japanese aisatsu Essay Example

japanese aisatsu Paper In college, as in life, some things are unavoidable: tuition, essays, bad-for-you food and roommates. Unless you live at home while going to school, from the time you enter the higher education world until you leave it, you will be coping with people in your personal space. In the land of shared space, problems arise frequently and if you never deal with them, they have the potential to ruin any relationship. Use these tips from experts and real college girls on getting along with your roommate whether your roomie is a random assignment or your best friend. Talk. If somethings bugging you, bring it up in a non-defensive way rather than assume your roommate can read your mind. Nothing can change unless you acknowledge it. Its possible that your roommate may not even be aware of the problem. 2. Focus on behavior, not personality. Its not reasonable to ask people to change who they are, but you can ask them to tone down how they express themselves, especially when its invading your tu rf. So, you cant criticize someone for being perky, but you can ask for someone not to talk so much while youre studying. 3. Stay flexible. Its not your job to fix anybody else, and it helps to recognize that no one is perfect. Be willing to look at your own behavior. Consider what you could do differently to help the situation instead of only blaming your roommate. 4. Start with one pet peeve. What can you absolutely not deal with? What do you find extremely irritating, but could live with if you had to? There are probably tons of things your roommate does that get on your nerves. But nothing kills a relationship faster than listing dozens of reasons why you dont like a person. We will write a custom essay sample on japanese aisatsu specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on japanese aisatsu specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on japanese aisatsu specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Instead, both of you need to list your number one pet peeve and focus your energy on solving that first. 5. Consider the positives. Before you decide that life would be better with a roommate exactly like you, think of what you could gain by living with your opposite. Were often attracted to people who are different from us because they represent qualities we wish we possessed. If youre shy, maybe being around a more outgoing person will force you out of your shell. When one persons strength makes up for the others weakness, being opposites is an dvantage. Sharing your place with another person, whether this is a new experience for you or youVe had years of practice, is never easy. Use these tips to keep hostility at bay, and youll be gossiping about the cute guy in your chem lab rather than the newest annoyance your roommate has inflicted upon you. Trust me, your friends will thank you. The reflection of reading: Living with another is not convenient for me. Because when I doing anything I should consider my roommates how to do it wont disturb her. But the advantage of iving with another is that I can know my roommates who from other countries with different life background and we can share about our lifestyle as well as some growing experience. If we are match at interest and view of events, we will be the good friends soon! The disadvantage is that I need control my bedtime not affecting her, when the roommates friends visit her, they chatting some topic that I cant Join Ill feel so embarrassed. Getting along well with roommate is not easy, but Ill try to use this tips and

My Client Tina is in a Depression Essay

My Client Tina is in a Depression Essay My Client Tina is in a Depression Essay General Psychology Project July 08, 2014 My client Tina is in a Depression. Tina visit my office at least once a week, and she will be advised to remain a client for the next few months. Thursday April 5 Tina knocked on my door at two o’clock for her therapy session. I am therapist Tracy Ford. I greeted Tina at the door with pleasantries, and told her to come in and have a seat on the couch. I ask her to begin by telling me how she feel today. The story of Tina is her parents died in a terrible automobile wreck when she was seven years old. Tina had to live with her grandparents who love her so much. She began expressing disturbing behavior in her childhood. Her grandparents did all they could to help her deal with the loss of her parents. Then at the age of eighteen her grandparents was diagnosis with cancer. Her grandmother had colon cancer and her grandfather had prostate cancer. Tina was twenty-one years old when her grandparents died. She was on her own. She was employed at a restaurant where she was severely burn. Tina begin to fall into a deep depression. She begin to drink large amount of alcohol beverages. Tina also surrounded herself with the company of many men. In a destructing behavior. In Tina unconscious mind her thoughts and behavior frequently involve looking at her childhood experiences. I diagnosis Tina with Psychoanalytic Therapy. This is a form of talk- therapy as Tina and I spend session together. I listen as a therapist at the difficult experiences in her life. The role in her mind of her parents in her life, and the short time they had together. The grandparents dying when she was twenty-one. As a therapist, I set an empathetic and none judgemental environment where Tina can feel safe in revealing her feeling or action that have led to her stress, tension, and depression in life. When she share her burden with me this is beneficial in therapy. I suggested a moderate medication in a prescription; because, Tina is very nervous at times. Working through the treatment process with the client

German Language and Culture

German Language and Culture This article is the direct result of a thread (of related messages) in one of our forums. The discussion centered around the supposedly simple concept of being nice, as in smiling or wishing someone a nice day. It soon became apparent that just because you CAN say something in German does not mean you SHOULD. The phrase Ich wà ¼nsche Ihnen einen schà ¶nen Tag! sounds rather odd. (But see the comment below.) Trying to say Have a nice day! in German is a good example of language that is culturally inappropriate- and a good illustration of how learning German (or any language) is more than learning just words and grammar. It is becoming more common in Germany to hear the phrase Schà ¶nen Tag noch! from sales people and food servers. In an earlier feature, Language and Culture, I discussed some of the connections between   Sprache  and  Kultur  in the broadest sense. This time well look at a specific aspect of the connection, and why it is vital for language learners to be aware of more than just the vocabulary and structure of German. For example, if you dont understand the German/European approach to strangers and casual acquaintances, youre a prime candidate for cultural misunderstanding. Take smiling (das Lcheln). Nobodys saying you should be a grouch, but smiling at a German for no particular reason (as in passing on the street) will generally get the (silent) reaction that you must be a little simple-minded or not quite all there. (Or if theyre used to seeing Americans, maybe youre just another one of those weird smiling  Amis.) On the other hand, if there is some apparent, genuine reason to smile, then Germans can and do exercise their facial muscles. But what I may consider nice in my culture may mean something else to a European. (This smiling thing applies to most of northern Europe.) Ironically, a scowl may be better understood and accepted than a smile. Beyond smiling, most Germans  consider the phrase have a nice day an insincere and superficial bit of nonsense. To an American, its something normal and expected, but the more I hear this, the less I appreciate it. After all, if Im at the supermarket to buy anti-nausea medicine for a sick child, I may have a nice day after all, but at that point, the checkers polite have-a-nice-day comment seems even more inappropriate than usual. (Did she not notice I was buying nausea medicine, rather than, say, a six-pack of beer?) This is a true story, and a German friend who was with me that day happens to have a good sense of humor and was mildly amused by this strange American custom. We smiled about that because there was a real reason to do so. I personally prefer the custom of German shopkeepers who rarely let you out the door without saying Auf Wiedersehen!- even if you didnt buy anything. To which the customer replies with the same farewell, just a simple good-bye without any dubious wishes for a nice day. Its one reason many Germans would rather patronize a smaller shop than a big department store. Any language learner should always keep in mind the saying: Andere Lnder, andere Sitten (roughly, When in Rome...). Just because somethings done in one culture doesnt mean we should assume it will automatically transfer to another. Another country does indeed mean other, different customs. The ethnocentric attitude that my cultures way is the best wayor equally unfortunate, not even giving culture a serious thoughtcan lead to a language learner who knows just enough German to be dangerous in a real-life situation.

