Van Gogh and Kandinsky Essay Example For Students

Van Gogh and Kandinsky Essay Starry Night was painted by Vincent Van Gogh in 1889 in the village of Saint-Remy, in the south of France. It is an oil on canvas post-impressionist painting which depicts the view from Van Sagos window at night, although it was painted from memory during the day. Van Sagos artworks contrast greatly with those of Wassail Sandusky. Composition VII was painted by Wassail Sandusky in 1913, during his time in Munich, Germany. The style is abstract and very expressive. Vincent Van Gogh was part of the post-impressionist movement, which painted in the late sass. He studied art in Belgium, and in 1886 he traveled to Paris with his rather. We will write a custom essay on Van Gogh and Kandinsky specifically for you for only $16.38 $13.9/page Order now There he met Pissarro, Monet, and Gauguin, and he was influenced by their use of short brush strokes to convey movement. A technique which is clearly evident in his artworks. Van Gogh moved south to Arles in 1888, were he tried to capture the warmth and sunlight of the southern French countryside. His artworks became brighter in color and the style became more dynamic. Van Gogh aimed to express his emotions in his artworks though the multiple brush strokes and use of bold color. Art in the late sass was moving on from the impressionist style towards the expressionist style. This movement is known as the post-impressionist movement. Post-impressionist artworks still focus on capturing light, although they are more emotionally expressive than impressionist artworks. Van Gogh admired the works of Jules Breton, in particular Bretons work SST. Johns Eve, which depicts peasant girls dancing on a summer evening. A village with a church and the crescent moon over it can be seen in the background, and it is believed this influenced Van Sagos artwork Starry Night. Starry Night is a perfect example of a post-impressionist artwork. It was painted in June 1889, using oil paint on canvas. The artwork depicts the village of Saint-Remy, as seen from Van Sagos window in the Saint-Remy Hospital where he was staying. An enormous sky dominates the picture and falls upon the quiet town. The large halos on the stars dwarf the small quiet town beneath, perhaps suggesting that humans are tiny in comparison with nature and the stars. The style is both expressive, impressionistic and semi-realistic. However, unlike impressionist artworks, this painting does not focus purely on capturing light, but also in portraying Van Sagos emotions. His desperate thoughts, feeling of disconnection from the world and need o escape are visible in the night scene, as well as the energetic brush strokes and the vibrant colors of the stars against the dark blues of the night. At the time which Vincent Van Gogh painted this painting he was in the Saint-Remy Hospital because of his serious depression (he cut his own ear of. The visible brush strokes create prominent lines, thus giving the painting movement, this is particularly visible in the sky and keeps the viewers eyes constantly following the organic curves and lines. It is believed that the swirling clouds represent his tortured mind and confusion. The vertical lines of the church tower and the cypress tree divide the canvas into thirds, illustrating Van Sagos use of classical composition. The composition also contributes further to the feeling of movement. A large black structure towers upwards on the far left of the painting, leading the viewers eye into the curves of the sky and on into the center of the painting where the twisting clouds are surrounded brilliant bright stars. The viewers eye finally rests on the small dark town which, in contrast to the sky, practically blends into the blue mountains. The town and mountains are painted in dark colors so that the viewers attention is drawn to the sky (the focus of the painting). The large yellow stars dwarf small flecks of yellow in the town and contrast with the sky. This contrast reflects Van Sagos turbulent emotions. White is used to brighten the stars and the sky. The scale of the artwork is 29 x 36 h inches (73. 7 x 92. 