John Rawls Philosophy of Liberalism Strengths and Weaknesses

Introduction John Rawls have developed a comprehensive theory that can be useful in addressing contemporary issues. One of the major advantages of his theory is that it contains major principles that can be applicable nowadays.Advertising We will write a custom essay sample on John Rawls’ Philosophy of Liberalism: Strengths and Weaknesses specifically for you for only $16.05 $11/page Learn More Rawls’ philosophy can be used when addressing the contemporary issues associated with unequal distribution of resources. It is also necessary to note that Rawls’ philosophy of liberalism is based on principles of justice, but there are still certain weaknesses in the theory. Strengths of Rawls’ Philosophy As has been mentioned above the philosophy can have specific implications in the contemporary society. The major strength of the philosophy is that it provides people with a specific tool to avoid any bias. The â€Å"veil of ignorance † is an effective way to develop certain principles to govern a society (Shaw Barry, 2012). Thus, people will never create an authoritarian society as the odds to be in the unfavorable position are too high. Thanks to the veil of ignorance, people will try to create the society where the less well-to-do people will have all possible rights. Apart from rights, these groups of people will have numerous opportunities, which will secure realization of potential of the most active and gifted people.Advertising Looking for essay on philosophy? Let's see if we can help you! Get your first paper with 15% OFF Learn More Admittedly, the present philosophy can become a good solution to the existing issues associated with unequal distribution of resources. Now less well-to-do people have few opportunities compared to more well-to-do groups. Notably, this is one of the major issues associated with unequal distribution of resources which leads to gradual degradation as only r estricted number of innovation occurs. Rawls’ philosophy addresses the problem of the lack of opportunities. Another strength of the philosophy is that it does not ignore inequality which is a characteristic feature of the human society. On the contrary, Rawls justifies it and even proves that inequality is one of the factors contributing to development of the human society. Rawls develops a model of society where the least well-to-do groups will have more resources, rights and opportunities than those in an imaginary society where all are equal. Therefore, there is no need in trying to diminish inequality, which is simply impossible. According to Rawls’ philosophy, people can focus on creating a society where inequality is a tool of development. The Major Weakness of Rawls’ Philosophy As has been mentioned above, there is certain weakness in the philosophy. Thus, there are quite few tools to maintain the new order. According to Rawls’s philosophy, equali ty is impossible as people are ‘victims’ of a â€Å"genetic lottery† (Shaw Barry, 2012, p. 126). Some people will inevitably accumulate more resources and there is no guarantee that these people will remain following the principles worked out. More well-to-do-people can deprive less well-to-do people of their rights and, more importantly, opportunities.Advertising We will write a custom essay sample on John Rawls’ Philosophy of Liberalism: Strengths and Weaknesses specifically for you for only $16.05 $11/page Learn More Conclusion It is possible to note that Rawls’ philosophy can be applicable in the contemporary world as it addresses major issues associated with unequal distribution of resources. Justification of inequality can be regarded as one of the major strengths of the philosophy. At the same time, the absence of tools to maintain the created society is one of its major weaknesses. Of course, the philosophy has strengths and weaknesses, but it is important to note that it is a valuable source of knowledge that can be used to address major issues associated with unequal distribution of resources in the contemporary world, which leads to certain degradation of the human society. Reference List Shaw, W.H. Barry, V. (2012). Moral issues in business. Belmont, CA: Wadsworth Publishing. This essay on John Rawls’ Philosophy of Liberalism: Strengths and Weaknesses was written and submitted by user Helen Lamb to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

The Life Of Charles Dickens Essays - Charles Dickens, Free Essays

The Life Of Charles Dickens Essays - Charles Dickens, Free Essays The Life of Charles Dickens INTRODUCTION This report will talk about the life of a famous author, Charles Dickens. It will tell you about his early, middle, and later years of his life. It will also talk about one of his great works of literature. In conclusion, this report will show a comparison of his work to his life. EARLY LIFE Charles Dickens was born at Landport, in Portsea, on February 7, 1812. His father was a clerk in the Navy Pay-Office, and was temporarily on duty in the neighborhood when Charles was born. His name was John Dickens. He spent time in prison for debts. But, even when he was free he lacked the money to support his family. Then, when Charles was two they moved to London. 1 Just before he started to toddle, he stepped into the glare of footlights. He never stepped out of it until he died. He was a good man, as men go in the bewildering world of ours, brave, transparent, tender-hearted, and honorable. Dickens was always a little too irritable because he was a little too happy. Like the over-wrought child in society, he was splendidly sociable, and in and yet sometimes quarrelsome. In all the practical relations of his life he was what the child is at a party, genuinely delighted, delightful, affectionate and happy, and in some strange way fundamentally sad and dangerously close to tears. 2 At the age of 12 Charles worked in a London factory pasting labels on bottles of shoe polish. He held the job only for a few months, but the misery of the experience remain with him all his life. 3 Dickens attended school off and on until he was 15, and then left for good. He enjoyed reading and was especially fond of adventure stories, fairy tales, and novels. He was influenced by such earlier English writers as William Shakespeare, Tobias Smollet, and Henry Fielding. However, most of the knowledge he later used as an author came from his environment around him. 4 MIDDLE LIFE Dickens became a newspaper writer and reporter in the late 1820's. He specialized in covering debates in Parliament, and also wrote feature articles. His work as a reporter sharpened his naturally keen ear for conversation and helped develop his skill in portraying his characters speach realistically. It also increased his ability to observe and to write swiftly and clearly. Dickens' first book, Sketches by Boz (1836) consisted of articles he wrote for the Monthly Magazine and the London Evening Chronicles.5 On April 2, 1836 he married Catherine Hogarth. This was just a few days before the anoucement that on the 31st he would have his first work printed in The Posthumous Papers of the Pickwick Club. And this was the beginning of his career. 6 Then, at 24, Dickens became famous and was so until he died. He won his first literary fame with The Posthumous Papers of the Pickwick Club. Published in monthly parts in 1836 and 1837 the book describes the humorous adventure and misadventures of the English Countryside. After a slow start, The Pickwick Papers as the book was usually called gained a popularity seldom matched in the history of literature. 7 Then in 1837, Catherine's sister Mary, died. Because of her death Dickens' suffered a lot of grief. This led some scholars to believe that Dickens loved Mary more than Catherine. Catherine was a good woman but she lacked intelligence. Dickens and Catherine had 10 children. Then later in 1858, the couple seperated. 8 LATER LIFE His later years was basically consisting of two main additions to his previous activites. The first was a series of public readings and lectures which he began giving it systematically. And second, he was a successive editor. Dickens had been many things in his life; he was a reporter , an actor, a conjurer, a poet, a lecturer, and a editor and he enjoyed all of those things. 9 Dickens had a remarkable mental and physical energy. He recorded all his activites in thousands of letter, many of which made delightful readings. He spent much of his later life with crowded social friends from arts and literature. He also went to the theater as often as he could,