Medical Marijuana Essay Example | Topics and Well Written Essays - 750 words - 1

Medical Marijuana - Essay Example According to the essay the Food and Drug Administration (FDA) in the United States has approved the use of chemicals extracted from marijuana known as cannabinoids. The endorsement was made after scientific studies conducted on chemical components of the drug. Further, pharmaceutical drugs have been developed using marijuana chemicals for therapeutic purposes at the same time removing chemicals that have been causing side effects and highness.This study declares that medical marijuana laws MML have was passed in states like Maryland to remove penalties imposed on users of marijuana whenever they are got in possession of or using marijuana. According to medical marijuana laws, doctors are expected to provide approval to patients regarding the use of marijuana for medical benefits. The approval given to patients will render them immune to any prosecution by states when they are got in possession or using marijuana.  Marijuana use has been associated with increased motor vehicle accid ents and increasing burden on healthcare. Longer use of the drug has contributed to brain damage, cognitive impairment and respiratory damage when smoked. Other heath related risks associated with the use of marijuana includes bronchitis, lung cancer, heart attack and wheezing.  Use of marijuana for a long time is likely to cause severe implications stated above. Those against the use of marijuana for medical purpose explain that marijuana has two chemical components  that are harmful to human.

Pre-1500 And Post 1500 History Essay Example | Topics and Well Written Essays - 1500 words

Pre-1500 And Post 1500 History - Essay Example History is paramount in learning about our obligation and responsibilities as global citizens. The people who lived in the pre-1500 possess the same humanness we have today and thus their hopes, egos, as well as dreams we still have them today. Therefore, through the study of those who lived before us enable us gain understanding and know their mistakes and how to rectify them for our own good? It is because people remain the same, although technology may change. The memory of the past is the key to our identity. For example, in 1492, Columbus led the invasion of America where he found a new land (Tignor, 2011). This history gives us an account of how America was founded and makes the citizens develop a sense of identity. This is a historical event that has significance in our today global citizenship. The knowledge acquired helps us establish a clear understanding of the American history and the changes that has been realized in today’s America. Moreover, the global history h as enabled us gain knowledge that help in shaping the present. Migration Migration is another aspect of understanding global citizenship reflecting on migration that took place before 1500 especially in Europe. For example, the knowledge of the Europe invasion starting 800 BC to 400 BC is useful in our modern world as global citizens.

