Racial Inequality in America in 1998

Racial Inequality in America in 1998 Racial imbalance in the United States is as yet a combative issue. The segment populace of the US might be a potential clarification for this social sick in light of the fact that as observer Ben Wattenberg implores, the United States has become the â€Å"world’s first worldwide society† (Lee, 2012, p. 2).Advertising We will compose a custom research project test on Racial Inequality in America in 1998 explicitly for you for just $16.05 $11/page Learn More Today, most countries over the world admire the United States in amazement of its migration status taking into account the pertinent laws and approaches. The US has easily figured out how to oblige all races from Blacks to White to Asians and Hispanics inside its fringes. In any case, racial imbalance remains the best defenselessness endured by the United States’ popular government. Regardless of being the orchestrator of the Universal Bill of Rights, the US experiences gravely a fundamental malignant growth of racial imparity. This malignance goes back to the times of subjugation, during which the job of the US can't be belittled as it had the biggest number of slaves inside a confined land area (the South). Besides, much after the boycott of subjection in the US, it was notoriuious for proceeded with encroachment of human rights by separation considerably after the abolishment of servitude after the Civil War (Vorenberg, 2001, p.104). By the by, since the 1960s, the United States has made some amazing progress in the abolishment of segregation and inclination dependent on decent varieties. There have been three key enactments, viz. The Omnibus Civil Rights Act of 1964, The Voting Rights Act of 1965, and the Free Housing Act of 1968 that aided the battle against racial iniquality by administering the ideal socio-political, monetary, and social result of a free United States. After the Civil War, Americans were under the feeling that the social ills prompting the common difficulty that fi nished in the war would reach a quick conclusion. In any case, the continuation of these social monstrosities until as late as 1998 was verification that it would take something beyond a couple of new laws and announcement to free individuals of the racial predisposition that had been so profoundly settled in their brains and lives. The historical backdrop of servitude goes back to the mid seventeenth Century when a Dutch boat showed up in the New World stacked with African slaves (Buell, 2004). At a certain point, there was a serious deficiency of work to run the estates and these human machines were seen as the main way out. They were solid, versatile, and unmistakably worked for hard work and brutal day to day environments, which fit their maters’ needs. Therefore, slave exchange before long turned into a rewarding business and boats kept on showing up with multitudes of Africans who from the start had been auctions off by their own networks into subjugation as outsiders, yet as the interest developed, the slave vendors started to hijack slaves for trade.Advertising Looking for research paper on sociologies? We should check whether we can support you! Get your first paper with 15% OFF Learn More This continued for over three centuries thus when servitude was being canceled in the mid twentieth century, whites had gotten familiar with rewarding African Americans with hatred. There was a period in history when it was not possible that an African could peruse. The white bosses didn't accept that slaves had the insight to get a handle on any information. With this sort of foundation, it is in truth estimable that the world has overcome much as to acknowledge individuals of color in practically equivalent standing. In The United States, Blacks are really positioning above Hispanics and a few Asians regarding advancement (Sowell, 2013). Be that as it may, the issue of racial disparity despite everything endures and strategy producers are coming up short on thoughts on what laws to introduce to dispose of racial imbalance once and for all. In any case, if history is a pointer, enactment alone will not take care of this issue. Following the Civil War, strategy producers concocted the Omnibus Civil Rights Act, of 1964. This Act is the mother of all antidiscrimination enactments and it secured racial, ethnic, and even sexual segregation (Lee, 2012). Title VIII is an addendum to the Act and it handles segregation at the work environment, strict separation, and lewd behavior at the work environment. It likewise made isolation unlawful and engaged the Attorney General to establish suits against organizations and offices, for example, schools and businesses who victimized their understudies and representatives separately, in light of race among different factors. The subsequent Act was the Voting Rights Act 1965. This Act set up government guideline over issues that were up to this point saved for state and neighborhood ward just, for exampl e, policy driven issues to do with casting a ballot and minorities’ rights. In 2006 when it was most as of late revised, the Republicans in the House looked to revoke the government oversight limit of the Judicial Department without any result. The third Act was the Federal Housing Act of 1968 â€Å"that denied racial segregation in the deal and leasing of housing† (Bonilla-Silva, 2006, p.94). It covers all houses including those that are separately claimed and involved. Tragically, these enactments didn't effectively dispense with racial imbalance in light of the fact that despite the fact that the law required consistence in certain institutional settings, it couldn't go about as a guard dog in each social part of bigotry. For example, it couldn't forestall bigot remarks between singular residents. This weakness in the law’s ability to address the issue of racial imbalance enough finished in a few occurrences of abhor wrongdoings that were intolerable infringe ment of human rights approaches and on account of James Byrd Jr., it cost his life (Petersen, 2011).Advertising We will compose a custom research paper test on Racial Inequality in America in 1998 explicitly for you for just $16.05 $11/page Learn More In 1998, at Jasper County in Texas, three white men, viz. Lawrence Russell Brewer, John William King, Shawn Berry executed James Byrd in a stunning demonstration that was depicted by one examiner as psychopathic bigotry. These three men were out on a drinking binge when they saw a dark James Byrd strolling down the road. They offered him a ride and a lager at that point started to disparage him with bigot slants (Federal Bureau of Investigation, 2005). From the start, he overlooked the thorns, yet in the long run a battle followed, which finished in his throat being cut, dark paint being spread all over lastly, being tied by his feet to the rear of their truck and hauled for three or so miles until he kicked the bucket in the wake of g etting beheaded. Before long thereafter, examinations started and since it was such a horrifying demonstration of racial brutality, the Federal Bureau of Investigations coupled up with the Justice Department and the state to stub the culprits. In the end, the three men were captured, arraigned, and the jury saw them as liable of homicide (Welch, 2007). Lord and Brewer were given capital punishment as the jury decided collectively that they ought to be