M6A2 LTABC Essay Example | Topics and Well Written Essays - 750 words

M6A2 LTABC - Essay Example Resistance to change is tridimensional in nature, encompassing cognitive, behavioral, and affective human components or attitudes that inhibit the change process (Hammer, 2006). Examples of Resistance to Change in an Organization The organization under study has experienced regular resistance to changes that border on employees’ intrinsic rewards. The organization had proposed changes that would result in redefining of the employees’ tasks and alter their current job positions. According to the resisting employees, any attempt to transfer employees to less interesting, less challenging and less autonomous employment positions would lead to negative change evaluation and erroneous evaluation on employee performances. Cognitively, a decrease in challenges and autonomy would also lead to negative emotional response. According to opposing employees, individual well-being is to some extent influenced by an organization’s ability to satisfy individual intrinsic needs i ncluding self-determination and autonomy (Brown, 2005). Example two Changes in prestige and powers have as well encountered consistent resistance from employees who feel less rewarded in the process. In the organization under study, the power and prestige changes proposed the alteration in power allocation where some people were to be assigned some influential positions while others were expected to be downgraded. Some leadership positions were also projected to get more privileges than others. According to employees, the power organization changes as well as political ramifications were the major causes for negative evaluation of individual performances. Additionally, power relegation was equated to negative impacts on individual’s behavior (Brown, 2005). Comparison of the Two Examples against the Theory on Resistance to Change In his Life Space Theory, Lewin evaluated the interaction between the environment and individual needs. According to his theory, people try to mainta in a balance between their needs and the environment. When this balance is compromised or disturbed, stress is developed and individuals are forced to restore the balance (Schultz & Schultz, 2004). In example one, an attempt to redefine the position destabilized the employees balance with their environment, leading to resistance. In example two, an attempt to deny people their coveted powers and prestige created stresses that required immediate action to restore normalcy with the environment. Additionally, Lewin observed organizational changes as based on three main steps. The initial step is unfreezing step where employees are trained to understand the need for organizational change. Secondly, employees need to undergo a work change training program based on a structured plan (Williams, 2006). The final step is refreezing, which involves the institutionalization of the new behaviors and structures. In the two examples, the organization management did not follow the required steps a s stipulated by Lewin’s theory, advancing change resistance Happenings in the Organization under Study The organization under study does not entirely understand the procedure required in

Madame Edwarda by Georges Bataille Essay Example | Topics and Well Written Essays - 2000 words

Madame Edwarda by Georges Bataille - Essay Example Madame Edwarda gives us an accurate introduction to Bataille’s work, where sometimes opposite feelings are combined to describe human state and his connections to higher thoughts. Whether violence is expressed through the narrator or Madame Edwarda’s character, it will give us different point of views. It will also help us understand the connection between violence and erotic that Bataille seems to convey through his work.  Ã‚   The first encounter between the narrator and Madame Edwarda, as presented before, is wordless. As soon as the narrator finished kissing and touching Madame Edwarda, he felt like something high above froze him and he â€Å"became unhappy and felt painfully forsaken, as one is when in the presence of GOD†. The consequence of this sadness was the narrator fear of losing the pleasure he was planning to have with Edwarda and his need to destroy the objects that were surrounding him.  In Georges Bataille: Essential Writings edited by Michae l Richardson , we are explained Bataille’s interest in death and sexuality as they are both manifestation of Bataille’s theory of man’s obsession to nature on which he bases most of his fictional work, historical and social analysis and mystical theory. Nevertheless, death and sexuality are contradictory to social life as they are both founded on taboos and prohibitions. In that first passage, we are clearly shown the basis of Bataille’s theory as the narrator feels sadness in the will of having a relation with a prostitute. It is a direct result of the social taboos linked to society

Feminist and Post-Colonal Theory on a literary text Essay

Feminist and Post-Colonal Theory on a literary text - Essay Example This essay demonstrates that every culture had a way to resist the epic changes that were being imposed by the British Government. And in this story â€Å"Good Advice is Rarer than Rubies† (Rushdie). We see this resistance by the way the way men treat their women in Indian settings. Even though they are modernized they still practice their traditions like arranged marriages and the women also wear the veils except our main character Rehana and some other few women she points out.This essay demonstrates that every culture had a way to resist the epic changes that were being imposed by the British Government. And in this story â€Å"Good Advice is Rarer than Rubies† (Rushdie). We see this resistance by the way the way men treat their women in Indian settings. Even though they are modernized they still practice their traditions like arranged marriages and the women also wear the veils except our main character Rehana and some other few women she points out. In the story al ong a line is described outside the British consulate, this is symbolic of Euro-centrism that those people think that England is better to live in than India (Rushdie). Rehana surprises Muhammad Ali by turning down his offer of a free British visa. She also fails her exams on purpose, and when Ali asks her, she says, â€Å"there are some boys who need me† (Rushdie). Rehana symbolizes resistance to a new culture and thinking.   This paper makes a conclusion that the way the women are interrogated in the British consul symbolizes neo-colonialism (Forster).

