Philosophy Statement Assignment Example | Topics and Well Written Essays - 500 words

Philosophy Statement - Assignment Example eedback from students, evaluating unique academic performance, motivating and addressing weaknesses, and reporting to authorized personnel (school administrators, parents, care givers) the outcomes of academic reviews and performance of students, as required. Roles/Responsibilities of the Learner: Learners have roles and responsibilities that are diverse and multidimensional. Learners are expected to assume the roles of active participants, as collaborative members of the learning environment, as a source for constructive feedback. Their responsibilities include â€Å"dialogue and interactions with peers and teachers, practical investigations, performances, oral presentations and discussions† (Education Scotland, n.d., p. 1), among others. Beliefs about Teaching: Good teaching is viewed as being able to practice what one preaches. By being a role model to students, good teachers could effectively impart lessons that could be emulated by students through the values and manifestations of actions that are consistent with good morals and ethical codes of conduct. On the other hand, bad teaching simply exhibits actions and delivery of academic information that are contrary to the standards of ethical and moral practices expected of the profession. Beliefs about Learning: Learning happens in progressive stages and could be enforced through motivating students in a conducive learning environment. Learning is most effective when teachers design strategies that encourage participation of students and acknowledge their contribution to the learning environment. Prejudice, discrimination, restricting encouragement and freedom of expression and exhibiting inequality across gender, ethnic and cultural background definitely make learning less effective. Applications in Language Classroom: Given the beliefs and philosophies in teaching, one would strive to promote equality and the integration of diversity in culture in one’s language classroom to focus on the unique

Connecting And Comparing Literature English Literature Essay

Connecting And Comparing Literature English Literature Essay For the final essay, two short stories and one poem will be used to illustrate comparisons by looking at the characters as their respective authors describe them, and how this is used to draw readers into their stories and poems. The two stories being used are, A Rose For Emily, by William Faulkner, and The Bride Comes to Yellow Sky, by Stephen Crane. The poem being used is, The Road Not Taken, by Robert Frost. Conflict and prejudice will be highlighted as the common thread among the three works. Comparison will come from using the characters in the stories and poem, and how the authors use descriptive writing to draw their readers into the stories and poem. In A Rose For Emily, the description of Miss Emilys house by William Faulkner is a big square frame house that had once been white (DiYanni, 2007), and how Miss Emily looked as she walked in to the meeting with the Board of Aldermen, a small, fat woman in black, with a thin gold chain descending to her waist and vanishing into her belt, leaning on an ebony cane with a tarnished gold head (DiYanni, 2007). The end of the story finds William Faulkner giving great detail about the body of Miss Emilys suitor Homer Barron and the room decked and furnished for a bridal night, and how the body of Homer was described as fleshless and once laid as if it were in an embrace, how he had rotted beneath his nightshirt (DiYanni, 2007). The vivid description allows one to get a clear view of the room and the decomposed body of Homer. When he writes about the indention on the pillow as if someone had laid their head there and then they find the strands of grey or silver hair, one can visualize Miss Em ily lying next to Homer in a macabre way. The style of writing William Faulkner uses in this story, allows him to navigate among many points of view within the story. William Faulkners use of third person allows for flashbacks and the ability to dig deeper into the history of the town. By also using symbolic language such as referring to Emily as Miss Emily (DiYanni, 2007), William Faulkner is able to send the reader back in time when the story actually takes place. This allows the reader to get a better understanding of the larger issues that were at play in the South around the turn of the century. The language used in The Road Not Taken by Robert Frost is quite moving. Robert Frost speaks of approaching a fork in the road. He must choose which road to proceed down. He chooses the one that appears less traveled only to find that it is traveled about the same as the other road. Robert Frosts subtle use of description when he refers to the two roads being about the same, lets one know that they may be close, but not exact. Many of the roads chosen in life look very similar at the entrance but change quite often as they are traveled. His use of the word sigh and difference in the fourth stanza can mean either positive or negative feelings, but since the author mentions that nothing will be known until the future, we do not know which effect these words mean. Robert Frost speaks of possibly coming back to travel the first road at a later date but doubts this as life is too short. Robert Frost infers that he will report back on his travels down the second road at some point in the f uture. The character in this poem must choose a road to take without knowing where it may lead. In A Rose For Emily, Miss Emily had to make a choice as well. Her choice was to poison Homer to keep him from leaving. Another part of the poem that connects to Miss Emily is where her decisions would lead. This could be what Miss Emily was thinking when poisoning Homer. Emily may have thought briefly as to what the town would say about her actions. Perhaps this is why she kept him upstairs in the bedroom so she had him with her at all times even though he was not a living breathing being he was still with her. As long as she kept him hidden in the house, and made it look as though he would marry her, the townspeople would be satisfied. Many questions arise with the story as to why Miss Emily would do this. Perhaps Miss Emily thought she would not die alone. Even though she could not talk to Homer he would be there with her when she died. The poem also relates to The Bride Comes to Yellow Sky. Jack had choices to make in The Bride Comes to Yellow Sky that included whether to leave town and get married, tell the townspeople before he left, tell them before he returned, and whether or not to return to Yellow Sky after the fact. I think the part of the poem where he states, I took the one less traveled (DiYanni, 2007), could describe the choices of Jack and his bride as they boarded the train. How Jack went to San Antonio and married a girl he thought he loved without letting the townspeople of Yellow Sky know what he was doing could be compared to the line in the poem, I shall be telling this with a sigh, somewhere ages and ages hence (DiYanni, 2007). Jacks escape route from the train station in Yellow Sky would involve the choice of two roads. The first would have been to get off the train and face the town. The one Jack chose was the second road or choice which was to plan his escape from the train to avoid being seen by the townspeople before he could come up with a plan to introduce his bride. Just as Miss Emily loved Homer, Jack loved his bride and married her whether the townspeople would like it or not and Jack loved his town, but loved his bride more so he married her without talking to the towns people. There are many correlations between Jack and his bride and between Emily and Homer. Both Jack and Emily are in love with their significant other, and both Jack and Emily choose the road of deceit. Jack keeps his marriage a secret from the town and Emily keeps the death of Homer a secret from the town. The two short stories chosen connect in a way that shows the reader how people judge and are prejudice towards others. In the story, The Bride Comes to Yellow Sky, there are several prejudices in the story. For instance when the porter bullied them with skills in ways that did not make it plain to them that they were being bullied (DiYanni, 2007). The porter on the train treated them with all the unconquerable kind of snobbery. He oppressed them in a way they had small knowledge of him doing so (DiYanni, 2007). In the story, A Rose for Emily, the towns people thought the Griersons were snobs in their own right, the towns people thought the Griersons held themselves a little too high for what they really were (DiYanni, 2007). Another part of the story finds Miss Emilys neighbor complaining to the judge about the smell coming from Miss Emilys house. She relates to Miss Emily as a high and mighty Grierson, and wants the judge to do something about the smell coming from the house (DiYann i, 2007). When Miss Emilys father dies, the towns people are glad in a way, saying Miss Emily would somehow now be humanized and learn what it was like to live on little money (DiYanni, 2007). It seems Faulkner and Crane must have been treated with some type of prejudice in their life. Perhaps Faulkner and Crane were prejudice towards others also. One could speculate that both of these writers reflect many personal life experiences in their writings. Prejudice has been around for so long that it may never completely go away. It is sad that people have to deal with this in their everyday lives, and one could argue that this is what makes some stronger and makes others weaker. The stories here both take place in the South, which would make sense as the South is still noted for harboring prejudices. Both authors speak with an apparent knowledge of the South Even though one of them was not born there. Stephen Crane spent quite some time in the South and found the people and towns very interesting. He was originally from New Jersey and instantly fell in love with a woman from Florida. This could have led to his writing about Jacks instant love for his bride from San Antonio. William Faulkner came from a traditional southern family and grew up in Mississippi. Being from the south, his writing knowledge and style are ever present in his stories. He describes southern family traits and customs that are still used today. Some of these would be the hospitality and community atmosphere. Communities do not only affect the language of the author but they also can provide the community of the authors work. Some communities act like an extended family and an author may want to show that aspect. Sometimes an author may wish to write about a close-knit community that knows everyone elses business. Often a writer will write about their community, illustrating certain cultural aspects that they hold dear. All of these can be examples of the writers community coming to life in their own stories. In A Rose for Emily (DiYanni, 2007), William Faulkner shows a community that is very involved with each other. They are constantly talking about what Miss Emily does, what she says, and whom she sees. William Faulkner speaks for the community using the pronoun, we, throughout the story. He describes how the community reacts to Homer Barron trying to court her, At first we were glad that Miss Emily would have an interestà ¢Ã¢â€š ¬Ã‚ ¦ (p. 82). Everyone becomes very interested in Miss Emilys love life. When she buys poison they become worried that she was dumped and will now commit suicide. Then they hear that she bought things for a man and they become happy for her again. This is probably an example of the type of people William Faulkner was around. Another example of a community that is close comes from; The Bride Comes to Yellow Sky. In this story the marshal, Jack Potter, is illustrated as a very important figure in his community. Because he is a prominent figure he feels he committed a crime by leaving Yellow Sky to get married. Additionally, the townspeople speak kindly of the marshal when a former outlaw, Scratchy Wilson, goes on a drunken rampage, I wish Jack Potter was back from San Antonà ¢Ã¢â€š ¬Ã‚ ¦ (p. 487). Jack is responsible for taking care of Scratchy when he gets drunk. Stephen Crane lived briefly in the Old West and more than likely witnessed similar events to that of Scratchy Wilson. Many people have been told they would never make anything of their lives by someone who had judged them before they knew whom they were. They then go on to prove them wrong by getting a degree and making for themselves a good life.    This is what makes so many of the writers stories relevant to their readers. They are able to draw the readers in using some of their own life experiences, which make the readings more interesting and can help the reader relate to the stories. It also enables the reader to become a part of the story. The readers can actually place themselves as a character in the story because many have had some type of prejudice directed towards them at some point in their lives. If one has ever lived in small town America, the description of how the towns people act in both stories The Bride Comes to Yellow Sky and A Rose for Emily are right on the money. Being one from a small town, it reminds me of both stories on how people judge marriage, there is something wrong with a person if they are not married by a certain age and then if some of the elders in the town do not approve of the marriage comments are made. Both stories in so many ways compare to life in small towns, where people have nothing better to do than to spy on someone to see what they can gossip about. As a youth, it did not matter which friends home your were visiting, the adults in that home were your surrogate parents while you were there. Even today, people are watched and dissected according to what they do and dont do as it relates to what is expected. Robert Frost was born on the west coast and then moved to the east coast. His poems deal more with his life in New England and with rural America. His life was hard and riddled with death and depression. Only two of his kids outlived him. His struggle with life and the many crossroads he faced are evident in his poem, The Road Not taken. Reading this poem reminds me of the fact that I am at a fork in the road and I have chosen my path. At this time, I do not know where this road will lead, but am anxious to find out. I found Frosts poem to be very tricky and very deep. The more I read it, the more I enjoyed it. I may have to save this one as it really spoke to me about choices we make. I found myself apprehensive at the beginning of this class. My ability to read and hopefully interpret poems has expanded since starting this course. I was never much into poems, but at least I am beginning to feel as though I can understand what the author is saying through the use of imagery and elements. As this class has progressed I have found through the readings in the class that I enjoyed most of the readings. I have found I now read with an open mind and do not judge a book, short story, poem, or play by its title. I read a story through and then read it again and find that it makes more sense the second time around. In conclusion, I feel the two short stories and one poem I chose can be compared in many different aspects. The three of them tie in very well with each other through conflict and prejudice. Even though the authors come from similar, but different backgrounds of life, they all wrote with their life experiences in mind. The authors had a talent for drawing readers into their stories and poems and kept the readers attention throughout the readings.