1 CM). This medium scale does not overwhelm the viewer, but makes them come closer to the artwork as to see the details. .u691d2f3e0b6d3e49318abaa576fe5fde , .u691d2f3e0b6d3e49318abaa576fe5fde .postImageUrl , .u691d2f3e0b6d3e49318abaa576fe5fde .centered-text-area { min-height: 80px; position: relative; } .u691d2f3e0b6d3e49318abaa576fe5fde , .u691d2f3e0b6d3e49318abaa576fe5fde:hover , .u691d2f3e0b6d3e49318abaa576fe5fde:visited , .u691d2f3e0b6d3e49318abaa576fe5fde:active { border:0!important; } .u691d2f3e0b6d3e49318abaa576fe5fde .clearfix:after { content: ""; display: table; clear: both; } .u691d2f3e0b6d3e49318abaa576fe5fde { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u691d2f3e0b6d3e49318abaa576fe5fde:active , .u691d2f3e0b6d3e49318abaa576fe5fde:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u691d2f3e0b6d3e49318abaa576fe5fde .centered-text-area { width: 100%; position: relative ; } .u691d2f3e0b6d3e49318abaa576fe5fde .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u691d2f3e0b6d3e49318abaa576fe5fde .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u691d2f3e0b6d3e49318abaa576fe5fde .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u691d2f3e0b6d3e49318abaa576fe5fde:hover .ctaButton { background-color: #34495E!important; } .u691d2f3e0b6d3e49318abaa576fe5fde .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u691d2f3e0b6d3e49318abaa576fe5fde .u691d2f3e0b6d3e49318abaa576fe5fde-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u691d2f3e0b6d3e49318abaa576fe5fde:after { content: ""; display: block; clear: both; } READ: Impressionism and Post Impressionism EssayGiving the viewer a personal experience of the landscape. The large dark tree in the foreground of the ar left of the painting gives the artwork a sense of perspective, which again makes the experience of the painting more real. After viewing this painting, the audience is left with a glimpse into the tortured soul of Vincent Van Gogh, and they have experienced the landscape of Saint-Remy. Wassail Sandusky was a Russian artist who painted in an abstract style. He aimed to use art as a medium to communicate directly with ones emotions. He wanted it to go straight to ones heart, and strongly believed that figurative forms prevented this. As a young boy he played piano and cello, and this lead him to create a some what musical style of art. He aimed to create artworks which had the same effect on the viewer as the listener of a piece of music has, which is why his artworks had musical titles such as composition and improvisations. Sandusky moved to Germany in 1911, at this time the tension was growing between the different countries, leading up to World War 1 (starting in 1914). Germany was on the brink of war, Just waiting for something to set it into action. The rivalry between Britain and Germanys military forces was extreme, and this political rivalry was taken into the art world. Paris was the centre of the art world and Particularly in Germany he atmosphere would have been extremely chaotic and tense. This is clearly reflected in the busy composition of Sandinesss artworks during this time. In 1913 Wassail Sandusky painted Composition VI, using oil on canvas. Sandusky wanted to portray truths and emotions, which is why this artwork does not depict figurative forms. The traditional oil on canvas medium contrasts with the unusual subject, thus surprising the viewer and increasing the impact of the painting. It is a painting of monumental scale, being 200 x 300 CM. This overwhelms the viewer, communicating the intense atmosphere of Germany at the time, and Sandinesss lining of confusion and chaos. This feeling of confusion and chaos if further demonstrated by his use of line. The lines in this painting are explosive, there is a mixture of organic and geometric. This creates an image which almost seems to posses its own energy. The painting appears alive and moving, thus drawing the viewer in and engaging with their emotions. In the centre of the painting is a small circle, which could possibly represent the eye of a hurricane. It is surrounded by an outburst of color and lines which at first makes the viewers eye dart around the painting, unsure where to look and overwhelmed at the intensity. Eventually the audience focuses on the dark blue shape in the centre of the canvas, here the lines are closer together and the shapes are strongly outlined. Everything appears to be exploding out from the centre of the artwork. Sandusky believed that certain colors could communicate different emotion. The range of colors in this artwork portrays a jumble of emotions. The colors used are bright bold colors which contribute to the overall effect of chaos. The colors are more intense in the centre of the painting, and towards the edge they become more pastel-like. This aids in drawing the attention of the audience to the centre of the painting. By focusing the viewers eye in this way, Sandusky sucks them in to his world of