Scorsese And His Use Of Red

Scorsese And His Use Of Red The eminent and much revered director Martin Scorsese first achieved critical acclaim with his 1973 picture, Mean Streets. The film was an independent production which also began his long standing collaboration with the actor Robert DeNiro. Without major studio backing, Scorsese operated with a very small budget, yet he overcame this setback with exceptionally strong acting creative and performances, powerful and striking visuals. Mean Streets is a brutal, moody and sharply detailed story about life in New York Citys Little Italy, as seen through the experiences of a group of small time hoodlums. Scorsese brings his own obsessions into all his movies, and Mean Streets is no exception. His ambivalence towards group and family loyalties, macho values, and the notion of success and the price it demands are all evident, helping to set up the unstable, confused and destructive world of the film, and in particular the main protagonist Charlie. Vital to the creation of this world is the rec urrent incorporation of the colour red into the mise en scene. Different colours has been used as a filmic code by numerous directors however this was not possible until colour film was technologically feasible, As a code, colour takes its cue from social codes: red is associated with passion and violence; blue with coolness and melancholy (Lacey: 38). One of the ways in which colour is used is to focus the audiences awareness within the mise en scene. It is done with bright colours, which draw the eye more than pastel shades. Colour is obviously linked with lighting. Film directors may suffuse their film with a particular coloured light: red in Taxi Driver [à ¢Ã¢â€š ¬Ã‚ ¦] and blue in Blue Steel (1989, Kathryn Bigelow). The effect of this is to link various themes in the film. (38 Lacey) The colour red has a instinctive impact when we first see it, not just in the form of blood, but also on fire trucks, stop signs, police lights and stoplights. Red lights constantly indicate warning and or danger unless they are in a red light district, where they imply a different kind of prohibited activity as seen in Taxi Driver. Scorsese frequently encoded the colour red into his films for many reasons. On the New York, New York special edition DVD introduction, he said that his codification was influenced by the films of the Classical Hollywood period which had the stamp of Hollywood of the 1940s and 1950s. Some of things he mentions are: the artifice of the film, the sets themselves, the obvious sets, sometimes the sets were painted, you could see it wasnt real. The street kerbs that were supposed to be in New York were too high. [à ¢Ã¢â€š ¬Ã‚ ¦] But we understood it to be a different kind of reality, a parallel universe in a way, to the reality I knew [à ¢Ã¢â€š ¬Ã‚ ¦] in the streets or at home. That didnt mean that the films are any less true, you see. And that doesnt necessarily mean that, because theyre coded in a sense [à ¢Ã¢â€š ¬Ã‚ ¦] a code that occurs. The happy endings werent quite realistic or true. There was something else going on emotionally in those films that were very true to the human condition. I tried to bring that out, but place it against and upon the old template. I decided the way to handle New York, New York would be to deal with the artifice right up front. As you can see from his interview is that he was implying that his films were heavily coded just like the films from the Classical Hollywood period. In this paper I will attempt to decode his films with principal emphasis on his use of the colour red. Scorseses profound stylised use of the colour red was inspired by The Red Shoes (1948, Michael Powell, Emeric Pressburger) which is included his Top Ten English Language Film List which exemplifies the use of light and color.[1] In an interview Scorsese remarked that the use of color in the movie isnt realistic. But it really reflects the heightened world of the ballet, the heightened world of theater. Color is always something that is going to be an aesthetic comment, no matter how you do it.[2] It is very clear, as the use of red in the film is very dominant in The Red Shoes. Such as the theatre curtains are red and so are Vicki Pages hair. The color exhibits a sexual power and an artistic passion. (LoBrutto: 29) The use of red in the film therefore does not represent sin or violence like in some of Scorseses films. The colour red connotes numerous diverse meanings, one of most well-known being alarm or danger, perhaps it is because it is the colour of blood. During the first few scenes in Mean Streets, Scorsese introducers us to the four main characters by colour coding their clothing. Firstly, Tony, who we see walking into the toilets of his own bar, where much of the action takes place, we notice on him, moments before he uses force to remove a heroin user from the toilets, and attacking a drug pusher a prominent red shirt. This subtly demonstrates his harsh, violent nature, and unites him with the bright red Hell that is his bar and his world. In other words his red shirt coordinates with the infernal red glow of his bar, denoting his sinful, damaging existence within its realm. After all, only a man of perilous intent with a taste for danger would fulfil his dream of caging a pet lion and a panther in his basement, illegally or not. Furthermore, the distinctive red shirt worn by Johnny Boy introduces him in a similar light to Tony, as a dangerous, unyielding individual. His mindless prank of exploding a red mail box immediately after he appears on screen only reinforces his reckless character suggested by the shirt, and unites him with the malevolent life of Tonys bar. Additionally in Mean Streets, Michaels superior involvement within the group of friends is signified by his striking red tie. The garment itself connotes his strong business aspirations and his destination for higher things, probably as a third rank mafia hood, whereas the colour connotes his brutal, dangerous nature, the result of which being the eventual bloodbath that marks the films ending. Indeed, one could not examine the colour red in Mean Streets and ignore the extensive use of blood in the films final sequence. In contrast to the other three characters, when we first see Charlie, he is wearing a white vest which subliminally separates him from everyone else. The first shot of the film is of Charlie waking up; as he stands up and walks across to his mirror we see two crosses. Firstly the one he is wearing around his neck and the second on his wall. This Christian symbolism, together with his white vest symbolises his purity. Through out the film Charlie comes across people who are wearing red and tempt him into sin. This is best exemplified by the black dancer in Tonys bar who is wearing nothing apart from red underwear. The close up shot of the red underwear worn by the dancer on stage reinforces the moral dilemma Charlie faces between his religion and his social aspirations. The existence of this red underwear present, in Scorseses terms, the notion of her being a whore as opposed to the virginal white dress worn by Vickie in Raging Bull, or Betsy in Taxi Driver, who appeared like an angel, or even Charlies white vest at the beginning of the film. The red underwear implies that the girl is immediately connected to the immoral world of Mean Streets, and therefore brands her a whore. However, the red also connotes Charlies obvious desire for the girl, an emotion strong enough for him to dance with her. Nevertheless, the dance is immediately followed by Charlies own penance of burning his finger on naked flame, a ritual of his we are first introduced to in the opening scene in the church, which again reminds us of how his religion has helped confuse his moral state of mind. Indeed, Charlies Catholic upbringing contributes greatly to his rejection of the black dancer from Tonys bar, even though he desires her. Comparably, J.D.s Catholic persuasion leads to his rejection of The Girl from Whos That Knocking At My Door, which is due to his need for a virginal bride. This example is particularly harsh, as his refusal is a consequence of her previous rape, which in his eyes means she is a whore. Whos That Knocking at My Door and Raging Bull play like diagnostics of the Madonna/Whore complex. The black and white cinematography only heightens the sexual stereotyping. As I have mentioned above that Vickie in Raging Bull, or Betsy in Taxi Driver wear white, Scorsese makes all his blondes wear white when we first see them in his films, such as Sharon Stone in Casino. The white clothing adds t o their virtuousness and virginal aesthetics before they are corrupted by the main male protagonists- very often played by DeNiro himself. The blonde in a white clothing could also be a reference to Alfred Hitchcock, as he also used to present his blonde female characters in white when we first see them. In Raging Bull, Jake Le Motta even buys his wife a white dress and white sunglasses as he wants her to be the virginal and virtuous type, as throughout the film he believes that she is cheating on him. In Mean Streets, the colour red serves as a metaphor for the hostile nature of the protagonist Charlie, his world and the destiny of him and those surrounding him within the film. Moreover, the brining red of Max Cadys sports car is perfect example of how the colour red has been incorporated as a subtext in Scorseses remake of Cape Fear. The gruesome, violent acts performed by Cady throughout the film, together with his brutal nature, are suggested by his extreme choice of vehicle. This frightening aspect of the colour red could be reference to The Counterfeit Traitor (1962, George Seaton). As Scorsese said of the film once- for kids brought up on the black-and-white battlegrounds of newsreels, the use of color here especially the color red, which is very important gave the film a presence and an immediacy that frightened us.[3] As this quote shows that the colour red was sometimes used by Scorsese to scare his audience. This heavy use of red clothing is not only present in Mean Streets but almost all of Scorseses protagonists wear red such as DeNiro, Pesci and Stone in Casino wear it at various moments in the film. Scorsese in an interview said that on the streets of Little Italy that- The one thing you couldnt wear was the colour red. I remember wanting a red jacket, and my father said, Only pimps wear red, youre not having one and thats that. Wearing red was also a sure way to attract police attention.