Thinking Aloud Essay -- Reading Education Learning Essays

Thinking Aloud Reading comprehension may be the most important skill for any student to acquire and is therefore an area of particular interest to educators. Without adequate comprehension skills, students are limited in their reading, analytical and occupational abilities. To many, including the student’s themselves, comprehension or â€Å"good reading† skills begin and end with simple decoding. It is thought that if students can ‘read’ and define the vocabulary they are reading, then they also comprehend what is read. True comprehension goes far beyond decoding, however. True comprehension requires visualization of a text, predicting events in the text, making inferences about the text and clarifying what is not understood about the text in order to lead to higher level thought processes such as personally connecting with the text. Reluctant, beginning or low-skilled readers often do not have the ability to visualize, predict, inference or clarify what they are reading and so they do not truly comprehend what the text is or what it means. Too often, these readers do not understand that â€Å"good readers† go through a series of mental processes in order to comprehend the text in ways which the low-level readers never even imagined. As educators, it is our job to show reluctant, beginning or low-skilled readers what these processes are and how they work in an attempt to boost the self-confidence and independence of these readers. One excellent way to set about this is through a strategy called a â€Å"Think Aloud†. The â€Å"Think Aloud† strategy is a teaching strategy which goes beyond teacher lecturing and is actually an exchange between teacher and student. First, the teacher demonstrates and encourages t... ...pecially designed to help dependent, beginning or low-level readers to see and understand exactly what it is that â€Å"good readers† do. Showing them this breaks down barriers which the students have built up against reading and comprehension. Most of all, the Think- Aloud is a more than sufficient method for giving students the skills they need to succeed in any reading situation they may encounter, whether it be in Social Studies class or the all important, ever watchful, standardized test. Works Cited Beers, Kylene. When Kids Can’t Read: What Teachers Can Do. Portsmouth, New Hampshire: Heinemann, 2003. Oster, Leslie. â€Å"Using the Think-Aloud for Reading Instruction.† The Reading Teacher 55 (September 2001): 64- 9. Wilhelm, Jeffrey D. â€Å"Think Alouds Boost Reading Comprehension.† Instructor 111 (2001): 26-8.

Evaluate the View That the Separation of Ownership

Evaluate the view that the separation of ownership from control in large firms inevitably leads to diseconomies of scale. The separation of ownership from control can be defined as the situation in which the shareholders of a firm do not manage or control it. The shareholders of large publicly owned have no controlling interest and hence the managers and directors run the organisation. Diseconomies of scale can be described as the increase in the long term average cost of production as the scale of operation increases.It can be argued that the separation of ownership from control can lead to diseconomies of scale due to the lack of communication between managers and shareholders, hence inefficiency and averages costs increase. But it could also be argued that large firms can also benefit from economies of scale whilst being operated through the separation of ownership from control the diseconomies of scale are not always ‘inevitable’ as described above. Firstly, the sepa ration of ownership from control can lead to managerial diseconomies of scale.The power the shareholders have over the disciplining and monitoring of its executive management is reduced and as a result of this, managers may cause inefficiency by pursuing certain objectives for their own self-interest and at the expense of the shareholders. If the managers of the firm are measured and rewarded on achievement of growth targets rather than profit and return to shareholders then they may lose focus on cost control e. g. supplier costs and as a result this could drive up the average costs of production.This would have a bigger impact on large firms due to the scale of production. The costs will be felt on a much larger scale, particularly if this culture affects the way the whole of the business operates not just one business area. The extent on the managerial diseconomies of scale will depend on the objectives of the managers. If their personal targets are to ensure high business perfor mance, then this increase in average cost may not be felt as they may aim to increase productive efficiency to maximise profit and dividends to shareholders.Conversely, although diseconomies of scale may persist in a large firm, the separation of ownership of control may not necessarily be the cause of it. There are other factors that may have contributed to the firm experiencing diseconomies of scale. The rapid growth of a firm may cause the employees to feel alienated if they feel that they aren’t valued as an individual. As a result of this, the productivity of demotivated employees may fall and the roductive efficiency of the firm will decrease, therefore increasing the average cost for each unit of output. The diseconomies of scale may also be caused by the inability for a firm to monitor the productivity of every one of its employees. The lack of supervision resulting from the size of the company and scale of production may mean that employees are not working to their o ptimum level of output or utilizing resources efficiently and this could result in wasted resources e. . From employee errors. Therefore the average cost of producing one unit of output increases. Although, there is not really an easy way to determine the exact cause of the diseconomies of scale. In the short term, it may cost more for the business to alter the way it operates to reduce the average costs. The rate of growth and output may mean that the business is not prepared to change its operations whilst it is generating such a large amount of revenue.In conclusion, I don’t think that separation of ownership from control will inevitably lead to diseconomies of scale for a large firm. Rapid growth is more likely to cause a business to experience them rather than the lack of control for shareholders of the firm. The most costly resources for a firm are employees and premises. The diseconomies of scale that a firm may experience may be due to the increase of overheads from t he rapid expansion before the increased volume profit and volume can be realised in the long term.Although the lack of control for shareholders may initially contribute to a rise in average costs as a firm expands (assuming that the managers want to operate the firm in a way that will meet their personal targets increase their salaries rather than maximise the return for the firm), the increase in average costs should be a short term phenomenon due to rapid increases in volume it should be outweighed by economies of scale generated from buying in large quantities.

