Steven Holl – Ideas on Architecture

Steven Hold: Thoughts and Ideas on Architecture As I sit and listen to the rainfall, I can't help but wonder about the changing of seasons. Winter to spring, Spring to summer, summer to fall, fall back to winter. While each droplet of rain must have Journeyed long and far before it descended upon me, now it's Just a pool of droplets. The best part about spring is the rain showers. Without the spring rain we would have no summer flowers, no gardens, not leaves or grass. Spring marks the direction of a new change. One with more life, a new beginning of sorts.A precedent for the following months; a metamorphosis from en season to the next. Ancient Greek philosopher Heraclites found fascination with change in its most simple form. He believed that all is flux, and nothing stays still. But what if he was wrong†¦? If flux could be stopped what would happen? I could walk out into this storm and not be wet, for the droplets of rain are still and the clouds stationary. In the moment, I f ind tranquility in the storm. Peacefulness rests among the stillness of earth. Not a splash of water made, not a scour in the trees, not even a whistle to the wind.I think to myself, ‘The serenity of nature is unlike anything else in this world. All of a sudden, CLASH!! Lightning strikes followed by a violent boom of thunder. A nearby tree creaks like an old door opening as it falls to the ground; unexpectedly I became drenched by the rainfall. I sought shelter under a roof, but it seemed as if the world was at ease. Almost as if earth made a treaty with itself to remain motionless for the rest of time. Nevertheless, it wasn't because if nothing changed then storms wouldn't occur, seasons couldn't transpire, and life would be lifeless.This earth we live on is one of a kind and distinct from anything else. Earth speaks for itself and Heraclites states this excellently, â€Å"Not l, but the world says it all: All is one. And yet everything comes in season. † In comparison to the precedent of spring to the rest of the seasons, a person's early life can shape the following years in their life. Steven Holly's career was foreshadowed by his earliest years when he and his brother built a 3-story tree house and also an underground clubhouse. This was not only outlined in his childhood, but also in his years of education.While growing up in Beaverton, Washington, he developed the desire to make things, sculpt, draw, and build. After high school, Hold went to study architecture at the University of Washington. His Junior year he left the states and engulfed himself in the great city of Rome, moving from Beaverton, a shipyard city with little architectural density, to Rome, the pinnacle of architectural history. 5 While in Rome, the Vietnam War was taking place so, Hold, instead of developing his thoughts and ideas on architecture, wrote a conscientious objection on philosophical rather religious grounds.After receiving a reply, he was dismissed due to †Å"physical deformity' and never had an actual physical examination. Hold obsessed over his objection because he didn't want them to falsify his opposition, and consequently left Rome with no projects. Upon returning to Washington, he had difficulties finding a firm to hire him. After a year at a small firm outside of Seattle, Hold left to go to San Francisco, where he formed a union with William Stout and Bill Zimmerman; they called themselves â€Å"Opus 411 . † Together they entered competitions and wrote declarations of architecture, but all ended too soon, for Hold was broke and needed a job.In search of a Job and possible graduate school, Hold was accepted at Harvard, Princeton, and Yale, and on top of that hired at Louis Khan's office in Philadelphia. He made the decision to take the Job and decline the schools. Confusion descended once Hold received word of Khan's death. He declined acceptance to graduate schools for a Job that was no longer possible. Fortunately in 197 6, Hold was offered to study, tuition free, at the Architectural Association in London by a man named Alvin Boyar. 5 For that reason, Hold made another life-changing decision and packed his bags to go to London.During that time he traveled to every possible building to experience them first hand and to sketch hem. Living as a vagabond in the streets of London, by some meaner, Hold managed to find a client from Paris. His new client was upset with his noisy and crowded vacation home so Hold made large pencil drawings of a new retreat house offset from the shore. In one of the drawings he sketched a man on a boat headed to his refuge home, his back to the home and face to the shore. Hold comments, â€Å"The character in the rowboat illustrates the way that all of us must work. He cannot see where he is going, only where he has been.Progress is tempered by a sense of mystery, of doubt. â€Å"5 A couple years later, Hold made more elaborate pencil drawings of a project for the South B ronx called Gymnasium-Bridge. This project won a Progressive Architecture Award in 1978. Upset by the way his work was presented in Progressive Architecture, he called his colleague Bill Stout, who