[4] As this quote shows Scorsese is very aware of the various associations with wearing red clothing, such as you might be associated with pimps and that you might attract police attention. This adds credence to the moral dilemma that Charlie faces in the film. The introduction of Michael considering the religious themes in the film his character could be a reference to Lucifer as he hunts them down and shoots them during the films climax at the end is important when considering Scorseses use of the colour red with relation to the rest of Mean Streets. Firstly, he delivers a large red box of Marlboro cigarettes to Charlie, which he places on the table between the two characters. The cigarettes are positioned centrally on the screen, automatically capturing the audiences attention. Initially, Charlie complains about the brand of cigarettes, but accepts them after Michael explains that for these prices Charlie, you shouldnt complain. Therefore, we assume Scorsese focuses on the cigarettes, by means of their red colour and positioning in the mise-en-scene, in order to present the ineffectual nature of Charlie within the realm of his world. Surely, forsaking his preferred choice of cigarettes is a minor, yet noticeable sacrifice; one he must make to be a part of the gangster life. As I have mentioned, Michael Powells influence is all over Scorseses work. His distinct usage of the colour red is a direct homage to Powell. It is interesting that Powell twice counselled Scorsese against the colour red. The first time was When Powell saw 8mm test footage of DeNiro sparring, he remarked that The red boxing gloves are too red. And Scorsese agreed and that was one of the reasons why [he] decided to make the film [in] black-and-white.[5] Another reason why Scorsese did not shoot the film in colour was because A number of boxing films were in production such as Rocky II, The Main Event, a remake of The Champ, and Matilda and so Scorsese wanted to go another way (LoBrutto: 223) and be original. Another scene that inspired Scorseses use of red, in The Red Shoes, was the main protagonists use of bright red lipstick which he used for Francine in New York, New York. As LoBrutto wrote that Francines deep red lipstick is accurate for the period but another opportunity to dominate many of the images with the color of his obsessions of hot tempers more than sexual temperature. (LoBrutto: 210) As the quote shows that this time Scorsese used the colour red not to symbolise violence or sin but as a sexual code. The colour red was no doubt a major colour not only in Mean Streets but also in Taxi Driver, particularly the scene set in the brothel. Red can imply danger, but in the case of the ambience of the brothel, the colour red could also imply wilful or morally wrong behaviour. The night time setting and the low key lighting has been significantly used in Taxi Driver and the constructed space closely echoes the look of film noirs. The red low key lighting produces a sombre and mysterious mood and emphasising deep shadows to create tension in the scene. During the final climax in Taxi Driver, the face of Travis and Sport have been clearly highlighted by the strong light effects from indoors and with red light emanating from the neon lights of the street even though there are not that many street lights when we saw an exterior shot of the building. At one moment during that sequence of the film we see a halo of white light dimly reflected over Travis shaved Mohican head which neutralises hi s violence and gives him the appearance of an (avenging) angel. As since white by tradition represents purity and innocence. Since red light draws the audiences attention, the function of flashing red lights increases the power of the colour such as the rotating red and blue light from the police car at the end of Taxi Driver. The colour red is not only used at night but also in the daytime. In these cases, Scorsese fills the mise en scene with bright red objects. For example when Henry crosses the street, to teach Karens neighbour a lesson for touching her, by beating his face with the end of his gun: the car, the flowers, the toolbox and even the house itself are all bright red. This scene shows that even the peaceful leafy suburbs are not safe during the day time when there are hoodlums present and that no one is safe from them. Also when Henry first explains how Jimmy hijacks trucks without using any force, we see Jimmy completely covered in red lighting. Or when Henry spends a paranoid day driving around his neighbourhood, prepping a batch of cocaine for delivery, and he keeps calling home to ensure his brother is properly stirring the bright red source (a symbolic reference to blood). In Taxi Driver, this technique is apparent throughout the film, with the streets of New York presented as an inferno of evil and treachery or as Bickle calls it: an open sewer full of filth and scum. Scorseses use of expressionistic colour shows us how Bickle observes the nocturnal world around him. Contrasting to the darkness, neon lights appear extra bright, and many shots are taken of blurry colours seen through water on the windshield. This palette of colour once again takes the audience inside Bickles mind. During the scene were Travis shoots the pimp, Scorsese employs the use of surrealistic colour. Everything inside the building seems grungy and dirty, and the extra bright red colour of the blood stands out over everything else. This theme was again used by Scorsese in After Hours, which again happened predominantly at night with various neon lights incorporated into the mise-en-scene. Both Minnelli and DeNiro in New York, New York wear red clothing which again connects their characters with the red symbolism of the city. By making the city red, Scorsese represents the city as malevolent. In Mean Streets, Taxi Driver and Goodfellas the city is colour coded in bright red. This is especially true in New York, New York, the city, no matter if it is interior space or exterior is predominantly red, and yet the opposite can be seen in the film. As DeNiro and Minnelli meet outside of the city in the woods, their clothing and setting is white or pale. This sudden change in colour instils in the audience the contrast between the peaceful and pure rural space with the sinful inner-city space. Not only is red an important colour in Christianity but also brown. In Scorseses Last Temptation of Christ (1988), he uses a very monochromatic brown colour to emphasise Jesus humanity and to contrast Jesus the poor peasant with the power and riches of Rome which are decorated in red and gold. However like his other films, red is another major colour symbolising the final spilling of Jesus blood. Of course in this respect, red is a prominent colour in many Jesus films, none more than Mel Gibsons The Passion of the Christ. Whilst the film opens under a blue filter, the rest of the film is subject to the bright red blood of Jesus. Religion is also at the heart of Scorseses remake of Cape Fear. Max in the film is sent to the family by God to test them. Each member of the family displays a tendency toward immoral behaviour or what they perceive to be immoral behaviour. Such as when Sam is asleep, Leigh is seen grooming herself in the bedroom mirror and day dreaming of other men, at which point Max appears outside the house, backed by a dazzling display of fireworks which is a sexually charged image as the night sky is associated with the feminine and fireworks can represent the male orgasm. The colour red is again important in the film as when she and Sam go out to investigate she guiltily wipes the red lipstick from her lips. It almost seems that her sinful thoughts provoked Maxs presence. Maxs superhuman ability to withstand pain is yet another religious clue. He is superhuman because he is what he claims to be, a messenger from God sent to test the family, he even says: Youre a VIP on Earth. Im a VIP in heave n. This is why he is able to fight back against the three thugs despite a beating that would render any human demobilised. Another religious use of the colour red can be found in the scene in which Sam hallucinates crucifixion wounds in his hands which can represent that his soul has been saved. This can not be said about many of Scorseses characters in his other films as most have committed too many sins to be saved or die before they can be saved such as the final climax in the lift in The Departed. As LoBrutto noted, Red is also identified with blood, the Passion of Christ, the Crucifixion, and the suffering Jesus endured on earth for the salvation of mankind. [à ¢Ã¢â€š ¬Ã‚ ¦] The stigmata are wounds that bleed openly, corresponding to the feet, hands, side and brow of the crucified Christ. A substitute for a baptism of holy water is blood. (LoBrutto: 64-65) So therefore a character can be born again via blood baptism, for example, Travis during the climax of the film is covered in blood and therefore born again as he saves the girl. As LoBrutto also wrote: Scorsese was revealing his obsessions with Old Testament values: revenge, redemption, and the ancient rite of purification by blood. (LoBrutto: 64-65) These themes Scorsese has obsessed about for his entire career as they appear repeatedly in his films. As a young man, Scorsese wanted to become a priest, but he decided to become a filmmaker after his many visits to the movie theatre. He proposed that films are a new secular religion and that they can offer the viewer and the director redemption and salvation.