because it neither gives up nor assumes a prohibition, a rule, or law; but turns them aside, misleads, corrupts; uses them, takes advantage of them, the better to deny them,† The abject, then, the monstrous, is metaphorically powerful as a force of manipulation, even more sinister in its unknowable nature, because we suspect it is up to no good. Yet for all its subversion, perversion and fear, we are excited by the abject, drawn to the monstrous, and we always will be because it comes from inside us. Bibliography Angelov, Angel Images Transformation/Disappearance online here: http://www3.unibo.it/parol/articles/angelov.htmThe Original/The Print/The Copy: Installations Of Nadezhda Lyahova Auge, Marc, â€Å"From Places to Non-Places† in Non-places: Introduction to an Anthropology of Supermodernity UK: Verso Books, 1995. Auster, The Invention of Solitude, UK: Faber and Faber Ltd, 1989. Bann, Stephen (ed) Frankenstein, Creation and Monstrosity US:Reaktion Books Ltd, 1994. Barthes, Camera LucidaReflections on Photography UK: Vintage (Vintage Classics), 1993. Creed, Barbara The Monstrous-feminine: Film, Feminism, Psychoanalysis (Popular Fiction S.) UK: Routledge,an imprint of Taylor Francis Books Ltd, 1993. Creed, B. Horror And The Monstrous Feminine : An Imaginary Abjection . London Routledge, 1993. Halberstam, Judith. Skin Shows. Durham: Duke UP, 1995. Hardie, Philip Ovids Poetics of Illusion Cambridge:   Cambridge University Press, 2002.   Pp. viii, 365 Hargreaves and Hamilton The Beautiful and t

Yom Kippur Essay -- essays research papers

Yom Kippur   Ã‚  Ã‚  Ã‚  Ã‚  Yom Kippur is the most important holidays for the Jewish. It is a time for people to seek forgiveness from others. Yom Kippur is important because it comes just before the Jewish new year so that people can have a fresh start for the new year. Yom Kippur also gives people a chance to look back on the past year and plan for the upcoming year.   Ã‚  Ã‚  Ã‚  Ã‚  Yom Kippur dates back to biblical times when animals were used to transfer sins to. The first animal that was used was a goat, but soon roosters for males and hens for females were used. The sins were transferred from people to the animals by tying a rope to the fowl's legs and then spinning around the head of the person who was transferring their sins. While the fowl was being spun the person who was transferring their sins would begin chanting. When the ceremony was finished the animal would be sent away into the dessert. Yom Kippur is practiced very differently today. Instead of transferring their sins to animals people donate money to charities and throw stones into ponds.   Ã‚  Ã‚  Ã‚  Ã‚  On the night before Yom Kippur, people prepare for the following day's fast by eating an enourmous meal. Following the meal candles are lit and the Shehecheyanu is recited to bless the candles. The following day is spent at the synogauge where services are conducted all day long. The most important part of the services is when the rabbi asks everyone to take time to seek forgiveness of anyone whom they may have hurt in some way in the past year. People must seek forgiveness because the Jewish feel that forgiveness is not something that may be given, it is something that must be sought after. Not wanting to start the new year with any grudges, the entire congregation gets up and begins seeking forgiveness.   Ã‚  Ã‚  Ã‚  Ã‚  At sundown the fast is over. The congregation leaves the synagouge and goes home. When they get home the break the fast by eating a huge meal. This meal marks the end of Yom Kippur. Timeline of The Hebrews 922 B.C.  Ã‚  Ã‚  Ã‚  Ã‚  Isreal breaks up after the death of Solomon. Splits into a northern and southern kingdom with Shechm the capital of the northern half and Jerusalem as the capital of the southern half. 876 B.C. King Omri makes Samariai new capital. 842 B.C. Queen Jezebel imposes the cul... ... campaign so he cold be consulted at crucial points during the campaign. All of these were done to gain God's will and determine his wishes.   Ã‚  Ã‚  Ã‚  Ã‚  The main form of battle the Hebrews engaged in was siege warfare. They first would attempt to capture the city's water supply. Once they controlled the water they would cut of the supply of food from outside the city. Once they had accomplished these the would wait for months and sometimes years. This would cause the city to resort to it's stored food. Once the stored food ran out, people either died of malnutrition, paid high prices for food on the black market, or resorted to cannibalism. This method of battle proved to be highly effective for the Hebrews.   Ã‚  Ã‚  Ã‚  Ã‚  The reason for much of the Hebrews success was their attitude toward war. Because of their belief that war was holy they got an enormous amount of support from their people. Also, believing that the result of the wars they were fighting was determined by what their God wanted had to have given the Hebrews some hope even when they were losing. Without their attitude towards was the Hebrews would have been a much weaker opponent.