Benefits of Organic Food on Children Essay

It is believed that the most noteworthy of choices we can make based on enhancement of our own health and environmental health is the consumption of organic food. Organic food or otherwise you bet that a number of individuals would prefer organic food to the conventionally produced one. This is so because of a number of discoveries made crediting organic food to be better. For instance, a major European Union study concluded in 2007 found out that organic foods were 40% more rich in antioxidants than their conventional equivalents with a similar percentage for organic milk going as high as 60%. Earlier, in 2001, Washington State University researchers had established that organic apples were sweeter and firmer as compared to their conventional equivalents. Other separate studies elsewhere have since established that generally, organic fruits and vegetables contain higher nutrient levels. Regardless of who is conducting the study or where and when the study is conducted, the bottom line remains that organic food is of superior quality than their conventional equivalents and this explains why they are expensive besides their high demand. This paper seeks to investigate the benefits of organic food on children. Introduction Organic farming has been embraced recently especially by developed 1st and 2nd world countries. Organic food is that kind of food obtained in their very natural environment without contamination of any kind i. e. if it is plants they are produced without the conventional use of artificial fertilizers, pesticides, herbicides etc. These artificial substances are avoided as a way of maintaining the natural composition of plant cells. It should be noted that if these substances are used they are incorporated into the plant tissues and cells thus causing contamination. If any fertilizer has to be used then it has to be from livestock and poultry which in turn have never been fed on artificial substances such as antibiotics, growth hormones etc. The food generated by this kind of farming is termed as organic food. It should be noted that organic produce may not necessarily be genetically modified. With the increased embrace of this kind of farming, some countries have moved to make sure that the farmers are certified in order to produce and market their produce as organic. Such countries include US, Canada, EU, Japan and many more. Historically the practice of organic farming was limited to a private family affair making organic food scarce and available only in farmer’s markets and small stores. Nevertheless, since the 90’s the demand for organic food has appreciably grown forcing the production of the food also to grow averagely at the rate of 20% pa. The growth proceeded right into the 21st century and as of April 2008 the organic food had claimed almost 2% of the total world food sales. At the moment it is projected that the growth rate may supersede the historical 20% pa to stand at 40-50% pa based on the country (Davis & Winter, 2006). The best processed organic food is the one that contains almost 100% natural ingredients. However if the non organic ingredients happen to be present, then their percentages must be very minimal and allow the animal and plant ingredients command more than 95% in Canada, US and Australia. How do you ascertain the percentage printed on the packages of these organic foods? Initially, people eating organic food insisted on knowing the organic farmer and visiting that farmer so as to trust the food produced. However with the growth of the organic food production industry, food production is not easily ascertainable and labeling of products as organic is easily trusted. The responsibility of ascertaining and ensuring that the food labeled as organic is indeed organic and it is produced as per the dictates of organic farming and processing regulations set out in the given country has been left to the government and other third party inspectors. The government legislation and the role of the third party inspectors have been relied on for assurance (Government of Canada, 2006). In Canada for instance, the organic food production is highly regulated and the government regulations governing organic food (farming and processing) need to be followed to the letter. There are no genetic modification, no food additives and there are no artificial processing methods such as chemical ripening and food irradiation. If organic food is being imported to Canada, then it has to come with an attestation from the source country. All these regulations are maintained and implemented basically on consumer protection grounds. Some food producers are likely to falsify information such as to reap high profit margins associated with organic food. The high profit margins in organic food is due to the 10 to 40% extra cost on organic food as compared to the food that is conventionally produced. Benefits of Organic Food on Children Based on the method of production of organic food, they are the best and safe for consumption especially for children whose body systems are more sensitive than the adults’. It is common knowledge that the choice of nutrition and food plays a major role in either triggering or preventing conditions such as obesity, asthma and diabetes. It has been established that healthy foods such as organic foods help prevent the onset of conditions such as cardiovascular diseases, hearty diseases and even cancer. Therefore, organic foods are quite beneficial to mankind especially to children (Finnamore, 2008). Since there are no artificial fertilizers, herbicides and pesticides used in the production of organic food, then it means that the food lacks the residue levels of pesticides and herbicides witnessed in the conventionally produced food. Such residue herbicides and pesticides have been known to trigger cancer and cardiovascular diseases. Children are more susceptible to toxins such as the residual pesticides because of a combination of factors such as immature and developing organs and brains thus reduced detoxification and immune system. Therefore, feeding children on the conventionally produced food which has residual pesticide levels far above the recommended safety levels exposes them to the pesticides and herbicides which may cause cancer, cardiovascular diseases and nervous system defects. Feeding children on organic food protects them from the toxic pesticides guarantying their health as they develop. The hyperactivity in children has been blamed on the residual pesticides and herbicides in the conventionally produced foods. Therefore if children are fed on organic food, hyperactivity in school going children is likely to be reduced. Conventionally produced food has some food additives such as sweeteners, preservatives flavorings colorings hydrogenated fat, and phosphoric acid added during processing. These substances may pose toxic threat to the child’s immature brain and organs hence having adverse effects on the children. Such additives are prohibited in organic food production and this protects children from possible toxic effects of the food additives the additives. According, to doctors, the least the artificial additives and sweeteners in children’s’ food, the better.

The Concept of Vipassana Prison Program

The Concept of Vipassana Prison Program Introduction Vipassana, in the prison setting, is a revolutionary idea because it gets to the root-cause of the recidivism problem. The concept addresses the habits, fears and habits that cause people to get into prison in the first place. As such it reflects the possibility of borrowing cultural practices from other parts of the world and using them to improve one’s situation.Advertising We will write a custom assessment sample on The Concept of Vipassana Prison Program specifically for you for only $16.05 $11/page Learn More Reflections The intervention program that was conducted in Donaldson prison, Alabama was one of the most powerful illustrations of what intercultural ideas can achieve. It was a teaching derived from Buddha; however, it should be regarded as non sectarian because it is a philosophical system of morality. Vipassana has the ability to correct severely-engrained habits since it teaches subjects how to experience their own reality. Many teachers and inmates explained that they traced the roots of their passions, anger, insecurities and other emotions during the program. As they were meditating, all of them looked at their inner selves objectively. It was probably this detachment that caused them to achieve a sense of balance and calm. The technique purified their minds and freed them from their suffering. Such an achievement is invaluable in a correctional facility like Donaldson, which has a ‘gladiator’ environment (Phillips, 2012). Vipassana meditation belongs to a series of spiritually-based programs in psychology. In fact, the use of spiritual beliefs in these environments is nothing new. One of the most well-known rehabilitation programs, that is; AA uses spiritual practices to treat alcoholism. Spiritualism is the process of looking for the sacred. It encapsulates moving beyond one’s physical existence and exploring the transcendent world. While many religions teach spirituality, it i s possible to remain spiritual without adhering to a particular religious orientation because all one has to do is to move beyond one’s consciousness. Supporters of this kind of approach claim that spirituality is a natural way of helping criminals or addicts because it allows one to get to the ultimate level of consciousness. Crimes or drugs are temporary and ineffective ways of solving a human being’s problem.Advertising Looking for assessment on psychology? Let's see if we can help you! Get your first paper with 15% OFF Learn More By using a natural and healthy method of solving this problem, spirituality can effectively manage crime or drug addiction (Marlatt et al., 2002).  The success of the program illustrates that intercultural harmony is possible if the method or approach used gets to the inner self. Conclusion This intervention program is a paradigm shift in the field of corrections. The traditional approach aims at punishing and opp ressing inmates in order to instill fear in them. Many of them commit more crimes because no message gets to their internal system. However, Vipassana attempts to change inmates through an internal transformation of their subconscious. As a result, prisoners become more disciplined, self-aware, cooperative and reasonable. From these observations, one can confidently assert that Vipassana is a successful process of reform. Intercultural interventions that focus on the internal being are quite effective, which is visible even in my personal encounters. References Marlatt, A., Larimer, M., Blume, A., Simpson, To. Parks, G. (2002). The effects of Vipassana meditation and other rehabilitations programs on alcohol and drug relapse and criminal recidivism. Phillips, J. (2012). TED X Boston. Retrieved from http://tedxboston.org/speaker/phillips-ph-d

The Pen is Mightier Than the Sword

The Pen is Mightier Than the Sword The Pen is Mightier Than the SwordYou have probably got a pen in your drawer at home, at work, your car, and maybe in your shirt pocket. The humble pen looks harmless enough, but you may not know the dark secret it keeps from us. The pen through which we write words is surely mightier than the sword. The pen looks like a small ordinary thing. It is also not very costly and it does not have much weight too. Apparently, its structure is also not impressive in its built, but it has great strength and power. The holder of pen is always knowledgeable and learned man. He succeeds everywhere and his orders are obeyed. If the weapon of a warrior is a sword, the weapon of a learned and a commanding authority is the pen. Who so ever held the pen he would get the respect, wealth and fame, and he who left it, would become ineffective, unsuccessful and futile.Cardinal RichelieuHistory has proved that the pen is mightier. All philosophers, doctors, educated and wise men, scientists, poets, writers and engineers got their repute due to the pen. Their names are still alive today only on account of their books, theories, laws and their written works left behind them. Had they not held the pen in their hand, they would not have had education and ultimately their names would have been buried with them in the grave and remained unknown in oblivion.The progress of sciences, evolution, and advancement of the world at large, all is indebted to the pen only. The man invented electricity, ships, Aeroplane, radio and television. He is now commanding seas, mountain, rivers, air, water, fire, the Sun the Moon and the Earth. He is willing to go beyond the moon. The man had...

Strategies for Writing a 20-Page Paper

Strategies for Writing a 20-Page Paper Research papers and essays can be intimidating enough as an assignment. The long paper assignment, though, can scare students into total brain freeze. If youre facing a twenty-page writing assignment, just relax and break the process down into manageable chunks. Make a Plan and Follow It Start by creating a timetable for your project. When is it due? How many weeks do you have between now and the due date? To create a timetable, grab or create a calendar with plenty of space to write on. Then, jot down deadlines for each stage of the writing process, including: Initial research. Before you can choose a topic, youll probably need to do some basic research to learn more about the general subject area youre studying. For example, if youre studying the works of Shakespeare, youll want to do some research to decide which play, character, or aspect of Shakespeares work is most interesting to you.Topic selection. After youve finished your initial research, youll want to select a few possible topics. Talk with your teacher before making a final decision. Be sure the topic is really interesting and rich enough for a twenty-page essay, but not too big to cover. For example Symbolism in Shakespeare is an overwhelming topic while Shakespeares Favorite Pens wouldnt fill more than a page or two. Magic in Shakespeares Midsummer Nights Dream might be just right.Topic-specific research. Now that you have a topic, you may need to take a few weeks to conduct research until you have five to ten subtopics or points to talk about. Jot notes onto note cards. Sepa rate your note cards into piles that represent topics youll cover. Organizing your thoughts. Order your topics into a logical sequence, but dont get too caught up in this. Youll be able to rearrange the sections of your paper later.Drafting. Take your first set of cards and write all you can about that specific topic. Try to use up three pages of writing. Move on to the next topic. Again, try to use three pages to elaborate on that topic. Dont worry about making this section flow from the first one. You are just writing about individual topics at this time.Creating transitions. Once you have written a few pages for each topic, think again about the order. Identify the first topic (one that will come after your introduction) and the one that will follow. Write a transition to link one to the next. Continue with order and transitions.Crafting an introduction and conclusion. The next step is to write your introduction paragraph and your conclusion. If your paper is still short, just find a new subtopic to write about and place it between paragraphs tha t exist. You have a rough draft! Editing and polishing. Once youve crafted a full draft, be sure you have enough time to set it aside for a day or two before reviewing, editing, and polishing it. If youre required to include sources, double check that youve correctly formatted footnotes, endnotes, and/or a bibliography.