[6] That is why in Mean Streets, it is not surprising that Charlies confessional speech in church at the beginning of the film focuses on the forgiveness of sin, an important theme that runs throughout the film, often in his narration. His tormented dialogue begins with the narration of Scorsese himself: Lord, Im not worthy to eat your flesh, to drink your blood. This profound image demonstrates immediately the importance of religion to the character of Charlie, and indeed Scorsese, as he himself explains: My voice is inter-cut with Harvey [Kietel]s throughout the film, and for me that was a way of trying to come to terms with myself, trying to redeem myself. In this sense we realise exactly how personal the film is to Scorsese, as a creative form of art, and as a source of redemption, and are able to make a comparison between Charlie and himself. Furthermore, Charlies narrative reference to blood relates to the blood red imagery apparent throughout the film, in this case utilising it to realise Charlies discomfort with his religion. As Charlie stands to move to another part of the church, we are presented with an aerial long shot of the chapel, whereby the dark red of the chairs seem almost like a tide of blood from the countless confessions typical to that of Charlies, in which the blood of Christ has been spilt in vain. Indeed Charlie explains before this scene his perception that: you dont make up for your sins in church, you do it in the streets and at home; the rest is bullshit. Consequently, we are aware that religion is not so much a belief of Charlies, but merely a formality, and as in Boxcar Bertha religion is an insidious, pervasive, destructive idea, inescapability allied to the forces of greed and manipulation. Moreover, the overt use of red candles surrounding Charlie in the church, which is similar to that in Iriss confessional scene in Taxi Driver, is symbolic of the burning hell he experiences, much of which is due to his overpowering dilemma with his religion. He explains that pain in hell has two sides. The kind you can touch with your hand the kind you can feel in your heart, and the spiritual side. And you know the worse of the two is the spiritual. Whilst he is uttering these words, the action on screen reverts from the church to the burning red of Tonys bar. Immediately we realise a connection between the hell Charlie describes in church, and the hell we perceive of his social climate, the colour red being a vital link in presenting this hell. Colour can affect us subliminally, and this is best exemplified in the modern day by restaurants fast food restaurants like Burger King have a lot of bright colours including red -which makes you want to buy the food quickly and leave whilst expensive restaurants use mainly neutral colours which make you more relaxed and stay for longer. Therefore the effect of the use of red in Tonys bar, in Mean Streets, could also then represent their fast pasted lifestyles in New York. The emphasised red glare evident within Tonys bar metaphorically can also instils a sense of hell being an unbearable inferno; suggesting an atmosphere full of sin and corruption, the occupants of which are doomed. Even when Scorsese showed Mean Streets to Michael Powell, Powell advised him the second time (the first being the red mitts in Raging Bull) told him that he overused the colour red in Mean Streets and that he should remove some of the red lighting, which Scorsese refused. [7] This expressionistic use o f red lighting can be examined in films as far back as 1927, when Fritz Lang emphasised the hellish qualities of the underground slave factory in Metropolis by bathing the entire mise-en-scene in ominous red tint. Whereas Langs use of red reinforces his overtly expressionistic style, Scorseses appears simply as a flash of expression, which combined with the strong, documentary style realism of Mean Streets, seems all the more significant. Furthermore, the long motion tracking shot on entering Tonys bar works well with the glaring red effect, establishing a tense, almost nauseating atmosphere, which emulates perfectly with the hell described by Charlie; a feeling that is further intensified by the use of soundtrack, in particular Jumping Jack Flash by the Rolling Stones. The sequence is similar in style to that of Goodfellas, whereby the camera slowly closes in on Jimmy, and using just only 30 frames of film per second. Although his character has no verbal narrative in this scene, the expressive combination of slow camera movement and contemporary music highlight Jimmys tension and anger, enabling the audience to share his hatred, and assume his intention to get rid off Mauri. This slowing-down of the film has become a trade mark for Scorsese as he uses it in almost every single film he has made, even in his earliest short films like The Big Shave. In Mean Streets, the red walls of the restaurant Charlie visits later in this extract is also an important device of Scorsese, used to subtextually progress the narrative through the elaborate mise-en-scene. On one level we could understand this use to be symbolic of Charlies frustration due to his long awaited possession of the restaurant. However, with relation to the red of Tonys bar it suggests, contrary to Charlies belief, the venture may not be a way of escaping his hell. In other words his moving from one red inferno, that of Tonys bar, to another, the restaurant, neither improving nor solving his problems. As Roger Ebert wrote in his Great Movies essay on the film, The real world is shot in ordinary colors, but then Charlie descends into the bar run by his friend Tony, and it is always bathed in red, the color of sex, blood and guilt.[8] This quote can also applies to the bar in Goodfellas, The Bamboo Lounge, which is also lit with a similar red glow with the red lighting of the bar lounge making the characters face completely red. Or on Henrys first date with Karen, when his influence and generous tipping allows them to skip the line at the Copacabana, the entire club is awash in red lighting. A similar technique is employed in Taxi Driver, where the red walls of the Palentine building suggest Betsy will not be the answer to Traviss problems, and she will not relieve him from the Hell in which he suffers. Scorsese has continually used red lighting to create an insidious inferno for his immoral protagonist to dwell. In the book Gangster Priest: The Italian American Cinema of Martin Scorsese, Robert Casillo writes that the red in Goodfellas is associated with blood, violence, suffering, and passion. It can even be read as more simple than that. Nearly every shocking deed of all shapes and sizes is emphasised onscreen by a splash of bright vibrant red. When the mafia men do something as gruesome as beat a man to death for insulting Pesci, they do it in a bar room filled with red lighting. And when he comes alive in their trunk as they try to dispose of the body, the cars brake lights casts an unbelievably strong red glare on DeNiro and Pesci. They are literally a washed in a bright red smoke filled mise en scene when burying their victim Billy. The malevolent extent of their crime highlighted by this expressive use of lighting, and the immoral world they share is inflamed upon us. The se quence even ends with a highly unusual fade to red. When they have to go back six months later and dig up the same body, things get even more abstract. Its as if their collective sins have stained the film stock permanently. There is no other colour apart from red in that scene. All of these scenes gave the impression to the audience of the images of Hell, which increased the insinuation of violence. As LoBrutto noted that as much as Scorsese enjoyed musicals and comedies it was the morality and street justice of the gangster film [that was] most reflective of the life he lived in Little Italy. [à ¢Ã¢â€š ¬Ã‚ ¦] He was raised in a coded culture that fenced out all others. [à ¢Ã¢â€š ¬Ã‚ ¦] He was tortured by conflicts presented by his two masters the church and the cinema. (LoBrutto: 63) As Charlie struggles with finding the right path in Mean Streets, the film begins with a shot of a projector showing us the film we are about to see. It is as though the characters now that they ar e in a movie and so Scorsese ties in the church and the cinema at the same time. Scorseses overtly violent style often involves an overwhelming amount of blood on screen, from his early short film The Big Shave, to Cape Fear, and here it helps to present a horrific image of the pain and penance experienced by Johnny Boy and Charlie for their sins, and highlight the extremely harsh consequence for Teresa who is oblivious to the extent of her brothers trouble. The Big Shave was widely read as a metaphor for the Vietnam War. On screen a young man enters a pristine white bathroom and walks up to a mirror just like Charlie does in the opening scene of Mean Streets in which he walks up to a mirror and scratches his face. The man in the bathroom begins to apply the puffy white shaving cream on his face which again connects to the notion of innocence and purity. Whilst shaving, one of the razor strokes pierces the skin and he begins to bleed. Confused, he continues his morning shave but now each lash of the blade tears into his tender flesh deeper and deeper. Soon his plain features are totally cut open. A daring ear to ear swipe of the razor literally slashes his throat open. Blood covers him and falls around him, the bright red contrasting the perfect spotlessness of the bathroom. The same way Scorseses blondes contrast at the beginning of his films as they wear white and the setting is filled with red. At the end of The Big Shave, there is ev en a fade to red just like the ending of the scene in which DeNiro, Pesci and Layoota bury Baits. As if the blood of the self torture soaks into the celluloid and fills the entire frame. So therefore The Big Shave is representative of USAs irresponsible participation in the Vietnam War, especially their self destructiveness. As LoBrutto noted that The Big Shave shifted the emphasis from personal to political (LoBrutto: 62) and so the red of the blood now represents the spilled blood of Vietnamese and American soldiers. In Mean Streets, we finally realise the true hell that constitutes Little Italy, and understand the violent outcome when anyone tries to subvert the statue quo. In addition, Scorseses powerful, gut-wrenching sequence in Taxi Driver, where Travis savagely takes out an entire brothel has been acknowledged for its abundant overflow of blood. Indeed, the MPAA was ready to give it an X rating for violence. They suggested he tone it down the red blood, in order to get an R rating. So, Scorsese put the scene through a special chemical treatment that made the blood darker. The darker version of the red blood turned out almost more powerful than the splattered ketchup style colour of the original. In Scorseses view, it made the scene more sickening and disturbing, but he got his R rating. And yet it is still the colour red as Jean-Luc Godard put it: Its not blood, its red.[9] Scorsese also uses the colour red for his opening titles as he himself has recognised that the burning credits and foreboding red glare of the opening of King Vidors classic western Duel in the Sun (also in his top ten English Language film list which exemplifies the use of light and color[10]), has affected his use of red at the beginning of his films and he also said how as a child he was amazed how the use of colour could produce such a powerful effect. Possibly one of the most blatant incorporations of the colour red in Scorseses work is the credit sequence in Raging Bull, whereby the prominent red letters of the films title and DeNiros name is set against the gloomy black and white image of the boxing ring. The boxing rings ropes split the screen into four distinct parts representing four different parts of his lif