chaos and confusion. The overall mood of the painting is confused and busy. Everything is bright and exploding which reflects the time in which Sandusky painted. The audience experiences the atmosphere of Germany in 1913, particularly how the world could erupt into war at any moment. This color choice in this artwork allows Sandusky to directly communicate with the viewers emotions, and leaves them feeling overwhelmed and bewildered. Vincent Van Sagos Starry Night is an post-impressionist artwork. .ua7343ab89a0e9b7f31f604d055f2002b , .ua7343ab89a0e9b7f31f604d055f2002b .postImageUrl , .ua7343ab89a0e9b7f31f604d055f2002b .centered-text-area { min-height: 80px; position: relative; } .ua7343ab89a0e9b7f31f604d055f2002b , .ua7343ab89a0e9b7f31f604d055f2002b:hover , .ua7343ab89a0e9b7f31f604d055f2002b:visited , .ua7343ab89a0e9b7f31f604d055f2002b:active { border:0!important; } .ua7343ab89a0e9b7f31f604d055f2002b .clearfix:after { content: ""; display: table; clear: both; } .ua7343ab89a0e9b7f31f604d055f2002b { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ua7343ab89a0e9b7f31f604d055f2002b:active , .ua7343ab89a0e9b7f31f604d055f2002b:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ua7343ab89a0e9b7f31f604d055f2002b .centered-text-area { width: 100%; position: relative ; } .ua7343ab89a0e9b7f31f604d055f2002b .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ua7343ab89a0e9b7f31f604d055f2002b .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ua7343ab89a0e9b7f31f604d055f2002b .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ua7343ab89a0e9b7f31f604d055f2002b:hover .ctaButton { background-color: #34495E!important; } .ua7343ab89a0e9b7f31f604d055f2002b .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ua7343ab89a0e9b7f31f604d055f2002b .ua7343ab89a0e9b7f31f604d055f2002b-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ua7343ab89a0e9b7f31f604d055f2002b:after { content: ""; display: block; clear: both; } READ: Comparison: Claude Monet and Van Gogh EssayIt aims to communicate Van Sagos experience of the landscape and also his strong emotional feelings. It is classically composed and uses organic forms and flowing lines, giving the artwork movement. It quite different to Wassail Sandinesss Composition VI, which focuss mostly on the viewers emotional experience and communicating the hectic pre World War 1 confusion in Germany, through the use of abstract style and the energetic colors. Unlike Starry Night it does not have an obvious subject. Sandusky has focused completely on conveying emotions and has disregarded any figurative forms.

Literary Analysis of Bartleby the Scrivener Essay Essay Example

Literary Analysis of Bartleby the Scrivener Essay Essay Example Literary Analysis of Bartleby the Scrivener Essay Paper Literary Analysis of Bartleby the Scrivener Essay Paper Essay Topic: Bartleby the Scrivener Benito Cereno Jorge Borges Short Stories Bartleby the Scrivener could be described as a narrative about acquiring rid of its rubric character. about the narrator’s effort to acquire rid of Bartleby. and Bartleby’s retentive capacity to be ever at that place. It is the narrative of an nameless attorney and his employee. Bartleby. a scribe of jurisprudence paperss. Confronted non merely with Bartleby’s refusal to make work ( first to â€Å"read† transcripts against the original. so to copy wholly ) . but besides with the contagious nature of the peculiar words of his refusal ( Bartleby’s peculiar â€Å"I would prefer non to† ) . the storyteller concludes that. before Bartleby â€Å"turns the tongues† any further of those with whom he comes into contact. he â€Å"must acquire rid of† Bartleby. At the same clip Bartleby feels â€Å"mobbed in his privacy† ( 27 ) when the other office workers crowd him behind his screen. they in bend are invaded by his idiosyncrasy – his private parlance â€Å"prefer. † Bartleby’s presence interruptions down the clear differentiations between public and private. professional and domestic. between â€Å"privacy† and â€Å"the rabble. † By nailing Bartleby as the â€Å"cause† of infective linguistic communication ( linguistic communication â€Å"turned† bad ) . the storyteller wants to halt the class of a procedure ( the â€Å"turning of tongues† ) already in advancement. But acquiring rid of Bartleby is every bit slippery as acquiring rid of a chronic status ; the storyteller emphasizes a phrase which appears textually in italics: â€Å"he was ever there† ( 20 ) . Bartleby is. as the storyteller calls him. a â€Å"nuisance† ( 40 ) . an â€Å"intolerable incubus. † As a character in the