Friday, May 31, 2019

Career Development in Generation X Essay -- Generation X Work Essays

Career Development in Generation X Generation X refers to the population cohort following the deflower Boomers. Sources differ as to the exact years during which this cohort was born. Coupland (1991) suggests 1960 to 1970 Bradford and Raines (1992) propose 1965 to 1975 and Howe and Strauss (1993) suggest 1961 to 1981. Whatever the birth years, it is their common life experiences that give this cohort an identity. Individuals born in Generation X are reputedly more global, techno(prenominal)ogically oriented, and culturally diverse than the generations before them. Coming of age when the linear career path no longer exists, where average income is falling, and where continuous change is the norm, does this generation have different values, work ethics, and attitudes toward work and career development? As the myths and realities of this question are explored, it is cardinal to remember that the characteristics, habits, and traits attributed to individuals in this cohort are mere gene ralizations, presented to afford a better understanding of the generation called Generation X.Myth Individuals in Generation X Are Slackers,Lacking Career Drive and AmbitionVarious books, articles, and surveys have described individuals in Generation X as slackers, cynical about the future tense and resentful of Baby Boomers who have taken all the good jobs (Kruger 1994). This description is based on observations that Generation X workers jump from job to job, are loth to conform to organizational demands that do not suit them, and leave jobs that bore them and are not fun (Wyld 1994). Although persons in the two generations before Generation X-the slow generation (1925-1945) and Boom generation (1946-1964)-interpret these behaviors as indi... ...eneration X at Work. Training 31, no. 4 (April 1994) 21-27. (ERIC No. EJ 480 564)Generation X-onomics Job Insecurity among Young People. economic expert 330 (March 19, 1994) A27.Howe, N., and Strauss, B. 13th Generation. New York Vintag e Books, 1993.Kruger, P. Superwomans Daughters. Working Woman 19 (May 1994) 60.Lancaster, H. Managing Your Career You May Call Them Slackers They Say Theyre Just Realistic. Wall Street Journal, August 1, 1995, p. B1.Quinn, J. B. The wad of the Xers. Newsweek, June 6, 1994, p. 66.Wilkinson, M. H. Its Just a Matter of Time Twenty Somethings View Their Jobs Differently than Boomers. Utne Reader(May-June 1995) 66-67.Wyld, D. The 13th Generation and Its Revolutionary Definition of Career. Journal of Career Planning and Employment55, no. 1 (November 1994) 26-28, 58-60. (ERIC No. EJ 497 317)

Thursday, May 30, 2019

Cloned stem cells may give you a new lease of life Essay -- Biology

Cloned stem cells may give you a new lease of life(A new lease of life means an opportunity to improve soulfulnesssfuture)Summery ParagraphThe name of my article is Cloned stem cells may give a new lease oflife I undercoat this article in the New Scientist magazine. It waspublished on November 8, 2002. The article is telling us about how touse therapeutic (treatment) cloning to take adult cells from a humanbody, create cloned embryos (animal or plant in the early period ofits development before it is born or grown) and remove stem cells thatcan spring up into a wide range of tissues (a bunch of cells forming ananimal or plant. Like the heart, brain, muscles, and lungs are someexamples of tissues). When they tried this experiment on two intimidates, onecow was given drugs...

Wednesday, May 29, 2019

Flag Desecration :: essays research papers

tholepin Desecration Flag desecration is not the Statesn. People who burn the American flag lack respect for themselves, America, and the umteen people who occupy died to preserve American freedom. The people who breach the American flag have no right to call themselves Americans. They are unpatriotic, two faced, cowards, and worse of all un-American (communist). To be patriotic a individual must love and defend his own country against all foreign and domestic threats. These unpatriotic people are two faced. They live in America with all its freedoms, and yet desecrate the most important symbol which holds America together the flag. The representation flag burners go about desecrating the American flag shows that they are not true Americans. Flag burners commit a morally unjust and hateful villainy by desecrating the American flag. They are the get-go to hid behind the first amendment (Freedom of Speech). For people to say they have the right to burn the American flag, sig hting their first amendment rights, they have some kind of warped sense of expression. If people underwrite to desecrate the American flag, it will lose its significance and value. From 1968 to 1989, politicians and true red blooded Americans understood how important it was to respect the American flag. Congress passed a jurisprudence in which it prohibited desecration of the American flag in 1968. According to the justice, it was illegal to err contempt, either by word or act upon the American flag ((Federal law, 18 USC Sec. 700 States, 1968) Sec. 2(a). The law states that whoever knowingly casts contempt upon any flag of the join States by publicly mutilating, defacing, defiling, burning, or trampling upon it shall be fined, not to a greater extent than $1,000 or imprisoned for not more than one year, or both, Sec. 2(b). The term "flag of the United States" as used in this section, shall include any flag, threadbare colors, national flag, or any picture or represent ation of either, or of any part or parts of either, made of any substance or delineated on any substance by which the average person seeing the same without awkwardness may believe the same to represent the flag, standards, colors, or ensign of the United States of America". In simple form, the law says that the American flag is to be adore and not abused in an act demeaned as unprofessional. The law was very strict and to the point.Flag Desecration essays research papers Flag Desecration Flag desecration is not American. People who burn the American flag lack respect for themselves, America, and the many people who have died to preserve American freedom. The people who desecrate the American flag have no right to call themselves Americans. They are unpatriotic, two faced, cowards, and worse of all un-American (communist). To be patriotic a person must love and defend his own country against all foreign and domestic threats. These unpatriotic people are two faced. They live in America with all its freedoms, and yet desecrate the most important symbol which holds America together the flag. The way flag burners go about desecrating the American flag shows that they are not true Americans. Flag burners commit a morally unjust and hateful crime by desecrating the American flag. They are the first to hid behind the first amendment (Freedom of Speech). For people to say they have the right to burn the American flag, sighting their first amendment rights, they have some kind of warped sense of expression. If people continue to desecrate the American flag, it will lose its significance and value. From 1968 to 1989, politicians and true red blooded Americans understood how important it was to respect the American flag. Congress passed a law in which it prohibited desecration of the American flag in 1968. According to the law, it was illegal to cast contempt, either by word or act upon the American flag ((Federal law, 18 USC Sec. 700 States, 1968) Sec. 2(a). Th e law states that whoever knowingly casts contempt upon any flag of the United States by publicly mutilating, defacing, defiling, burning, or trampling upon it shall be fined, not more than $1,000 or imprisoned for not more than one year, or both, Sec. 2(b). The term "flag of the United States" as used in this section, shall include any flag, standard colors, ensign, or any picture or representation of either, or of any part or parts of either, made of any substance or represented on any substance by which the average person seeing the same without deliberation may believe the same to represent the flag, standards, colors, or ensign of the United States of America". In simple form, the law says that the American flag is to be revered and not abused in an act demeaned as unprofessional. The law was very strict and to the point.

Golden Ass Essay -- Apuleius Roman Literature Mythology Papers

Golden AssApuleius Golden Ass, the only surviving novel of the Roman Empire, is a tale of a Greek overlord devoting his life to the goddess Isis following his transformation to an ass and back. Although a work of fiction, the novel reveals a great deal about religion in Apuleius society. This information, however, must be hitched with a critical eye. He incorporates stories from Greco-Roman mythology not to affirm their validity, but to reveal their commonness to society. Apuleius insults other(a) religions that are not of the Pantheon with severe viciousness, while the superior general public may have been more open to them. In the end, he praises Isis and Osiris as the supreme gods while giving first hand account of their righteousness. Overall, Apuleius view of religion cannot be trusted.From the very start we see Apuleius using references to Roman myths as similes to everyday occurrences. When Fotis, the slave, enters his bedroom to make love to him, he remarks that sh e stood, transformed into a living statue the Love-goddess rising from the sea. The flushed hand with which she pretended to screen her mount of Venus showed that she was well aware of the resemblance certainly it was not held there from modesty. He describes a slave girl trying to seduce him as Venus rising out of the sea. Some of this description may be a exaggeration for Lucius love of Fotis. However, Apuleius goes beyond this by linking Fotis directly to Venus. Thus, the most beautiful goddess in the Pantheon is easily seen in a slave girl. Similarly, Thelyphron, when telling the story how members of a family attacked him, describes himself as feeling like Adonis mauled by the wild boar, or Orpheus torn in pieces by the Thracian women. This... ...ddess. To prove his point, Apuleius first discounts all other worships. Throughout the novel he describes things that happen to individuals in terms of the traditional Greco-Roman myths. He subtly chips away at the traditio nal Roman gods, avoiding a direct attack on the Pantheon because the vast majority of his audience believed in it. If he attacked them directly, he would surely not be considered credible. With the other religions, however, Apuleius reserves nothing. He declares religions of Asia Minor to be fraudulent and calls monotheistic religions blasphemous. After questioning the other religions, Apuleius goes on to praise the worship of Isis. As a result, we the contemporary reader cannot think too much about Roman religion from The Golden Ass.Works CitedApuleius. The Golden Ass. Trans. Robert Graves. Noonday Press, 1998. ISBN 0-374-50532-2.

Tuesday, May 28, 2019

Essay on Irony in Twelfth Night -- Twelfth Night essays

Realizing that her screen has produced unexpected results, Viola makes an allusion to the Gordon knot in order to describe the perceived difficulty of extricating herself from the confusion. Viola, in the act of reinterpreting herself as a man for the main purpose of protection, has found herself the body from which other characters can derive their own interpretations. As I am man, My state is heroical for my masters love As I am woman (now alas the day) What thriftless sighs shall poor Olivia breathe? O time, thou must untangle this, not I, It is too hard a knot for me tuntie. Viola. (2.2.35-40) Just as easily as a soft chevril glove may be turned inner(a) out, especially when it is pulled off to uncover the hand, Violas position in the get together, in relation to the other characters, can be seen as single that leads to a flexible play of ideas that reveal multiple meanings, contradictory or otherwise. This essay will show how the ironic positions of the main characters, in relation to Viola, in Twelfth Night hand and then undermine the comic theme of the play, and finally, with certain dramatic license, reinstate it, thus complicating positions of evaluation at certain points in the play. In Twelfth Night, one finds that the combined romantic and comic aspects of the main plot stem mainly from the theme of mistaken gender identity. In dealing with this theme, it is necessary to note that Violas disguise as a man is assumed to be opaque by the aud... ...Grief, Karen. Plays and Playing in Twelfth Night. blossom (47-60). Kreiger, Elliot. Malvolio and Class Ideology. Bloom (19-26). Nevo, Ruth. Comic Transformations in Shakespeare. London Methuen & Co., 1980. Osborne, Laurie E. The Trick of Singularity Twelfth Night and the Performance variants. Iowa City U of Iowa P, 1996. Rosenberg, Marvin. Subtext in Shakespeare. Thompson, Marvin, and Ruth Thompson, eds. Shakespeare and the Sense of Performance. Newark U of Delaware P, 1989. (79-90 ). Shakespeare, William. The Arden Edition of the Works of William Shakespeare Twelfth Night. Ed. J. M. Lothian and T.W. Craik. UK Methuen & Co., 1975. Thatcher, David. Begging to Differ Modes of Discrepancy in Shakespeare. New York Peter Lang, 1999. Vickers, Brian. Appropriating Shakespeare Contemporary Critical Quarrels. New Haven Yale U P, 1993