Nick Carraway in Great Gatsby Essay -- essays research papers

NICK CARRAWAY has a special place in The Great Gatsby, by F. Scott Fitzgerald. He is not just one character among several; it is through his eyes and ears that the story takes place. In this novel, Nick goes to some length to establish his credibility, indeed his moral integrity, in telling this story about this "great" man called Gatsby. He begins with a reflection on his own upbringing, quoting his father's words about Nick's "advantages,† which we could assume were material but, he soon makes clear, were spiritual or moral advantages. Nick wants his reader to know that his upbringing gave him the moral fiber with which to withstand and pass judgment on an amoral world, such as the one he had observed the previous summer. He says, rather pompously, that as a consequence of such an upbringing, he is "inclined to reserve all judgments" about other people, but then goes on to say that such "tolerance . . . has a limit.† This is the first sign the narrator gives the reader to show he will give an even-handed insight to the story that is about to unfold. Later the reader learns he neither reserves all judgments nor does his tolerance reach its limit. Nick is very partial in his way of telling the story about several characters. He admits early into the story that he makes an exception of judging Gatsby, for whom he is prepared to suspend both the moral code of his upbringing and the limit of intolerance, because Gatsby had an "extraordinary gift for hope, a romantic readiness.† This inspired him to a level of friendship and loyalty that Nick seems unprepared to extend towards others in the novel. Nick overlooks the moral implications of Gatsby's bootlegging, his association with speakeasies, and with Meyer Wolfsheim, the man rumored to have fixed the World Series in 1919. Yet, he is contemptuous of Jordan Baker for cheating in a mere golf game. While he says that he is prepared to forgive this sort of behavior in a woman: "It made no difference to me. Dishonesty in a woman is a thing you never blame too deeply - I was casually sorry, and then I forgot," it seems that he cannot accept her for being "incurably dishonest" and then reflects that his one "cardinal virtue" is that he is "one of the few honest people" he has ever known. When it comes to judging women - or perhaps only pote... ...e said, even through his appalling sentimentality, I was reminded of something - an elusive rhythm, a fragment of lost words, that I had heard somewhere a long time ago . . ." These are Nick's words. Whose "appalling sentimentality" is operating here? Has Nick reported any of Gatsby's words - which comprise so little of the novel - to suggest that he would even begin to put his love for Daisy in these "sentimental" terms? Is not this excess of sentiment in fact Nick's sentiment for Gatsby or perhaps Nick's attempt at displaying those "rather literary" days he had in college? Or both? The reader should consider the distance that Fitzgerald has created between his presence in the story and Nick's and their implications. Fitzgerald has created a most interesting character in Nick because he is very much a fallible storyteller. When an author unsettles an accepted convention in the art of storytelling by creating a narrator like Nick, it draws attention to the story as fiction, as artifice. Ironically, in doing this, he has created in Nick a figure who more closely resembles an average human being and thus has heightened the realism of the novel