How does the theme loneliness between the main characters differ in Essay

How does the theme loneliness between the main characters differ in the power and the glory and the quiet american by Graham Greene - Essay Example In the sorrowful and bleak context of â€Å"the Quiet American† and â€Å"the Power and the Glory† the theme of loneliness is handled to expose the bare nature of life. Fowler in his fifties is a drug addicted middle aged British correspondence in Vietnam. He is in love with a beautiful young Vietnamese girl Phuong who eludes with Pyle, a young American. Indeed amid this triangle love grows to alleviate the pain of loneliness. Fowler is detached from his wife for some years and his life is sagged with the burdens of blood, death and the destructions of the war. Here love plays the role of a soothing factor of loneliness. Fowler’s loneliness appears to crave for love of the orphan as a soothing bypass of his inner suffering. Even then the bleakness of the novel facilitates to the dawning of the question whether mercy of God for his creature man as religion asserts is believable enough or if life is meaningful enough to live or even all the institutions and systems concerned with human life are worthy enough to obey, when man thrown amid the crunch and crisis of this world has to struggle to find the way-out himself by his own laws. Incontrovertibly the two novels â€Å"The Power and the Glory† and â€Å"The Quiet American† deal with the interactions among politics, religion and common life of human beings, but in the two novels Graham Greene’s treatment of ‘loneliness’ sets their tone of these interactions on the premise that man is too lonely in his lonely path of life to receive any sympathy from others for his pain and agony. Man himself is to take care of his own wound and agony. Greene is always aware of the fact that Man’s pain and suffering are further stimulated by his loneliness and vice-versa. Greene’s characters are apparently modern; they suffer from the crunches between their belief and disbelief in God, duty and desires, individual and ideals, and sometimes between individual and the society. These crunches are

The american Scene no country for old men Essay

The american Scene no country for old men - Essay Example The beginning of the movie is witnessed with Sherriff and Tom Bell conversing with another character. The two characters are talking about the past of the Sheriff’s in Texas in different areas. From the camera one is able to see the vistas that are gorgeous from western Texas. The images are crisp and beautiful and the transitions look seamless. As an example, there is the depiction that there are no individuals (witnesses) when Moss spots a dog that is hobbling when he is hunting antelopes and it is at a distance. The only things that can be viewed at a distance are five to four pickup trucks with open doors. There are no witnesses or individuals to account on what has actually taken place for the trucks to look abandoned. The bareness of the land is made clear when he begins to head towards the trucks and all that can viewed are dead bodies in the tall grass with no individuals to explain the real causes of their death. The absence of witnesses is even stressed when there ar e battles in the streets with the hit men and gangs of Mexican all in the pursuit of the money in Moss possession. At the end of the movie, most of the characters that could have provided the real account of what actually took place are dead. These include the individuals Moss found dead from the drug deal, Moss himself, Clara Jean who was the wife to Moss, and store and hotel clerks that Chigurh killed (Coen & Coen). Most of the area in the movie is expansive and desolate with no homes. This, in the movie, is evidenced by an expansive desert. In addition, when moss as hunting, the land was mainly occupied by tall grass. Some of the homes that are shown in the movie are the trailer home belonging to Llewelyn Moss the Vietnam-veteran where he lived with his wife Clara Jean. From the footage there are fewer houses around their home hence the evidence that there was lack of homes. The other one is that belonging to Carla

Methodology Essay Example | Topics and Well Written Essays - 1000 words

Methodology - Essay Example It gives a clearly defined structure for the enquiry and supports the researcher to stay within a defined set of limits. This methodology provides the scheme for sampling, data collection, data analysis and explanation of findings for the research. For the sake of providing the best understanding, it will be appropriate to summarize important elements of the research in order to make the research methodology meaningful. Research aims The research aims as stated in chapter one are: 1) To understand the main objective of teaching and maintaining art in the curriculum 2) To provide an understanding of the importance of teaching and maintaining art in the curriculum for students in Iraq 3) To identify the role that art has played as a subject in the Iraqi community 4) Compare the approach to the teaching and learning of art in the UK and Iraq 3.3. Validity and reliability in research Validity refers to the use of right and correct methods or systems to conduct a research (Cohen et al, 20 07). As such, the use of such methods needs to be justified. On the other hand, reliability is about maintaining confidence in the work by showing that accuracy and other important yardsticks are safeguarded throughout the research (Goodwin, 2009). This research would be conducted with respect to various ethical requirements of research. As such, all relevant ethics in research in the UK would be included in the. In the sense of doing the research, it would be proper then to employ the use of triangulation as a mode of assessing not only the reliability of the data but also the confidence bestowed on the results given by the data. In triangulation different approaches are used in the data collection and analysis in order to evidently observe the coherence and resonance that is depicted by the various methods this explains why it’s believed to communicate the reliability of the data. Triangulation is also subdivided into various castes; triangulation of methods, investigator, data sources and that of theory triangulation (Creswell, 2009). All the components of the data are important in enhancing it reliability and adoption in doing qualitative researches. Just like in statistics, the reliability of the findings is only scientifically and statistically convincing based on the broad base of the various areas consulted. These increased bases do increase the chances of all factors consideration and is entirely imperative in communication the efficacy of a data to be adopted (Creswell, 2009). Even in the service rendered by the triangulation as a method of doing and carrying out a qualitative research, it has been equally defied given the technical challenges associated with it. A part from significantly inflating the total cost of the research, the method is also argued to provide a very difficult approach in trying to understand the various methods given the conflicting approaches considered in the multimethod exercise (Tashakkori, Abbas, and Teddlie, 2009) .research. In defining the variables, care would be taken to incorporate the writer's experience and experience of learned persons to attain guidelines on how to calibrate the variables. This will be done through consultation and discussions 3.2. Qualitative and Quantities Research Qualitative methods are meant to provide an observation of social phenomenon from a close analysis of facts and trends with a critical

Analyse Guy Debords idea of the society of the spectacle. Does the Essay

Analyse Guy Debords idea of the society of the spectacle. Does the concept seem relevant to you - Essay Example During World War II, Guy Debord left home and travelled throughout the country of France. He began schooling in Cannes, where his interest in film and vandalism was discovered. As a young man, Debord was an active opposer of the French war in Algeria. Moreover, he joined in mass movements in Paris against it. Guy Debord joined the letterist internationally. Debord was the head of the situationist international group, which influenced the Paris rebellion of 1968; commonly known as: â€Å"The Society of the spectacle." The society of the spectacle and experts from the group, the situationist began to form their own theory of the spectacle, which explained the nature of the capitalism historical decay. In Guy Debords terms, the spectacle was to be defined as an assemblage of social relationships transmitted through the imagery of class power, and as the period of capitalist development where all that once lived has to be represented by an image. It is my argument that both of Debord’s terms alienated masses and revolutionary collective are secretly dependent upon the atomized perspective of liberal individualism. Both terms abstract the individual from subtending cultural traditions and the over-arching social relations in which they are embedded. Thus, this article seeks to explore the logic of Debord’s influential theory, propounding its insights and exposing the deficiencies of its underlying theoretical foundations. In The Society of Spectacle, Debord talks about the concept of the Spectacle. He also writes of: degradation of human life, commodity fetishism, mass media, and the difference between religion and marketing. The society of the spectacle is an essential text and the main work of the situationist. The work of the political and cultural theory has been provocative from its publication. In communities dominated by contemporary situations of production, life is viewed as an immense accumulation of s pectacle. Everything directly lived is

Why is Marco Polo more popular than Ibn Battutah Essay

Why is Marco Polo more popular than Ibn Battutah - Essay Example Marco Polo's first journey was a trip to Cathay (China) at the age of seventeen with his father. While traveling towards China they passed through Armenia, Persia, and Afghanistan, over the Pamirs, and all along the Silk Road to China. During their journey they first made a wide swing to the North arriving to the southern Caucasus and the kingdom of Georgia. Then they journeyed along the regions parallel to the western shores of the Caspian Sea, reaching Tabriz and made their way south to Hormuz on the Persian Gulf. From Homurz to Kerman, passing Herat, Balkh, they arrived Badakhshan, where Marco Polo recovered from an illness and stayed there for a year. On the move again, they found themselves on "the highest place in the world, the Pamirs", with its name appeared in the history for the first time. Ibn Battutah on his first journey travelled through Algiers, Tunis, Egypt, Palestine and Syria to Makkah. After visiting Iraq, Shiraz and Mesopotamia he once more returned to perform the Hajj at Makkah and remained there for three years. Ibn Battutah visited China sixty years after Marco Polo and travelled 75,000 miles, much more than Marco Polo and less remembered than Marco Polo. Marco Polo in his travels had visited the sprawling cities and markets that even Christopher Columbus had not seen, which later revealed as the "parts of Asia". Ibn Battutah also informed about such undiscovered lands and added additional knowledge to the works of Marco Polo. Marco Polo arrived the Taklamakan desert (or Taim Basin), after passing through the views of Yarkand, Khotan, Cherchen, and Lop-Nor. It was Marco's ability as a traveler and writer that enabled him to observe and write even the most minute and unnoticeable details after just going through the glimpses. On the other hand one cannot ignore the travel efforts made by Ibn Battutah even at those circumstances at which his ships were wretched. Ibn Battutah after leading three years at Makkah once again packed up and after a visit to Jeddah he went to Yemen by sea, visited Aden and set sail for Mombasa, East Africa. After going up to Kulwa and touching Hormuz, Siraf, Bahrain and Yamama he came back to Oman. He revisited Cairo, Palestine and Syria, thereafter arriving at Aleya (Asia Minor) by sea and travelled across Anatolia and Sinope. He crossed the Black Sea and after long itinerant he reached Constantinople through Southern Ukraine. (A.S Chughtai, Ibn Battutah-The great traveller) He w as appointed as chief judge in Delhi, and later, the Sultan as his Ambassador sent him to the Mongol Emperor of China. This trip took him to the Maldives, Bengal, Assam, Sumatra, and finally to the Chinese city of Zaytun and possibly Beijing. He returned to Morocco in 1349. Marco was such a dare hearted traveler that he did not lack behind in exploration of the Gobi Desert,