killed, while Berry found some useful task to fulfill sentence. One of the inquiries posed of the jury in such examples is whether it accepts that the culprit will murder again if not kill first. Racial disparity keeps on being a hostile issue in the US popular government and measurements show a steady example since from as ahead of schedule as 1968 exceptional. On the off chance that a progressive system were to be applied, whites would be on top, trailed by blacks in certain examples, and different races separately. Worryingly, the m ore current races in the US economy are as of now outperforming or taking steps to outperform the African American populace in issues of destitution and work (Lee, 2012, p. 7). In any case, the arrangement maybe lies in instruction as taught people, regardless of race, appear to live in a good norm, yet this is additionally not a secure cure on the grounds that there is as yet a hole between similarly taught partners among the races. Thusly, additional time is required for additional unification of races notwithstanding all the preventive enactments and approaches planned for annihilating racial imbalance just as instruction. As time slips, people’s mentalities appear to improve by forsaking since quite a while ago held peculiarities. Reference List Bonilla-Silva, E. (2006). Bigotry without Racists: Color-Blind Racism and the Persistence of Racial Inequality in America. Oxford, UK: Rowman Littlefield Publishers.Advertising Searching for research paper on sociologies? How about we check whether we can support you! Get your first paper with 15% OFF Find out More Buell, T. (2004). Bondage in America: A Primary Source History of the Intolerable Practice of Slavery. New York, NY: The Rosen Publishing Group. Government Bureau of Investigation. (2005). Despise Crime Statistics 2004. Web. Lee, C. (2012, May). Racial Inequality: Americas Achilles Heel-Full Chapter You areâ here Todays American: How Free? Web. Petersen, J. (2011). Murder, the Media, and the Politics of Public Feelings: Remembering Matthew Shepard and James Byrd Jr. Indianapolis, IN: Indiana University Press. Sowell, T. (2013). Educated people and Race. New York, NY: Basic Books. Vorenberg, M. (2001). Last Freedom: The Civil War, the Abolition of Slavery, and the Thirteenth Amendment. Cambridge, UK: Cambridge University Press. Welch, K. (2007). Dark Criminal Stereotypes and Racial Profiling. Diary of Contemporary Criminal Justice, 23(3), 276-288.

Dutch - The Worst Movie :: essays papers

Dutch - The Worst Movie The most noticeably terrible film I have seen recently must be Dutch. A not as much as inspiring film about a misconstrued minimal rich child and his mom's average workers beau voyaging home for thanks giving supper. They go on to a have a not all that energizing experience with an absolutely ludicrous story driving this train wreck. Not exclusively is everything that occurs in this story absolutely unimaginable. Every occasion gives you another motivation to loathe one of the characters somewhat more. Before the finish of this film I got myself not mindful if these to made it home or passed on all the while. In the start of the story the kid's mom and father have gotten a separation. I was a chaotic issue leaving the mother helpless before the dad. She has proceeded onward and begun dating a man named Dutch with a common laborers foundation. The kid, Henry, is away at life experience school anticipating his dad's visit that will never occur. The mother edgy to be there for her child attempts to persuade him to come see her for the occasion. Henry denies on the grounds that he censures his mom for not making her marriage work. Furthermore, this is were the entire thing self-destructs. The mother, Mary, concludes that she would truly like for her child to go to her home. So she sends Dutch to go up and carry the kid to her. So off like an abundance tracker in the old west Dutch goes out to get his man. Also, our experience starts. Presently directly here is were I get somewhat confounded. I can't assist with asking why Dutch, a man this poor kid has never met, is going to get him. Dislike this school is an hour away it’s several a day's in the vehicle together. Also, this may be alright under better conditions. In any case, taking into account that this kid has a ton of outrage towards his mom. You would believe this would be a decent open door for them to talk. Also the way that Henry hasn't excepted his folks separate and the exact opposite thing he is going to need to do is meet her new beau, who is assuming his dad's position in Mary's life. His mom doesn't consider accompanying. Not that she is occupied or anything.

UK Students Turn to Ivy League

UK Students Turn to Ivy League The OE Blog With university courses being cut at drastic rates and tuition fees soaring to a whopping £9000, it is no surprise that more and more UK students are setting their sights on top US universities instead. Financial Incentives For the first time, trebled tuition fees have made the price difference between a UK and a US education negligible and students are responding accordingly, with record breaking numbers attending a recent US university fair in London. In addition, as bursaries for universities in England are squeezed and slashed, Ivy League institutions offer a beguiling package of generous support options. Many UK students from low income families find that an Ivy League university would be able to fund almost their entire tuition and accommodation costs, and many even offer extra incentives such as book grants and free flights home during the vacation. Oxbridge vs. Ivy League It’s not difficult to see the many attractions American universities hold for UK students. There are far more institutions to choose from within the elite ‘Ivy League’ group, allowing more variety and room for personal preference than the Oxford vs. Cambridge conundrum in the UK. In America, students can choose from prestigious institutions in exciting cities all over the country, from Harvard in Boston to Columbia in New York. Wider Subject Choice The American university system allows students to study a much wider variety of subjects alongside their main area of interest, which appeals to many who haven’t yet decided exactly what they want to do. You can ‘major’ in your chosen subject whilst still taking a range of courses in completely different academic disciplines, all of which will eventually contribute towards your final degree. This opportunity to tailor your course to suit your own personal interests and preferences simply doesn’t exist in the UK and is extremely appealing to many who wish to escape the rigid, restrictive university course choices available here. Postgraduate Opportunities With the UK economy embroiled in a seemingly endless struggle to recover from the recession and postgraduate employment at a record low, it is no surprise that many hope America will provide greener pastures after graduation. And for those planning to seek work in the US, trying to get into an Ivy League school just makes more sense than staying at home and paying extortionate prices for UK degrees with very little promise of financial reward at the end of the road. If you’ve been thinking about Ivy League applications, keep your eyes peeled for next week’s blog, ‘How to get into the Ivy League’. It will be full of top tips for UK students hoping to study across the pond!