Essay on Irony in Twelfth Night -- Twelfth Night essays

Realizing that her disguise has produced unexpected results, Viola makes an allusion to the Gordon knot in order to describe the perceived difficulty of extricating herself from the confusion. Viola, in the act of reinterpreting herself as a man for the main purpose of protection, has found herself the body from which other characters can derive their own interpretations. As I am man, My state is desperate for my masters love As I am woman (now alas the day) What thriftless sighs shall poor Olivia breathe? O time, thou mustiness untangle this, not I, It is too hard a knot for me tuntie. Viola. (2.2.35-40) Just as easily as a soft chevril glove may be turned inside out, especially when it is pulled off to uncover the hand, Violas position in the play, in relation to the other characters, can be seen as one that leads to a flexible play of ideas that reveal multiple meanings, contradictory or otherwise. This essay will show how the ironic positions of the main character s, in relation to Viola, in duodecimal Night contribute and then undermine the comic theme of the play, and finally, with certain dramatic license, reinstate it, thus complicating positions of evaluation at certain points in the play. In Twelfth Night, one finds that the combined romantic and comic aspects of the main plot stem mainly from the theme of mistaken gender identity. In dealing with this theme, it is essential to note that Violas disguise as a man is assumed to be opaque by the aud... ...Grief, Karen. Plays and Playing in Twelfth Night. Bloom (47-60). Kreiger, Elliot. Malvolio and screen Ideology. Bloom (19-26). Nevo, Ruth. Comic Transformations in Shakespeare. London Methuen & Co., 1980. Osborne, Laurie E. The Trick of Singularity Twelfth Night and the Performance Editions. Iowa City U of Iowa P, 1996. Rosenberg, Marvin. Subtext in Shakespeare. Thompson, Marvin, and Ruth Thompson, eds. Shakespeare and the good sense of Performance. Newark U of Delaware P, 1989. (7 9-90). Shakespeare, William. The Arden Edition of the Works of William Shakespeare Twelfth Night. Ed. J. M. Lothian and T.W. Craik. UK Methuen & Co., 1975. Thatcher, David. Begging to Differ Modes of Discrepancy in Shakespeare. New York Peter Lang, 1999. Vickers, Brian. Appropriating Shakespeare Contemporary Critical Quarrels. New Haven Yale U P, 1993

Monday, May 27, 2019

Literary Analysis †the Road Not Taken

Literary Analysis The passageway Not Taken Shannon Eads Carradine ENG 125 Instructor Allen March 11, 2013 Choices. Each and every atomic number 53 of us makes choices in our day-by-day biography. We may non always make the right choice, simply we learn and grow from the wrong ones. That is what life is all about choices. In Robert hoarfrosts metrical composition, The Road Not Taken, he reflects on lifes choices. Two roads diverged in a yellow wood, And sorry I could non exit both/And be one traveler, long I stood (Clugston, 2010).I am very familiar with this poetry one that I have known since childhood. I did non know it at the time what my great-grandmother was attempt to express to me about this poem, but as I aged it became more and more apparent to me she was trying to school me about life and making the right choices. The tone of this poem is of ambiguous deliberation meaning that the vocaliser (persona) is deep in thought meditate on which path he or she should take and whether or not it is and go out be the right path.The tone really sets the mood right from the low and flows easy until the last stanza when it states I shall be telling this with a sigh (Clugston, 2010). Although the speaker (persona) will be sighing when he or she tells the story of this important life decision, it is not a sigh of regret it is a sigh of happiness. Although my great-grandmother remove this poem to me in my childhood years, I have never actually understand the poem myself. I was amazed at how this poem kept me intrigued and deficient to examine it. This is very hard for me to do wanting to read.So, I will ordain it did its job, so to speak. Frost starts the poem with Two roads diverged in a yellow wood (Clugston, 2010). The two roads diverged symbolizes there are two contrasting choices or paths while in a yellow wood symbolizes the aging of the person. With that being said, taking the one less traveled by means that the speaker (persona) chose t he surmount path for him or her at that time in their life. For it states in the poem And that has made all the difference (Clugston, 2010) leads me to believe that he did indeed use up he right path for him or herself. The second stanza of this poem is full of contradiction. If one is just as fair as the other then how mountain one be a better claim than the other? And if both paths have been worn about the same, then why was the better claimed path sedgy and in need of wear? Then again in the first line of the third stanza states And both that morning equally lay (Clugston, 2010). This was very puzzling to me because I could not figure out the concept of that idea and why the contradiction.It is almost as if the speaker (persona) is weighing his or her options and having problems in choosing a path. Although my great-grandmother read this poem to me in my childhood years, I have never actually read the poem myself. I was amazed at how this poem kept me intrigued and wanting to read it. This is very hard for me to do wanting to read. So, I will say it did its job, so to speak. I believe I may have a integral new outlook on reading and may be able to let myself go on a journey inside nearly change of literature more than music or television. I love this poemIt has the feeling of great knowledge when we choose the right path in life, we will live in happiness. I often set back and reflect on all of the choices I have made in my life, but lock up wonder sometimes if it was the right choice for me at that particular moment. I believe we all, at some point in our life, ponder on that originative question, What if? Life is all about choices and making the right choice does make all the difference. Reference Clugston, R. W. (2010). Journey Into Literature. Bridgepoint Education Inc. , San Diego, CA Retrieved from content. ashford. eduLiterary Analysis the Road Not TakenLiterary Analysis The Road Not Taken Shannon Eads Carradine ENG 125 Instructor Allen M arch 11, 2013 Choices. Each and every one of us makes choices in our everyday life. We may not always make the right choice, but we learn and grow from the wrong ones. That is what life is all about choices. In Robert Frosts poem, The Road Not Taken, he reflects on lifes choices. Two roads diverged in a yellow wood, And sorry I could not travel both/And be one traveler, long I stood (Clugston, 2010).I am very familiar with this poem one that I have known since childhood. I did not know it at the time what my great-grandmother was trying to express to me about this poem, but as I aged it became more and more apparent to me she was trying to teach me about life and making the right choices. The tone of this poem is of ambiguous deliberation meaning that the speaker (persona) is deep in thought pondering on which path he or she should take and whether or not it is and will be the right path.The tone really sets the mood right from the beginning and flows well until the last stanza when it states I shall be telling this with a sigh (Clugston, 2010). Although the speaker (persona) will be sighing when he or she tells the story of this important life decision, it is not a sigh of regret it is a sigh of happiness. Although my great-grandmother read this poem to me in my childhood years, I have never actually read the poem myself. I was amazed at how this poem kept me intrigued and wanting to read it. This is very hard for me to do wanting to read.So, I will say it did its job, so to speak. Frost starts the poem with Two roads diverged in a yellow wood (Clugston, 2010). The two roads diverged symbolizes there are two different choices or paths while in a yellow wood symbolizes the aging of the person. With that being said, taking the one less traveled by means that the speaker (persona) chose the best path for him or her at that time in their life. For it states in the poem And that has made all the difference (Clugston, 2010) leads me to believe that he did indeed ch oose he right path for him or herself. The second stanza of this poem is full of contradiction. If one is just as fair as the other then how can one be a better claim than the other? And if both paths have been worn about the same, then why was the better claimed path grassy and in need of wear? Then again in the first line of the third stanza states And both that morning equally lay (Clugston, 2010). This was very confusing to me because I could not figure out the concept of that idea and why the contradiction.It is almost as if the speaker (persona) is weighing his or her options and having problems in choosing a path. Although my great-grandmother read this poem to me in my childhood years, I have never actually read the poem myself. I was amazed at how this poem kept me intrigued and wanting to read it. This is very hard for me to do wanting to read. So, I will say it did its job, so to speak. I believe I may have a whole new outlook on reading and may be able to let myself go o n a journey inside some form of literature more than music or television. I love this poemIt has the feeling of great knowledge when we choose the right path in life, we will live in happiness. I often set back and reflect on all of the choices I have made in my life, but still wonder sometimes if it was the right choice for me at that particular moment. I believe we all, at some point in our life, ponder on that imaginative question, What if? Life is all about choices and making the right choice does make all the difference. Reference Clugston, R. W. (2010). Journey Into Literature. Bridgepoint Education Inc. , San Diego, CA Retrieved from content. ashford. edu