Simplified Acquisition Procedures Research Paper

Simplified Acquisition Procedures - Research Paper Example The government report uses Simplified acquisitions to illustrate the approach that legalizes a test method that permits government purchasers to acquire profitable items that do not surpass a certain amount (Engelbeck, 2001, p. 29). 2. Describe the circumstances under which the government allows the use of the simplified acquisition procedures One of the conditions offered by the government concerning the use of the Simplified acquisitions is that the government able to validate purchases. Agency officials have been authorized to impose maximum amounts for purchases made. In 1996, the congress widened the use of simplified acquisitions by legalizing a test plan that permits buyers to purchase items that do not go beyond $5 million. As a result, the maximum price set was a requirement that all regime buyers had to follow up. Another condition is the permission of issuing a combined outline and solicitation. This solicitation procedure laid out the plans, procedures, buying modes and v endors to be used throughout the buying procedure. This way, the government would account for every dollar used in the transaction. The issuing procedure might have also needed proposal compliance in less than 45 days as would or else be needed (GAO, 2003, p.3). Government buyers would also be required to set up an official assessment plan or aggressive variety, carry out debates with dealers or achieve quotations or bids. Potential buying risks will be realized through this condition, and make the government less prone to losses or budget upheavals. Another condition that the government applied to all buyers under Simplified acquisitions was the minimization of the credentials needed to give strong reason for compensation decisions. The credentials used for such transactions consume lots of government expenditure, and Simplified acquisitions are one way for the government to reduce expenditure on subsidiary goods and services as such (GAO, 2003, p.2). Currently, the government issu es a test program to include contact procedures for all officers involved in the purchasing procedure. The government seeks maximum efficiency and saving with minimal expenses or financial burdens. Another condition that the government looks forward to is the adherence to the contract clauses prearranged by special documentation that limits administrative costs. This documentation has requirements arranged by FAR 12.3 with the aim of limiting occurrences of sole basis acquisitions. Simplified acquisitions also require a short written report of the processes of employed when compensating the contract file. Other compensations in the contract include the number of bids established, a description of the foundation of the contract reward assessment, and some validation for a sole basis acquisition (Engelbeck, 2001, p. 44). 3. Three examples of the simplified acquisition methods and where they might be appropriate in a government procurement contract An example of Simplified acquisitions techniques is a test plan employed by the government in January 1, 2004. The government used Simplified acquisitions to smoothen the flow of contracting vehicles that federal bureaus use for acquiring goods and services. The test program involved the use of delivery agreements between buyers and the sellers tor educe the chances of acquisition risk, and save time in the course of acquiring the items (GAO, 2003, p.3). Another example is the use of purchase cards that

Why is Marco Polo more popular than Ibn Battutah Essay

Why is Marco Polo more popular than Ibn Battutah - Essay Example Marco Polo's first journey was a trip to Cathay (China) at the age of seventeen with his father. While traveling towards China they passed through Armenia, Persia, and Afghanistan, over the Pamirs, and all along the Silk Road to China. During their journey they first made a wide swing to the North arriving to the southern Caucasus and the kingdom of Georgia. Then they journeyed along the regions parallel to the western shores of the Caspian Sea, reaching Tabriz and made their way south to Hormuz on the Persian Gulf. From Homurz to Kerman, passing Herat, Balkh, they arrived Badakhshan, where Marco Polo recovered from an illness and stayed there for a year. On the move again, they found themselves on "the highest place in the world, the Pamirs", with its name appeared in the history for the first time. Ibn Battutah on his first journey travelled through Algiers, Tunis, Egypt, Palestine and Syria to Makkah. After visiting Iraq, Shiraz and Mesopotamia he once more returned to perform the Hajj at Makkah and remained there for three years. Ibn Battutah visited China sixty years after Marco Polo and travelled 75,000 miles, much more than Marco Polo and less remembered than Marco Polo. Marco Polo in his travels had visited the sprawling cities and markets that even Christopher Columbus had not seen, which later revealed as the "parts of Asia". Ibn Battutah also informed about such undiscovered lands and added additional knowledge to the works of Marco Polo. Marco Polo arrived the Taklamakan desert (or Taim Basin), after passing through the views of Yarkand, Khotan, Cherchen, and Lop-Nor. It was Marco's ability as a traveler and writer that enabled him to observe and write even the most minute and unnoticeable details after just going through the glimpses. On the other hand one cannot ignore the travel efforts made by Ibn Battutah even at those circumstances at which his ships were wretched. Ibn Battutah after leading three years at Makkah once again packed up and after a visit to Jeddah he went to Yemen by sea, visited Aden and set sail for Mombasa, East Africa. After going up to Kulwa and touching Hormuz, Siraf, Bahrain and Yamama he came back to Oman. He revisited Cairo, Palestine and Syria, thereafter arriving at Aleya (Asia Minor) by sea and travelled across Anatolia and Sinope. He crossed the Black Sea and after long itinerant he reached Constantinople through Southern Ukraine. (A.S Chughtai, Ibn Battutah-The great traveller) He w as appointed as chief judge in Delhi, and later, the Sultan as his Ambassador sent him to the Mongol Emperor of China. This trip took him to the Maldives, Bengal, Assam, Sumatra, and finally to the Chinese city of Zaytun and possibly Beijing. He returned to Morocco in 1349. Marco was such a dare hearted traveler that he did not lack behind in exploration of the Gobi Desert,

INTRO LETTER Essay Example | Topics and Well Written Essays - 500 words

INTRO LETTER - Essay Example I believe that if I give you a breakdown of my typical day, you would better understand how my familial responsibilities have ultimately worked in my favour as a writer. I get up every day at 6 a.m., prepare the children for school and do housework until about 10 a.m. From then until 3 p.m. my time is my own and this time is writing time. Without fail, I go into my small makeshift writing room at 10 a.m. and do not emerge from it until 3 p.m. If I am working on a new concept, I generally spend about 5 days surfing the internet and reading up on it. Following the collection of the necessary data, I enter the development of the concept phase. This entails the exploration of the concept from several perspectives and a critical analysis of all these angels for determination of which one, or combination, I will pursue. After this particular decision is made, I enter the skeleton phase. This entails the drawing up of a skeleton of the project. I construct a comprehensive outline of the project and add details to every point and so know exactly where I am heading and how I am going to get there. The penultimate stage is the fleshing out stage. The writing begins at this point. Following my skeleton, I begin the writing of the project itself. When at this stage I often loose track of the time and often feel that if I donâ₠¬â„¢t adjust my alarm at 3 p.m. I would extend far beyond that. The final phase, the one which I find quite boring, is the revision stage. This entails a tremendous amount of reading through my working, revising, writing and rewriting. It is, however, a necessary stage and the one which distinguishes quality output from less than perfect ones. After the children come home from school, I am generally with them, supervising their homework and preparing supper, until 6 p.m., at which time my husband