Essay on Furthering Knowlege of Dissociative Identity...

CLINICAL QUESTION 2 I would like to further my knowledge on the controversial mental illness identified as Dissociative Identity Disorder, or DID. More commonly known as multiple personality disorder, it has been a mental illness which gained attention from being the main focus in a variety of Hollywood’s films, aside from what has been portrayed in films I have little insight to what this disorder is. â€Å"What is Dissociative Identity Disorder, its causes and how is it clinically diagnosed?† Dissociative Identity Disorder is a target of controversy among health care professionals as a result of it displaying characteristics of false memory syndrome, as well as its common ties to childhood abuse and trauma. (Stickley †¦show more content†¦Following the end of a traumatic event the affected person’s personality resurfaces without any recollection of what had taken place. This coping mechanism allows the child to perform daily tasks without the influences of the event psyc hologically. An affected person often has different alters that have the ability to cope with different situations they may face in life. (Stickley Nickeas, 2006) Diagnosing Dissociative Identity Disorder Due to its complexity and skepticism there is minimal information in regards to dissociation, dissociative disorders, and the effects of trauma throughout the core development years of childhood. Within recent years the awareness, and study of DID from a clinical standpoint have increased and diagnosing criteria has been outlined in the Diagnostic and Statistical Manual and is as follows: (Pais, 2009) A. The presence of two or more distinct identities or personality states (each with its own relatively enduring pattern of perceiving, relating to, and thinking about the environment and self). B. At least two of these identities or personality states recurrently take control of the person’s behavior. CLINICAL QUESTION 4 C. Inability to recall important personal information that is too extensive to be explained by ordinary forgetfulness. D. The disturbance is not due to

Airline Database - 1533 Words

SOFTWARE REQUIREMENTS SPECIFICATION(SRS) FOR AIRLINE DATABASE Table of Contents 1. Introduction 1.1 Purpose 1.2 Document Conventions 1.3 Intended Audience and Reading Suggestions 1.4 Project Scope 1.5 References 2. Overall Description 2.1 Product Perspective 2.2 Product Features 2.3 User Classes and Characteristics 2.4 Operating Environment 2.5 Design and Implementation Constraints 2.6 Assumptions and Dependencies 3. System Features 4. External Interface Requirements 4.1 User Interfaces 4.2 Hardware Interfaces 4.3 Software Interfaces 4.4 Communications Interfaces 5. Other Nonfunctional Requirements 5.1 Performance Requirements 5.2 Safety Requirements 5.3 Security Requirements 5.4 Software Quality Attributes 1. INTRODUCTION 1.1†¦show more content†¦Ã¢â€"  database: sql+ database ââ€"  platform: vb.net 2.5 DESIGN AND IMPLEMENTATION CONSTRAINTS i) The global schema, fragmentation schema, allocation schema. ii) SQL commands for above queries/applications iii) How the response for application 1 and 2 will be generated. Assuming these are global queries. Explain how various fragments will be combined to do so. iv) Implement the database at least using a centralized database management system. 2.6 ASSUPMTION DEPENDENCIES Let us assume that this is a distributed airline database system and it is used in the following application: ââ€"  A request for booking/cancellation of flight from any source to any destination, giving connected flights in case no direct flight between the specified Source-Destination pair exist. ââ€"  Calculation of high fliers (most frequent fliers) and calculating appropriate reward points for these fliers. Assuming both the transactions are single transactions, we have designed a distributed database that is geographically dispersed at four cities Delhi, Mumbai, Chennai and Kolkatta as shown in fig.2 above. 3. SYSTEM FEATURES ââ€"  DESCRIPTION AND PRIORITY The airline reservation system maintains information on flights, classes of seats, personal preferences, prices and bookings. Of course this project has high priority because it is very difficult to travelShow MoreRelatedAnnotated Bibliography On Database Security1383 Words   |  6 PagesIntroduction: Database security is the system, processes and procedure that protect the database from unauthorized individual or malicious attacks. The researches on database security has been increased gradually over the years as the most of critical business functionalities and military secrets became digitized. Database is an integral part of the information system and often holds the sensitive data. 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How is this relationship changing over time? Information systems are increasingly tied to the organization’s business strategy, rules and procedures. A change in strategy, rules or procedures requires changes in software, hardware, databases, and telecommunications, and vice-versa. An organization’s present and future accomplishments depend in many respects on what its systems will permit it to do. Whereas ear ly information systems addressed primarily technical or operational issuesRead MoreQNT561 Sampling and Data Collection Pla Essay957 Words   |  4 Pagesï » ¿ Sampling and Data Collection Plan Name QNT/561 October 27, 2014 Instructor Introduction Royal Blue Airlines is a medium sized airline company offering flights throughout the United States, Mexico, Caribbean Islands, and Latin America. The company operates a fleet of Boeing 737 aircrafts and is in the process of replacing older ones with newer, state-of-the-art planes. 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The Philosophy of Action in Hamlet Free Essays