had opened a bookstore back in San Francisco to make a publication of manifestos and single projects. This was the inception of what would be known as â€Å"Pamphlet Architecture. † Hold set specific guidelines for him and his colleagues to follow for this publication.This was an avian-garden idea at the mime and gave new and unusual ways of looking at architecture. These anthologies feature groundbreaking works by forward thinkers of today's most well-known architects, including Steven Hold, Living Timidity, Lubbers Woods, and Gaza Had. 6/7 Holly's excerpts from Pamphlet Architecture are very much concerned with typology and morphology, that is, a study based on classification and also a study on building forms. â€Å"Pamphlet Architecture #5 The Alphabetical City' speaks on the nature of urban buildings during the first half of the 20th century.Hold inscribes, â€Å"†¦ The notorious portions of cities that evolved on gridiron plans – certain letter-like buildings recurred. The â€Å"L†, or the â€Å"l† type depend on their adjoining structures for meaning. They become â€Å"dead letters† when left stranded as free- standing buildings. â€Å"6 You can see here Hold had been analyzing buildings and then classifying certain buildings by the letter in the alphabet they resembled. The forms of these buildings from the generation before him caused him to questions the idea of architecture from that time.Holly's current language of architecture wasn't uncovered until he came across the arks of French philosopher Maurice Merle-Pointy in 1984. 1 This was a time when Hold radically changed his methods for making and understanding architecture. Subsequent to the discovery of Merle-Pointy, Hold brought light to the idea of deriving p rojects from concepts outside of architecture. Over the years, he harnessed this method and played with it as a departure for his work. From there on out, Hold became preoccupied with the idea of experience.Merle-Pointy expresses, â€Å"We know not through our intellect but through our experience. â€Å"3 The phenomenology that Merle-Pointy writes about is what Hold achieves in his architecture. While most architects work outside-in, Hold takes an opposite stance and works inside-out because he affirms that, â€Å"space is the incredible media of architecture. â€Å"8 It is an extraordinary responsibility to be an architect because the buildings we make are for people to use. Hold understands this and attempts to make people perceive space differently, to make something visible that they normally wouldn't.A work of his that exemplifies this is the Chapel of SST. Igniting in Seattle, Washington. In this project, Hold starts with the concept, ‘Seven Bottles of Light in a Sto ne Box. ‘ Each of the openings for light allow the sunlight to reflect off colored walls in a way that causes a conversion to colored-light. You can imagine being in the space that funnels colors at you making light ever more noticeable. This making of architecture relates building, site, and situation with body, space, time, light, and movement. 4 Holly's buildings really execute the interaction between architecture and phenomenology.It doesn't come as a surprise that Holly's major preoccupation is the phenomena of light. We live in a world that we know through vision, which can only be possible with the help of light. The dynamic of light defines several of Holly's works including: Writing With Light House, Porosity House, Sun Slice House, Kinsman Museum of Contemporary Art, Nelson-Atkins Museum of Art Addition, Chapel of SST. Igniting, Museum of the City, and NYU School of Philosophy. 2 However, these projects epitomize his thoughts on light, all of his works constitute and deal with light.Specifically in Writing with Light House, Hold inscribes light in such a way that celebrates light and, its counterpart, shadow. Strips of white light coat the interior in accord with the time of day and season. Shadows then become the strokes on the reface causing an ornament of pattern. This strategy shapes light that really gives it meaning and insight. It's not only the approach on light that makes his architecture original, but also his ability to take familiar ideas and transform them into something new. It wasn't until the ass's when Hold started consistently getting things built.Part of the struggle in his career was becoming famous. This can be challenging because of cruel criticisms or lack of attention towards your work. For Hold, it wasn't until after his Pace Collection Showroom in New York, that he received a world-known status. He was given a huge amount of critical attention in New York, Europe, and Asia for his new and fresh take on modernism. It to ok a couple decades but he now has work in Italy, Germany, France, Japan, Finland, Switzerland, Norway, The Netherlands, Denmark, and China.Holly's originality that is known throughout the world is, in part, due to his way of thinking and developing ideas. It is not necessarily theories of architecture that shaped this, but phenomenology and science that have shaped his beliefs and ideas. Ideas are very important to Hold and this is where he derives his inspiration. He is fearless when it comes to addressing the world at large for inspiration in his projects. Many shy away because of the criticisms one will face for fear of comparison to larger ideas, nevertheless Hold is audacious.Audacity is exactly what Hold advocates. He encourages students to question everything and this is one reason he, himself, has become such a success. 