Sunday, May 26, 2019

Steven Levitt

Freakonomics by Steven D. Levitt and Stephen J. Dubner shows that in life, everything has a hidden side. The book also discusses many topics, such(prenominal) as incentives be the cornerstones of modern life, the conventional wisdom is frequently wrong, dramatic effects often have distant causes, experts often use their informational advantage to go their own agenda, and subtle what to measure and how to measure it makes a complicated world much less so. (Levitt & Dubner 12).In this essay, I will be focusing on how incentives ar the cornerstones of modern life, conventional wisdom is often wrong, and how experts often use their informational advantage to serve their own agenda. An incentive is always a tiny object with surprise power to change a situation. (Levitt and Dubner 17) All incentives can be categorized by three types of incentives moral, social, and economic. Some of which, may have adverse effects, such as with daycare in Israel decided to start charging mickle a $3 fine per child for anyone that was more than than ten minutes late.One would assume that in reply to this, parents would be more likely to pick up their kids in a timely fashion, but instead, the opposite happens. The amount of late pick-ups increase dramatically. The logic puke this is parents were able to pay off their guilt for being late. In other words, they saw paying the extra $60 a month as a way to substitute a moral incentive. (Levitt & Dubner 19-20). These adversaries, nevertheless, can be predicted and used to the advantages of others.In illegal drug-dealing countries, such as Brazil, the government is legalizing all drug use and treating it as an addiction problem, rather than a crime. Surprisingly, this has lowered the amount of drug-related matters. In the United States, we try to crack down on drug use with strict laws and law enforcement. Consequently, this has caused the amount of drug-related delinquencies to sky-rocket in the past decade. It is like a teenag e kid. If you tell them not to do something, they are most likely going to do it anyways honest to spite you and rebel opposed to allowing them to do it and them just not doing it.Most incentives though, can be predicted and used to stimulate or punish people, but like in the Daycare Dilemma, are stronger and more enhanced for some circumstances than others. For example, police departments started posting pictures of johns and prostitutes in local papers and news stations to shame the finable party. As Levitt & Dubner put it, Which is a more horrifying deterrent a $500 fine for soliciting a prostitute or the thought of your friends and family ogling you on www. HookersAndJohns. com? (Levitt & Dubner 18).In this case, a social incentive was more humiliating and punishing to them than an economical one. Another key value in Freakonomics, is that conventional wisdom is often wrong. We form sure notions about how things and people should be. Such as a womens rights activist. Studies have shown that they actually dramatize the statistics they give to guilt more people into standing croup their foundation. Most people would think that if anyone wanted to the right thing it would be activists, but thats not always the case. In chapter 6, we learn about 2 boys raised Winner and Loser.Some might think Well, with a name like Winner, he is better off to succeed. Unlike his brother, Loser, who is set up to fail. Conversely, Loser went on to thrive. He went to prep school on a scholarship, graduated from Lafayette College in Pennsylvania, and joined the New York Police Department, where he made detective and, eventually, sergeant. (Levitt & Dubner 182) Winner however, was not so inspired by his name. He grew up to be a criminal with more than thirty arrests. Most people would think that with a sure-fire name like Winner he was bound to succeed, so how did he end up in jail?Well, another example of someone not rather living up to their destiny is Ted Kazinsky, als o known as the Unabomber. Kazinsky grew up in a white-suburban neighborhood with two parents. As a child he was known to be incredibly bright, like his parents. He later went on to attend and graduate from Harvard. In this case, he had everything going for him, yet, he became an infamous terrorist. These are just a few instances of orthodox thinking and knowledge being proven to be mistaken. W. C. Fields once said, A thing worth having, is a thing worth stealing. (Levitt & Dubner 21)In this case, knowledge is used to exploit consumers. It happens every day, to almost everyone professionals use their information to their benefit. A common example is in autorepair shops. Most people have gone in to get an inspection or to have a small problem fixed, and gotten a bill for WAY more than expected. even after the mechanic has assured you that it wont be costly. Furthermore, another example of it is in real solid ground. One would think that since real estate agents bend off commission t hat they would want to get you the maximum profitpossible which they do, but they dont at the same time.Studies have shown that real estate agents will hold out for the best deal possible when selling their own home, but encourage you to take the first decent deal to rise along. (Levitt & Dubner 8). The best way to stop this, is to do a little research on your before consulting an expert. In conclusion, economics is the study of incentives and how people react to them. Freakonomics, however, analyse the hidden meanings beyond that and the cases where incentives not only reacted as expected, but where they were reacting differently as wellLevitt and Dubner did that by sticking to five main philosophies in their book, knowing what to measure and how to measure it makes a complicated world much less so, experts often use their information to their advantage, dramatic effects often have more subtle causes, conventional wisdom is often wrong, and incentives are the cornerstones of mod ern life. (Levitt & Dubner 12).Three of which, I believed to be the most important specialists often use their information to their advantage, conventional deepness is recurrently false, and incentives are the keystones of contemporary life.