Sylvia Plaths Psychic Landscapes Essay Example for Free

Sylvia Plaths Psychic Landscapes Essay In the following essay, I will examine the development of Plaths poetry through analysis of major themes and imagery found in her description of landscapes, seascapes, and the natural world. Following the lead of Ted Hughes, critics today tend to read Sylvia Plaths poetry as a unity. Individual poems are best read in the context of the whole oeuvre: motifs, themes and images link poems together and these linkages illuminate their meaning and heighten their power. It is certainly easy to see that through almost obsessive repetition some elements put their unforgettable mark on the poetry: themes such as the contradictory desires for life and death and the quests for selfhood and truth; images like those of color, with red, black and white dominating the palette; and symbols of haunting ambiguity, for example, the moon and the sea. But equally obvious is the striking development that Plaths work underwent in the course of her brief career as a professional poet. This is perhaps most readily seen in the prosody: from exerting her equilibristic skill at handling demanding verse forms, such as the terza rima and the villanelle, she broke free of the demands of such literary conventions and created a personal verse form which still retained some of the basic elements of her earlier academic style. She turned the three-line stanza of the villanelle into a highly flexible medium. Freed from the prosodic strictness of poems like Medallion, written in 1959, this verse form reappeared in poems composed in the last year of her life in a superbly liberated yet controlled form. Some of her finest and most personal poems are written in this medium, for example, Fever 103 °, Ariel, Nick and the Candlestick, Lady Lazarus, Marys Song, and the late Sheep in Fog, Child and Contusion. More important, though, is the development one can observe in Plaths handling of images and themes, of settings and scenes. My concern in this essay is Plaths use of landscapes as settings. There are indoor settings in her poetry, such as kitchens and bedrooms, hospitals and museums, but the outdoor ones are in overwhelming majority. Plaths use of landscapes and seascapes is indeed one of the most characteristic features of her poetry. They put their mark on a considerable part of the work and appear throughout her career, linked as they are to her experiences as a woman and a poet. The seascapes with their crucial relevance for themes like the daughter-father relationship, loss and death, deserve a special and thorough treatment of their own and will have to fall outside the scope of this essay. No reader can fail to note the many items of nature that Plath makes use of as setting and image. Three scholars have paid special attention to this aspect. In her pioneering work, The Poetry of Sylvia Plath: A Study of Themes (1972), Ingrid Melander includes analyses of poems set in different landscapes and seascapes that Plath knew; in addition to discussing a group of poems connected to the sea, she deals with the following landscape poems: two poems on the moorland (Hardcastle Crags and Wuthering Heights); two idylls (Watercolor of Grantchester Meadows and In Midas Country); and three landscapes as experienced by the traveller (Sleep in the Mojave Desert, Stars over the Dordogne and Two Campers in Cloud Country). Melanders approach is thematic and she makes no attempt to suggest development or continuity concerning this aspect of the poetry. In Jon Rosenblatts Sylvia Plath: The Poetry of Initiation (1979), in my view still the most useful book-length critical study, the idea of development is a main concern. He devotes one chapter to Plaths use of landscapes and seascapes, focusing on the transition from early to late poetry as part of his overriding argument: that Plaths poetry enacts a ritual of initiation from symbolic death to rebirth. He programmatically refrains from placing her poems in extraliterary contexts, such as her biography. Edward Butscher, on the other hand, goes to the other extreme in his critical biography, Sylvia Plath: Method and Madness (1976), where he makes no essential difference between the life and the poetry. While he offers many imaginative and perceptive comments on Plaths anthropomorphizing of nature, they naturally become subsumed in the telling of the story of the poets life and also, frequently, slightly distorted by Butschers  psychoanalytically loaded thesis about the emergence of Sylvia Plath the bitch goddess. Since the appearance of these three studies Sylvia Plaths Collected Poems has been published (1981) with a securer and more precise dating of the poems than before, and we are now in a better position to deal with the poems chronologically. The Journals of Sylvia Plath (1982) also add to our knowledge of the composition of the poems. Linda W. Wagner-Martins recent biography (1987) has given us a firm platform to build our critical studies on, by confirming or correcting information provided by previous biographies and memoirs. With the premise that Plaths poetry should be read as a unity I wish to study the development of her use of landscapes throughout her career, paying special attention to the role the landscape plays in the individual poemquantitatively and qualitativelyand to the way the poet creates psychic landscapes out of concrete places, scenes and objects. I tie this discussion firmly and consistently to actual landscapes Sylvia Plath had seen. With a poetry like Plaths, which is highly subjective and concrete, it is surely a disadvantage to disconnect the poems from the poets life. My use of biography aims at illuminating the poetic process, and my main interest is in the subtle and gradual shift in the poets technique: the process by which her landscapes become increasingly psychic and at the end fragmented. Sylvia Plath evidently looked upon herself as a city person (in spite of her documented love of the sea). Amidst the beautiful scenery at an artists colony in upstate New York she complained: I do rather miss Boston and dont think I could ever settle for living far from a big city full of museums and theaters. Nevertheless she seldom used the cities and towns where she lived, more or less permanently, as settings in poems. Cambridge, England; Northampton, Massachusetts; Boston and London, these places made little impact on the poetry as cityscapes. When she draws on such settings, she usually lets her persona move from the streets and buildings to parks or gardens or surrounding fields. When she remembers Cambridge, she sees meadows and fields outside the town, as in Watercolor of Grantchester Meadows (1959). Of Northampton she commemorates above all a park with frog pond, fountain, shrubbery and flowers, as in Frog Autumn and Childs Park Stones, both written in 1958. Where the town of Northampton itself does figure, in Owl (1958), it is as a frivolous contrast to harshly elemental nature. Commenting on an actual experience in the summer of 1958 such as described in this poem, she noted: Visions of violence. The animal world seems to me more and more intriguing. One of the rare poems with a London setting is Parliament Hill Fields (1961), but typically the scene has a rural touch. (It is set on Hampstead Heath). Inspiredand sometimes proddedby her husband who was versed in country things, Sylvia Plath the city person turned to nature for topics and scenery. Shortly after having met Ted Hughes in the spring of 1956 she confided to her mother: I cannot stop writing poems! . . . They come from the vocabulary of woods and animals and earth that Ted is teaching me. Prodded or inspired, Plath drew on her personal experiences of different places and landscapes as raw material for many of the poems. One might actually plot locations and stages of her life on the map of her work. Among the poems that open her career as a professional poether debut can conveniently be set to 1956we can find scenes from her stay in England and her travels on the Continent. Later there will be scenes from New England and other parts of the United States and Canada. After her return to England in 1959 she set many of the poems in Devon and a few in London. Ones immediate reaction to Plaths outdoor scenery is that the per sona never seems to be quite at home in nature. Descriptions of nature will most often register feelings of estrangement, fear and the like. This is true even of poems commemorating travel experiences in happy moods, such as camping in a California desert (Sleep in the Mojave Desert) or by a Canadian lake (Two Campers in Cloud Country), poems written in 1960. Plaths depictions of places and landscapes reveal her interest in pictorial art. She said that she had a visual imagination and that her inspiration was painting, not music, when I go to some other art form. We know of this interest in art, American and European, and the inspiration she derived from specific paintings resulting in, for example, the poems Snakecharmer (1957) and Yadwigha, on a Red Couch, Among Lilies (1958), both modelled on paintings by Henri Rousseau, and Sculptor (1958), dedicated to her friend Leonard Baskin. Her own efforts as a draftswoman establish a link between her verbal gifts and her graphic talents. Some of her drawings have been reproduced; The Christian Science Monitor (November 5 and 6, 1956) illustrated her reports about a summer visit to Benidorm in Spain with a couple of strictly realistic sketches by her hand: sardine boats pulled up on a beach; a corner of a peasant market; and trees and houses clinging on to steep sea cliffs. In his collection of essays on Plaths poetry, editor Charles Newman included three drawings of scenery that we can recognize in the poems; strong pen strokes show an old cottage in Yorkshire (Wuthering Heights); an irregular row of houses in Benidorm; and small fishing boats left for the winter on the bank of a river nea r its outlet into the ocean at Cape Cod. She evidently did not give up the habit of drawing. As late as October 1962, in a letter to her mother, she rejoices over the gift of pastels that she will surely find time to use. By and large Plaths early poems betray the same sort of literary artificiality that marked most of her Juvenilia; they strain too noticeably toward effect and cleverness. But there are some whose subjects and settings introduce thoughts and moods which reverberate in the rest of the oeuvre. Winter Landscape, with Rooks is one such poem. The very title tells us that this scene is rendered by a painterly poet. It describes a pond where a solitary swan floats chaste as snow. To the observer-speaker it is a landscape of chagrin scorn[ed] by the setting sun. The speakers mind is as dark as the pond: walking about like an imaginary rookthe only creature fit to match the wintry landscapeshe finds no solace from her sorrow at the absence of a cherished person. In a journal entry for February 20, 1956 Plath outlined the scene that inspired some of the realistic details of this poem. On her way to a literature class which was to be held at some distance from her Cambridge college, she noticed rooks squatting black in snow-white fen, gray skies, black trees, mallard-green water. The real rooks are missing from the  poem; there is only a metaphorical one. We find features that will characterize a great deal of the poetry to come: the color scheme of black, white and red; the theme of loss and frozenness; and the parallel between landscape and human observer. Plath referred to the poem as a psychic landscape. From now on her poetic landscapes will embody association between scene and mood. What marks Winter Landscape, with Rooks as an early poem is the lack of proportion between the loss suggested and the mood resulting from the contemplation of a calm winter scene. The poem ends with a sigh of self-pity: Whod walk in this bleak place? The punning title of another poem written in 1956, Prospect, suggests comparison with a painting, calling to mind, for example, the Italian veduta of landscape or city. We find in it some of the same elements as in Winter Landscape, with Rooks: the fen, here with its gray fog enveloping rooftops and chimneys, and this time not with a metaphorical rook but two real ones sitting in a tree, with absinthe-colored eyes cocked on a lone, late, / passer-by. As in an impressionist painting much is made of colororange, gray, black, greenat the expense of line and composition, but here too there is suggested a psychic element: the solitary human being neither seeks nor derives protection or comfort from nature. Alicante Lullaby, one of several poems inspired by Plaths stay in Spain in the summer of 1956, attempts to record the actual sounds of a busy little Spanish town. The poet uses onomatopoeia to recreate realistic sounds. (Evidently Sylvia Plath regretted that she did not have an ear