‘Words, words, words’: Hamlet’s philosophy of action Central to any drama is action. What distinguishes drama from other literary forms is the very fact that it is acted upon a stage, that voice is given to the words and that movement creates meaning. It is, therefore, puzzling that the most seminal dramatic work in the English language contains, arguably, precious little of what many might describe as dramatic action. We will write a custom essay sample on The Philosophy of Action in Hamlet or any similar topic only for you Order Now Nevertheless it has moved, enthralled and, what is more, entertained generations of theatre goers across the centuries and is still regarded as one of Shakespeare’s most popular play. It has divided critics: Johann Wolfgang von Goethe regards as central to the play Hamlet’s inability to act[1] whereas T. S. Eliot reduces the work to ‘an artistic failure’. [2] If Tom Stoppard is to be believed, even the characters are at odds with this apparent lack of drama as Stoppard’s Rosencrantz asks ‘is it too much to expect a little sustained action?! ’[3] If then, we are to acknowledge that action is central to drama, it is important to remember that such action is usually derived from conflict. When regarding Hamlet through this basic philosophy, the play is in every way dramatic. The play is concerned with conflict. We have international conflict, familial conflict and internal conflict and it is these conflicts that drive the play. This is confirmed within the opening line ‘Who’s there? ’(I. i. 1)[4] Immediately we are plunged into the state of paranoia that envelops Elsinore, the question is confrontational and, furthermore, directs us towards the international conflict between Denmark and Norway. The drama of the play, however, is not as simple as this. For instance, we must also consider the dramatic structure of a play and apply this to Hamlet; a structure that goes from equilibrium to conflict and then on to a new equilibrium. It is impossible to relate this to the play; for who would agree that the Elsinore, at the start of Hamlet, is in a state of equilibrium? Indeed, as Stephen Ratcliffe points out, the catalyst for all action in the play does not occur within the play[5]. The murder of Hamlet’s father has already happened when Barnardo delivers that famous first line, a line which itself suggests a response to something that has happened offstage. Ratcliffe goes on to discuss that the line could almost be a response to a ‘knock knock’ joke but more seriously that it: begin[s] the play in response not only to some implicit, unspoken physical action- some motion or noise in the dark, [†¦] but to an implicit action not performed on stage – some motion of the Ghost of Hamlet’s father which Bernardo, who speaks this line, must imagine he has seen and/or heard. [6] Ratcliffe also suggests that the action not performed on stage does not happen at all. Alarmingly, he refutes Claudius’s confession of fratricide in Act III, arguing unconvincingly that Old Hamlet’s murder had never taken place. [7] In spite of this he does raise an interesting issue that is concerned with the question as to why – when in Western literature dramatic narrative is defined by cause and effect – does Shakespeare place the primary cause off stage and beyond the gaze of his audience? We are left to imagine the dramatic possibilities of opening the play with the alarming and visually striking image of a brother’s murder. If Shakespeare’s decision to leave this exciting and sinister event in the wings confounds us, what, then, are we to make of the climax of the play? If we are to return to the classic dramatic structure of a play, we expect to see rising action leading to a climax that, in turn, leads on to the falling action culminated by the denouement. Hamlet gives us no such structure. There is no climax in the classic sense or if there is it appears in the final scene, not where one would expect. There is, nevertheless, one possibility that the climax may appear earlier in the play and that would be, in the traditional sense, in Act III. The murder of Polonius in Act III, scene iv might be regarded as the turning point of the play in the same way that Mercutio’s death in Romeo and Juliet is seen as such. It is at this point that we see Hamlet at a height of passion, ‘How now? A rat! Dead for a ducat, dead’ (III. iv. 23). The use of the word ‘rat’ shows Hamlet’s contempt for his supposed victim, the repetition of ‘dead’ embellishes his determination to kill, and the ducat is the small price Hamlet values the life he has just taken. The consequences of this action feed into every other event that is to happen: Claudius’s resolve to kill Hamlet, Ophelia’s eath and Laertes’s act of revenge which brings about the play’s final dynastic collapse. Once again, though, Shakespeare ‘removes’ the audience from the action, having the murder take place ‘offstage’. Polonius is murdered behind the arras and this takes us away f rom the immediacy of the action. There is no huge build up with a climactic duel as there is in Romeo and Juliet; we are not even given the drama of remorse that is evident in Macbeth. For these reasons, it is impossible to consider the death of Polonius to be the dramatic climax of the play, merely another cause leading on to another effect. This shortage of ‘action’, though, is illusory. A. C. Bradley comments on this when he suggests a hypothetical reaction to the play: What a sensational story! Why, here are some eight violent deaths, not to speak of adultery, a ghost, a mad woman, and a fight in a grave! [8] Hamlet does have a dramatic conclusion, of that no one is in doubt, but this has come after a series of procrastinations from the titular hero. All other action is kept firmly offstage. One might hear Bradley go on to say ‘Treason, pirates, war, the storming of a castle and a regime change! The latter two were included in Branagh’s film version strongly alluding to the storming of the Iranian embassy in 1981 an event that was intensely exciting and dramatic for any that can remember it. For Shakespeare, however, such extravagant action appears to be superfluous to his play and is, therefore, not of importance. As a consequence, it would appear redundant to continue analysing what is not in the play, as Ratcliffe has done at length[9], and to focus on what Shakespeare does give us. What Shakespeare does give us is words, ‘words, words, words’(II. i. 192) and it is through these words that