Saturday, May 25, 2019

Fascism in Venice

Ryan Johnson December 13, 2012 HIST 3400 Soper Venetian Fascism in the Shadow of fights The qualities that collect fascism argon debatable and abateless. What is really important about fascism is how it attempted to succeed by influencing not how perpetually Venetian, further also Italian grow and lodge from the begin of universe of discourse posit of war I until the end of demesne fight II. Benito Mussolini when speaking on fascism enjoind that, For Fascism, the growth of empire, that is to say the expansion of the nation, is essential face of muscularity, and its verso a sign of decadence (Enciclopedia Italiana, Handout).The success with which fascism had in expanding the nation is an credit line for an some early(a)(prenominal) age, provided the ways they attempted to exert the essential reflexion of vitality and challenged the boundaries of heathen beau monde in hopes of success atomic number 18 well(p) worth mentioning. Fascism did not ease up umtee n cultural victories and this could be virtuoso scenery of an argument as to why it was a failure. However, one of fascisms greatest cultural victories in Italy burn go across be viewed when studying the floating city of Venice and hithertots that accompanied it.Fascism, as a whole, attempted to conquer in much ways than just obtaining land by means of military victory or tangible items as tokens of their success. As stated above by Mussolini himself, if fascism was indeed to succeed, it needed to support the growth of the Italian nation. The fascistic Party needed to not only find the Italian tribe through propaganda, but also gain the support of the Italian nation while challenging the cultural and societal boundaries.In the yrs among ground War I and orb War II, fascism made attempting strides to try and create an aesthetic visual for the companionship, mainly by intervening in society and culture. all told moves made by the fascistics with regards to culture appea red to be mendly instrumental and functional to gaining one hundred percent support of the population in estimation of the dictatorship. The specialize up of World War I, World War II, and fascism can still be seen today in Venetian and Italian culture. World War I was a horrendous time for Italian soldiers fighting in the trenches.Venice was very close to the battle lines on the border with Austria-Hungary, just North of where they lie. Venetians could not only expression the constant threat from the Austrians, but also had a daily proctor when they stepped outside. Venice closed their port, for fear of effort, but they also had to deal with the fact that, gush balloons could be seen. Barrage balloons had long steel cables attached to them and were mainly used to deter low-flying enemy aircraft from reaching or assailing an area.These defense balloons were used during World War I and II. For the piteous distance that Venice was from the battlefront they were fairly succe ssful in how little end took place during the war. During World War I Venice was forever and a day extremely nervous about their next-door neighbors, the Austrians, of attacking the maritime port, but the city never fell to enemy attack. There were very few bombing that occurred in Venice, and the deaths that did ride place mainly happened during the black-out hours.These black-out hours would occur in hopes of minimizing the amount of light escaping outside. By doing this, the Venetians were making it very difficult for any sort of aerial attack to bomb their city, port, or boats hit of visibility alone. These were the only significant negative effects even worth mentioning that occurred for the city of Venice during World War I. World War II was similar to World War I with regards to the significantly negative effects it had on the city of Venice, there were just about none.As opposed to the devastation that occurred passim much of Italy, Venice got away pretty nicely. Yet over again, the blackout hours when people would fall into the canal or injure themselves in other ways in the bluish were one of the primary contributors to the death toll. It has been stated that Venice remained essentially untouched end-to-end the duration of the Second World War. However the minute losses that did occur, with ejection of Germans capturing Jews, can be summed up in a few sentences. One or 2 windows were broken a stray shell hit the prevail of San Nicolo del Mendicoli as the Germans were retrateing and the Tiepolo friezes in the Palazzo Labia were damaged when an ammunition ship exploded in the harbour. Although the people of Venice saw little to none of the intense fighting, they were not as lucky to maintain an unconquered status during World War II as they had in World War I. For Germany, kinsfolk 1943 was the beginning of a fairly short constraint oer northern and central Italy that included Venice.Although Germany occupied Venice until April 28, 1945, very few deaths occurred to the Venetian citizens while in the city. In the city itself a running of deprave was followed by reprisals in which five men were shot in Cannaregio on July 8, 1944 some thirty partisans were executed later that month, followed on August 3 by seven hostages in Riva dellImpero, called subsequently, in their memory, Riva dei Sette Martiri. The close to extensive part of the death toll came to the Jewish population in Venice with the nominal head of the Germans in 1943.The Venetians had historically tolerated the Jewish population up until about 1938 with the enactment of new racial laws. After the racial laws, persecution got so bad for the Jewish population, that they were laid off from their job, and visionary signs were placed on businesses stating Dogs and Jews Prohibited. It only got worse from there after the Germans arrived in 1943, and the open persecution, capture, and killing of Jews from 1943 to 1945 took place.It has been estimated that a pproximately two hundred Jews were run down and sent to concentration camps in the mainland, with some even being deported to Auschwitz. The Germans were so thorough in their cause to vaporize the Jewish population from the earth, they would even go to hospitals to retrieve mentally ill Jewish patients and send them to an early grave. It has been recorded that only eight of the two hundred Venetian Jews captured by the Germans were ever returned al-Qaida again.The Germans vicious attempts to eliminate the Jewish population and the atrocities that ensued will never be forgotten. With that being said, Venice got out of not only World War I, but also World War II with an extremely minimal death count compared to the millions of lives that were lost as a consequence of the two wars. World War I and II both impacted Venice, but in a fairly nominal way when viewing the status of many other parts of Italy and the military personnel. However, there were two very influential fascist chara cters that emerge as a product of World War I and are infix throughout World War II.These two men are noteworthy fascist figures with one that called Venice a home for a period of his liveness and another that was a true Venetian. The first man, Gabriele DAnnunzio, assumed a part, as a fascist political figure in Venice, and he was well cognise even before fascism was created. DAnnunzio was not a native- born(p) Venetian, but was fairly well k without delayn in Italy as a poet, novelist, playwright, politico (right- and left in rapid succession), and daring First World War pilot who led sorties against Vienna itself.It was during World War I when DAnnunzio indomitable to put in his residence in Venice. When he was not contributing to the fighting he could be found at his home, that was located off of the Grand Canal, called Casetta delle Rose. DAnnunzio continues to return a presence in the fascist politics all the way until its eventual demise, but was most famous for his i rredentist taking of Fiume, which is now present-day(prenominal) Rijeka in Croatia. He was angry that Fiume was not ceded to Italy by the Austrians at the end of World War I with the signing of the peace Treaty of Saint-Germain.DAnnunzio control over Fiume as a dictator until December of 1921, and it has been said that Benito Mussolini even viewed DAnnunzio with a mixture of admiration and envy DAnnunzio was a fascist political figure that did not necessarily contribute much to the city of Venice as much as he was solely a constant reminder of the fascist presence. The second man that emerged from the exit of World War I was an entrepreneurial man by the name of Giuseppe Volpi. Unlike DAnnunzio, Volpi was a native Venetian.He was born in Venice in 1877, and before he was thirty years old he had established the Societa Adriatica di Elettricita in the Palazzo Balbi on the Grand Canal, which soon had a monopoly on the supply of electricity in the Veneto and Emilia-Romagna. Along w ith his northeastern electricity monopoly, Volpi was constantly finding new ways to improve and advance Venetian industry. He would babble in other industries that included petro-chemicals, iron, and shipping that significantly contributed to advancing Venetian industry, more specifically in Porto Marghera.Volpis success on pull in of his open up of Societa Adriatica di Elettricita was substantial it has been recorded that he was a, president or vice-president of twenty other companies, as a member of the boards of forty-six more, and as a study shareholder in over fifty. During World War I Volpi was the head of a Committee for Industrial Mobilization where his project of turning the old Venetian defense of Marghera into an industrial port and factory capable area. Volpi was quite successful in his project in Marghera.The area, prior to Volpis presence, only contained a guanine inhabitants in 1921. The growth of Marghera after Volpis intervening was exponential. Marghera had grown by 1940 to a town containing fifteen thousand workers in a hundred industries, and by 1967 to one of thirty-five thousand workers in 211 industries. Volpis tremendous success as an entrepreneur and financial guru in northeast Italy, without fail, caught the attention of the Italian organization. Volpi was awarded for his successes with the title of respect and position as Governor of Tripoli.Soon after being deemed Governor, and already a standing member of the fascistic party, Volpi was put into office as Mussolinis look of finance in 1925. It has been stated that Volpi, became one of the most successful administrators of the political science. Three years after Volpi was positioned as Minister of Finance he resigned after disagreeing intemperately with Mussolini on the artificially high level at which the leader insisted on fixing the exchange rates, and never having receive one of his close circle, he toilsome again on Venice and industry. Volpi was always a very in fluential fascist figure in Venice, but his greatest contribution to the success of the influence of the fascistic party and its cultural production came when he assumed the position as, President of the reconstituted Esposizione Biennale Internazionale dArte in 1932. This exhibition, more commonly known as the Biennale, originated as zippo more than an Exhibition with strange occurrences such(prenominal) as a mans face that was stuck in rigor mortis known as Supremo Convegno.In 1934, the fascist establishment state the once bi-annual event was to start taking place annually. The success of the Biennale was consistently growing after it was introduced as an annual event. In 1934, there were 41,000 people that showed up, in 1935, 38,500 people, in 1936, 50,000 attended, and in 1937, there was a staggering 60,000 participants. The Biennale by the year 1948 was considered to be one of the most important events in the entire world of art, and the Exhibition got to that point with the help of Giuseppe Volpi as he active President for twelve years. The international respect and publicity the Biennale gained each year was consistently growing. Countries would set up pavilions at the Biennale and present among them even during the Biennales early stages were Belgium, Britain, Germany, Hungary, France, Russia, Sweden, Spain, Czechoslovakia, and the United carrys. Even though the Biennale is an Exhibition where artwork is displayed, it has a sense of friendly aspiration among countries for who can produce some of the best artwork.During one Biennale exhibition there were not only paintings by nearly all of the best Italian workmans down the stairs Italys pavilion, but also works by Picasso and Klee, by Chagall and Kokoschka. The French staged exhibitions by Braque, Rouault, and Maillol, the Belgians by Delvaux and Ensor, the British by Henry Moore. The engagement of artists as prestigious as these helped in securing the validity and existence of the Biennal e as a true appreciation for art. There was even an exhibition for Impressionist artist and that alike year there were ninety-eight Impressionist pieces of art.The Biennale was an exhibition that appears to be more of a friendly competition and get unneurotic between major countries of the world. whole of the countries that have previously been at one anothers throats in prior wars all come together to participate in the Biennale that takes places in Venice, Italy. The Biennale brings together a magnitude of countries, despite their differences, and allows them to partake in a mutually pleasing and intellectually stimulating event. The importance of the Biennale is much greater than the sole criticizing of aesthetical works and abilities.The event brings together a variety of countries with extremely varying viewpoints and opinions to meet communally and peacefully. The Biennale during the presence of fascism and in attempting to be a helpful stopcock of fascism held a much m ore substantial meaning than multiple countries climax together peacefully. It allowed for Italy to feel unified even if it was on the smallest cultural level of coming together for an art festival, and it also gave the fascistic party yet another opportunity to use propaganda towards the masses to their advantage.In 1932, Giuseppe Volpi was deemed the President of the Biennale and Mussolini was in his tenth year of his administration when, a good number of prizes went to pictures of marching Blackshirts, dynamic cranes and planes, idealized Italian landscapes, and women and children saluting Il Duce. Just prior to this particular Biennale of 1932, Volpi was an active member of the fascistic party, and was most recently the Minister of Finance for Mussolini and the Fascist party. Then again, in 1935 during the film festival aspect of the Biennale, prizes were awarded to Nazi, Soviet, and Palestinian-Zionist films.Volpis ability and willingness to give awards to fascist base artwo rk, regardless of actual artistic value, was no coincidence. Marla play off describes Fascist Italy as presenting a paradox with regards to the cultural politics of the authoritarian and totalitarian regimens that reigned in atomic number 63 in the time period between World War I and World War II. She states that since, No one style, school, or monument summarizes the indorse practices of the Fascist state. Rather, the authorized culture of Italian Fascism is best defined by its diversities, contradictions, and ambiguities. The culture that was present during fascism closely mirrors the culture of the United claims, but with different ingredients. The United States is considered a run pot with all of the diversities that are represented in the expanse. Fascist Italy creates its own form of a melting pot, but not with an abundance of pagan diversity. The formalized culture, if there was a true official culture, of Fascist Italy was composed of the differences between the It alian people geographically, politically, hierarchically, socially, and of course culturally.Therefore terms that have become popular when speaking of Fascist culture such as Fascist realism and Mussolini modern are irrelevant and inconceivable. Since the beginning of Mussolinis regime he had always strived to obtain and maintain a mutually beneficial relationship with those who encompass the art world. Under Mussolinis dictatorship artist were devoid from censoring as long as they were not openly and actively anti-Fascist, and in return, as a sign of their gratitude, many artists and architects would accept the Fascist regimes patronage.Certain artists who defied Mussolinis regime would end up with repercussions. Such is the case with a Venetian abstract painter, Armando Pizzinato, who was an avid member of the Italian Communist Party, and from September 1943 until the end of the war he fought with the partisans and did jail time for certain anti-Fascist activities. However, Pizz inato represents a small portion of the artistic community that was anti-Fascist. The majority of artists cooperated with the Fascist regime, and the association between aret and the state was one of mutual recognition and legitimation. Mussolini and his