for music.) In another poem, Departure, the speaker, taking leave of her temporary Spanish refuge sketched in bright colors, is able to note, with self-irony, that nature does not grieve at all at the parting. The reason why she leaves is decidedly unromantic: The moneys run out. The last glimpse of the scene is unromantic in another way and may suggest a parallel between the speakers mood and nature: what she sees is a stone hut Gull-fouled and exposed to corroding weathers, and morose and rank-haired goats. It may all be in the viewers eyes. Returning to the favored rook in Black Rook in Rainy Weather the poet again  musters up self-irony to face her urge to commune with nature. She might wish to see some design among the fallen leaves and receive some backtalk / From the mute sky, but this, she knows, would be to expect a miracle. Still, she leaves herself open to any minute gesture on the part of nature lending largesse, honor, / One might say love even to the dullest landscape and the most ignorant viewer; this could be achieved, for instance, by letting a black rook arrange its feathers in such a way as to captivate the viewers senses and so grant // A brief respite from fear / Of total neutrality. The miracle has not happened yet, but the hope of such a moment of transcendent beauty and communion is worth the wait. She knows that it might in fact be only a trick of light which the viewer interprets as that rare, random descent of an angel. The next set of landscape poems, chronologically, are located in the West Yorkshire moorland which Sylvia Plath knew from visits with her husbands family. November Graveyard introducing this group describes a setting where naturetrees, grass, flowersstubbornly resists mourning over death. But it does not deny death; the visitor notes the honest rot which reveals natures unsentimental presentation of death and decay. And the poet concludes that this essential landscape may teach us the truth about death. Coming at the end of Plaths first year as a professional poet this poem may be seen to exemplify a minor change in her depiction of landscapes; elements of nature are discreetly anthropomorphized: skinflint trees refuse to mourn or wear sackcloth, the dour grass is not willing to put on richer colors to solemnize the place, and the flowers do not pretend to give voice to the dead. Two other Yorkshire poems, The Snowman on the Moor and Two Views of Withens, written the following year, offer realistic glimpses of the moorland as backdrop for descriptions of relationships between people and of attitudes to nature. In the first poem, a condensed narrative relates a husband-and-wife quarrel with the woman being brought down from her pride by a vision of indomitable male power in the guise of a giant snowman; and in the second, we have in capsule form a definition of two very different  attitudes to natureperhaps also to lifeepitomized in two persons differing responses to a bare landscape and a dilapidated farmhouse with literary and romantic associations. (The scenery is associated with Emily Brontes Wuthering Heights.) The speaker of the poem regrets that she cannot respond the way the you does. To her, landscape and sky are bleak and the House of Eros is no palace. Hardcastle Crags gives a harsher view of a human being alone and defenseless in an unresponsive, absolute landscape. The poem derives its power from a very detailed, realistic picture of fields and animals, stones and hills. The last Yorkshire poem written in 1957, however, with the title The Great Carbuncle, brings in an element of wonder performed by nature: a certain strange light with magical powerits source remains unknowncreates a moment of transfiguration for the wanderers. The Great Carbuncle may allude to a drop of blood in the Holy Grail. But it is a painfully brief moment: afterwards the body weighs like stone. In a poem written in September 1961, Wuthering Heights, Plath returned to the ambiguous fascination this moor landscape held for her. The mood, though, has now become unequivocally sinister. The descriptive details have lost much of their realistic significance. The solitary wanderer bravely step[s] forward, but nature is her enemy: the alluring horizons dissolve at her advance, wind and heather try to undo her. Images of landscape and animals are consistently turned into metaphors for the human intruders feeling of being insignificant and exposed. A seemingly harmless thing such as the half-closed eyes of the grandmotherly-looking sheep makes the speaker lose her sense of identity and worth: it is as if she were being mailed into space, / A thin, silly message. This landscape is indeed psychic to an extent that Winter Landscape, with Rooks was not. This is most certainly a result of Plaths greater ability to transform realistic, concrete objects and scenes into consistent sets of me taphors for her thoughts and emotions. New Year on Dartmoor is a somewhat later poem, inspired by a walk Sylvia Plath took with her small daughter on Dartmoor some distance from the Hugheses home in Devon; the poem may have been written in late December 1961. NEW YEAR ON DARTMOOR This is newness: every little tawdry Obstacle glass-wrapped and peculiar, Glinting and clinking in a saints falsetto. Only you Dont know what to make of the sudden slippiness, The blind, white, awful, inaccessible slant. Theres no getting up it by the words you know. No getting up by elephant or wheel or shoe. We have only come to look. You are too new To want the world in a glass hat. The poem shows how Plaths technique of using landscape scenes has changed even more. Here there is very little realistic description; the setting becomes completely metaphorized and gives rise to the speakers inner words, both sad and humorous, addressing her child who is accompanying her. The year is new and to the child the newness is exciting but baffling. Only the mother is aware of a rawer reality beneath the glinting and the clinking, and she knows what newness entails of challenge and hardships. In the fall of 1959 Sylvia Plath and Ted Hughes spent several weeks at Yaddo, the artists colony in upstate New York. Although she was at first charmed by the old-fashioned beauty of the estate, she soon tired of it, and on the whole the Yaddo poems do not express any genuine pleasure in nature. Some of  the poems she set in the grounds of the estate evidence a certain strain of finding something to write about and of getting the most out of the scenery. She was pleased with Medallion, a poem she defined as an imagist piece on a dead snake. Nature is here in a somewhat macabre fashion used to aestheticize death. The speaker is only a cool observer. In another Yaddo poem featuring animals, Blue Moles, with its unequivocal message that strife and violence are the modes of nature, nature is anthropomorphized; the speaker empathizes with the moles (Down there one is alone) while the sky above is sane and clear. The anthropomorphizing tendency is strong in the Yaddo poems; it does not serve to explain nature, rather to express the human protagonists feelings and moods. Thus in Private Ground the grasses / Unload their griefs in the protagonists shoes, and in The Manor Garden items from nature are used to parallel and explain the growth of a foetus in a human body. It is not enough for Plath in these poems to call forth a human mood or attitude from a fairly detailed, more or less realistic picture of objects and scenes in nature; now she will more readily metaphorize natural processes, and detailed pictures become rarer. Often key words or phrases will suffice to hint at a parallel or an origin in nature. Early in 1959 Plath had made clear what she wished to achieve in her nature poems. After finishing Watercolor of Grantchester Meadowsa memory of the Cambridge surroundingsshe noted: Wrote a Grantchester [sic] poem of pure description. I must get philosophy in. As every reader knows, Plath was wrong about this poem: in her picture of a seemingly idyllic landscape, cruelty and violence are lurking beneath the smooth appearance. The realistic scenery is distorted, not in the direction of the ugly and the grotesque, but in the direction of nursery-plate prettiness. The philosophy is apparent: terror and violence in the shape of an owl swooping down on an inoffensive water rat are at the heart of creation. Melville had said the same thing in Moby Dick when he let Ishmael reflect on the tiger heart that pants beneath the oceans skin. Plaths most ambitious piece of writing done at the artists colony was the  sequence Poem for a Birthday. Making notes for it she acknowledged the influence of Theodore Roethke. The greenhouse on the estate must have been a special link to him; it was a mine of subjects. Her tentative plans for the poem were these: To be a dwelling on madhouse, nature: meanings of tools, greenhouses, florists shops, tunnels, vivid and disjointed. An adventure. Never over. Developing, Rebirth, Despair. Old women. Block it out. Her ambition was to be true to [her] own weirdnesses. Starting as an end-of-autumn poem it immediately turns into a seemingly random search for the origins and processes of the self; the landscape disappears, and forays into the past take over. The poem comes full circle by ending with a hope of birth into a new life. Poem for a Birthday is an indication of the direction Plaths poetry was to take from now on: toward greater use of free associations and juxtaposition of fragment s of scenes and objects, experiences lived and imagined, feelings and thoughts harbored. Sylvia Plaths life and surroundings in Devon, where she lived from September 1961 to December the following year, provided rich material for poetry. Court Green, the thatch-roofed house the Hugheses had bought, sat in a two-acre plot with a great lawn, in spring overflowing with daffodils, with an apple orchard and other trees that found their way into the poems. The settings of the poems she wrote in Devon are very varied. Several are set indoors, for instance, in a hospital (The Surgeon at 2 a.m., Three Women), a kitchen (An Appearance, The Detective, Lesbos, Cut, Marys Song), an office (The Applicant), or an unspecified interior (The Other, Words heard, by accident, over the phone, Kindness). These interiors are never described; they are often to be inferred by a situation dramatized or an action going on, such as cooking a Sunday dinner or being served tea. Action and character play the greater role. The trees and flowers of the Court Green garden appear in several poems, such as Among the Narcissi, Poppies in July and Poppies in October, all from 1962. But in these poems too there is much more story or incident than description. The Moon and the Yew Tree offers a good example of how Plath used nature as material for poetry at this transitional stage in her career. Written in October 1961 this was the first poem for which she drew on her immediate  Devon surroundings. As we see from Ted Hughess comments, she still needed an occasional prodding to find a topic: The yew tree stands in a churchyard to the west of the house in Devon, and visible from SPs bedroom window. On this occasion, the full moon, just before dawn, was setting behind this yew tree and her husband assigned her to write a verse exercise about it. This nature poem is marked by the metaphorical mode already in the opening line: This is the light of the mind, cold and planetary. Using a phrase from an earlier poem (Private Ground) the poet creates a transition to the garden landscape by anthropomorphizing nature: The grasses unload their griefs on my feet as if I were God. The light of the mind does not help. The speaker complains: I simply cannot see where there is to get to. Following the upright lines of the yew tree, the speakers eyes seek the mother moon. Yew tree and church, one planted in the earth but striving toward heaven, the other bringing the message of heaven to earth, have nothing to give the speaker. She faces her real self: it is not the Church with its mixture of far reaching authority (the booming bells), its holiness stiffened by convention (the sculptured or painted saints floating above the heads of the churchgoers) and its somewhat sentimentalized sweetness (the mild Virgin), it is not these she can identi fy with: she is the daughter of the wild female moon with her dark and dangerous power. Plath herself evidently read this poem slightly differently. Introducing it in a BBC program she said that a yew tree she had once put into a poem began, with astounding egotism, to manage and order the whole affair. It was not a yew tree by a church on a road past a house in a town where a certain woman lived . . . and so on, as it might have been in a novel. Oh no. It stood squarely in the middle of my poem, manipulating its dark shades, the voices in the churchyard, the clouds, the birds, the tender melancholy with which I