he provides the action. It is here where I must agree with Ratcliffe when he suggests that, in Hamlet, it is the language that is of importance and not the action. [10] It is necessary, then, to look at the power of language within the play and how Shakespeare facilitates it in order to sustain a dramatic structure. Firstly, as mentioned above, the catalyst for all the action in the play happens off stage but is delivered to the audience, and Hamlet, through the words of the ghost. We know that these ords are to hold significance as we have shared Horatio’s anxiety for the ghost to ‘stay and speak’ (I. i. 142). The appearance of the ghost is not enough. It is, therefore, the words that are spoken to Hamlet in conjunction with the apparition that hel p to creates the first piece of dramatic action in the play: Now, Hamlet, hear. ’Tis given out that, sleeping in my orchard, A serpent stung me – so the whole ear of Denmark Is by a forged process of my death Rankly abus’d – but know, thou noble youth, The serpent that did sting thy father’s life Now wears his crown. [†¦] Ay, that incestuous, that adulterate beast, With witchcraft of his wit, with traitorous gifts- O wicked wit, and gifts that have the power So to seduce! – won to his shameful lust The will of my most seeming-virtuous queen. (I. i. 34-46) What is striking about this scene is how it is dominated by the ghost and how little Hamlet actually says. If it were one of the lesser characters, it could be assumed that they were struck dumb and in awe of the presence of a spectre but, even this early in the play, we know enough about Hamlet to realise that this would not be the case for him. He mentions a few lines earlier that he is not afraid, saying ‘I do not set my life at a pin’s fee’ (I. iv. 65), so why now is he so quiet? Surely Shakespeare feels that Hamlet, like the audience, should be still with trepidation at the drama that is unfolding before them. In this short passage of the ghost’s speech we have incest, adultery, witchcraft, treachery, not to mention murder. Here we see Shakespeare using the power of words to create the action upon the stage, words that, like Ratcliffe points out, enter through our ears as did Claudius’s poison. 11] Later on in the play we will see words used as poison, again by Claudius, when, in true Machiavellian style, he corrupts the mind of the vengeful Laertes. When discussing the power of words we must look at the play-within-a-play sequence of Act III, an aspect of the play which has been discussed at length by the critics but also one that brings into question another facet of action, that of ac ting. Hamlet is an extremely self-conscious play, bringing comedy into a highly dramatic moment in Act I, scene v when Hamlet asks the ghost ‘Canst work i’th’ earth so fast? (l. 170): this is an obvious comment on the crudeness of Elizabethan stagecraft. Earlier in the same scene Shakespeare has commented on the possibility of a bored audience when Hamlet comments on ‘this distracted globe’ (l. 97)[12] and, when Polonius states that when he played Caesar ‘Brutus killed me. ’ (III. ii. 103) Jenkins points out that the actors playing Hamlet and Polonius were likely to have played Brutus and Caesar respectively in an earlier play and therefore are about to ‘re-enact’ the murder. 13] If we look at Hamlet’s instructions to the players: Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue; but if you mouth it as many of your players do, I had as lief the town-cryer spoke my lines. Nor do not saw the air too much with your hand, thus but use all gently; for in the very torrent, tempest, and, as I may say, whirlwind of your passion, you must acquire and beget a temperance that may give it smoothness. O, it offends me to the soul to hear a robustious periwig-pated fellow tear a passion to tatters, to very rags, to split the ears of the groundlings, who for the most part are capable of nothing but inexplicable dumb-shows and noise. I would have such a fellow whipped for o’erdoing Termagant. It out-Herods Herod. Pray you avoid it. (III. ii. 1-14) Again, we have a very self-conscious speech where there seems to be an in-joke upon the acting style of the actor who plays Polonius, if not intended by Shakespeare it could certainly be performed as such. There is also the awareness of audience as well in the comments about the groundlings which is rather a brave joke which, had they been enjoying the play, would have gone down in good humour. It might also be considered that Shakespeare followed up the joke by including the dumb-show that followed! If we look closely at the instructions, however, we notice the emphasis on the words rather than the action. The opening imperative is ‘Speak the speech’ and interestingly ‘as I pronounced it’ not as I acted or showed it which seems strange to say when instructing actors. It is true that in the restricted views of an Elizabethan playhouse an audience would go to hear a play but this would not be the case in a private courtly performance. Also we must remember that Hamlet is only concerned with one member of the audience; someone who, one might assume, would have the best view of the play. Hamlet’s instructions are followed by references to the tongue and mouth where the words must inevitably come from and then the simile of the town cryer again placing stress on verbal communication. Hamlet requests a limit to the ‘action’, the body movement – the acting- so that it is the language that is of paramount importance. In such a self-aware moment of the nature of acting and drama in the play are we not to assume that this is coming from Shakespeare as much as Hamlet? The players’ sequence has significance because here we have on stage the mechanics of Hamlet. There is the murder of Gonzago/Hamlet acted out on stage, the betrayal of Lucianus/Claudius and the union between the Lucianus/Claudius and Queen/Gertrude. Here Shakespeare gives us what we were denied in the first act the event which sets the whole play in motion. Not only that but by having Lucianus as the nephew to Gonzago we are also witnessing the events that are about to happen on stage or, at least, those