narrative with a organic structure. he moves really small. but the few words he speaks interrupt out at unexpected minutes in the office. Every effort the storyteller makes to command the inactive Bartleby and his infective linguistic communication fails uproariously ( Schehr 97 ) . The storyteller experiences a funny tenseness between the impossible jussive mood ( on the degree of the narrative ) to acquire rid of the topic. and the impossibleness ( on the degree of the narrative ) to compose his complete life ( Bartleby’s â€Å"history† ) . Therefore. Bartleby is besides a fable about composing history or life. In trying to compose what he thinks of as Bartleby’s life. the storyteller simply misnames his authorship undertaking. or he emphasizes it from the incorrect point of position. In hunt of Bartleby’s beginnings. the storyteller does non merely narrate ( as he thinks ) the history of Bartleby the Scrivener ; he relates instead the narrative of his ain anxiousness vis-a-vis Bartleby. In peculiar. he relates his anxiousness over the scrivener’s silence – and manners of interrupting that silence ; for we could state that. instead than talking really small or in peculiar ways. Bartleby has peculiar ways of on occasion interrupting silence. It is this force in address. this unexpected eruption. which the storyteller frights. The storyteller. whose familiarities describe him as an â€Å"eminently safe adult male. † who likes nil better than the â€Å"cool repose of a cubby retreat† ( 4 ) . is thrown unquestionably off kelter when faced with what he footings Bartleby’s â€Å"passive resistance† ( 17 ) . Bartleby’s arm is his entire indifference to truth. whereas the storyteller seeks a 2nd sentiment on truth from the other office couples. Bartleby could be seen as the one solid block around which the storyteller writes his ain narrative about truth instead than the truth about the Bartleby narrative. Bartleby’s inactive opposition really generates the narrative - confronted with it. the storyteller creates theories ( his philosophy of premises. for case ) . carries on arguments with himself. and seeks the advocate of others - all with the opaque Bartleby as the nucleus. In retracing Bartleby’s narrative. the storyteller follows an inexplicit logic which he neer straight states. It is the logic of cause and consequence. ( He is non intentionally concealing this logic. but because he takes its cogency for granted. he neer remarks on it critically. ) Believing in the possibility of happening a particular. locatable. and nameable cause to Bartleby’s status ( as he is able to make with the other office workers. Childs and Turkey. whose tempers vary harmonizing to their diets and the clip of twenty-four hours ) . the storyteller thinks that by eliminating the cause of the job. he can change the effects. the effects of Bartleby’s talking status in the office infinite. McCall follows the same logic as the storyteller in seeking causes of Bartleby’s behaviour. He mentions comment that when the storyteller asks Bartleby to run an errand for him at the station office. â€Å"that is likely the last topographic point. if the rumour is right. that Bartleby would of all time desire to travel. † ( McCall 129 ) . The storyteller neer considers that his line of concluding might be defective - that Bartleby’s status may non be linked to a particular. locatable. nameable cause. We as readers may be placed in the same place as the storyteller in that we neer know either the beginning of Bartleby’s status ; we witness chiefly its effects. or symptoms. in the narrative. These symptoms reside non merely in Bartleby as single character. but in the very manner the storyteller tells the narrative about that character. Rather than talking about the cause of Bartleby’s status. one could more competently talk about the ways in which its effects are spread to other characters within the text. When the storyteller impatiently biddings Bartleby to fall in and assist the others in the scenario of group reading. Bartleby responds. â€Å"I would prefer non to† ( 14 ) . Hearing this response the storyteller turns â€Å"into a pillar of salt† ( 14 ) . ( Faced with Bartleby’s responses and sheer presence. the storyteller oftentimes evokes images of his losing. so waking to. consciousness. ) When he recovers his senses. he tries to ground with Bartleby. who in the interim has retreated behind his screen. The storyteller says: â€Å"These are your ain transcripts we are about to analyze. It is labour salvaging to you. because one scrutiny will reply for