contemplated iteverything! I couldnt subdue it. And, in the end, my poem was a poem about a yew tree. The yew tree was just too proud to be a passing black mark in a novel. As I have indicated, another reading of the poem highlights the moon as the one who is taking over the scene. The yew tree appears again in Little Fugue, written in 1962, but only as an introductory image bringing in a contrast through its blackness counterpointed with whiteness in the concrete form of a cloud (The yews black fingers wag; / Cold clouds go over). Black and white do not merge, just as the blind do not receive the message of the deaf and dumb. These counterpointing absences prefigure the main theme of the fugue: the speaker-daughters despair at not being able to reach her dead father: Gothic and barbarous he was a yew hedge of orders. Now he sees nothing, and the speaker is lame in the memory. The fugue ends by finally joining the two items from naturethe black yew tree and the pale cloudas images of a marriage between death and death-in-life. The Devon milieu is the scene also for Among the Narcissi. Here an ailing old neighbor is the main subject, the flowers attending upon him like a flock of children. Another poem with a Devon setting is Pheasant. It is a scene in the drama of tensions in a marriage, of suspicions, hurt, jealousy and anger, which was begun in Zoo Keepers Wife and continued in Elm, The Rabbit Catcher, Event, Poppies in July and Poppies in October. Two poems written in the last month Sylvia Plath spent in Devon, Letter in November and Winter Trees, testify to the almost uncanny equilibristics she was capable of by now in realizing highly different topics, scenes, moods, as it would seem from one moment to the next. Anger at deception (The Couriers), longing for spiritual rebirth (Getting There), tender anguish at a childs future (The Night Dances), revulsion at death (Death Co.) and fascination with the dynamics of motion and life (Years), naked hatred and contempt (The Fearful), these are some of the emotions embodied in the November poems. Letter in November is set in the Court Green garden. It is unusual for Plath at this stage in her career in that it contains a fairly detailed picture of the scenery. The letter is addressed to an unspecified receiver (perhaps a child) apostrophized as love. It describes, in a relaxed tone, details of a well-known garden which in this moment of seasonal transition is shifting color and form as if by some kind of magic that a child would  understand. The speakers boots squelch realistically in the wet masses of fallen leaves. The old corpses buried under the death-soup she is walking in prefigure the despair at total defeat revealed in the final allusion to the destruction of a heroic army at Thermopylae (The irreplaceable / Golds bleed and deepen, the mouths of Thermopylae). Was the lovingly detailed description of her garden an incantation for a moments relief from pain? Winter Trees is also set in the garden. WINTER TREES The wet dawn inks are doing their blue dissolve. On their blotter of fog the trees Seem a botanical drawing Memories growing, ring on ring, A series of weddings. Knowing neither abortions nor bitchery, Truer than women, They seed so effortlessly! Tasting the winds, that are footless, Waist-deep in history Full of wings, otherworldliness. In this, they are Ledas. O mother of leaves and sweetness Who are these pietas? The shadows of ringdoves chanting, but easing nothing. The opening image, of trees barely visible in the early morning fog, might have led us to expect a landscape of the kind Plath wrote in her earlier years, that is, a fairly realistic description with a mood attached or a philosophy as the outcome of pictures turned into metaphors. In this poem, however, trees are immediately turned into an aesthetic product: a drawing presenting themselves (On their blotter of fog the trees / Seem a botanical drawing)! This idea is at once dropped and without the modulating help of language we are brought into the human domain of memories, relationships between people, values and morality. Memories, rings, weddings, abortions, bitcherythese words hint at a miniature narrative of past love and union, contrasted with ugly losses and failures. The speakers muted despair has turned into disgust at the very idea of human femaleness. The trees have become symbols of ideal humanity: at the same time as they partake of the solidity and security of elemental earthliness, they achieve spirituality. Visited by a god, these Ledas share in the sacred, but being Ledas they also know suffering. In a last transformation, the trees take on the appearance of the grieving mother of another god. The final lines of the poem express the speakers anguished cry lamenting her inability to partake of the perfection and pity of nature. Being a woman she appeals to a Mother Goddess for a clue, but no sounds or sights in nature bring her relief. This superb poem is an example of the skill and power Plath had reached in her thirtieth year. Within the span of a few short lines she manages to create a complex of sight and sound, history and myth, Christian and pagan, ugliness and beauty, hope and despair. As has been argued by a recent critic, this is a fine example of Plaths ability to raise her poetry above the level of the private and the confessional to a level of universality. The poems Sylvia Plath wrote in the last few weeks of her life maintain  continuity with her earlier work in subject matter and style. She still favors the two- or three-line stanza, and essential also in these poems are emotions and attitudes such as love for childrenwhat Helen Vendler so succinctly refers to as the small constructiveness of motherhoodhatred of deception, and conflicting urges toward stasis and motion. But as a whole they are more concise and more referentialeven to the point of obscuritythan earlier poems. They do not offer easy readings, for one thing because images from strikingly different spheres of life are juxtaposed, with no apparent associations to join them. By establishing links to the earlier poetry as reference and source material we may be in a better position to read these difficult texts. Plaths use of landscapes is one such line to pursue. In these late poems recognizable, actual landscapes do not occur; here the poet uses only fragments from her experiences of various kinds of scenery, fragments that often suggest moods and attitudes similar to those that the more fully described landscapes had once signified. The first poem dated 1963, Sheep in Fog, was begun in December 1962 and completed the following January, and it works as a transitional poem. It is the last poem Plath wrote in which we can recognize the outlines of an actual landscape. It keeps some of the elements of poems set in an English landscape, with touches of the moorland, perhaps Dartmoor where Plath took riding lessons. She introduced the poem for a BBC program with these words: In this poem, the speakers horse is proceeding at a slow, cold walk down a hill of macadam to the stable at the bottom. It is December. It is foggy. In the fog there are sheep. This is of course only the bare skeleton around which the poem itself has been fashioned. The title suggests a realistic landscape with figures, and we find several such items: hills, horse and fields. No sheep are visible in the poem; the dolorous bells indicate their presence. There is a watercolor aspect to the hills dimly seen in the fog, the faint line of smoke from a passing train and the touch of color provided by the horse. Human references, which are counterpointed with the touches of nature scenery, take over in the latter part of the poem. The speaker interprets the scene as an expression of her own situation. Resignedly registering her own inadequacy (People or stars / Regard me sadly, I disappoint them) she  perceives her situation as darker and darker. Against the normal order in nature All morning the / Morning has been blackening. She fears that she has to accept nothingness as her lot, even after death; this is expressed in the image of the distant fields which thr eaten / To let me through to a heaven / Starless and fatherless, a dark water. This is no longer a psychic landscape of the kind exemplified by Winter Landscape, with Rooks; in Sheep in Fog the landscape as reality almost ceases to exist. Items from Sheep in Fog reappear in even more fragmentary form in Totem, a poem written on the same day as the former one was completed. Here we find a train on a useless journey, darkened fields, and mountains letting us glimpse an unchanging sky. These fragments of a landscape are only small signs in a composition overwhelming in its rich confusion, of images which all spell the greed of inevitable death. Plath spoke of this poem as a pile of interconnected images, like a totem pole. Other late poems have a similar quality of interconnected images like a totem pole in which fragments of landscapes may reappear in a weak or distorted form. In The Munich Mannequins the yew tree from beside the Devon church has been transformed into a part of a womb (the womb // Where the yew trees blow like hydras); an unhappy memory of Sylvia Plaths own visit to Germany in 1956 in search of roots identifies the city of Munich as a place of death and sterility. In Child, expressing a mothers wish to create a happy world for her child, there are remnants of the Devon garden in bloom as a contrast to the mothers worried Wringing of hands. Gigolo recalls a Mediterranean setting with crooked streets, cul-de-sacs and fruits-de-mer, alluring and disgusting as the professional seducer himself. In Mystic there may be traces of a summery Atlantic coastmemories of smells of pines, sun-heated cabins and salty windsas well as references to the harsh London winter Sylvia Plath was facing while she was composing these poems (The chimneys of the city breathe, the window sweats). These fragments accompany a more important religious imagery. The poem has been interpreted in several ways; one interpretation sees it as the mystics dark night of the soul, but the last line, The heart has not stopped, indicates hope of an end to this night. And in Edge, one of the two last poems Plath  wrote a few days before her death, she may have drawn on visual memories of the Yaddo estate. The perfected body of the woman whose epitaph the poem is and her children make up a sculptured group of death. In addition to other allusions, such as the Laocoon group, here inverted from struggle against death to fulfilled death, this group may vaguely recall the marble statuary at Yaddo. In the preceding pages we have seen how Sylvia Plath sought inspiration and raw material for her poetry in different settings and how she very early saw the potential for psychic qualities or parallels in realistic word paintings. In depicting external reality she is not concerned with representing, as faithfully as possible, shapes and lines, color and light, objects and figures. She hardly ever devotes an entire poem to something that looks like mere description of a scene in nature. There is always a metaphorical touch or dimension to the realistic composition. At times there is a narrative hinted at or rendered in some detail. Her landscape poems do not give the impression of a spontaneous pleasure in nature, nor of a wish to understand the processes of nature. They seem rather to serve as mirrors for a self in search of identity and truth. Plaths career as a poet was brief, but even so it is possible to see a development in her use of landscapes, toward more metaphorizing, more anthropomorphizing of nature, and in the late poems, more fragmentation of scenes in nature. In the early poetry she includes more documentable detail, sometimes established already in the titles of poems, such as Hardcastle Crags and Two Views of Withens. She may have coerced herselfor been proddedto broaden her palette by consciously turning to now one, now another landscape that she had experienced, but at the end she no longer had to look for settings as inspiration. Elements of landscapes came to her when she needed them as pieces in a mosaic more fraught with meaning than the early psychic landscapes. She had at her command an extraordinary set of highly diverse materials which she juxtaposed into poems of striking originalitysometimes with less than complete success. Even though we may not be able to reach into the obscurest crevices of her imagery and thought, the poems Sylvia Plath wrote in the last few weeks of  her life haunt us with their cries and whispers. Recognizing fragments of earlier landscapes may not be the most important clue to these and other poems, but it may help us clear the ground for entering deeper into her poetic world. Source: Brita Lindberg-Seyersted, Sylvia Plaths Psychic Landscapes, in English Studies, Vol. 71, No. 6, December, 1990, pp. 509-22.