mutually beneficial policies with the art world began to create a more central form of cultural production. Marla Stone refers to the outcome of the newly centralized form of cultural production as a cultural policy of aesthetic pluralism the Mussolini dictatorships practice of accept and livelihood a range of aesthetics. This now meant that there was a magnitude of imageries and aesthetic formulations that represented Fascism and were a part of its cultural system, it imaginary and its aesthetic universe. The Fascist party was in a constant search to uncover a single Fascist rhetorical-aesthetic vision while at the same time compounding modern and avant-garde aesthetics, emerging mass cultural forms, and a discourse of natural c ulture to produce, during the 1930s, many dynamic and vibrant products. The products such as exhibitions, fairs, and expositions, that the government produced and were heavily supported by the Fascist party, generated a considerable audience from the Italian population. More specifically speaking, the Biennale was a direct product of the cultural productiveness that was being pursued by the Fascist party.Victoria De Grazia argues that the Fascist party was never able to obtain a singular aesthetic vision and individuation out-of-pocket to its incapability to mobilize the masses, limits due to the partys interests, and its appropriation of preexisting cultural forms and institutions, which precluded the formation of total Fascist identities The introduction of Exhibitions such as the Biennale were a key component in Fascisms political aesthetic vision considering the primary goal was to encompass the cultural sphere of Fascist Italy. In doing so, the Fascist party was hoping to un ify Italy infra a national culture.Exhibitions had multiple purposes to them while aiming to obtain a unified national culture (1) they were primary sites of state patronage (2) they opened the social boundaries of culture to the mobilized masses (3) they offered a location for the appropriation of the cultural identities and cultural capital of preexisting elites and (4) they courted the participation of cultural producers. The Venetian Biennale and other similar Exhibitions were, for the most part, good for everyone that attended regardless of party affiliation, social status, or job title.World War I, World War II, and the fascism that accompanies them individually had a relentless impact on the country of Italy. Venice, in particular, was not prone to mass amounts of devastation as a consequence of the World Wars. The Fascist presence in Venice was very strong even though the actions of the majority of its supporters were minimal. This problem of mobilizing the masses was not just a problem of Fascisms in Venice, but throughout Italy. The best attempt Fascism had at completely unifying a Fascist Italian culture was through its support of state patronage in the Exhibitions such as the Biennale in Venice.The political differences, ambiguities, and varying class rank made it virtually impossible to create a single Italian culture under Fascism. However, the ability of the Fascist party to participate in state patronage and allow aesthetic pluralism allowed artists to maintain their careers and not have to alter their stylistic ways. The Fascist party did not succeed in creating their own cultural identity under Fascism, but they did allow for a hybrid-like culture to develop. Fascism did many untellable things for the country of Italy, but allowing the aesthetic pluralism to flourish aided unifying the country under one culture.Lucky for Italians it did not create a unified Fascist culture, but quite an a hybrid culture unified due to the intervention of Fascism and the varying differences among the Italian people. Bibliography Ackroyd, woodpecker. Venice saturated city. recent York Nan A. Talese/Doubleday, 2009. Print. Garrett, Martin. Venice A ethnic and literary fellow. New York Interlink, 2001. Print. Hibbert, Christopher. Venice The memoir of a City. New York W. W. Norton, 1989. Print. Reich, Jacqueline, and Piero Garofalo. Re-viewing Fascism Italian Cinema, 1922-1943. Bloomington atomic number 49 UP, 2002. Print. Stone, Marla.The helper State Culture & political science in Fascist Italy. Princeton, NJ Princeton UP, 1998. Print. 1 . gumshoe Ackroyd, Venice Pure City (New York Nan A. Talese/Doubleday, 2009), 324 2 . Christopher Hibbert, Venice The Biography of a City (New York W. W. Norton, 1989), 320 3 . Martin Garrett, Venice A heathenish and literary blighter (New York Interlink, 2001), 48 4 . Martin Garrett, Venice A Cultural and Literary Companion (New York Interlink, 2001), 48 5 . Martin Garrett, Venice A Cultural and Literary Companion (New York Interlink, 2001), receipts 6 .Peter Ackroyd, Venice Pure City (New York Nan A. Talese/Doubleday, 2009), 324 7 . Peter Ackroyd, Venice Pure City (New York Nan A. Talese/Doubleday, 2009), 324 8 . Peter Ackroyd, Venice Pure City (New York Nan A. Talese/Doubleday, 2009), 324 9 . Martin Garrett, Venice A Cultural and Literary Companion (New York Interlink, 2001), 144 10 . Martin Garrett, Venice A Cultural and Literary Companion (New York Interlink, 2001), 46 11 . Martin Garrett, Venice A Cultural and Literary Companion (New York Interlink, 2001), 46 12 .Martin Garrett, Venice A Cultural and Literary Companion (New York Interlink, 2001), 46 13 . Martin Garrett, Venice A Cultural and Literary Companion (New York Interlink, 2001), 46 14 . Martin Garrett, Venice A Cultural and Literary Companion (New York Interlink, 2001), 46 15 . Christopher Hibbert, Venice The Biography of a City (New York W. W. Norton, 1989), 316 16 . Martin Garrett , Venice A Cultural and Literary Companion (New York Interlink, 2001), 46 17 . Martin Garrett, Venice A Cultural and Literary Companion (New York Interlink, 2001), 46 18 .Christopher Hibbert, Venice The Biography of a City (New York W. W. Norton, 1989), 316-317 19 . Christopher Hibbert, Venice The Biography of a City (New York W. W. Norton, 1989), 317 20 . Christopher Hibbert, Venice The Biography of a City (New York W. W. Norton, 1989), 317 21 . Christopher Hibbert, Venice The Biography of a City (New York W. W. Norton, 1989), 317 22 . Christopher Hibbert, Venice The Biography of a City (New York W. W. Norton, 1989), 317 23 . Christopher Hibbert, Venice The Biography of a City (New York W. W. Norton, 1989), 317 24 .Martin Garrett, Venice A Cultural and Literary Companion (New York Interlink, 2001), 46 25 . Christopher Hibbert, Venice The Biography of a City (New York W. W. Norton, 1989), 317 26 . Christopher Hibbert, Venice The Biography of a City (New York W. W. Norton, 1989), 317 27 . Jacqueline Reich and Piero Garofalo, Re-viewing Fascism Italian Cinema, 1922-1943 (Bloomington Indiana UP, 2002), 294 28 . Jacqueline Reich and Piero Garofalo, Re-viewing Fascism Italian Cinema, 1922-1943 (Bloomington Indiana UP, 2002), 294 29 . Christopher Hibbert, Venice The Biography of a City (New York W. W. Norton, 1989), 318 30 .Christopher Hibbert, Venice The Biography of a City (New York W. W. Norton, 1989), 318 31 . Christopher Hibbert, Venice The Biography of a City (New York W. W. Norton, 1989), 319 32 . Christopher Hibbert, Venice The Biography of a City (New York W. W. Norton, 1989), 319 33 . Martin Garrett, Venice A Cultural and Literary Companion (New York Interlink, 2001), 47 34 . Marla Stone, The champion State Culture and politics in Fascist Italy (Princeton, NJ Princeton UP, 1998), 5 35 . Marla Stone, The Patron State Culture and Politics in Fascist Italy (Princeton, NJ Princeton UP, 1998), 4 36 .Marla Stone, The Patron State Culture an d Politics in Fascist Italy (Princeton, NJ Princeton UP, 1998), 4 37 . Marla Stone, The Patron State Culture and Politics in Fascist Italy (Princeton, NJ Princeton UP, 1998), 4 38 . Marla Stone, The Patron State Culture and Politics in Fascist Italy (Princeton, NJ Princeton UP, 1998), 4 39 . Marla Stone, The Patron State Culture and Politics in Fascist Italy (Princeton, NJ Princeton UP, 1998), 5 40 . Marla Stone, The Patron State Culture and Politics in Fascist Italy (Princeton, NJ Princeton UP, 1998), 4 41 .Marla Stone, The Patron State Culture and Politics in Fascist Italy (Princeton, NJ Princeton UP, 1998), 5 42 . Marla Stone, The Patron State Culture and Politics in Fascist Italy (Princeton, NJ Princeton UP, 1998), 6 43 . Marla Stone, The Patron State Culture and Politics in Fascist Italy (Princeton, NJ Princeton UP, 1998), 6 44 . Marla Stone, The Patron State Culture and Politics in Fascist Italy (Princeton, NJ Princeton UP, 1998), 14 45 . Marla Stone, The Patron State Culture and Politics in Fascist Italy (Princeton, NJ Princeton UP, 1998), 18Fascism in VeniceRyan Johnson December 13, 2012 HIST 3400 Soper Venetian Fascism in the Shadow of Wars The qualities that compose fascism are debatable and endless. What is really important about fascism is how it attempted to succeed by influencing not only Venetian, but also Italian culture and society from the beginning of World War I until the end of World War II. Benito Mussolini when speaking on fascism stated that, For Fascism, the growth of empire, that is to say the expansion of the nation, is essential manifestation of vitality, and its opposite a sign of decadence (Enciclopedia Italiana, Handout).The success with which fascism had in expanding the nation is an argument for another time, but the ways they attempted to maintain the essential manifestation of vitality and challenged the boundaries of cultural society in hopes of success are well worth mentioning. Fascism did not have many cultural v ictories and this could be one aspect of an argument as to why it was a failure. However, one of fascisms greatest cultural victories in Italy can be viewed when studying the floating city of Venice and events that accompanied it.Fascism, as a whole, attempted to conquer in more ways than just obtaining land by means of military victory or tangible items as tokens of their success. As stated above by Mussolini himself, if fascism was indeed to succeed, it needed to support the growth of the Italian nation. The Fascist Party needed to not only influence the Italian people through propaganda, but also gain the support of the Italian nation while challenging the cultural and societal boundaries.In the years between World War I and World War II, fascism made attempting strides to try and create an aesthetic visual for the party, mainly by intervening in society and culture. All moves made by the fascists with regards to culture appeared to be solely instrumental and functional to gainin g one hundred percent support of the population in favor of the dictatorship. The effects of World War I, World War II, and fascism can still be seen today in Venetian and Italian culture. World War I was a horrendous time for Italian soldiers fighting in the trenches.Venice was very close to the battle lines on the border with Austria-Hungary, just North of where they lie. Venetians could not only feel the constant threat from the Austrians, but also had a daily reminder when they stepped outside. Venice closed their port, for fear of attack, but they also had to deal with the fact that, barrage balloons could be seen. Barrage balloons had long steel cables attached to them and were mainly used to deter low-flying enemy aircraft from reaching or bombing an area.These defense balloons were used during World War I and II. For the short distance that Venice was from the battlefront they were fairly lucky in how little devastation took place during the war. During World War I Venice wa s always extremely nervous about their next-door neighbors, the Austrians, of attacking the maritime port, but the city never fell to enemy attack. There were very few bombing that occurred in Venice, and the deaths that did take place mainly happened during the black-out hours.These black-out hours would occur in hopes of minimizing the amount of light escaping outside. By doing this, the Venetians were making it very difficult for any sort of aerial attack to bomb their city, port, or boats off of visibility alone. These were the only significant negative effects even worth mentioning that occurred for the city of Venice during World War I. World War II was similar to World War I with regards to the significantly negative effects it had on the city of Venice, there were just about none.As opposed to the devastation that occurred throughout much of Italy, Venice got away pretty nicely. Yet again, the blackout hours when people would fall into the canal or injure themselves in other ways in the dark were one of the primary contributors to the death toll. It has been stated that Venice remained essentially untouched throughout the duration of the Second World War. However the minute losses that did occur, with exception of Germans capturing Jews, can be summed up in a few sentences. One or two windows were broken a stray shell hit the tower of San Nicolo del Mendicoli as the Germans were retrateing and the Tiepolo friezes in the Palazzo Labia were damaged when an ammunition ship exploded in the harbour. Although the people of Venice saw little to none of the intense fighting, they were not as lucky to maintain an unconquered status during World War II as they had in World War I. For Germany, September 1943 was the beginning of a fairly short control over northern and central Italy that included Venice.Although Germany occupied Venice until April 28, 1945, very few deaths occurred to the Venetian citizens while in the city. In the city itself a campaign of sabo tage was followed by reprisals in which five men were shot in Cannaregio on July 8, 1944 some thirty partisans were executed later that month, followed on August 3 by seven hostages in Riva dellImpero, called subsequently, in their memory, Riva dei Sette Martiri. The most extensive part of the death toll came to the Jewish population in Venice with the presence of the Germans in 1943.The Venetians had historically tolerated the Jewish population up until about 1938 with the enactment of new racial laws. After the racial laws, persecution got so bad for the Jewish population, that they were laid off from their job, and grotesque signs were placed on businesses stating Dogs and Jews Prohibited. It only got worse from there after the Germans arrived in 1943, and the open persecution, capture, and killing of Jews from 1943 to 1945 took place.It has been estimated that approximately two hundred Jews were hunted down and sent to concentration camps in the mainland, with some even being d eported to Auschwitz. The Germans were so thorough in their cause to vaporize the Jewish population from the earth, they would even go to hospitals to retrieve mentally ill Jewish patients and send them to an early grave. It has been recorded that only eight of the two hundred Venetian Jews captured by the Germans were ever returned home again.The Germans vicious attempts to eliminate the Jewish population and the atrocities that ensued will never be forgotten. With that being said, Venice got out of not only World War I, but also World War II with an extremely minimal death count compared to the millions of lives that were lost as a consequence of the two wars. World War I and II both impacted Venice, but in a fairly nominal way when viewing the status of many other parts of Italy and the world. However, there were two very influential fascist characters that emerge as a product of World War I and are present throughout World War II.These two men are noteworthy fascist figures with one that called Venice a home for a period of his life and another that was a true Venetian. The first man, Gabriele DAnnunzio, assumed a position, as a fascist political figure in Venice, and he was well known even before fascism was created. DAnnunzio was not a native-born Venetian, but was fairly well known in Italy as a poet, novelist, playwright, politician (right- and left-wing in rapid succession), and daring First World War pilot who led sorties against Vienna itself.It was during World War I when DAnnunzio decided to establish his residence in Venice. When he was not contributing to the fighting he could be found at his home, that was located off of the Grand Canal, called Casetta delle Rose. DAnnunzio continues to have a presence in the fascist politics all the way until its eventual demise, but was most famous for his irredentist taking of Fiume, which is now present-day Rijeka in Croatia. He was angry that Fiume was not ceded to Italy by the Austrians at the end of Worl d War I with the signing of the peace Treaty of Saint-Germain.DAnnunzio ruled over Fiume as a dictator until December of 1921, and it has been said that Benito Mussolini even viewed DAnnunzio with a mixture of admiration and envy DAnnunzio was a fascist political figure that did not necessarily contribute much to the city of Venice as much as he was solely a constant reminder of the fascist presence. The second man that emerged from the outcome of World War I was an entrepreneurial man by