Civil War camp life (talking points) Essay examples -- essays research

Civil War Army Rations According to army regulations for camp rations, a Union soldier was entitled to receive daily: 12 oz of pork or bacon or 1 lb. of fresh or salt beef; 1 lb. of soft bread or flour 1 lb. of hard bread, or 1 lb. of cornmeal. Per every 100 rations there was issued; 1 peck of beans or peas; 10 lb. of rice or hominy; 10 lb. of green coffee, 8 lb. of roasted and ground coffee, or 1 lb. 8 oz of tea; 15 lb. of sugar; 1 lb. 4 oz of candles, 4 lb. of soap; 1 qt of molasses. The marching ration consisted of 1 lb. of hard bread, 3/4 lb. of salt pork or 1 1/4 lb. of fresh meat, plus the sugar, coffee, and salt. Coffee was the main staple of the Civil War soldier, usually drinking 3-4 QUARTS a day. The ration lacked variety but in general the complaints about starvation by the older soldiers was largely exaggerated. Confederate rations were largely the same, although because of logistical problems they were forced to reduce them. What the Army didn't give you, you got from a Sutler. There usually was a Sutler attached to the armies, and from them you could buy things like tobacco, candy, tinned meats, shoelaces, patent medicines, fried pies, and newspapers, albiet at an inflated rate, and usually not the highest quality of goods. CAMP LIFE:   Ã‚  Ã‚  Ã‚  Ã‚  The typical Civil War army camp was a place where the day would usually (when they weren't in battle) began at 5am, and after sleeping in an overcrowded tent with 20 or so other...

Arthur Millers Comparing of Similarities in The McCarthy Era and The S

â€Å"She thinks to dance with me on my wife’s grave! And well she might, for I thought of her softly. God help me, I lusted, and there is a promise in such sweat. But it is a whore’s vengeance, and you must see it, I set myself entirely in your hands.† John Proctor says this to Danforth in the movie â€Å"The Crucible,† which is a fascinating, and disturbing story based on an important event in history. This event was the Salem Witch Trials. The author Arthur Miller wrote this story in response to the major event the McCarthy Era. The Crucible showed the similarities between the McCarthy Era and the Salem Witch Trials. In 1956 Arthur Miller was subpoenaed by HUAC (the House Un-American Activities Committee) and refused to identify writers that were believed to hold communist sympathies. Due to his refusal he was convicted of contempt of congress. The next year, however, the United States Supreme Court overturned this conviction. Under the leadership of McCarthy the committee had so much power that just knowing someone who was suspected of having ties to the communist party was a danger. The lives and careers of hundreds of Americans were ruined because of being blacklisted. Prison, bankruptcy, passport revocation, unemployment were threats made against people for them to testify and â€Å"name names.† The McCarthy Era was a period of history that began in the late 1949s and ended in the mid late 1950s. This was also called the Second Red Scare in the United States. The McCarthy Era had many innocent victims and many of them were imprisoned. Several authors, actors, civil rights activists, and physicists were among the many victims that were blacklisted. Due to McCarthy’s witch-hunt many victims’ reputations were destroyed and their families ... ...I lie and sign myself to lies! Because I am not worth the dust on the feet of them that hang! How may I live without my name? I have given you my soul; leave me my name!† Besides similarities between â€Å"The Crucible†, Salem witch Trials, and the McCarthy Era there are differences. The Crucible/ Salem witch trials had people being hung that were believed to be witches compared to people just being put in prison when they were accused of being a communist in the McCarthy era. Also, anyone was able to charge someone else in â€Å"The Crucible† where during the McCarthy Era Joseph McCarthy was the one charging people, and no one else had any say about who was charged. In conclusion Arthur Miller saw the similarities in The McCarthy Era and The Salem Witch Trials, and portrayed them in â€Å"The Crucible.† The lives of many people were destroyed during these times in history.

Two Women, Three Man on a Raft

In the article â€Å"Two women, three men on a raft†, the author Robert Schrank are mainly talk about the problems of power relationship and cooperation between the sexes in organizations by using an analogy between the raft experience and company management according to the Outward Bound raft trip In this article, the author mentioned that one participant’s story of how Raft No. 4 fared on the Rogue. What is more, it specifies to describe the power relationship between the sexes. In the whole trip on a raft, the men unhappy when a women as helmsperson, and the men had subconsciously and proceeded to undermine the women by habit.However, when a man was in charge, they always feel comfortable, and worked to help him be a better helmsperson. In fact, there are many people like John and the other two men in the organization. In other word, the author considers that men often unconsciously desire to protect their power from women’s control in organizations as the sit uation happened on Raft No. 4 on the Rogue River. Generally speaking, men usually want to control the whole things and do the sabotaging behavior to the women. In addition, the article point out that what happened on Raft No. 4, Inc. , occurs in most organizations when women enter positions of leadership.The organizations are usually designed as pyramids. It is less squeezes when got to the top. So, once women enter the squeezing, men are doubly threatened. However, more women become managers in organization; there will have to be shift in power. So for subordinates, it should be support the administrators even they are women. Furthermore, how the men cooperate with women it is very important in a collective activity. The author thinks that women should be support by the men. Otherwise, it must be like the raft is foundering. Like in this trip when the Marlene was in charge. At last, the author mentioned that there are analogy between navigating a river and a big bureaucracy. Like river, a big organization also has sleepers and chutes. However, there existence is a far more political than intellectual task. Women trying to navigate most organizations, they may found it more complex than the Rogue. The men struggled to take over and colluded against the women so they could give their simplistic orders, they were living out the now-outdated command-and-control style of large bureaucratic organizations. In sum, in the organization, the male-female have conflict. When the women from climbing the corporate ladder. Men would act to preserve their positions of power, and they knew how to do that with behaviors both subtle and obvious. However, in this society, the power not only belonged to the men, the women also have the right and ability to gain the power and should be supported. In addition, the author uses the river to analogy the diversity management; the manager should create the environment in which a diverse team can achieve trust and mutual respect. Otherwise, the result was there in a throwaway line in the story—the raft lost its place in line. Finally, they will lose competitive position.