Hamlet again :: essays research papers

Scene i: The play opens in the dead of night on the walls of Elsinore Castle. Gloom, uncertainty and anxiety hang over the kingdom of Denmark, the first words spoken coming as the sentinel's challenge, "Who's there?" In short order we learn from the guard of the night watch that the long-time King of Denmark, "Old Hamlet" or "Ur-Hamlet," died mysteriously just two months earlier, that his brother, Claudius, has taken the throne, and that Claudius has married the dead king's wife, Queen Gertrude. The members of the watch, including Prince Hamlet's loyal friend Horatio, are further alarmed over the recent appearance of a ghost who resembles Hamlet's late father, and they plan to tell Hamlet about this disturbing apparition. (Jump to the text of Act I, Scene i) Scene ii: The play now shifts to the royal court of King Claudius and his new wife, Queen Gertrude, as we first see Hamlet's uncle dealing capably with affairs of state. In this, he is advised by his chief counselor, Polonius, and the King has a cordial exchange with his minister's son, Laertes. Hamlet, however, remains in the background, a surly figure muttering resentful asides. Claudius rejects Hamlet's request to return to college at Wittenberg, and urges him to cease his "unmanly" mourning for his father. When the royal entourage departs, Hamlet speaks a soliloquy about his resentments toward his stepfather, his mother, and their incestuous marriage. Horatio and his cohorts arrive and tell the prince about the ghost they have seen. Hamlet vows to observe it himself. (Jump to the text of Act I, Scene ii) Scene iii:The scene is comprised of an exchange among Polonius, his son Laertes and his daughter, Ophelia. The young maiden Ophelia reveals to her father and brother that Prince Hamlet is "madly" in love with her. Both Polonius and Laertes strongly warn her about any romance with a prince of the realm, particularly one who seems to be mentally unbalanced. (Jump to the text of Act I, Scene iii) Scenes iv-v: Back at the walls of the castle, the Ghost of Hamlet's father speaks to his son directly and urges him to follow him to a one-on-one encounter. Hamlet has misgivings, but he obeys and the ghost then confirms that he is, in fact, the dead King. He also discloses that he was the victim of a murder, that Claudius poured poison into his ear while he was asleep.

Charles Dickens – Pip’s problems come from arrogance

Charles Dickens' Great Expectations is the tale of one character's troubled journey of self delusion in the pursuit of false ideals. Pip, the book's protagonist, is a morally good and honest boy corrupted by the glitz and glamour of nineteenth century bourgeois society. Although Pip's arrogance and pretentiousness ultimately creates a great deal of problems for him, it would be inaccurate to claim that they are the central causes of Pip's troubles. Instead it is the lack of affirmation and self-worth he experiences in his early childhood that instigates his downward spiral of morality and must be blamed for the cause of his problems. Fortunately, Pip is able to eventually realize the nobility of humble characters such as Joe and understand the importance of values such as compassion in gaining true gentility. Primarily, Pip's lack of self-confidence and lowly impression of himself are the most notable aspects of his early childhood. Under the tyranny of Mrs Joe, Pip is constantly made to feel inferior and has his self-esteem destroyed with snipes such as â€Å"in a low reproachful voice (she said) â€Å"Do you hear that? Be grateful. â€Å". Not only is he physically abused in the household having been â€Å"brought up by hand† but also there is clearly a lack of adequate love and affirmation in his childhood years, reinforced with the absence of a mother and father. Though Pip is able to find some refuge in his friend and father figure Joe, it seems hardly enough to build his self-worth. As well as this, he must contend with the obnoxious and overtly pretentious Mr Pumblechook. The Christmas dinner scene in which Pip is constantly patronized by the mean-spirited adults in his life is almost a parody of disparagement. Harbouring this sense of inferiority, Pip's visit to Satis House evokes in him the fantasy of reinvention that ultimately brings about his downfall. The supercilious Estella, encouraged by Miss Havisham, mocks Pip's â€Å"coarse and common† ways, further playing on his lack of self-worth and eating away at his self-confidence. The highly impressionable young boy, fuelled by this inferiority, sees the glamour of Satis House as his only chance of ‘bettering' himself. It is here he forms the illusion that becoming a gentleman consists of merely assuming the outward trappings of gentility – an illusion that will ultimately create a great deal of trouble for him. He is caught up in the allure of Estella's beauty and her lifestyle, yet fails to see that beneath this exterior lies a loveless and heartless world. Therefore it is Pip's dissatisfaction with himself combined with the influence of his visit to Satis House that is the fundamental source of his problems. This being said, once he is given the financial means to live out this fantasy his priggish arrogance further distances him from his true and honest childhood values. Debt, bad company and a wasteful lifestyle are the troubles that come with his obsession to uphold the gentlemanly faiade he has created. Most notably, his pretentious treatment of Joe, â€Å"If I could have paid money to keep him away I would have paid it,† denize him association with this noble character and in turn denize him the ability to realize the importance of the values he stands for. Likewise there is the manner in which he patronizes Biddy â€Å"You never had a chance before you came here, and see how improved you are! † The rejection of these noble characters prevents him from being able to gaining true ‘gentility'. As Pip himself incredulously states after helping Herbert â€Å"to think, that my expectations had done some good to somebody,† for his expectations combined with his arrogance had succeeded only in creating problems for him. While Pip's ability to learn the importance of humility is vital to his redemption, it is his return to compassion and good heartedness that rescues him and allows him to become a better person. Although initially Pip's motives for protecting Magwitch are entirely selfish, attempting to maintain his own credibility in London, he begins to develop a sense of concern for the old man, as his childhood value of compassion is gradually reinstated. This compassion becomes the first step towards obtaining true gentility. From there the loss of his fortune and his symbolic illness in which Joe appears selflessly nursing him back to health and paying off his debts provides Pip with a vital lesson in fellow feeling. Pip can finally understand the nobility of characters such as Joe, Biddy, Clara and Wemmick (Walworth). He embraces the simple lives of these characters and also learns humility, by leaving to work for Herbert in Egypt, living an earnest and hardworking life. After years of such a humble lifestyle, Dickens rewards his protagonist with the love of Estella, who has likewise come to understand the importance of â€Å"a good Christian Heart. Therefore, the central cause of Pip's problems was clearly the result of years of self dissatisfaction caused by a lack of love and affirmation. This self-worth was dealt a mortal blow upon his arrival at Satis House, the consequence being Pip's fantasy of re-invention that ultimately leads him to much of the troubles in his life. His boorish arrogance mana ges to create further problems for him and it is not until his rediscovery of the importance of compassion and fellow feeling that he is able to become a true gentlemen.