Music Essays- Rave Culture Music

Music Essays- Rave Culture Music Rave Culture Music Since its emergence in the late 1980s, the subculture referred to as â€Å"rave† has become a significant global youth phenomenon. Postmodern scholars tend to treat the rave subculture as one of disappearance and pleasure. The â€Å"armchair† approach of postmodernists is inherently flawed because it fails to acknowledge the meaningful spiritual experiences of those attending raves. Scott R. Hutson’s â€Å"The Rave: Spiritual Healing in Modern Western Subcultures†introduces an opposing theory that raving is a spiritual practice wherein the symbolic processes embedded in culture create appropriate frameworks for healing. Gilbert Rouget’s conceptualization of trance and how it is managed in the ritual context provide the analytical foundations for this spiritual practice. This paper will analyze the role of the DJ as a leader of a possession trance ritual who â€Å"aided by key symbols, guides the ravers on an ecstatic journey to paradise- a pre-soci al state of non-differentiation and communitas† (Hutson 1999:54). Raves have increasingly become the focus of books, movies, and media coverage, and the culture has been the undercurrent behind some of the latest music and fashion trends. Described by Merchant and McDonald as â€Å"the most vibrant, popular and visible cultural expression of young people† (Merchant and McDonald 1994:16), rave culture has had such an enormous impact on the mainstream youth and popular culture that it is now often considered part of the mainstream. The electronic and rhythmically repetitive nature of the music, the long hours of dancing, the semi-legal secret location, and the ingestion of psychoactive substances, differentiate raves from other youth parties. When combined, these features are specifically designed to promote feelings of connectedness, spirituality, and a state of â€Å"ecstasy† among contemporary youth. At the heart of these proceedings one encounters the individual responsible for the success or failure of the event: the Disc-Jockey or DJ. Using equipment to manipulate the rhythm, sound, and lighting, the DJ guides individuals through a psychological journey of what some have described as healing, identity transformation, and spiritual growth. Get help with your essay from our expert essay writers A small body of recent publications on raves reflects the growing recognition that the rave scene provides a spiritual outlet for many contemporary youth. The DJ’s position within this culture as a spiritual leader and guide has also been noted. What is uncertain, however, is the specific nature of this role. Poschardt contends that the DJ’s tendency toward â€Å"laconic autism† has made him a difficult object of study that has â€Å"remained untouched by academic study† (Poschardt 1995:17). Similarly, Fikentscher observes that â€Å"his gradual rise in the hierarchy of the music industry has not been accompanied by a corresponding growth in academic literature† (Fikentscher 2000:33). Although similarities have been noted between the function of the DJ in the rave culture, and that of the shaman in traditional cultures, a precise and in-depth academic analysis of the DJ’s work is lacking. It is often assumed that what ravers experience during raves is â€Å"ecstasy,† but a definition or thorough investigation of this state of consciousness is lacking. Similarly, references to â€Å"trance† or hypnotic states are also presented as fact but explanations and interpretations of these states and how they are elicited are usually glossed over. Some authors appear to be completely baffled by the altered states of consciousness (ASC’s) encountered at raves, their position clearly illustrates a poor understanding of ASC phenomena. One author explains that â€Å"ravers move in a hypnotic delirium which has been described as a ‘trance dance.’ It is as if some sort of spell has been cast over them causing the throng to lose themselves in their own thoughts while the pounding of the music remains starkly unobtrusive† (MacDonald et al. 1998:243). Postmodern scholars seem to avoid the subject of ASC’s altogether, while acknowledging the ineffable quality of the experience as grounds for its exclusion from academic inquiry. Additionally, the DJ’s expertise and the symbiotic relationship he develops with the dancers has also been neglected, perhaps due to the embodied, performative, and intuitive elements under which these processes are informed. In an attempt to explain this neglect, Gerard states that â€Å"while the dance music press, insider accounts and testimonials from DJs and dancers suggested a fertile ground for investigation, scholars tended to avoid the dialectical possibilities inherent in performance analyses or phenomenologically inspired investigations by simply treating such interactions as somehow ineffable† (Gerard 2004:170). Another embodied element so central to raving is body movement, that is the dance experience, and as Malbon remarks â€Å"I note the reticence and/or inability of both clubbers and academics to discuss dancing† (Malbon 1999:71). It is probable that this reticence is partially rooted in the limitations of an â€Å"armchair† approach. It is obvious that many scholars of rave and club culture have never physically participated in the contexts they are writing about. This armchair methodology is addressed by Gerard and Sidnell who call for an approach that is instead framed in the â€Å"immediate:† Rather than attempting to extricate symbolic meanings or covert subcultural agendas, future studies of contemporary dance music would be best served from the dance floor and not the armchair. If as a number of authors have suggested, these music and dance spaces can be likened to ritual events, we should approach them as such-not by serving enactment from text, as Bruce Kapferer has cautioned, but by framing analysis in the immediate and locally organized contexts of performance (Gerard and Sidnell 2000:36). This paper is an investigation the precise function of the DJ within the rave culture. This involves an investigation of the DJ’s training, of his techniques of the mechanisms involved in inducing altered states of consciousness (ASC’s) in the rave context, of the experience of the participants with these states, and of the relationship between the DJ and rave participants. Much of the DJ’s elevated status and recent success has to do with the artistic license and technological innovations in music production that afford today’s DJs with seemingly limitless opportunities for creative development. This forces the DJ into a role as a paradoxical artist, a meta-musician whose performance is based on prerecorded music. The profession thus questions the traditional notion of live performance and as Poschardt states, â€Å"questions the traditional concept of the artist, blows it apart and re-establishes it in overhauled form† (Poschardt 1995:15-16). An emblematic figure of the postmodern era, the DJ has been likened to a writer, an editor, and even a weaver of mosaics and tapestries. This is largely due to the techniques of mixing, remixing, and sampling, procedures that make each performance spontaneous, unique, unexpected, and thus â€Å"live† as opposed to prerecorded. Combining two records is referred to as mixing, remixing in volves altering and therefore reinterpreting and existing song, and sampling consists of inserting any sound, musical passage, or rhythm into an existing track at any desired point. This is where the creative element and metaphor of the DJ as writer is relevant: I love the idea of continuous sampling: like remixing everything as you go so writing is like that. Just like you’re probably going to do edits, cuts and splice when you’re editing this tape, I mean you do that with language, even when you’re speaking, you’re always picking and choosing what words you’re using, the way you’re going to describe something so everything is a mix. I’m mainly a writer, DJ’ing to me†¦ every DJ is a writer, you’re using the urban landscape as your book, as your novel, as your text, so everything is writing (‘DJ Spooky’ in Reiss 1999). The ability to create new sounds and sample virtually anything also emphasizes the freedom of the artist. While there are â€Å"DJ schools,† information resources on the internet, and technical manuals available to those entering the DJ profession, most DJs are self-taught and the process of learning and refining skills for oneself seems to be the ultimate rite of passage into the trade. For the most part, DJs seem to frown upon professional schools that offer courses in DJ’ing, feeling that these schools are no more than the product of a recent fad. Most seemed to agree that experience and intuition are the greatest tools for learning available to an amateur, and these cannot be acquired in an academic institution. The notion of being self taught still allows DJs to be influenced by others or to have their careers assisted along the way. Fikentscher characterizes DJ’ing as an oral tradition where knowledge is passed down to new artists from the DJs that come before them (Fikentscher 2000:44). Like raves, DJs on the rise develop a following through word of mouth and the circulation of their music. At clubs and raves, the local and unknown DJs are given the opportunity to spin in the peripheral rooms while the headliner DJs spin in the main room. Through this kind of exposure, a DJ can develop a following and eventually graduate to the central room which houses the best lighting and sound equipment. DJs have also been known to collaborate with other musicians in producing records, and even tour with other DJs thus picking up techniques along the way. A DJ must have an extensive knowledge of music tracks and remember such details as the rhythm, the vocals, and key structure, so that the current song will be complementary to the track that it is being combined or sampled with. Just as many ravers note an alteration in the way they perceive Techno music through continued participation in the subculture, DJs also identified a change in their musical perception that is oriented toward the more technical aspects of the music. Evidence for this kind of neural entertainment is supported by the finding that the analytic left brain tends to dominate musical processing in trained musicians, whereas for the untrained it is the right hemisphere that dominates (Wilkinson 2000:1). While there has been considerable discussion surrounding MDMA or Ecstasy use as a prerequisite for fully understanding and appreciating electronic music, in contrast to the majority of rave-goers who advocate drug use to â€Å"get into† the music, all of the DJs interviewed in a study by Dr. Melanie L. Takahashi disagreed with this view. Although a majority had tried MDMA or other dance related drugs, the sentiment that the music combined with the skill of the DJ in its own right were enough to elicit an ASC appeared to dominate. The DJ’s adeptness for musical perception and producing musical triggers for trance states could explain the incongruity between DJs’ and participants’ views concerning drug use. All subjects interviewed performed their sets without taking drugs, the reason given being that these substances would negatively affect the concentration required to perform a live show. Instrumentalists of possession rituals are reported to not ingest psychoactives or enter into trance during performances for similar reasons. According to Rouget, â€Å"to do so would be incompatible with their function, which is to provide for hours on end and sometimes on several consecutive days, music whose execution must continuously adapt itself to the circumstances† (Rouget 1985:103-104). Rouget argues that these musicians must therefore be external to the cult, such that they are not vulnerable to the music, or they must be experienced adepts who are able to withstand the effects of the music (Rouget 1985:104). As the DJ is given the power to introduce the participants to an experience, it becomes increasingly important for the DJ to sustain the integrity of that experience. In Gerard’s 2004 article â€Å"Selecting Ritual: DJs, Dancers and Liminality in Underground Dance Music,† Gerard describes the importance of flow by framing the dance experience, and the process of mixing, as conduits for â€Å"liminality† as defined by Victor Turner (Turner 2003:176). The DJ employs what Gerard coins as â€Å"techniques of liminality† which create periods of uncertainty for the dancers following the resolution. When the flow is interrupted by poor mixing â€Å"the flash of spontaneous communitas is potentially threatened; dancers are often drawn out of their ecstatic state; they return to an increased awareness of both setting and self, and sometimes abandon the dance floor† (Gerard 2004: 176). In order to avoid losing experiential integrity, DJs function in a manner similar to instrumentalists in possession rituals by developing an intimate and symbiotic relationship with the dancers. The dancers’ ability to achieve an â€Å"ecstatic† state is dependent on the DJ’s stage presence, his proficiency in intuitively â€Å"reading† and responding to the crowd, and his ability to form a temporary bond with the dancers. Without these skills, the techniques of trance induction on their own right are generally inadequate for eliciting what participants call an â€Å"ecstatic† state. In ceremonial possession, the notion of performance is a central element to the ritual. Instrumentalists perform for an audience, and irrespective of an individual’s familiarity with the music, the trance state is only induced within the ritual context in the presence of others. Furthermore, additional aspects of raves that are paired with the music (i.e. lighting, psychoactives) are generally absent at home even though they play an important role in trance induction. Also absent outside of the rave context is the interpersonal relationship between the DJ and the participants. Similarly on the subject of possession rituals, Rouget emphasizes the importance of the connection between the instrumentalists and the dancers, stating â€Å"in order to induce trance in a particular person the priests and musicians establish a special relationship with him, make him an object of their ‘solicitude,’ address themselves to him in an exclusive way, and become at the same time very attentive to what he himself is feeling† (Rouget 1985:112). At raves, participants recognize that a DJ must be selfless in order to establish this special bond. Although most DJs have a general idea of the style of music and the songs that they will play, it is accepted that flexibility is more important, and this is particularly relevant for touring DJs who must also adapt to regional differences in music taste: I know the records that are good to start the evening, but I don’t prepare my set in advance. I watch and I react. I try to adapt. Every city is influenced by the people who initially created the scene. You have to adapt and still be true to yourself. In Germany, I play techno. In Belgium and Switzerland, it’s more funky tech house. In Spain, it’s predominantly techno, except in Barcelona and Ibiza where it’s house (‘Jack de Marseille’ in Huegli 2002:69). The active role of the crowd in shaping the mood and atmosphere of the party also favors a more spontaneous approach. It is believed that DJs who prioritize the tastes of the crowd over their own, are humble DJs and that this quality is a precondition to a â€Å"people’s DJ† (Brewster and Broughton 1999:11-12). Cues indicating a DJ’s humbleness that were remarked upon, are gestures suggesting appreciation and gratitude toward the crowd such as bowing, clapping, eye-contact, and smiling. These gestures also play an important role in breaking the artist/spectator barrier and this strengthens, and reifies the connection between the DJ and the dancers. Breaking the barrier between the artist and participant is another reason why DJ booths are centrally located at raves. It is important that the DJ see the dancers so that he can respond to them, and it is equally important for the participants to be in close physical proximity to the DJ, so that his personality and presence are able to come through: I don’t feel like I have to hide and say, â€Å"No one should see me when I DJ. It’s all about the music.