that we expect to happen. Interestingly enough, though, is that Shakespeare has included a dumb-show as if to appease the groundlings despite his earlier comments but it is not through watching this that Claudius reacts but rather the words of the players that follows. At the line ‘On wholesome life usurps immediately’ (III. ii. 254) Claudius can no longer remain seated for he cannot deny the words, something that has been discussed and embellished by Ratcliffe. [14] The question as to why Claudius does not react to the dumb-show can be resolved in performance by choosing to have Claudius showing signs of discomfort throughout until he can finally stand it no more as in Olivier’s film version. There is nothing in the text, however, that suggests that this is how it should be performed. The king questions Hamlet, Is there no offence in’t? ’ (III. ii. 227) and in this dialogue there is nothing to suggest that he is suffering from any anxiety regardless of how this line has divided critics. [15] So once again we see that it is words that have more power, more effect and more significance than mere actions. In looking at the philosophy of action in the play one must recognise that the play is essentially a revenge play and that all action must stem from the concept of revenge. Michael Mangan defines the revenge play as a play which: harts the protagonist’s attempts to [revenge]: this may involve a period of doubt, in which the protagonist decides whether or not to go ahead with the revenge, and it may also involve some complex plotting (in both senses of the word) as the protagonist decides to take revenge in an apt or fitting way. The revenger, by deciding to take revenge, places himself outside the normal order of things, and often becomes more and more isolated as the play progresses – an isolation which at its most extreme becomes madness. [16] It would appear, from this definition, that Hamlet is, indeed, a revenge play but who is it that seeks revenge? I would argue that it is not Hamlet for, as Catherine Belsey notes, ‘[r]evenge is not justice’[17] and we are reminded throughout the play that Hamlet seeks justice. For instance, Hamlet does not act rashly for he states: Give me that man That is not passion’s slave, and I will wear him In my heart’s core, ay, in my heart of heart (III. ii. 71-73) This might suggest that Hamlet holds reason close to his heart. Here we see that contrary to popular belief Hamlet is not a man that is ruled by passion but that is not to say that he is not passionate. If Hamlet were ruled by passion he would not have devised such an elaborate ploy to confirm the guilt of the king but would have acted straight away. Gone would be the procrastinations and Hamlet could have roused up the populace as easily as Laertes does in Act IV, as Bradley points out[18], and Claudius would have been dead by Act II. Many critics that have argued this case seem to suggest that Shakespeare’s reason for prolonging the action was to fill out the five act structure of the play. [19] We are given three possible revenge heroes in the play: Hamlet we can discount, Fortinbras and Laertes. Shakespeare has provided these two characters to put Hamlet’s inability to act into stark contrast. Through Fortinbras we see the noble prince revenging the death of his father through careful planning and sharp resolve and in Laertes we see a rash young man whose desperate bid for revenge only quickens his own demise. It is important to note that even with the careful planning Fortinbras still shares Hamlet’s prolonging of the act when we consider that Denmark’s defeat of Norway was at the time of Hamlet’s birth some thirty years previous. Hamlet, however, does not seek revenge. He could have easily been able to exact it when he says ‘Now might I do it pat’ (III. iii. 73). The semantics of the word ‘might’ suggest that he has no intention of committing the murder. ‘Will’ or ‘must’ would imply a more decisive move yet Shakespeare gives us a Hamlet who is questioning his actions. His decision to spare Claudius whilst at prayer further indicates that it is justice and not revenge that Hamlet desires. Claudius points out to Laertes that ‘No place indeed should murder sancturise’ but Hamlet delays his action because he wants justice – a death for a death- like for like. Significantly, Hamlet is a revenger who is unable to act as Calhoun states he is unable to ‘play the role’,[20] or to use Ted Hughes’s metaphor: Like the driver of a bus containing all the characters of the drama, he hurtles towards destruction, in slow motion, with his foot jammed down hard on the brakes. [21] Having established the substance and value of words in Hamlet it is necessary to return to the question of dramatic climax in the play. It has always been recognised that it is a dramatic impossibility to act Hamlet on the stage in its entirety and it is not unknown for students of the text to skip through sections when reading but one thing always remains and that is the soliloquies. Within the play we have the most beautiful speeches composed in the English language and it is one of these that, I believe, forms the climax of the play. The climax of language that we are given in the play does follow the classic dramatic structure coming in Act III and at the risk of sounding cliched I would suggest that it is the ‘To be or not to be’ speech. It is in this soliloquy that we have the nub of the play rests and that is Hamlet’s internal conflict on how he should act. It has long been considered to be the musings of a troubled mind contemplating suicide and whilst no one will argue that Hamlet’s is not a troubled mind is he really deliberating the end of his own life? I would argue no. Shakespeare has already given us such ruminations earlier in the play with ‘o that this too too sullied flesh would melt’ (I. ii. 129) and I find it difficult to accept that a dramatist of Shakespeare’s calibre would not have developed his main character by the third act. In fact, I would argue that after confronting the ghost and hearing the charge against Claudius, Hamlet has been given new meaning to his life and that all thoughts of