your four documents. It is common use. Every scribe is bound to assist analyze his transcript. Is it non so? Will you non talk? Answer! † ( 15 ) The storyteller is exasperated when Bartleby does non react instantly to the logic behind his work ethic. â€Å"These are your ain transcripts we are about to analyze. It is labour salvaging to you. † Examining or reading transcript is a money salvaging activity. from which every member of the office net incomes ( four paperss for the monetary value of one reading! ) . â€Å"Every scribe is bound to assist analyze his transcript. † To the contract the attorney decidedly demands from his employee. a bond based on an exchange of reading. Bartleby replies three times. gently. â€Å"in a flutelike tone. † â€Å"I ( would ) prefer non to† ( 15 ) . By declining to read transcript. Bartleby refuses to accept to the economic system of the office. It is possibly merely to another type of reading. one non based on a system of exchange and net income. which Bartleby consents. Although the storyteller says he has neer seen Bartleby reading - â€Å"not even a newspaper† ( 24 ) - he does frequently notice him gazing outside the window of the office onto a brick wall. Gazing at the dead brick wall ( in what the storyteller calls Bartleby’s â€Å"dead-wall reveries† ) may be Bartleby’s lone signifier of reading. taking the topographic point of the economy-based reading demanded of him in the procedure of verifying transcripts. About midway through the narrative. the lawyer/narrator visits his office on a Sunday forenoon and. detecting a cover. soap and towel. a few crumbs of ginger nuts and a morsel of cheese. deduces that the copyist neer leaves the office. Recognizing the full impact of Bartleby’s status. he states. What I saw that forenoon persuaded me that the copyist was the victim of innate and incurable upset. ( 25 ) The storyteller clearly locates the upset in Bartleby. Sing himself in the function of diagnostician and therapist. he himself is faced with the â€Å"hopelessness of rectifying inordinate and organic ill† ( 24 ) . The narrator’s concern about an single medical remedy should more competently be a concern about an obsessively private rhetorical argument or a perilously idiomatic group contagious disease ( Perry 409 ) . Despite his premise that Bartleby is incurable. or possibly exactly because he can consequence no remedy. the storyteller beleaguers himself throughout the narrative with inquiries or bids to make something about Bartleby ( McCall 9 ) . If the private man’s upset can be passed on to another ( one ) individual. what happens when the status is let loose out of close quarantine into the public infinite of the office? Bartleby walks a unstable tightrope between comedy and calamity ( Inge 25 ) . The tragic dimension frequently resides in the narrator’s turning inward on himself ( a kind of tragic compaction ) . so seting himself on test. an interior minute of accusal which finally consequences in the prostration of the narrative in a individual suspiration or exclaiming ( â€Å"Ah. Bartleby! Ah. humanity! † 46 ) . The amusing effects are frequently related to the autocratic effort ( and failure ) to incorporate the spread of parlance as contagious disease ( Perry 412 ) . If Bartleby has been a figure for calamity in the lone speculation of the storyteller. he becomes a figure for comedy in his contact with his office mates Nippers and Turkey. The more the storyteller tries to modulate the contact between the three. the more screaming - and significantly out of control - is Bartleby’s influence. The attempt to incorporate or command tends really to advance the epidemic proportions of the narrative. It is the storyteller himself who uses a vocabulary of contagious disease in relation to Bartleby. He says he has had â€Å"more than ordinary contact† ( 3 ) with other copyists he has known. Bartleby exceeds this already extraordinary contact – he has been touched by â€Å"handling† dead letters ( Schehr 99 ) . Some critics reproduce the narrator’s linguistic communication of contagious disease in speaking about Bartleby. McCall. in his survey on The Silence of Bartleby. depict â€Å"our† response. the corporate readers’ response. to reading the narrative: As we go through the narrative. we watch with a certain delight how Bartleby is â€Å"catching. † We root for the spread of the bug. ( 145 ) In a slightly less delighted vena. Borges says. â€Å"Bartleby’s frank nihilism contaminates his comrades and even the impassive adult male who tells Bartleby’s narrative. † ( Borges 