What Activities and Hobbies Do You Pursue Outside of Work?

Outside of work, I participate in a variety of activities and hobbies. These activities provide me with the opportunity to learn, take on challenges, and have fun. In addition, I believe my hobbies allow for relaxation and inner growth.I enjoy learning new information through reading, surfing the Internet, watching television, and shopping. From the breaking news in Iraq to the latest gift catalog from World Vision, the Internet has become one of my major resources to get updates on the world. My most recent interest is in learning HTML code to enhance my newly created web page on Aloha Tower Marketplace with flash and graphics.Shopping is another activity that I frequently do outside of work. To most people, shopping is a routine and necessary activity that involves going to the supermarket for dinner, buying a new sweater at Macy’s for the upcoming winter, or picking up the latest Harry Potter book in Barnes & Noble for a nephew’s birthday.To me, however, shopping is a pleasurable activity, as well as a chance to observe market trends. To a marketer for a shopping mall, understanding the competition is very important.I also like to watch stage shows or go to the movies on the weekends. My favorite stage show is â€Å"Once Upon One Time,† a musical written in Pidgin by a local playwright, Lisa Matsumoto. It is a fusion of many famous tales of Hawaiian culture and life.From various shows, I have learned to appreciate the incredible art of theater and recognize the efforts in place to protect Hawaiian culture. I prefer stage shows to movie productions because the stage leaves more to the imagination and the audience can interpret the themes.Along with indoor activities, I like to spend time outdoors when my schedule allows. I regularly challenge my fear of heights by hiking to the peaks of mountains to enjoy the fresh air and terrific scenery. Whether choosing a hobby or a job, my goal is always self-improvement, the same as my goals in life .

The Minority Executives Handbook by Randolph W. Cameron

The Minority Executives Handbook by Randolph W. Cameron Introduction Randolph W. Cameron is an author, and former management associate in New York’s Avon distribution centre in Rye. He has also served as the director of inner city market development in the company’s New York head office. Advertising We will write a custom report sample on The Minority Executives’ Handbook by Randolph W. Cameron specifically for you for only $16.05 $11/page Learn More He has also served as the vice president of D. Parke Gibson Associates, Inc, which is one of America’s first black marketing and communications consulting firm. He later on became the owner of Cameron Enterprises, a management consulting firm in New York. In this book, he expresses his own thoughts and aspirations of mentoring minority leaders in the business world, especially ‘black’ executives. Author Cameron glances at the 1980s business events, which has concurrently represented some bad and good times for blacks, in the n ew corporate America. Such good times can be marked by the achievement of Barry Rand, who was the president of Xerox’s U.S. Marketing Group, while the bad times during this period was signified by a stock market crash that mostly led to black managers feeling the axe of being downsized from various corporations around America. From this context, the Minority Executives’ Handbook becomes quite significant. Book Review In this book, Cameron describes the scene in corporate environment, which is mainly characterized by the corporate attitude, punctuality, personal presentation, personal grooming, career planning, and the unbridled politicking. He also emphasizes on having the right look for business and implores on black men to confine their facial hair to the more traditional mustache and nothing less short of that until they climb the corporate ladder and get into ‘real’ management. By having and owning a corporate image, it creates a perception of knowl edge and reliability, which will relatively matter both inside and outside the corporate. In his own view, author Cameron observes that every corporate has an exceptional way of doing business, which later defines the overall corporate culture. Advertising Looking for report on business economics? Let's see if we can help you! Get your first paper with 15% OFF Learn More He also confers in his sentiments, that black individuals who have aspirations in the business world, should first acquaint themselves on how information is passed informally while also being part of the relevant ‘office grapevines’. Although such office grapevines may help in keeping one a notch higher with significant information, Cameron however, cautions for a complete distinction from the mundane office gossip (Cameron, 1997). Through case studies, Cameron enlightens the readers on the vivid picture of racism in the corporate world while also providing a check list, which describes a manager’s challenge in setting up an appropriate ambiance where people can realistically encourage themselves in utmost confidence. Such conditions set up a tone for corporate business since managers find it hard to motivate workers. From Cameron’s perspective, a good number of young black managers usually step into the business arena with a ‘sizzling fire’ to impact the business world only to be smothered by the veterans. In chapter three of this book, new minority managers are highly implored on self presentation, which is a fair perception than ones likeability. Cameron stresses need to maintain self identity due to the lily-white corporate scenery, which may occasionally rip through a young black manager’s background and leave them in a contradictory dilemma. Through case studies, Cameron explores such unfortunate scenarios and this exemplifies his flamboyant managerial experience in the corporate communications business field (Cam eron, 1997). Mentoring and networking is vividly explored in the fourth chapter of this book with a major emphasis on diplomacy, personality engagement, tidy appearance, good memory, high energy and articulateness, which is generally characterized by good networkers. Therefore, these elements will help in establishing inside and outside network of leads, which better positions the minority managers to have a superior understanding of competing in the market place. Someone who has a high level of willingness to display some degree of dedication to a career confirms Cameron’s definition of mentorship. Advertising We will write a custom report sample on The Minority Executives’ Handbook by Randolph W. Cameron specifically for you for only $16.05 $11/page Learn More He also suggests some question and answers on picking, choosing and being a relevant mentor (Cameron, 1997). He also adds that a good mentor is someone who will alert you to opportuni ties you would not be acquainted with on normal occasions. In this regard, Cameron suggests to minority managers to set up advance appointments with senior managers for the purpose of opening early channels for such opportunities when they arise. By seeking and volunteering in various corporate projects, Cameron sees it as a good opportunity for the minority managers because it will put them in a better light and intently wipe out the past stigmas associated with them. He also illustrates how to save money for future ownership of business. The book closes from a networking guide to trade publications and groups point of view. Conclusion From Cameron’s book, I do observe his assertion that blacks are not as successful as whites in the business world due to the lack of inspiration. This bearing is quite contradictory in itself because to succeed in corporate America, there has to be a tremendous inspirational determination. All minorities aspiring to shift on the new executive positions that arises must learn and know the written and unwritten rules that govern the corporate world since new employees are selected due to their expertise and ability to fit and judge the prevailing business environment. This will therefore discourage employers from seeking ‘’their own kind’’ to indemnify acceptance of authority, loyalty and any other pattern of behavior that may lead to conformity. African-Americans’ physical traits may differ them from the mainstream business executive but through assimilation, it may compromise for their integrity and credibility among their fellow employees and ultimately to their own selves. Reference Cameron, R. (1997). The Minority Executives Handbook. New York. Amistad Publishing. ISBN-156743021X, 9781567430219.Advertising Looking for report on business economics? Let's see if we can help you! Get your first paper with 15% OFF Learn More