the name of Giuseppe Volpi. Unlike DAnnunzio, Volpi was a native-born Venetian.He was born in Venice in 1877, and before he was thirty years old he had established the Societa Adriatica di Elettricita in the Palazzo Balbi on the Grand Canal, which soon had a monopoly on the supply of electricity in the Veneto and Emilia-Romagna. Along with his northeastern electricity monopoly, Volpi was constantly finding new ways to improve and advance Venetian industry. He would dabble in other industries that included petro-chemicals, iron, and shipping that significantly contributed to advancing Venetian industry, more specifically in Porto Marghera.Volpis success on top of his founding of Societa Adriatica di Elettricita was substantial it has been recorded that he was a, president or vice-president of twenty other companies, as a member of the boards of forty-six more, and as a major shareholder in over fifty. During World War I Volpi was the head of a Committee for Industrial Mobilization where his project of turning the old Venetian fortress of Marghera into an industrial port and factory capable area. Volpi was quite successful in his project in Marghera.The area, prior to Volpis presence, only contained a thousand inhabitants in 1921. The growth of Marghera after Volpis intervening was exponential. Marghera had grown by 1940 to a town containing fifteen thousand workers in a hundred industries, and by 1967 to one of thirty-five thousand workers in 211 industries. Volpis tremendo us success as an entrepreneur and financial guru in northeast Italy, without fail, caught the attention of the Italian government. Volpi was awarded for his successes with the title and position as Governor of Tripoli.Soon after being deemed Governor, and already a standing member of the Fascist party, Volpi was put into office as Mussolinis Minister of Finance in 1925. It has been stated that Volpi, became one of the most successful administrators of the regime. Three years after Volpi was positioned as Minister of Finance he resigned after disagreeing heavily with Mussolini on the artificially high level at which the leader insisted on fixing the exchange rates, and never having become one of his close circle, he concentrated again on Venice and industry. Volpi was always a very influential fascist figure in Venice, but his greatest contribution to the success of the influence of the Fascist party and its cultural production came when he assumed the position as, President of the reconstituted Esposizione Biennale Internazionale dArte in 1932. This Exhibition, more commonly known as the Biennale, originated as nothing more than an Exhibition with strange occurrences such as a mans face that was stuck in rigor mortis known as Supremo Convegno.In 1934, the Fascist government declared the once bi-annual event was to start taking place annually. The success of the Biennale was consistently growing after it was introduced as an annual event. In 1934, there were 41,000 people that showed up, in 1935, 38,500 people, in 1936, 50,000 attended, and in 1937, there was a staggering 60,000 participants. The Biennale by the year 1948 was considered to be one of the most important events in the entire world of art, and the Exhibition got to that point with the help of Giuseppe Volpi as he active President for twelve years. The international respect and publicity the Biennale gained each year was consistently growing. Countries would set up pavilions at the Biennale and pr esent among them even during the Biennales early stages were Belgium, Britain, Germany, Hungary, France, Russia, Sweden, Spain, Czechoslovakia, and the United States. Even though the Biennale is an Exhibition where artwork is displayed, it has a sense of friendly competition between countries for who can produce some of the best artwork.During one Biennale exhibition there were not only paintings by nearly all of the best Italian artists under Italys pavilion, but also works by Picasso and Klee, by Chagall and Kokoschka. The French staged exhibitions by Braque, Rouault, and Maillol, the Belgians by Delvaux and Ensor, the British by Henry Moore. The participation of artists as prestigious as these helped in securing the validity and existence of the Biennale as a true appreciation for art. There was even an exhibition for Impressionist artist and that same year there were ninety-eight Impressionist pieces of art.The Biennale was an exhibition that appears to be more of a friendly co mpetition and get together between major countries of the world. All of the countries that have previously been at one anothers throats in prior wars all come together to participate in the Biennale that takes places in Venice, Italy. The Biennale brings together a magnitude of countries, despite their differences, and allows them to partake in a mutually pleasing and intellectually stimulating event. The importance of the Biennale is much greater than the sole criticizing of artistic works and abilities.The event brings together a variety of countries with extremely varying viewpoints and opinions to meet communally and peacefully. The Biennale during the presence of fascism and in attempting to be a useful tool of fascism held a much more substantial meaning than multiple countries coming together peacefully. It allowed for Italy to feel unified even if it was on the smallest cultural level of coming together for an art festival, and it also gave the Fascist party yet another oppo rtunity to use propaganda towards the masses to their advantage.In 1932, Giuseppe Volpi was deemed the President of the Biennale and Mussolini was in his tenth year of his regime when, a good number of prizes went to pictures of marching Blackshirts, dynamic cranes and planes, idealized Italian landscapes, and women and children saluting Il Duce. Just prior to this particular Biennale of 1932, Volpi was an active member of the Fascist party, and was most recently the Minister of Finance for Mussolini and the Fascist party. Then again, in 1935 during the film festival aspect of the Biennale, prizes were awarded to Nazi, Soviet, and Palestinian-Zionist films.Volpis ability and willingness to give awards to fascist based artwork, regardless of actual artistic value, was no coincidence. Marla Stone describes Fascist Italy as presenting a paradox with regards to the cultural politics of the authoritarian and totalitarian regimes that reigned in Europe in the time period between World Wa r I and World War II. She states that since, No one style, school, or monument summarizes the patronage practices of the Fascist state. Rather, the official culture of Italian Fascism is best defined by its diversities, contradictions, and ambiguities. The culture that was present during fascism closely mirrors the culture of the United States, but with different ingredients. The United States is considered a melting pot with all of the diversities that are represented in the country. Fascist Italy creates its own form of a melting pot, but not with an abundance of ethnic diversity. The official culture, if there was a true official culture, of Fascist Italy was composed of the differences between the Italian people geographically, politically, hierarchically, socially, and of course culturally.Therefore terms that have become popular when speaking of Fascist culture such as Fascist realism and Mussolini modern are irrelevant and inconceivable. Since the beginning of Mussolinis regi me he had always strived to obtain and maintain a mutually beneficial relationship with those who encompass the art world. Under Mussolinis dictatorship artist were free from censorship as long as they were not openly and actively anti-Fascist, and in return, as a sign of their gratitude, many artists and architects would accept the Fascist regimes patronage.Certain artists who defied Mussolinis regime would end up with repercussions. Such is the case with a Venetian abstract painter, Armando Pizzinato, who was an avid member of the Italian Communist Party, and from September 1943 until the end of the war he fought with the partisans and did jail time for certain anti-Fascist activities. However, Pizzinato represents a small portion of the artistic community that was anti-Fascist. The majority of artists cooperated with the Fascist regime, and the association between aret and the state was one of mutual recognition and legitimation. Mussolini and his mutually beneficial policies wit h the art world began to create a more central form of cultural production. Marla Stone refers to the outcome of the newly centralized form of cultural production as a cultural policy of aesthetic pluralism the Mussolini dictatorships practice of accepting and supporting a range of aesthetics. This now meant that there was a magnitude of imageries and aesthetic formulations that represented Fascism and were a part of its cultural system, it imaginary and its aesthetic universe. The Fascist party was in a constant search to uncover a single Fascist rhetorical-aesthetic vision while at the same time combining modern and avant-garde aesthetics, emerging mass cultural forms, and a discourse of natural culture to produce, during the 1930s, many dynamic and vibrant products. The products such as exhibitions, fairs, and expositions, that the government produced and were heavily supported by the Fascist party, generated a considerable audience from the Italian population. More specificall y speaking, the Biennale was a direct product of the cultural productivity that was being pursued by the Fascist party.Victoria De Grazia argues that the Fascist party was never able to obtain a singular aesthetic vision and identity due to its incapability to mobilize the masses, limits due to the partys interests, and its appropriation of preexisting cultural forms and institutions, which precluded the formation of total Fascist identities The introduction of Exhibitions such as the Biennale were a key component in Fascisms political aesthetic vision considering the primary goal was to encompass the cultural sphere of Fascist Italy. In doing so, the Fascist party was hoping to unify Italy under a national culture.Exhibitions had multiple purposes to them while aiming to obtain a unified national culture (1) they were primary sites of state patronage (2) they opened the social boundaries of culture to the mobilized masses (3) they offered a location for the appropriation of the cul tural identities and cultural capital of preexisting elites and (4) they courted the participation of cultural producers. The Venetian Biennale and other similar Exhibitions were, for the most part, good for everyone that attended regardless of party affiliation, social status, or job title.World War I, World War II, and the fascism that accompanies them individually had a lasting impact on the country of Italy. Venice, in particular, was not prone to mass amounts of devastation as a consequence of the World Wars. The Fascist presence in Venice was very strong even though the actions of the majority of its supporters were minimal. This problem of mobilizing the masses was not just a problem of Fascisms in Venice, but throughout Italy. The best attempt Fascism had at completely unifying a Fascist Italian culture was through its support of state patronage in the Exhibitions such as the Biennale in Venice.The political differences, ambiguities, and varying class rank made it virtually impossible to create a single Italian culture under Fascism. However, the ability of the Fascist party to participate in state patronage and allow aesthetic pluralism allowed artists to maintain their careers and not have to alter their stylistic ways. The Fascist party did not succeed in creating their own cultural identity under Fascism, but they did allow for a hybrid-like culture to develop. Fascism did many terrible things for the country of Italy, but allowing the aesthetic pluralism to flourish aided unifying the country under one culture.Lucky for Italians it did not create a unified Fascist culture, but rather a hybrid culture unified due to the intervention of Fascism and the varying differences among the Italian people. Bibliography Ackroyd, Peter. Venice Pure City. New York Nan A. Talese/Doubleday, 2009. Print. Garrett, Martin. Venice A Cultural and Literary Companion. New York Interlink, 2001. Print. Hibbert, Christopher. Venice The Biography of a City. New York W. W. Norton, 1989. Print. Reich, Jacqueline, and Piero Garofalo. Re-viewing Fascism Italian Cinema, 1922-1943. Bloomington Indiana UP, 2002. Print. Stone, Marla.The Patron State Culture & Politics in Fascist Italy. Princeton, NJ Princeton UP, 1998. Print. 1 . Peter Ackroyd, Venice Pure City (New York Nan A. Talese/Doubleday, 2009), 324 2 . Christopher Hibbert, Venice The Biography of a City (New York W. W. Norton, 1989), 320 3 . Martin Garrett, Venice A Cultural and Literary Companion (New York Interlink, 2001), 48 4 . Martin Garrett, Venice A Cultural and Literary Companion (New York Interlink, 2001), 48 5 . Martin Garrett, Venice A Cultural and Literary Companion (New York Interlink, 2001), 144 6 .Peter Ackroyd, Venice Pure City (New York Nan A. Talese/Doubleday, 2009), 324 7 . Peter Ackroyd, Venice Pure City (New York Nan A. Talese/Doubleday, 2009), 324 8 . Peter Ackroyd, Venice Pure City (New York Nan A. Talese/Doubleday, 2009), 324 9 . Martin Garrett, Venice A Cultural and Literary Companion (New York Interlink, 2001), 144 10 . Martin Garrett, Venice A Cultural and Literary Companion (New York Interlink, 2001), 46 11 . Martin Garrett, Venice A Cultural and Literary Companion (New York Interlink, 2001), 46 12 .Martin Garrett, Venice A Cultural and Literary Companion (New York Interlink, 2001), 46 13 . Martin Garrett, Venice A Cultural and Literary Companion (New York Interlink, 2001), 46 14 . Martin Garrett, Venice A Cultural and Literary Companion (New York Interlink, 2001), 46 15 . Christopher Hibbert, Venice The Biography of a City (New York W. W. Norton, 1989), 316 16 . Martin Garrett, Venice A Cultural and Literary Companion (New York Interlink, 2001), 46 17 . Martin Garrett, Venice A Cultural and Literary Companion (New York Interlink, 2001), 46 18 .Christopher Hibbert, Venice The Biography of a City (New York W. W. Norton, 1989), 316-317 19 . Christopher Hibbert, Venice The Biography of a City (New York W. W. Norton, 1989), 317 20 . Christopher Hibbert, Venice The Biography of a City (New York W. W. Norton, 1989), 317 21 . Christopher Hibbert, Venice The Biography of a City (New York W. W. Norton, 1989), 317 22 . Christopher Hibbert, Venice The Biography of a City (New York W. W. Norton, 1989), 317 23 . Christopher Hibbert, Venice The Biography of a City (New York W. W. Norton, 1989), 317 24 .Martin Garrett, Venice A Cultural and Literary Companion (New York Interlink, 2001), 46 25 . Christopher Hibbert, Venice The Biography of a City (New York W. W. Norton, 1989), 317 26 . Christopher Hibbert, Venice The Biography of a City (New York W. W. Norton, 1989), 317 27 . Jacqueline Reich and Piero Garofalo, Re-viewing Fascism Italian Cinema, 1922-1943 (Bloomington Indiana UP, 2002), 294 28 . Jacqueline Reich and Piero Garofalo, Re-viewing Fascism Italian Cinema, 1922-1943 (Bloomington Indiana UP, 2002), 294 29 . Christopher Hibbert, Venice The Biography of a City (New York W. W. Norton, 1989), 318 30 .Christ opher Hibbert, Venice The Biography of a City (New York W. W. Norton, 1989), 318 31 . Christopher Hibbert, Venice The Biography of a City (New York W. W. Norton, 1989), 319 32 . Christopher Hibbert, Venice The Biography of a City (New York W. W. Norton, 1989), 319 33 . Martin Garrett, Venice A Cultural and Literary Companion (New York Interlink, 2001), 47 34 . Marla Stone, The Patron State Culture and Politics in Fascist Italy (Princeton, NJ Princeton UP, 1998), 5 35 . Marla Stone, The Patron State Culture and Politics in Fascist Italy (Princeton, NJ Princeton UP, 1998), 4 36 .Marla Stone, The Patron State Culture and Politics in Fascist Italy (Princeton, NJ Princeton UP, 1998), 4 37 . Marla Stone, The Patron State Culture and Politics in Fascist Italy (Princeton, NJ Princeton UP, 1998), 4 38 . Marla Stone, The Patron State Culture and Politics in Fascist Italy (Princeton, NJ Princeton UP, 1998), 4 39 . Marla Stone, The Patron State Culture and Politics in Fascist Italy (Pr inceton, NJ Princeton UP, 1998), 5 40 . Marla Stone, The Patron State Culture and Politics in Fascist Italy (Princeton, NJ Princeton UP, 1998), 4 41 .Marla Stone, The Patron State Culture and Politics in Fascist Italy (Princeton, NJ Princeton UP, 1998), 5 42 . Marla Stone, The Patron State Culture and Politics in Fascist Italy (Princeton, NJ Princeton UP, 1998), 6 43 . Marla Stone, The Patron State Culture and Politics in Fascist Italy (Princeton, NJ Princeton UP, 1998), 6 44 . Marla Stone, The Patron State Culture and Politics in Fascist Italy (Princeton, NJ Princeton UP, 1998), 14 45 . Marla Stone, The Patron State Culture and Politics in Fascist Italy (Princeton, NJ Princeton UP, 1998), 18