8 ) In the office scenes where the employees and foreman semen necessarily together. the â€Å"bug† word is Bartleby’s â€Å"prefer. † Nippers uses it jeeringly against the storyteller as a transitive action verb when he overhears Bartleby’s words of refusal to the narrator’s supplication â€Å"to be a small sensible. † Bartleby reverberations. â€Å"At present I would prefer non to be a small reasonable† ( 26 ) . If Nippers is enduring from his ain peculiar and chronic status of dyspepsia. he takes on the symptoms of Bartleby’s status when he exclaims to the storyteller. Prefer non. eh? †¦ – I’d prefer him. if I were you sir. I’d prefer him ; I’d give him penchants. the obstinate mule! What is it. sir. pray. that he prefers non to make now? ( 26 ) Whereas subsequently in the narrative the storyteller wholly loses his critical accomplishment to â€Å"catch† himself in his address. in this exchange he is still able to joint the consequence Bartleby’s â€Å"word† is holding on him. He notes uneasily. Somehow. of late. I had got into the manner of involuntarily utilizing the word ‘prefer’ upon all kinds of non precisely suited occasions. ( 27 ) It is this qualifier â€Å"not exactly† which is of peculiar involvement. Bartleby’s usage of words is â€Å"not exactly† incorrect. â€Å"Prefer† is so insidious because it is merely somewhat awry. dislocated. idiosyncratic. As McCall accurately notes about the power of Bartleby’s â€Å"I prefer non to. † â€Å"one must hear. in the small silence that follows it. how the line delivers two contradictory significances. stubbornness and niceness. â€Å" ( 152 ) The line calls merely adequate attending to itself so as to pull others to its â€Å"profoundly assorted message† ( â€Å"its perfect yes and no† ) in an imitative manner ( McCall 152 ) . â€Å"Prefer† is as inobtrusive. as contagious. and every bit radical as a sneezing. The storyteller lets it out of his oral cavity involuntarily. When Turkey enters the scene and uses the bug word without recognizing it ( without Nippers’ italicized lampoon or the narrator’s critical remarks ) . the storyteller says to him. in a â€Å"slightly excited† tone. â€Å"So you have got the word. too† ( 27 ) . In this polar sentence. the verb â€Å"get† implies â€Å"to receive† ( as in â€Å"to receive a word or message† ) . but more strikingly for our treatment here. it implies the verb â€Å"to catch† – one â€Å"catches† the word as one would â€Å"catch† a cold. The storyteller attempts to supervise the contagious disease by calling the bug and indicating it out to the others. But the word mocks everyone’s will to command it â€Å"prefer† pops up six times in the following half a page - four times unconsciously in the address of one of the employees. and twice consciously ( modified by â€Å"word† ) in the narrative of the attorney. Bartleby could be described as a narrative of the familiarity – or anxiousness – a attorney feels for the law-copyist he employs. The storyteller arranges a screen in the corner of his office behind which Bartleby may work. Pleased with the agreement of puting Bartleby behind the screen in close propinquity to his ain desk. the storyteller provinces. â€Å"Thus. in a mode. privateness and society were conjoined† ( 12 ) . The storyteller idealizes the possibility of a perfect harmoniousness between privateness and community in the work environment. but it is exactly the struggle between these two spatial â€Å"conditions† which generates the narrative. specifying non merely Bartleby’s â€Å"idiocy. † but the narrator’s every bit good. The storyteller most characteristically brushs Bartleby â€Å"emerging from his retreat† ( 13 ) or â€Å"retiring into his hermitage† ( 26 ) . The screen isolates Bartleby from the position of the storyteller. but non from his voice. Borges. Jorge Luis. â€Å"Prologue to Herman Melville’s ‘Bartleby† in Herman Melville’s Billy Budd. â€Å"Benito Cereno. † â€Å"Bartleby the Scrivener. † and Other Tales. erectile dysfunction. Harold Bloom. New York: Chelsea House Publishers. 1987 Inge. Thomas M. . erectile dysfunction. Bartleby the Inscrutable. Hamden. Connecticut: Archon Books. 1979. McCall. Dan. The Silence of Bartleby. Ithaca: Cornell University Press. 1989. Melville. Herman. â€Å"Billy Budd† and Other Stories. New York: Penguin Books. 1986. Perry. Dennis R. â€Å"‘Ah. Humanity’ : Compulsion Neurosiss in Melville’s Bartleby. † Studies in Short Fiction 23. 4 ( autumn 1987 ) : 407-415. Schehr. Lawrence R. â€Å"Dead Letterss: Theories of Writing in Bartleby the Scrivener† Enclitic seven. cubic decimeter ( spring 1983 ) : 96-103.