Human Behavior in an Organization Essay

In an organization there are lots of factors to be considered for the company to achieve its goals and objective and succeed. These factors include communication, motivation, leadership skills, personal characteristics of employees, interaction between and among employees and teamwork. Communication is significant in transferring information because the information to be transferred must be precise and accurate to avoid miscommunication. Failure to communicate proper information might cause a negative long-term effect on the company. Furthermore, miscommunication may result to personal conflicts between members of an organization. Persons or employees in the organization must feel motivated to achieve the goals and objectives that should be met. This motivation may come from personal factors, such as for family and self-competence, or external factors, such as salaries or benefits are tied to performance of doing a job. Highly motivated members are the ones who mostly done their job efficiently. Management must motivate employees for them to do their jobs efficiently and effectively so as to lessen any probable negative impacts to the organization. There is always a person or a group of persons that will initiate any activities done by an organization and we usually call these people as leaders. A leader must be sensitive to feelings of others but not to the extent that it would prejudice any undertakings made by the group. We see different kinds of leaders, there are those who are autocratic or who don’t listen to what others has to say but there are also those that listens, hears and considers the point of view of others. Conflicts may arise in an organization primarily because of the personal characteristics of each employee that are not acceptable to others. This should not be done because everyone is different in his or her own way. Conflicts between employees would result to negative effects that would cause to fail to meet the objectives. These problems between members must be resolve to build a better relationship between them and to be able to prevent this problems to arise again in the future. In any activity that an organization should do, teamwork must always be present. This is very important to achieve the organization’s goals and objectives efficiently. In a team, each one must do their part to help achieve the goal and not help prejudice the activity. In a team, together everyone achieves more, which means that if members would just work together, all of the objectives, even the least important objective will be met. There are weaknesses and strengths inside a group and this must be taken into considerations, to eliminate these weaknesses and improve those strengths. Team building activities may be done by the organization to improve the relationship between and among members so as to have a team that works together for a common goal. Hence, goal congruence arises, which is very important factor that must exist inside the organization. Thus, proper communication, motivation, leadership skills, relationships between members and teamwork must exist within an organization. In this way, any goals and objectives of the organization will be met. As long as each one of the members do their parts well, nothing could go wrong and the organization will be successful in any activities they will undertake.

Japans Past is Still the Ghost of the Present

Japans Past is Still the Ghost of the Present Free Online Research Papers â€Å"Haunting Past, Haunting Future-Why Japan’s ghost-like Past is still the Ghost of the Present† Japan committed numerous atrocities and crimes during WWII. Such crimes have occurred during Japan’s period of imperialism. Explicit examples of these include: mass killings, torture of POW’s, and looting. These examples have been accounted in events; indeed, the Nanking Massacre has been portrayed as the most notorious example. Ever since Japan’s surrender, compensation and official apologies have been made; however, during the past few years, Japan’s government seemed like they were trying to cover up their crimes. Additionally, the Yasukuni Shrine, which enshrines 14 class-A war criminals, has been regarded as a national monument; Prime ministers Koizumi and Abe have made controversial visits that have angered foreign neighbors. Despite the fact that there seems to be evidence of increasing amiability, the outlook for future relations is unpredictable as it seems. However, there is a chance that one can look forward to a better relationship between foreign nations- Japan and its neighbors. Japan has committed warcrimes for which they have tried to apologise for, but their denials are reflective of curr ent events, as well the outlook for future relationships. The severity of Japanese war crimes reached a pinnacle during the late 1930’s. As mentioned earlier, there was a mass execution of solders and innocent civilians, including women and young children. The death toll amounted to around 6 million murders. Such examples include the Manila Massacre (Philippines) and the Sook Ching Massacre (Singapore). The estimated death toll between these two countries is around 150,000. In China alone, 3.9 million lives were lost as a result of Japanese invasions. However, the controversial focus involves the Nanking Massacre from 1937-1938. Even the death toll cited has yielded radically different estimations; the number ranged from 8,000-430,000. Within the atrocities, Japanese soldiers have also conducted cruel scientific experiments on China’s POWs. â€Å"Victims were subjected to vivisection without anesthesia, amputations, and were used to test biological weapons, among other experiments†¦in some victims, animal blood was injected into their bodies†. As a result, there were 200,000 innocent lives lost due to bubonic plague, cholera, etc. Acts of cannibalism were later carried out in the 1940’s, while evidences of use of comfort women were prevalent, although the cannibalism reports and prostitution can only be proved through accounts from eyewitnesses. Ever since Japan’s surrender to the war, trials of war criminals followed. Some of the war criminals were convicted with death/life sentences, while some were not even given a trial. After the war trials, official apologies have been made; however, â€Å"they official apologies were widely viewed as inadequate by many of the survivors of s uch crimes and/or the families of dead victims†¦many people aggrieved†¦that no apologies has been issued for particular acts of and†¦the Japanese government has merely expressed ‘regret’ or remorse.† Basically, China and Korea want Japan to fully recognize the magnitude of the crimes Japan has caused. Japan has since made compensations to the POWs, but many have stated that Japan has never had the responsibility to compensate each of the victims. During the last 10 years till the present, Japan is still in constant debate between its neighbors. Visiting the Yasukuni shrine has become more prevalent and frequent during Junchiro Koizumi‘s term as Japan’s Prime Minister. The visits have been deemed as controversial because Japan’s leader has been visiting the enshrined souls of those who have been responsible of most of the atrocities. But Japanese people claim that he does not frequent it enough to pay respects. It has been known that Japan’s foreign nations are not quite thrilled with the shrine’s symbolism of Japan’s past military aggression. Japan’s indignant refusal to â€Å"face all of the facts† has been prevalent recently. In 2001, Japan’s neighbors were not content with the fact that Japan had not made an official apology, recounting and confessing all the atrocities that they have committed. Furthermore, textbooks and historic material taught in Japanese sch ools have changed Japan’s purported role as an aggressor during WII. Events, including the Nanking Massacre (or â€Å"incident†, as the Japanese prefer to call it), comfort women, and various other war crimes, have been ignored. Until now, this has yet to be changed. Koizumi’s successor, Shinzo Abe, renounced the issue that women had been forced into sexual slavery. He claimed that there was no tangible evidence that would prove such events had happened during WWII. He is currently trying to alleviate tensions between Japan’s neighbours. It is true that he is a committed visitor, but it does not seem to have a profound effect on China (like it had been years ago). For example, Chinese Prime minister Wen Jiabo has visited Japan to formalize a new cabinet level dialogue on economic co-operation, suggesting more economic opportunities for Japan. On 10th May 07, Beijing avoided direct criticism of Abe when he made his offering to the Shrine. Their purpose was to adopt a more forward looking approach with relations with Japan. A da y later, Japan has responded, citing that they would want to keep improving relations as well, sharing a goal in building common interests. Japan’s indignant refusal to embrace their faults regarding the war crimes has generated debates and controversy, but apparently this issue is starting to change, with Japan/China relations improving. Ergo, the relationship will improve, but because Japan still avoids and denies some of the atrocities, it is evident that Japan’s ghost like past foreshadows the present, as well as the future. Research Papers on Japan’s Past is Still the Ghost of the PresentCapital PunishmentDefinition of Export QuotasGenetic EngineeringPersonal Experience with Teen PregnancyAppeasement Policy Towards the Outbreak of World War 2Effects of Television Violence on ChildrenAnalysis of Ebay Expanding into Asia19 Century Society: A Deeply Divided EraTwilight of the UAWThe Relationship Between Delinquency and Drug Use