† Bullshit! People always need someone they can connect to and they can identify with. I always felt that I could bring the music across in a more convincing way by using my personality. Because I give people an honest feeling. The most important thing is to see people standing happily on the dance floor in the end (Sven Vath in Huegli 2002:18). All of these factors are conducive to breaking the barrier between the DJ and the dancers. The communication that occurs between the two is much more than music, lyrics, and the dance movements, or what Rouget refers to as the â€Å"level of the code† (Rouget 1985:113). In reference to possession rituals, communication is established â€Å"at the personal level, the emotional level of direct person-to-person relationships† (Rouget 1985:113). The active role of the dancers also reinforces the dismantling of the barrier between the performer and audience, and this is where the concept of the feedback loop between the DJ and participants is relevant. As DJ Spooky puts it, â€Å"the DJ/audience relationship is like a symbiosis you know, it’s like a biological structure you know, I mean it’s like you are sending out information and pulses that the crowd in a way then sends back to you, and like you’re like a focal point of the energy of these gathered people† (Reiss 1999). There is also an emotional element involved in this symbiotic relationship which targets the DJ with responsibility for the emotions of the crowd of dancers. The DJ’s emotional state can be transmitted to the crowd through his music and consequently impacts the condition of the dancers. A DJ’s seeming lack of enthusiasm, his failure to make eye-contact, smile, or dance are indicators suggesting that he isn’t having a good time, and this has consequences on the crowd. While the crowd is sensitive to these nonverbal indicators of the DJ’s affective state, the DJ’s mental state can influence his choice of music, and this too will impact the experience of the dancers. While electronic music has been accused by some of being repetitive, bland, and even minimal, there is a strong correlation between the genres of Techno music and affect. For example, Terrorcore, Industrial Hardcore, Jungle, and Drum n’ Bass, are noted for bringing out aggressive and negative emotional states in some individuals. Bold, militant rhythmic patterns, sounds of machinery, people screaming, and vocals with coarse language, are the kinds of sounds attributed to some of these music styles. It is generally felt that the people who are looking to experience negativ e and aggressive states seek out these types of events. In contrast, Trance, House, and Happy Hardcore, are generally characterized by warm melodic styles and positive lyrics that are noted for engendering such feelings as love, a sense of well-being, connectedness, and spirituality among participants. Depending on his mood, the DJ can choose tracks with vocals and melodies that accentuate positive themes, or tracks with sounds and lyrics that concentrate on the darker aspects of life. This is why a participant’s sense of trust in the DJ is so important. It becomes evident that there is a shared feeling of uncertainty arising from the inability to pinpoint the DJ’s intentions: I realized that the DJ had POWER over me. I was basically prostituting for the DJ: I was a slave to what he had (the promise of the climax) and he was flexing his power and tweaking with me to see how much I could stretch myself out for it. It really scared me†¦ I think some DJs definitely hold the power of a cult in their turntables and in their speakers, and it’s really not something that I want to get down on my knees for. Just a thought, I’m not bagging here. I still think rave is one of the best things the 20th century has to offer, but I think that if left unchecked, it could turn on us (cited in Takahashi and Olaveson 2003:86). At raves, the trance state is very much dependent on the individual’s willingness to let go and trust the DJ in allowing him to guide the nature of his or her experience. One DJ regards the dancers as having a responsibility to meet him half way, â€Å"As long as they are open for a while and let themselves go, they have the opportunity to feel things the way I intended them to† (Heiko Laux, in Huegli 2002). Here again, the similarities between possession rituals and raves are apparent. Rouget characterizes the relation of the possessee to the musicians as â€Å"the submission of the former to the latter† (Rouget 1985:112). The following description of the ndop ceremony highlights many of these striking resemblances including the instrumentalist’s ability to observe and respond to the dancers’ movements, and the bond established between the two: In fact, a close interpersonal relationship develops at this point between drummer and possessee. The drummer takes charge of her, so to speak. Keeping very close to her, never leaving her side, concentrating on her slightest movements, incessantly observing her behavior in order to: speed up the tempo, or, on the contrary, relax it; select the necessary types of beat; and adjust the intensity of the stroke. Communicating the rhythm of the dance to her, he holds the possessed woman in his sway and leads her into the ever more violent whirlwind of his music. But if he is able to lead her in this way, and finally guide her where he wishes, it is because he has been able to establish a close understanding with her. It is because he can follow her that he is able to dominate her and impose his will upon her. He is the master of the game, but within a dialogue. He speaks music and she replies dance (Rouget 1985:112). The theme of submission is also apparent in possession ceremonies in relation to the spirit beings that possess cult members. In the case of Haitian Vodou, for example, Bourguignon highlights extreme passivity as one of the prerequisites for trance induction: However, one aspect of submission-dominance seems of importance in relation to possession trance: in person, as we have seen, is said to be â€Å"mounted† by the spirit, to be his â€Å"horse.† The personality of the individual, one of his souls called â€Å"gros bon ange,† is displaced and the body is taken over by the spirit. In other words, there is total subjection to the spirit and total submission to him (or her). The spirit, as a powerful superhuman entity, can do as he pleases, both with the horse he has mounted and with other human beings present. We thus have an expression of extreme passivity in this interpretation of possession trance (Bourguignon 1976:40). At raves, references to the power of music in directing the body are reminiscent of possession’s horse and rider metaphor. According to Sylvan, these accounts of submitting to the music â€Å"suggest a trance state very similar to possession, in which music becomes the rider and the body becomes the horse, but without reference to any specific possessing spirit† (Sylvan 2002:129). In the rave locale, the DJ is equally influenced by the emotions of the crowd, where participant feedback is transmitted at the visceral level. While it is not unusual for participants to demonstrate their admiration for a DJ by whistling or chanting his name, for the most part, crowd feedback is nonverbal. Occurring as sets of coordinated body techniques that all ravers seem to intuitively know and all DJs can follow, these moves are acquired at the corporal level and most ravers seem to be unconscious or unaware of these movements. The responses to the DJ are well coordinated from an observer’s point of view. Fikentscher calls the sum of individual dancing bodies the â€Å"collective performance† wherein the bodies of the dancers can potentially unite to form â€Å"one musical instrument† (Fikentscher 2000:58-59). As McCall suggests, this process is mediated by dancers’ observation of subconscious cues. These cues create a system where â€Å"people are helping each other dance without knowing it, feeding off the collective anticipation for that moment of synergy where it feels like utter madness: cheers, claps, whistles, hands in the air. Suddenly everyone is dancing in unison† (McCall 2001:93). When the dancers are in sync with one another, the boundaries between individuals seem to vanish as the crowd appears to function as one organism (McCall 2001:95). This process of synchronization also encompasses the entry into a collective psychic space. In Music and Trance: A Theory of the Relations Between Music and Possession, Rouget emphasizes that rituals of possession are embedded within rich cultural traditions wherein trance is a learned and culturally patterned process. In these traditions, the musical motifs, instruments, and dance steps are localized to specific gods and myths, and thus the music operates as â€Å"the principal means of socializing trance† (Rouget 1985:323). Rouget argues that it is the possessee’s ability to identify emotionally with the music and dancing as signifiers of cultural knowledge, that enables him to enter the trance state. This is where electronic music departs from possession music. Although raves are emotionally charged events, the music and dance movements are not rooted in a specific cultural tradition other than rave. Nevertheless, there is an inherent power in the music to evoke extraordinary states of consciousness and this is where the universal agents involved in trigger ing trance are paramount. DJs have not only utilized these mechanisms to induce trance among participants, but the available technology in sound and music production has given artists the means to refine these practices into a science of precision. To a certain extent, these technological advancements compensate for the lack of cultural signifiers, as DJs have access to a range of equipment that is clearly absent in ceremonial possession. Electronic music producers are creating works that are intended to elicit specific states in the brain, and advancements in sound and visual effects at raves create the optimal listening environment for these tracks. Even though the sophisticated scripted process of initiation as observed in ceremonial possession is lacking at raves, these features when combined with the DJ’s proficiency in track selection and crowd interaction, and the learning on the part of participants in recognizing and responding to the DJ’s cues, account for the ASC’s that people are reporting at raves. Many DJs as well as experienced rave participants have developed their senses in such a way that they perceive Techno music differently than those who have never been exposed to it. This shift in musical perception is a learned by-product of repeatedly exposing the auditory system to new stimuli, and this transition is a key part of the scripted process as well as a prerequisite to ASC induction. For DJs and their fans, listening entertainment is only a small part of the electronic music scene. Specifically, the tones, frequencies and beats of electronic music are designed by producers and further refined by DJs to target the body in precise ways. Electronic music is intended to be physically experienced and this is evinced by the fact that many veterans of the rave scene describe the music as having a three-dimensional vibrational quality that transcends the traditional way music is perceived. The body-centered quality of the music is deeply intrinsic to electronic music culture and this is the common thread that links the numerous classifications of rave music. Computer technology has provided the DJ with the power to totally control the means of perception at raves. Whereas â€Å"the tonalities and structures of traditional music are limited by the parameters of the instruments on which they are played† electronic music â€Å"sets tonality loose releasing creativity from the discipline-and exclusivity-of musicianship† (Hemment 1997:29). As Gauthier remarks, â€Å"Techno becomes a presence that cannot be ignored-more, it is a shock whose intensity is only matched by the body’s urge to give in to it, an aggression made positive through the festive context† (Gauthier 2004:75). The dominance of the music is also supported by the high volume of the music. According to Fikentscher, this ensures the authority of the DJ as the music establishes â€Å"absolute priority over other acoustic phenomena: conversation, handclapping, foot stomping, yelling, whistling† (Fikentscher 2003:85). Some electronic musicians are even experimenting with sounds that go beyond the human auditory range. Fritz argues that sounds that vibrate through the body without being heard â€Å"may be partly responsible for the powerful emotional response people have when listening to rave music† (Fritz 1999:78). While the majority of DJs are not necessarily versed in the scientific literature on trance states, or use scientific language to describe what they do, there is an underlying intuitive knowledge of what works with the crowd at raves. Rouget observes that an interruption in the music’s flow is used cross-culturally to induce trance. Such catalysts as the acceleration of tempo, the crescendo in volume, the use of polyrhythm, rhythmic changes such as syncopation, and even a brief cessation of the music, are techniques that interrupt the music’s flow, triggering trance (Rouget 1985:80-84). Rouget notes that most possession ceremonies begin slowly, gradually intensifying throughout the evening with the onset of possession being the climax of the event (ibid 1985:80-84). The methods implemented by instrumentalists in interrupting the music’s flow function to intensify the sound and atmosphere of possession rituals. With electronic music, the idea of tension and releas e is a built-in characteristic of all classifications of rave music. Thus while Trance, Jungle, and House may differ with regard to tempo, meter, instrumentation, and use of lyrics, the same techniques of building tension are employed by DJs in all three genres. As Reynolds notes â€Å"rave music has always been structured around the delay of climax† and the anticipation of a â€Å"plateau of bliss that can be neither exceeded nor released† (Reynolds 1994:56). This paper examined the role of the electronic music DJ, and how DJ’ing has evolved into an art-from as well as a science. Technology has played a pivotal role in shaping the development of rave culture. At its core, the music that binds this global culture together is created, exchanged, performed, and experienced through computer-mediated technology. According to Wilson, â€Å"a reverence to and celebration of technology, and an implicit and explicit belief in ‘progress through technology,’† is one of the underlying doctrines of rave culture (Wilson 2003:386). As Gauthier remarks in reference to rave culture, â€Å"technology is synonymous with possibility, and stands as a prerequisite for creation, gathering and effervescence† (Gauthier 2004:71). Raves would be crippled without technology and this reinforces Reynolds’ point that rave music is not about â€Å"what the music ‘means’ but how it works† (Reynolds 1998:9). The DJ is the expert in knowing how electronic music works. His expansive knowledge of repertoire, aptitude for musical memory, technical prowess at the turntable, charismatic presence on stage, and ability to interact with, read, and manipulate the crowd, have awarded him the power to take his dancers on what participants have described as an â€Å"ecstatic† journey.