National Security and Homeland Defense Research Paper

National Security and Homeland Defense - Research Paper Example This paper shows that the various agencies involved at the state, federal or local agencies make a perfect team in making the country safe for its entire citizen. Introduction There are many threats that face us daily in the society that we live. Whether it is from terrorist attacks, theft attack, attack amongst ourselves or threat issues, we are still faced with danger all around us. Many agencies are deployed to protect us from such kinds of attack. They investigate in to the matter and come up with solutions to our problems. They assure us that we will be all right and every single matter will be handled professionally in accordance with the laws that govern us. Given their different roles in the society, they work together to protect its citizens. The agencies involved are federal, State Law Enforcement agencies or local agencies that are the municipal or county police. The federal Given to them the duty under the United States Code, the Federal agencies that exist in the United States have the authority to enforce laws only at the level of federal. The federal agencies have the same powers as the police in that they both act together with the police. They are only given the permission to investigate issues within the range of power they are endowed. Their investigate powers is clearly seen nowadays especially after the USA patriotic act was passed. At the federal level, most of the duties of enforcement are placed under the department of Justice. An instance of a federal agency is the Drug Enforcement Administration and the United States Marshals. In addition to that, the homeland security department has many federal agencies that work together with it. An instance of a federal agency that works with the department of homeland security is the United States Secret Service and the Transportation Security Administration (Reiss & Albert 1992). Since the government of the United States is structured as sovereign states in which each state is responsible for mai ntaining their own military, police and any other agency involved in the law making process, the constitution has not given the federal agencies to practice the benefits that a normal police has. The constitution has only allowed the federal agency to exercise their powers on affairs between states and any affair that is foreign. In the case of policing, if a crime happens at a different state, then the federal agency does not have any power. If the federal agency acts on a different state, then they have gone against the law of federal that governs the interstate relation and they can be charged by the jurisdiction of federal. The United States Secret Service As a part of the United States Department of Homeland Security, the United States Secret Service is an example of a federal agency that exists in the United States. The United States Secret Service is involved in many responsibilities in the federal department. Responsibilities of the United States Secret Service The primary d uty of the United States Secret Service as stated in their mission is to protect the financial system and the payment process of systems n the United States. They are usually involved in crimes that involve any financial fraud whether it is institutional, electronic, identification of false documents or any money laundering process. It is also responsible for the protection of the President of the United States. That is the second main mission of the United Sta

My life five years ago Essay Example | Topics and Well Written Essays - 500 words

My life five years ago - Essay Example The aspects that have changed in me include my maturity levels exceeding my thought boundaries. I never thought in my early teenage years that I would get matured this quickly. In just 5 years time I look like a young adult. I can sense things around me in a better manner than I was able to when I was just a kid. My personality has molded in such a manner that I have started to like it more and more. I have appreciated the difficulties of life now with my chin up and I seldom cry in the face of adversity. I can stand up and be counted – which was not the case some 5 years down the road. I have traveled far and wide with my parents. Europe is a continent that I have explored with my loved ones in my early teenage years. I remember each and every moment of my visits with my parents and I cherish everything about those journeys that we had. I can still remember the talks and conversations we had in those times with my parents and how we ended up laughing at the end of each debate and friendly mocking. We enjoyed different sceneries together and looked to find out about nature more and more. I remember my parents guiding me through thick and thin in those formative years of a kid’s life and I believe I am pretty lucky to be blessed with such loving parents. A lot in me has changed all this while. Though I lived in Egypt for the better part of my life, I feel that my upbringing has been affected in a positive fashion after I went to United States. I explored a new world and thus tried to comprehend things in a wholly new way. I aim to become a successful businessman just like my father who I believe is my living inspiration. I draw my encouragement and inner motivation from him and thus I believe I am what I am because of my father. I would do anything to go back in those times – 5 years back to be precise. I absolutely adore each and every second of that life which I had. Now life has become more sober and demanding. Earlier it used to be all fun and play.

School Papers Essay Example for Free

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Hong Kong :: essays research papers fc

Hong Kong It’s March of 1997, and a political cartoonist who goes by the pen name â€Å"Zunzi†, sketches in a cafe in Hong Kong. Many Americans take this right for granted. Zunzi, however, is thankful that his newspaper is among the few that have avoided self-censoring as the Chinese take-over approaches, bringing with it harsh censorship laws. He draws a picture of a smiling man outfitted in the lower half of a dog costume, preparing to put on it’s head. The man symbolizes wealthy businessmen in Hong Kong, and the costume symbolizes their willingness to obey Beijing by assuming positions of power, such as the Preparatory Committee and the Provisional Legislature. They change their costume and identity in whichever group they are in while remaining loyal to China by acting as China’s â€Å"puppets†. This way, China has a strong grip on political affairs in Hong Kong. Zunzi is aware his days in Hong Kong are limited (Sesser 21). As China takes over many l aws that restrict Hong Kong’s free speech are being put into effect, causing uneasiness among citizens. Despite China’s attempt to control, Hong Kong citizens struggle to maintain the democratic lifestyle to which they are accustomed. The Chinese government’s restriction of free speech has oppressed many citizens of Hong Kong. Before the hand-over on July 1, 1997, a vigil was held in Hong Kong’s Victoria Park for the victims of the June 4, 1989 massacre at Tianemen Square. Fifty-thousand people attended the vigil, which remembered those who died while rallying for democracy. Said pro-democracy campaigner Szeto Wah, â€Å"Tonight. we are again using sparks of candlelight, solidified drops of ‘tears,’ to remember you and mourn you." However, demonstrations like this are not looked on by approval by the new government that will come with the hand-over. The soon-to-be executive chief Tung Chee-hwa expressed his disapproval of the vigil by saying that it is â€Å"...time to set aside the burden of June 4†. New laws proposed by the Provisional Legislative Council required demonstrations and societies to register with the government. Those considered dangerous to national security will be banned (Baird 30). These new lawsthreaten to make demonstrations like the one held in Victoria Park impossible. The disapproval and Tung Chee-hwa and the emergence of restrictive laws pose a threat to citizens who value their right to free speech. Hong Kong citizens fear expressing themselves through art because of China’s control.