suicide have faded. ‘To be or not to be’ should read as ‘To do or not to do’ or ‘To act or not to act’ for it is in this speech that we witness Hamlet’s thoughts on whether to proceed with the killing of Claudius. Not once in the speech is there an ‘I’, nowhere does Hamlet refer to himself. His examples of the ‘whips and scorns of time’ (III. i. 70) save one do not seem to be justifications for taking one’s own life: Th’oppressor’s wrong, the proud man’s contumely, The pangs of dispriz’d love, the laws delay, The insolence of office, and the spurns That patient merit of th’unworthy takes (III. i. 71-74) Apart from unrequited love, for which many have taken their life, these seem to be the wrongs that are urging Hamlet to seek justice against Claudius. I might take this further and suggest a reading of the soliloquy where Hamlet knows that Claudius is eavesdropping, something that seemed to me implicit in Brannagh’s film. Through this reading we can see that Hamlet is acting a role for us as an audience but specifically for Claudius and Polonius. He is diverting attention from his true thoughts of murder whilst also confirming his ‘antic disposition’ (I. v. 180). In addition to this it explains why he apparently forgets the ghost of his father as he claims ‘No traveller returns’ (III. i. 80) as it would not be practical to reveal the truth at this stage. Also, the speech concludes that it is conscience that prevents him and the fear of the unknown when prior to this he has stated that it was because that God has ‘fix’d / His canon ’gainst self-slaughter’ (I. ii. 131-132). Arguably, this could be a variation of the same rationale yet there is a distinct change in tone which suggests a difference in attitude. Therefore, it is within this soliloquy where Hamlet reaches his decision which he reveals to Ophelia (and Claudius) when he says that ‘all but one – shall live’ (III. i. 150). One might argue that the opening line of this speech, ‘To be or not to be’ (III. i. 56), uncontrovertibly suggests that Hamlet is, indeed, reflecting on suicide but, once again, this is another self-conscious reflection upon the nature of drama. For Hamlet, the character in the play Hamlet, must act in order to ‘be’ and as a revenge hero, that act is the murder of Claudius. While Claudius is alive, Hamlet’s mind and soul are troubled and only through the act of revenge with ‘a bare bodkin’ can he bring about his ‘quietus’ (III. i. 75-6). Words, therefore, are the focus of this play. It is Shakespeare’s longest and in it we are given a character who ‘â€Å"comes alive† only in language’[22], it is through words that the dramatic action, except the final scene, takes place upon the stage. In terms of drama, the play is at odds with its form in that the driving action of the plot precedes the start of the play. We are given a revenge hero who is unable to live up to that title and only seems to spring into what one might call action when he has been hit by Laertes poisoned rapier and he knows that he is about to die, something which he points out twice in the scene. Indeed, in performance, the final scene can be played as equally low-key as it can be played dramatic. In a self-conscious play such as this it seems clear that Shakespeare understands the power of words. To a dramatist, all action that can be created on a stage is a representation – one that is created through words. Crucially it is through language that the world of Elsinore is created and all those that exist within it exist through the words that they speak. It is, therefore fitting that Hamlet’s dying words are ‘the rest is silence’ (V. ii. 363) for he knows that without language he is nothing. Through Hamlet Shakespeare gives us a world where action is secondary to language because, in drama, one creates the other. 3967 words (exc. footnotes) 4338 words (inc. footnotes) Bibliography Primary Sources Shakespeare, William, Hamlet, ed. Harold Jenkins, The Arden Shakespeare, 3rd series (London and New York: Routledge, 1994) Stoppard, Tom, Rosencrantz and Guildenstern are Dead (London: Faber Faber, 1967) von Goethe, Johann Wolfgang, Wilhelm Meister’s Apprenticeship, ed. and trans. Eric A. Blackall (Princeton, NJ: Princeton University Press, 1995) Secondary Sources Belsey, Catherine, ‘Revenge in Hamlet’, in Hamlet: Contemporary Critical Essays, ed. Martin Coyle (London: Macmillan, 1992), pp. 154-159. Bloom, Harold, Hamlet: Poem Unlimited, (Edinburgh: Canongate, 2003) Bradley, A. C. , Shakespearean Tragedy, 3rd edn. London: Macmillan, 1992), pp. 84-166. Calhoun, Jean S. , ‘Hamlet and the Circumference of Action’, Renaissance News, Vol. 15, No. 4. (Winter, 1962), 281-298. Dickson, Andrew, The Rough Guide to Shakespeare, (London: Rough Guides, 2005) Eliot, T. S. , ‘Hamlet’ in Selected Essays (London: Faber Faber, 1951), p. 141-146. Fernie, Ewan, ‘Terrible Action: Recent Criticism and Questions of Agency’, Shakespeare, Vol. 2, No. 1 (June, 2006), 95-118. Hughes, Ted, Shakespeare and the Goddess of Complete Being (London: Faber Faber, 1992), pp. 233-239. Jump, John D. , (ed. ) Hamlet: A Selection of Critical Essays (London: Macmillan, 1968), pp. 2-32. Kettle, Arnold, ‘From Hamlet to Lear’, in Shakespeare in a Changing World, ed. Arnold Kettle (London: Lawrence Wishart, 1964), pp. 146-159. Mangan, Michael, A Preface to Shakespeare’s Tragedies (London and New York: Longman, 1991) Ratcliffe, Stephen ‘What Doesn’t Happen in Hamlet: The Ghost’s Speech’, Modern Language Studies, Vol. 28, No. 3/4. (Autumn, 1998), 125-150. ——————–, ‘‘Who’s There? ’: Elsinore and Everywhere’, Modern Language Studies, Vol. 29, No. 2. (Autumn, 1999), 153-173. ————— Ã¢â‚¬â€Ã¢â‚¬â€œ [1] Johann Wolfgang von Goethe, Wilhelm Meister’s Apprenticeship, ed. and trans. Eric A. Blackall (Princeton, NJ: Princeton University Press, 1995), p. 146. [2] T. S. Eliot, ‘Hamlet’ in Selected Essays (London: Faber Faber, 1951), p. 143. [3] Tom Stoppard, Rosencrantz and Guildenstern are Dead (London: Faber Faber, 1967), p. 86. [4] William Shakespeare, Hamlet, ed. Harold Jenkins, The Arden Shakespeare, 3rd series (London and New York: Routledge, 1994), subsequent references are to this edition. [5] Stephan