Desconstruction of the Moderinistic Myth in Quinns Ishmael :: Quinn Ishmael Essays

Desconstruction of the Moderinistic Myth in Ishmael When I read Daniel Quinn’s works, Ishmael, Providence, The Story of B, and My Ishmael, I find a common theme woven throughout which is to desconstruct the moderinistic myth that we are apart from nature and therefore not subject to natural law. I don’t find Quinn’s ideas to be much different from what I read into David Orr’s Earth in Mind or David Ehrenfeld’s books Beginning Again and The Arrogance of Humanism. I doubt that Quinn, as a writer, thinks for one minute that we are no different from other species who inhabit Earth. Language separates us, and writers probably know that better than the rest of us. Maybe I shouldn’t have grabbed his quotes out of context. Or maybe you had some other reason to be so quick to criticize Quinn. If the use of the word â€Å"stewardship† really â€Å"instills a healthy dose of love and responsibility for the natural world,† as you suggest it does, I don’t believe Quinn or Ehrenfeld or Orr would have many problems with our using it as platform for discussion to move forward. But I suspect that all three writers are fearful that most of us don’t differentiate between â€Å"stewardship† and â€Å"dominion,† also that our â€Å"stewardship† will likely not be practiced with enough humility--e.g. use of â€Å"precautionary principles,† recognition of how little we really know--to make it a useful starting point. If we stay with "stewardship" it will be up to us to prove them wrong. Assuming, of course, that they would agree with what I’ve alleged on their behalf. Does this mean we ought to throw away science or management, or even abandon the word â€Å"stewardship?† No, at least "no" with regard to science and management. I still wonder about our choice to use the word â€Å"stewardship.† Mostly I’m OK with it, but only if we take time to work through the baggage it carries. Mainly, though, we need to challenge theories, assumptions, and try to make sure they are grounded. â€Å"Grounding† theory and practice in pluralistic reality is what my favorite postmodern writers seem to be challenging us to do. But herein hides a problem. My problem. Perhaps the writers I am referring to – Anderson, Borgmann (Crossing the Postmodern Divide), Ehrenfeld, Merchant (The Death of Nature, Ecology: Key Concepts in Critical Theory), Orr, Quinn and others – don’t fit the label â€Å"postmodern deconstructionists. Desconstruction of the Moderinistic Myth in Quinn's Ishmael :: Quinn Ishmael Essays Desconstruction of the Moderinistic Myth in Ishmael When I read Daniel Quinn’s works, Ishmael, Providence, The Story of B, and My Ishmael, I find a common theme woven throughout which is to desconstruct the moderinistic myth that we are apart from nature and therefore not subject to natural law. I don’t find Quinn’s ideas to be much different from what I read into David Orr’s Earth in Mind or David Ehrenfeld’s books Beginning Again and The Arrogance of Humanism. I doubt that Quinn, as a writer, thinks for one minute that we are no different from other species who inhabit Earth. Language separates us, and writers probably know that better than the rest of us. Maybe I shouldn’t have grabbed his quotes out of context. Or maybe you had some other reason to be so quick to criticize Quinn. If the use of the word â€Å"stewardship† really â€Å"instills a healthy dose of love and responsibility for the natural world,† as you suggest it does, I don’t believe Quinn or Ehrenfeld or Orr would have many problems with our using it as platform for discussion to move forward. But I suspect that all three writers are fearful that most of us don’t differentiate between â€Å"stewardship† and â€Å"dominion,† also that our â€Å"stewardship† will likely not be practiced with enough humility--e.g. use of â€Å"precautionary principles,† recognition of how little we really know--to make it a useful starting point. If we stay with "stewardship" it will be up to us to prove them wrong. Assuming, of course, that they would agree with what I’ve alleged on their behalf. Does this mean we ought to throw away science or management, or even abandon the word â€Å"stewardship?† No, at least "no" with regard to science and management. I still wonder about our choice to use the word â€Å"stewardship.† Mostly I’m OK with it, but only if we take time to work through the baggage it carries. Mainly, though, we need to challenge theories, assumptions, and try to make sure they are grounded. â€Å"Grounding† theory and practice in pluralistic reality is what my favorite postmodern writers seem to be challenging us to do. But herein hides a problem. My problem. Perhaps the writers I am referring to – Anderson, Borgmann (Crossing the Postmodern Divide), Ehrenfeld, Merchant (The Death of Nature, Ecology: Key Concepts in Critical Theory), Orr, Quinn and others – don’t fit the label â€Å"postmodern deconstructionists.

Tourism :: essays papers

Tourism In truth, the attributes of tourism have changed rapidly during the twentieth century. Today, it is virtually impossible even to avoid the effect that the tourism industry has on the world. On the following lines I shall in an explaining voice treat the subject of tourism and I wager you'll find it rather interesting. First and for most; Why do we become tourists? What is this incredible force which drives us to leave the safe shelter of our homes to travel to places some times thousands of miles from our native lands? Well, in order to answer that, we need to find out the benefits of tourism. It's usually us people from the richer countries in the west that travel abroad as tourists. This became possible during the early twentieth century, when the industrial revolution had reached most western countries in a big way, and the governments had begun to get more and more democratic. They started to have governmental foundings with the intention of giving people who worked in different sectors their wages in sp Although, most Americans would probably not be so negative about it. The American Dream that influences their society speaks for the strength of the individual. That is, if you really want to be rich, you can be, as long as you're not afraid of working hard. So, people obviously like being tourists, and the even more obvious reasons for that can be the need for something different to occur in ones life, not always being stuck in the same old tracks, over and over again. Or, that we need to relax, which you apparently can't do at home, only abroad. One classic reason for tourism is of course that it is a social benefit; You'll get a lot of attention from people back home both before and after the journey, which indeed can be just as much, if not more of a pleasure then the holiday itself. Tourism, according to the Department of National Heritage, apparently outnumbers most any other line of business, from construction industry to raising cattle. Today, it is more or less well known to people that tourism has grown to massive proportions, being almost the largest industry in the world. This of course brings along with it heaps of problems, connected to the fact that where there is money to be earned (and thus power to be controlled), man has neither moral nor restrictions to prevent her from doing just about all she can to exploit that source of wealth. In the compendium, there is an article from the Morning Star that talks about how people in the 70s