Importance of Understanding Cultural, Ethnic, and Gender Differences Essay

The United States is and will continue to be a very diverse place. More than 8 million legal immigrants came to the U. S. between 1981 and 1990, and an undetermined number of undocumented immigrants enter the United States each year. In addition, the United States includes people of many religions, languages, economic groups, and other cultural groups. In order to be a successful manager in today’s very diverse society a manager needs to be open and understanding of cultural differences, different ethnicities, and gender differences among employees. Diversity is the presence of people from a wide range of backgrounds all possessing different traits. Some possible contributors to diversity include but are not limited to differences in age, race, ethnic origin, culture, physical abilities, religion and sexual orientation. As the text book states, ‘bringing diverse workers into an organization is seldom a seamless transition. ’ People tend to prejudge and place stereotypes or generalized beliefs that all members of a group possess the same characteristics from different cultures, race, or sex; this must be overcome. To be effective, managers and employees need to recognize, respect, and capitalize on each other’s differences. By being diverse in its employees, a business has a better opportunity for new ideas and growth potential. As discussed this week in class, when the department head turned down the Jamaican friend for the position, even though he seemed better qualified, it showed stereotyping and prejudices can have a negative effect in the workplace. The situation made for an uncomfortable, even negative environment in the workplace. By the department head’s negative behavior it caused a barrier for productivity and potentially harmed working relationships. It is essential in today’s business world for managers and professionals to understand the importance of cultural, ethnical and gender differences to make a positive work environment possible. While performing the ball and sock experiment, I was put outside of my comfort zone and was forced to see what it was like in someone else’s shoes. I found the lefty experiment to be awkward and difficult. I started in the early morning as I was getting ready for work. The seemingly thoughtless tasks that I completed every morning such as showering, brushing my teeth and hair, and eating breakfast now became hard and tedious. I continued the experiment when I returned home from work. Preparing dinner as a lefty was virtually impossible and almost dangerous. Most tasks as a lefty were manageable after some time and practice, but operating a knife was not. I am sure that with a little time and patience these tasks could have become easier to me. I can see how it could be frustrating living as a lefty in a right handed world. This is the same concept as being from a different culture, ethnicity, and gender then those in your workplace. Although the transition into a new company can be difficult, with time and some adjustment it is possible. I can relate the ball in the sock experiment to the importance of understanding cultural, ethnic, and gender differences in the work place because adjusting to something that we are not accustomed to can be challenging. It is important to understand that people we come into contact with everyday come from a background that we may not know much about. It can be difficult to adjust when meeting new people or entering a new work environment. I believe an organizations success can be attributed to its ability to embrace diversity and appreciate the benefits. A workplace who supports diversity can supply an assortment of solutions to problems. A diverse workplace can facilitate a broader service range. It can allow a company to provide their service to those all around the world. I think the most significant benefit to supporting diversity in the workplace is the inspiration it gives to all of its employees to perform to their greatest capacity. Diversity allows employees to come together to accomplish a common goal as a team. Employees will feel comfortable to share their viewpoints and ideas to execute a goal or solve a problem. I believe diversity opens the door for workplaces to achieve higher productivity, result in higher profits, and benefit the community. Diversity may not be something that people are familiar with and may even have a difficult time adjusting to, which is similar to trying to using your opposite hand in daily tasks. I believe understanding diversity will show employees the importance of it in the workplace and how it can enhance the quality of work.