Ratcliffe, ‘What Doesn’t Happen in Hamlet: The Ghost’s Speech’, Modern Language Studies, Vol. 28, No. 3/4. (Autumn, 1998), pp. 125-150. [6] ——————–, ‘‘Who’s There? : Elsinore and Everywhere’, Modern Language Studies, Vol. 29, No. 2. (Autumn, 1999), p. 153. [7] Ratcliffe, ‘What Doesn’t Happen in Hamlet: The Ghost’s Speech’, pp. 135-139. [8] A. C. Bradley, Shakespearean Tragedy, 3rd edn. (London: Macmillan, 1992), Lectur e III, p. 93. [9] Ratcliffe, ‘What Doesn’t Happen in Hamlet: The Ghost’s Speech’ pp. 125-150 [10] Ibid. , p. 129. [11] Ibid. p. 131 [12] Having opened my Christmas presents and receiving Bloom’s Poem Unlimited after I had written this essay, I feel obliged to cite him for what I assumed to be an acute and original observation. If only Father Christmas hadn’t been so efficient, I could have at least pleaded ignorance! Harold Bloom, Hamlet: Poem Unlimited (Edinburgh: Canongate, 2003), p. 10 [13] Jenkins (ed. ), Hamlet, p. 294 [14] Ratcliffe, ‘What Doesn’t Happen in Hamlet: The Ghost’s Speech’, pp. 131-132. [15] Jenkins explains how the line has been used to show Claudius’s calm attitude to the play and to prove his unease in Jenkins (ed. ), Hamlet, p. 301. [16] Michael Mangan, A Preface to Shakespeare’s Tragedies (London and New York: Longman, 1991), p. 67. [17] Catherine Belsey, ‘Revenge in Hamlet’, in Hamlet: Contemporary Critical Essays, ed. Martin Coyle (London: Macmillan, 1992), p. 154. [18] Bradley, Shakespearean Tragedy, p. 98. [19] Notably the anonymous critic in ‘Extracts from Earlier Critics, 1710-1945’ in Hamlet: A Selection of Critical Essays, ed. John D. Jump (London: Macmillan, 1968), p. 22. [20] Jean S. Calhoun, ‘Hamlet and the Circumference of Action’, Renaissance News, Vol. 15, No. 4. (Winter, 1962), p. 288. [21] Ted Hughes, Shakespeare and the Goddess of Complete Being (London: Faber Faber, 1992), p. 236. [22] Ewan Fernie, ‘Terrible Action: Recent Criticism and Questions of Agency’, Shakespeare, Vol. 2, No. 1 (June, 2006), p. 96. How to cite The Philosophy of Action in Hamlet, Papers

Why the US used the atomic bomb against Japan

Introduction The Second World War represents the worst war that has ever been fought on the face on the earth. The war involved majority of the world’s nations and culminated into the death of over 50 million people. During the war, major world powers and resources were thrown to the war (Allen and Polmar 1995).Advertising We will write a custom essay sample on Why the US used the atomic bomb against Japan? specifically for you for only $16.05 $11/page Learn More Towards the end of the war, the United States dropped two atomic bombs on Japan. This paper seeks to describe the reasons why the US used the atomic bomb against Japan. There are two main reasons that prompted the United States to use the atomic bomb against Japan; the refusal to surrender by Japan and the need for the US to assert itself. Japan’s refusal to surrender Japan was persistently stubborn during the Second World War and this can be regarded as the main reason why the US used the atomic bomb against it. The government of Japan refused to surrender and pull its troops back even after its forces had been significantly weakened. By August 1945 Japan was on its knees as most if its industrial plants, air bases and harbors were destroyed. The country was also experiencing a severe short supply of food and raw materials and yet it continued to cling on most of the contested Islands. The US had successfully tested the atomic bomb (fat boy) in July 1945, and together with the other members of the allied forces, issued the Potsdam Declaration on 26th July that called on the Government of Japan to proclaim the unconditional surrender of all of its armed forces. â€Å"The alternative was a prompt and utter destruction† (Harrison 1987). On July 30th Japan gave its response- a total rejection of the ultimatum and at about the same time, began negotiations with the Soviet Union in hope of better terms. As a result, the first atomic bomb was dropped on Hiro shima in August 1945 followed by further calls for Japan to accept the Potsdam Declaration or face further ruin (Heina and Selden 1997). The Government of Japan still hesitated and on August 9th the second atomic bomb was dropped on Nagasaki. After further quibbling, Japan finally agreed to surrender on August 14. The need for the US to assert it’s might The use of the atomic bomb against Japan was widely discouraged by various advisers of President Truman due to the Bomb’s ability to cause mass destruction of civilian life. After Japan’s refusal to heed the calls stipulated in the Potsdam Declaration, a section of Truman’s advisers encouraged the demonstration of the power of the atomic bomb on a desert or barren Island to encourage Japan to surrender (Heina and Selden 1997).Advertising Looking for essay on history? Let's see if we can help you! Get your first paper with 15% OFF Learn More Truman disagreed and insisted on the use of the Bom b against Japan. Many analysts have interpreted this as a move by the US to assert it and influence the course of war. This was particularly intended to display superiority against the backdrop of a growing disdain between the allied forces and the Soviet Union. This can be justified by the cold war that followed the Second World War. Conclusion This paper sought to describe the reasons why the United States used the atomic bomb against Japan. It has been established that the US used the atomic bomb to basically end Japan’s stubbornness and end the world, and to further assert its power against the backdrop of a looming confrontation with the Soviet Union. Bibliography Allen, Thomas, and Norman Polmar. Code-Name Downfall. New York. New York: Simon Schuster, 1995. Harrison, Scott. History in the Making: World conflicts in the 20th century. London: Macmillan Education, 1987. Heina, Laura, and Mark Selden. Living with the Bomb: American and Japanese Cultural Conflicts in the Nu clear Age. New York: E. Sharpe, 1997. This essay on Why the US used the atomic bomb against Japan? was written and submitted by user Lia Jordan 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.