Surrogate Mothering essays

Surrogate Mothering essays Motherhood - Nine Months vs. A Lifetime "You're about ten meters dilated...it's time to push!" You grab hold onto your husband's hand a little tighter. Take a deep breath...and the labor process begins. This is a common everyday scenario that happens thousands of times a day in hospitals all over the world. Yet sometimes, women will never be able to go through this process, due to circumstances beyond their control. Imagine never being able to have a child. Imagine infertility. Month after month, dozens of negative pregnancy tests, hundreds of dollars, infinite heartaches. What is a couple to do? Who can they trust? What are their options? One option that is becoming more and more popular in today's society is surrogate motherhood. Why? Some believe it is because of the continuous decreasing numbers of adoptable infants, especially healthy Caucasian infants. The advantage of surrogacy is that the child is usually related to one of the intended parents and can be the product of both genetic parents. Yet the reason that many Americans don't look for this as an option first is because of the large percentage of unsuccessful cases. A majority of the negative feelings towards surrogacy is mainly due to the uncertainty of the outcome. There is not a 100% guarantee that everything will work out as planned. There are many controversial topics surrounding surrogate motherhood. One is whether or not the surrogate mother has the right to change her mind, that is, to keep the baby. Take a look at adoption for a minute, although the two may be extremely different. In adoption the mother has usually become involuntarily pregnant, while in surrogacy, the pregnancy is voluntary. Yet whom would you consider the true mother of the child? The mother who gave birth yet, chose to give the child up, or the one who has raised him/her? To me, the answer is simple. The couple who adopted the child is the "true" mother and father, and in mo...

Globalization and Worldwide Poverty Dissertation

Globalization and Worldwide Poverty - Dissertation Example As the discussion stresses globalisation provides a wide-ranging and an all-embracing set of opportunities for worldwide development but evidently, is not progressing uniformly. A few countries have assimilated into the global economy swiftly more than others. Countries that have been able to assimilate are experiencing faster growth and reduced poverty. Likewise, outward-oriented strategies resulted into added economic vitality and wealth to much of East Asia, converting the region from one of the most pitiable territories of the world forty years ago. Together with the ascent of living standards, it became possible to make progress on democracy and economic matters such as work standards and the environment. According to the research findings poverty incidence escalated and high inflation became the norm. In several circumstances, especially Africa, hostile and unfavourable developments made the problems worse. However, as these territories changed their economic policies, their incomes began to rise and vital transformations were on track. They found out that promoting this trend and fostering such economic scenario and not quashing it is the best course for propping up growth, development and poverty reduction. As globalisation made its way into every fiber of human life and human activity, it can be safely deduced that it has both increased and reduced poverty. ... So, how can the developing countries, especially the poorest, be assisted to pull alongside its more affluent neighbors Does globalisation aggravate inequality or can it help reduce poverty What about those countries that assimilate into the global economy, are they inexorably vulnerable to instability These are some of the imperative questions that need to be answered. Literature Review As globalisation made its way into every fiber of human life and human activity, it can be safely deduced that it has both increased and reduced poverty. A process involving the intricate sequence of events - symbolized by the surge of privatisation in public utilities and state-controlled industries, changes in domestic financial markets, taxation systems and liberalised labour markets -- resulted into an unmatched swiftness of international trade and FDI flows (United Nations, 1999; Sala-i-Martin 2002a and 2002b). When social outcomes of globalisation have been closely investigated and deeply scrutinised, academics and logicians have recognised the direction, significance and repercussions of this correlation. And as its effects have been evaluated and analysed, reference was made to two diverse components in the literature - one that connects growth to poverty and inequality and the other pertains to the association of trade to growth. Academic analysis and pragmatic evidence result from the blend of contentions utilised in each sphere of study, one is if 1) growth is distribution neutral as asserted and 2) trade enhances growth, so much so that it can be claimed that 3) trade is helpful in order to alleviate poverty. The notion that growth

Development and application of a diatom-inferred pH model Research Paper

Development and application of a diatom-inferred pH model - Research Paper Example The RMSE gives a measure of the ‘apparent’ error in the model and thus over-optimistic while the RMSE calculated using bootstrap is a more reliable indicator of the true predictive ability of a transfer function. Analysis of the dataset with both simple weighted averaging (WA) and weighted averaging with tolerance down-weighting (WA(tol)) resulted in the selection of WA for pH reconstructions as it gave lower estimates of the RMSEP (Table 2). After having decided on criteria that maximize the performance of the model, I have applied it to a lake sediment core, Llyn Hir to perform a pH reconstruction. In WA reconstructions, averages are taken twice, once in WA regression and once in WA calibration. The resulting shrinkage of the inferred environmental variable is corrected for using inverse or classical deshrinking regression (Birks et al., 1990). Following analyses using both methods, trends in residuals revealed that inverse deshrinking was more prone to be biased than classical deshrinking technique (Table 3). The resulting WA classical deshrinked transfer function was applied to fossil diatom assemblages enumerated from the Llyn Hir sediment core. WA regression and calibration (both with and without tolerance down-weighting) were performed using C2 Programme. The WA model shows a strong predicted relationship between observed pH and diatom-inferred pH values (r2 = 0.83) (Figure 2). Statistical results for both simple and tolerance down-weighted WA show that the predictive ability of the WA and WA(tol) models, in terms of the predicted r2 and the RMSEP, are comparable (Table 2). Simple WA was chosen as it gives slightly higher predicted correlation between measured and diatom-inferred pH and lower predicted estimates of the error in this model. A total of 124 diatom taxa were observed throughout the Llyn Hir core, 8 of which did not occur in the training dataset. This means that over 90% of the diatoms occurred in training set which makes our