African Trypanosomiasis Sleeping Sickness Biology Essay

African Trypanosomiasis Sleeping Sickness Biology Essay African trypanosomiasis also known as â€Å"sleeping sickness† is a wide spread parasitic disease (disease caused by organism that lives in or on another from which it obtains nourishment) that can be fatal if not treated. It is estimated by the World Health Organisation (WHO) that it has 450 000 cases each year, however in the past there have epidemics (a rapid spread or increase) such as between 1896 and 1906 where it is believed that 300 000 to 500 000 died from the disease. [1] African trypanosomiasis is common in the sub-Saharan region near rivers, lakes, in gallery forests and in Savannahs where the large brown tsetse flies are present. It occurs in these remote rural areas because the health systems are weak and because most of these areas depend on agriculture, fishing, animal husbandry or hunting so they are exposed to the tsetse flies. [2]The disease has been present in Africa for a minimum of 14 centuries with millions of people being affected by it. As you can see below (in figure 1) the distribution of trypanosomiasis in Africa comprises currently an area of 8 million km2 between 14 degrees North and 20 degrees South latitude. tryp_map.gif [Fig. 1] Distribution of human African trypanosomiasis. http://www.who.int/tdrold/dw/images/legend5.gifEpidemic http://www.who.int/tdrold/dw/images/legend6.gifHigh endemicity http://www.who.int/tdrold/dw/images/legend4.gifLow endemicity http://www.who.int/tdrold/dw/images/legend7.gifAt risk http://www.who.int/tdrold/dw/images/legend3.gifAbsence of the disease   As well as African trypanosomiasis also occurs in South America it is called the American trypanosomiasis or the Chagas disease however the organism causing that disease is different to the Tsetse flies. African trypanosomiasis is however more common than the South American version and it is estimated that around 50,000 to 70,000 people are currently infected with it and around 48,000 people died from it in 2008. [3] If, like most diseases, Afric an Trypanosomiasis is diagnosed early there is a high chance of survival. There are no effective vaccines, and the drugs used to treat this disease are often toxic and usually have many side effects. Untreated cases have a 100 percent  mortality rate. [4] The extent of African Trypanosomiasis is shown more clearly when compared to other diseases and during epidemic periods prevalence reached 50% in several villages in the Democratic Republic of Congo, Angola and Southern Sudan. Sleeping sickness was the first or second greatest cause of mortality in those communities, ahead of even HIV/AIDS. [5] There are two types of African trypanosomiasis which are common in humans. The first of the two sub species is trypanosomiasis brucei gambiense which causes a slow chronic trypanosomiasis in humans. This mostly occurs in central and western Africa, where humans are thought to be the primary target. The second is T. brucei rhodesiense and this causes a rapid onset of trypanosomiasis in huma ns and this is most common in southern and eastern Africa, where animals are the primary target. Tsetse flies are large flies which can be easily misinterpreted for a housefly but can be distinguished by various characteristics. These flies cause human sleeping sickness and animal trypanosomiasis (or nagana) as well as other diseases and its estimated it kills around 250,000 to 300,000 people a year. Tsetse flies are multivoltine (they have more than 2 generations per year) and there are 23 species of this fly existent today. Tsetse flies include all the species in the genus Glossina, which are generally placed in their own family, the Glossinidae. [6]

Physical apperance presonality development Essay

Physical apperance presonality development - Essay Example This addresses the differences between the ideal self that one imagines and the real self that must be dealt with daily: everyone is not at peak performance at all times and bloating does happen. This can immediately attack one's self-esteem, either in frustration of the event or in guilt to what extent one caused it. The commercial focuses on the latter, claiming that active engagement with school and work cause people to frequently make poor food choices (there's a pizza box on the table) which conflict with other activities that later arise. Part of my, or any woman's gender constancy, creates a sensitivity not just to identification with the bloated woman, but also an awareness of pitfalls to the advertised diet. Activia claims to have something called bifidar regularis, which, aside from sounding made-up, is supposed to regulate the digestive tract to alleviate bloating. What it loudly leaves unsaid is that one must exercise ego (or self) control in eating habits to begin with w hich can easily be interpreted that the yogurt should be an entire meal replacement which is the first step towards developing a case of anorexia nervosa. Frustrated by what was sounding like a panacea, I decided to move along similar lines to a different media, the July 2006 issue of Cooking Light. Cooking Light can be i... al in mind, coping with the body images used in these adds is a little easier to accept, as it doesn't feel quite so much that it is an insistence to conform to these slender women so much as they are displayed as goal weights to achieve through healthier eating. Yet even here, ads focused on more superficial concerns, considering their were two Oil of Olay ads (one facial cream, one boy cream) and one L'Oreal (anti-sagging cream). These first two perpetuate an everlasting myth of adolescence (a mistaken self-concept that one reaches a peak and then declines after it) through early intervention ignoring that age-differentiation attributes more admirable traits (wisdom, experience) to women who have had time to make their way in the world. The sensitive periods in which a woman may become self-conscious enough to begin using Oil of Olay begin when one first recognizes signs of aging. One frequently feels that this results from neglecting to use creams from an early point in puberty, w hen in actuality it is a normative experience and part of maturation. This prejudice against looking older is in direct contrast with today's increased life spans; it seems women want to increase the longevity of their youth, not their life. While these ads angered me as far as their external single mindedness, Cooking Light did have one ad that seemed to bridge the generational gap. An ad for Poise, a sanitary pad designed for weak bladders, is specifically designed for the female gender. The subject itself provokes a number of self-conscious emotions, as well as an understandable social phobia for anyone suffering from the condition. While this problem would prove to be a critical period for anyone, the ad sends a signal of empathy in the picture of a mother hugging her