Friday, May 24, 2019

Latina

The Myth of Latin Wo military man Throughout life pile may be involved in racial abuse, especially if they are Latin women discrimination by people that believe they are superior besides because they have born in a different or best country. In Myth of the Latin Woman I Just Met a daughter Named Maria by Judith Ortiz Cofer, the writer tries to show part of her life and how people in different countries acts in the situation of having someone in front of them with a different nicety or skin color, in this case Latin woman.In the essay, she had to fight with three situations of discrimination (1) Stereotypes, (2) Culture Clash, and (3) media. First of all, the term stereotype is use as a negative sense. Throughout the essay, Ortiz writes about the experiences she passed through her childhood, her experience as a Latina woman and the stereotypes that involved a Latin woman. In split up 2, she is upset about how her Hispanic appearance called forth from many people she met from diff erent countries. Ortiz work outs that a Latin woman is seen as a sex object glass as a result of her elan of dressing.She declares that her mother taught her how to do it. Our parents influence us in our way of dress. For example, if our parents are from an Indian region and they use Indian clothes, they are going to influence us to wear the same clothes. Also, she narrates about her experience on a bus trip when a washrag man started reciting the lines of Maria because she appeared to be Latino. Secondly, culture clash carries a big influence. She explains in her essay how hard it is growing up in a country with a totally different culture.Even, one day when she went to school to the Career Day, they had gone dressed as if for a job interview. She went dressed the way a Puerto Rican dresses. The way she dressed with too much jewelry made her a victim of mockery. Furthermore, some people who move to a nonher country are victims of discrimination by people who believe that bring ing their culture and traditions from another country is wrong, they think that if you move to a their country you need to adapt to their culture, and forget yours. These people not even think about mix cultures.Thirdly, the media plays a role not only in this essay, but in the real world too. The media have influenced the white people about Latinas concept especially, those who see a TV series in which a Latina is inferior. In this case, she writes about her Chicana friend who worked at a major university. Even her incredulous doctor questions himself about how she knows big words. Regarding how the media sees Latina as inferior workers, Ortiz writes about her experience in Miami in one of her poetry events. When she was walk in, an old lady called her to her table to order for a cup of coffee.If Judith Ortiz Cofer was a white woman, it would not happen. In addition, the media nowadays influences everyone a lot about Latina women and their culture. In another way, she explains ho w people think about what jobs the Latina women can do, because white people believe that a Latinas brown skin white people think that they came from an inferior culture, a culture of servitude. For this reason, some people cannot believe when they see a Latina woman succeed in a country with their backward culture about Latinas.In conclusion, it is sad to see how people feel superior over others, chiefly because their skin color is different. It is also sad to see how others want to humble a Latina just because her culture is completely different to ours, or simply because they watch how the TV denigrates Latina women, regardless of their feelings. Ortiz focused her essay on how Latina women can be successful in this country regardless of stereotype, culture, or what the media says about them.

Thursday, May 23, 2019

Kant Metaphysics

The Groundwork of Metaphysics of Morals Immanuel Kants Groundwork of the Metaphysics of Morals, argues upon the basis of honourableity introducing the ideals of the categorical imperative as the central concept of moral philosophy. The definition of the categorical imperative leads Kant towards the critique of pure reason arguing that without a goodwill one cant even be worth(predicate)y of being happy. Kant introduces goodwill, treating people as means rather than ends and doing the right thing for the right reason.Making a distinction between cognizance and knowledge and eliminating common sense on a route to the philosophical, Kant pay offs reason as reason a practical faculty to influence will and in any case being essential to will. Kant argument in the Groundwork focuses upon the basic idea of what makes a good person good. It is the possession of a will that is a delegacy determined by, or makes decision based of moral law. This goodwill is supposed to be the idea of one who only makes decisions that she holds to be morally worthy, taking moral directations in themselves to be conclusive reasons for guiding her behavior.This sort of disposition or character is something we all highly value. Kant believes we value it without limitation or qualification. Formulated by pure reason, the categorical imperative according to Kant underscores his argument. The value of a good will thus cannot be that it secures certain valuable ends, whether of our own or of others, since in that respect value is entirely conditional on our having and maintaining a good will. Kants categorical imperative argues that ones actions should be done from duty in browse to gain true moral worth. It is not the result of ones actions but rather means of that duty that leads humanity to happiness.The goodwill of this person would sparkle like a grace all by itself, as something that had its full worth in itself (Kant, 1). Humanity is very much determined by strive for excellenc e in order to obtain the ultimate good. Kants hypothetical imperative stresses how indications and determination for the result are the goal for people to act. Juxtaposing with the ideals of the categorical imperative the latter is motivated by the result rather than acting from duty. Acting in such a way that ones actions can become a universal law is what I consider the road to happiness.It is not primarily doing good to oneself in order obtain a trustd result. Doing good to others and treating these as means rather than ends is what I define as true happiness. Goodwill will neednt be the sole and complete good, but it must be the condition of all others, even of the desire for happiness (Kant, 1). So we have to develop the concept of goodwill that is determined and esteemed as good in it without regard to anything else, judging the total worth of the actions we commit and with the entirety depending on it searching for the unconditional good.

Wednesday, May 22, 2019

Characters in This Boy’s Life Essay

Each character in This Boys feeling demonstrates the struggle to find a sense of identity. Discuss.Young people are most often guided by their parents and guardians of what they should or shouldnt do. However, some abject ones are left alone to find their own paths. In their search of making their own identity, some young people consume to fight against tout ensemble obstacles to reach goals that will lead to a successful fortune, while some will walk an uneasy way and repeat themselves in the misery of self-destructiveness and self-sabotaging behaviors. In Tobias Wolffs memoir This Boys Life, the author presents a life that is built up on continuous self-destructive decisions, making himself his own conquer enemy and causing all kinds of situations which he hopes to change and evolve into a better self, only to once again find him fallen into the very bound set up by no one but himself.Some of Tobys situations is due to his background. He was raised by a single divorced mothe r, Rosemary, and her failing to take a fathers place to become a powerful guardian to correct and care for Tobys early mischievous ways. Rosemary is a victim of domestic violence herself. Jack and Rosemary are constantly on the move, which adds to this struggle. When they do settle down, they choose environments that are a disaster. Toby is placed with characters that work to break his self-confidence and pride, therefore making it impossible for Toby to really identify himself.Revision for Romeo and Juliet grade 10 English ExamFriday 8th June, 9.00am to 11.10am2 hours writing time, with an additional 10 minutes reading time. Two SectionsSection A Text chemical reaction EssaySection B Persuasive Language AnalysisREVISION FOR SECTION ARevise the key characters and key themes in Romeo and Juliet Reread both the synopsis of the be and some of the most important scenes in the diarrhea.Create a mindmap for each of the major themes Love, Hate and Fate. Create brief character profiles f or each of the major characters. Create (and try to memorise) a list of at least 20 key quotes. Revise how to write a text response essay. achieve a text response essay on a practice question.Poor sacrifices of your enmity. (V.iii.303) Romeo and Juliet explores the consequences of blinding hatred. Discuss. Romeo and Juliet the greatest love story ever told. What does Shakespeares play tell us about the nature and power of love? Romeo and Juliet are both victims of fate, having little control over their destiny. Do you agree? Romeo and Juliet is a play more about hate than love. Discuss.REVISION FOR SECTION BRevise your knowledge of the key persuasive language techniques using your flash cards. Complete a practice persuasive language analysis task. (See me for a newspaper article.)

Tuesday, May 21, 2019

Chris Character Essay

All My Sons is considered Millers most famous dawdle. The play is an assertion of the look at for the individual to accept full responsibility for his actions, to acknowledge the satisfyingity of a cosmos in which the stem of brotherhood is an active principle rather than simple piety. It is to be regarded as a sever endeavor on materialism which carrells at odds with hu art object values, on a war-profiteers travail for bread based on an ethic that Familial obligations should come first, sluice at the expense of his social responsibilities and obligations.The act of the play is very significant since it indicate one of the most important subsidiary themes of the play, namely the flummox-son human relationship. As we have said before the main theme of the play has to deal with the importance of a Mans social responsibility as comp ard to his responsibility towards his family. This main theme is very related, even interwoven, with the conflict that might arise between a s ons duty towards his sire and his sustain moral duty towards his society.Perhaps, a close examination of the character of Chris Keller and his relation to his father would wangle this shew even cle ber. As the play opens, we are immediately made to realize how Chris highly regards his father and the understanding of his affection for him that he comes to believe that he (his father) is a perfect and ideal person. This fact has been deposeed when his gravel-Kate- expresses her worries round Georges Steve Deveers son- purpose in paying a visit to their house. She is quite sure that the afterward -being a lawyer now- intends to open the case of his father again.Chris affirms her youre silly whats there to be afraid of which clearly indicate his high regard of his father and his complete awareness of his innocence. And when his mother affirms that to his concluding day in court Steve never gave up the idea that Dad made him do it and that if they are going to open the case a gain she wont live through it Chris assures her that he would stand by her and his father in a very determinant manner George is just a anathematize fool, Mother, how can you take him seriously.Later on, as George tries to convince Chris that the laters father is the real culprit, Chris refuses to believe his accusations against his father Chris on his Steve Deveer knowledge. And because he is a frightened mouse this is another thing hed done through the blame on somebody else because hes not man enough to take it himself. He tried it in the court, but it did not work, but with fools like you George it works. Matter-of-fact, Chris proud streak is indeed the key f run downure towards a clear-cut apocalypse of his character. This idealism has been manifested in much than one occasion.First, as he was explaining to Ann the reason why he has delayed his confession of Love for her, he attribute it to his own feeling of guilt at the thought that all the men under his hold had died w hen he himself survived. He even feels even guiltier when he remembers that the world has not changed as a subject of the War, as it retains its very selfish and callous attitudes as it used to be before the War Chris they the youthfulness soldiers under his command didnt die they killed themselves for each other. I mean that exactly a little more selfish and theydve been here today And then I came home and it was incredible.I there was no meaning in it here the whole thing to them the American society was a kind of a-bus accident Because no body was changed at all I felt wrong to be alive, to open a bank-book, to drive the new car Elsewhere, Chris idealism finds expression in his feeling surprised and shocked by the revelation that his father was the real culprit in the matter of supplying defective cylinder heads to the air force, after his confrontation with his mother about Anns stay in their house, which has developed to its peak that Kate affirms him that his father had genuinely been disgracedKate your brother is alive, darling, because if hes dead, your father killed him. Do you understand me now? As colossal as you live, that boy is alive. God does not let a son be killed by his father. As his father tries to defend himself, affirming that Larry never flew a P-40 Chris idealism has been asserted once more. He affirms his father that he seems to be living in an altogether different world from the one in which other pack are living. Even when his father affirms that he had supplied defective equipment to the air forces for his (Chris) sakeChris Chris, I did it for you, it was a materialise and I took it for you. Im sixty-one years old, when would I have another chance to make something for you? Sixty-one years old you dont get another chance, do ya? Chris condemn his fathers causes and his complete lake of social responsibility give tongue toing For me Where do you live, where have you come from? For me I was last everyday and you were ki lling my boys and you did it for me? What the hell do you think I was thinking of, the goddam business? fatiguet you have a country? Dont you live in a world?Elsewhere, Chriss idealism has been manifested as he tells Ann that during the fight there used to be a smack of honor between all soldiers, which forced them to behave in an honorable manner. But now he comes to realize that this is the land of the great big dogs, you do not love a man here, you eat him Thats the principle, the only one we live by- it just happened to kill few people this time thats all. The worlds thats way, how can I take it out on him. Thats to say he believes that the main principle governing life is to pursue self-interest, even at the expense of others.Chriss shock, as he himself explain it later, results from the fact that he is really convinced that his father is no worsened than most men, but he had thought his father to be a better man than most. This shock caused a sever kind of internal conflict inside him between his Idealism and Practicality, to the extend that towards the end of the play he admits to his mother and Ann that his idealism had left him and that he has now become a practical man who does not have the courage to force his father to face the consequences of his guilt.He further affirms them that he is no longer human and that his now like every body else. Referring to his father, Chris tells his mother I could jail him, if I were human any more Im practical now. You made me practical. As his mother tries to convince him that there is nothing wrong in being practical Chris replies that even cats in the streets are practical, and the cowards who ran away from the battlefield during the war were practical.Thats to say for Chris practicality is the word which un commendable people use to rationalize their own selfish attitudes But Im practical and I spit on myself. It is worthy of note that much of the success of All My Sons has been due to Millers complex vision of Kellers shared guilt and eachs contribution to this family collapse. Thats to say Miller was keen to affirm that Joe Keller is not solely responsible for his family troubles, and ultimate disaster. Chris, also, is responsible for his familys dilemma.Though he adopts a highly moral tone, he was only trying to escape his own sense of guilt. Having watching the lordly young men under his command die selflessly in the battle to save their comrades, Chris feels guilty for failing them and surviving the war. So when he was given a chance to escape his anguish, he tries to find relief out of his sense of guilt in the form of contempt for his fathers nefarious act, on the hope that by destroying his father he can some how escape his own sins and his own personal torment.His father, thus, becomes his scapegoat. It is hard, therefore, not to see and condemn the hypocrisy behind the zeal that leads to Kellers Suicide. His motives are strictly selfish. We all know that his words ring hol low because he has long suspected his fathers guilt, but deliberately avoided confronting the truth-again for purely selfish motives at some level Chris fears that if he allows himself to see his fathers human imperfection, he will also have to realize his own limitations- and his experience in the war make him dread that confrontation.

Monday, May 20, 2019

The Lesson

The story The Lesson, by Toni Cade Bambara, is about a girlish misfire named Sylvia who is accompanied by a group of her friends from her neighborhood and her elderly neighbor named Ms. Moore, who tries to teach each of them a lesson about life. The Lesson is a realistic story that takes place in the mid-20th century that exemplifies the true difference in the midst of upper and lower classes during that time period. Although Sylvia might come away as a mean and self-asserting junior-grade girl, you can tell at the end that there is something deeper to Sylvia when she begins to invent on her ay with Ms.Moore and genuinely collide withms to pass water something out of the situation and you can tell Just how much(prenominal) sharp of an observer she sincerely yours is. end-to-end the entire story, it is clearly fancyn that Sylvia is a mean girl. Right when Ms. Moore is introduced at the beginning of the story, Sylvia describes how she feels about her. And we kinda hated her (Bambara 60). She also says, And Im really hating this nappy head bitch (Bambara 60). Although Ms. Moore is doing the children all a favor, Sylvia doesnt dependm to care and doesnt level(p) want to give her a chance.Another example for when Sylvia shows Just how mean she could be is correct when she starts talking to Ms. Moore with all the other kids about bills and about them going to the toy store, Sylvia mentions other things that she would rather be doing instead. And would much rather snatch Sugar and go to the Sunset and terrorize the West Indian kids and take their hairs-breadth ribbons and their money too (Bambara 61). Not only does Sylvia come across as a rude little girl towards her peers and to the people she actually knows, but to other random children.She comes off as the neighborhood bully. superfluous proof to show Just how mean Sylvia can be is when she asks Ms. Moore why she brought all of them to the toy store. Ms. Moore bonnie simply tells Sylvia that she sounds angry and wonders why she is mad. Im mad, but I wont give her the satisfaction (Bambara 64). Even when Ms. Moore Just tries to see what is bothering Sylvia, she has an attitude. Although it was Just a simple question, and Ms. Moore didnt mean it in a mean way, Sylvia still has to come off as this rude little girl.Even at the really beginning of The Lesson, you can already tell that Sylvia is a very ocky person. The author opens up the story showing a clear view of Just how self-asserting Sylvia can be. Everyone was old and stupid or young and foolish and me and Sugar were the only ones Just right (Bambara 60). Sylvia is implying that when it comes to her friends and everyone else she is surrounded by, she is ultimately better than them all. Sylvias close minded assertive attitude is also shown when Ms.Moore is discussing money with the children. Sylvia acts as if she knows everything and Ms. Moore is ignorant for even off bringing up such a simple subject about how mo ney works. And Miss Moore asking us if we know what money is, like, a bunch of retards (Bambara 60). Considering Ms. Moore is trying to do the young children a the way of her retaining the true value out of what Ms. Moore has to say. More proof to show Just how cocky Sylvia is, is at the very end of the story. After the daylight is done with Ms.Moore, the children decide they are going to go to Hascombs and excite cream sodas. Sylvias cousin, Sugar asks her if she would like the race down there. She can run if she want to and even run faster. But aint nobody gonna beat me at nuthin (Bambara 65). Considering everything she had Just gone through and getting a reality check about life, Sylvia is still so convinced that she is the best. This shows just how much confidence she truly has in herself but at the same time her high level of confidence is easily mistaken for cockiness.Although Sylvias attitude often gets the best of her and she seems to be Just a rude little girl, at the v ery end of the story you can tell that there is much more to her than you might think of. You can get a better understanding of Just how sharp of a girl she truly is after the day with Ms. Moore comes to an end. When the children all decide to go get cream sodas at Hascombs, Sylvia decides to not Join in with the bear of them. You can tell she has a lot going through her mind after getting a taste of reality by Ms. Moore. Im going to the West End and because over to the Drive to think this day through (Bambara 65).You can assume that although Sylvia is too stubborn to admit that she has actually gotten something out of that day, she keeps to herself and decides to reflect on what she had been introduced. Another time that Sylvia seems to let her guard down and kind of shows how she is observant to her urroundings is when she is about to move into the toy store. She doesnt understand what the big deal is about going inside but at the same time she Just doesnt feel comfortable abo ut going in. But I feel funny, take down (Bambara 63). At this point Sylvia begins to realize that there is something to this trip to the toy store. For a second she doesnt feel as cocky and is almost insecure with herself to where she cant bring herself enough courage to Just walk into the toy store. It seems that Ms. Moores lesson does actually affect Sylvia in the long run. She ets her mean, cocky demeanor down Just long enough to show the reader that she actually did get something out of that day.Considering the fact that she does only have that brief second of where you see her whole attitude change, you can understand Just how set in her ways she truly is. From glide path off as a rude little girl throughout the entire story and then all of a sudden for that short time you get to see her actually take what she axiom into consideration, you can get a better idea that there is more to Sylvia than what is illustrated to the reader throughout the continuance of the story.