8 One part of being an architect is that you must be able to fluently articulate your personal thoughts and ideas, rather than simply following the ideas of someone else. It then becomes a push for what you think should happen. Holly's character is tested when working with clients because he must be uncompromising and demanding if he wants to pursue the realization of his concepts. His self-assurance comes from the knowledge of himself.He has never had any doubts on who he is and what he wants to accomplish, and this has lead to his triumph. Even though he must be adamant and resolute, he has sought criticism from respected colleagues and peers of his designs over the years. 2 Hold discusses their commentary and evaluation with them after overcoming his incredulity. This is a testament of his respect for other people's opinions and ideas. It also reveals his wisdom in seeking out honest and tough critiques. This may be the reason he is able to keep his knife so sharp.Without the help of others, he would become dull, thereby making his architecture banal. This essay ends with a glimpse of the way Steven Hold sees architecture for the 21 st Century. Hold was born in 1947. He lived in latter half of the 20th Century; he saw and helped change the way architecture is defined today. He truly sees how architecture has been grounded by the physical aspects of having limited resources in the past, to the increasing technological ways in which we can now build. The constructive ramification into modern life and new ways of seeing are vital traits he believes today's architects must have.Hold elaborates, â€Å"Any architect caught up with the current speed of globalization of today's architecture realizes that this is an unprecedented time in the history of architecture: requiring an unprecedented philosophical commitment. † He continues, â€Å"†¦ The challenge of extremely diverse lands, cultures, and climates and their urban conditions set unparalleled obligations for architecture today†¦ A theory reversing specific to universal – a black swan theory – suggests an aim for larger, more comple x building types.A twenty-first century position that strives to airframe the inherited dualism of the last century's suffixes might spark a new paradigm shift toward a new focus on architecture's potential to shape experience, interrelating body, brain and world. â€Å"3 A new generation will emerge after the passing of Steven Hold, one inspired by the books and buildings he bequeathed to humanity. For now, Hold will continue to be a leading architect in the world. It's a great field to be apart of with myriad possibilities, and it is my hope to one day be given the chance to make a richer environment and Join the field of architecture.

Hunger in Black Boy Essay

Hunger in Black Boy Have you ever experienced real hunger? The kinds of hungers that Richard experiences in Black Boy are not evident in the society where you and I reside. The present middle class citizens cannot really relate to true physical hunger. Hunger for most of us is when there is nothing that we desire to eat around the house and therefore skip one meal. This cannot even compare to the days that Richard endures without food. Physical hunger, however, is not the only hunger apparent in Richard’s life. Richard suffers from emotional and educational hungers as well. He yearnsfor such things as mere association with others and simple books to read. Both of which are things that most people take for granted. This efficacious autobiography, Black Boy, by Richard Wright manifests what it is like to desire such simple paraphernalia. From a very early age and for much of his life thereafter, Richard experiences chronic physical hunger. â€Å"Hunger stole upon me slowly that at first I was not aware of what hunger really meant. Hunger had always been more or less at my elbow when I played, but now I began to wake up at night to find hunger standing at my bedside, staring at me gauntly† (16). Soonafter the disappearance of Richard’s father, he begins to notice constant starvation. This often reappears in his ensuing life. The type of hunger that Richard describes is worse than one who has not experienced chronic hunger can even imagine. â€Å"Once again I knew hunger, biting hunger, hunger that made my body aimlessly restless, hunger that kept me on edge, that made my temper flare, that made my temper flare, hunger that made hate leap out of my heart like the dart of a serpent’s tongue, hunger that created in me odd cravings† (119). Because hunger has always been a part of Richard’s lifestyle, he cannot even imagine eating meat every day. This simple privilege would be a miracle to him, yet to most it is nothing. These weakening and piercing hungers are frequently evident where poverty dwells in the Jim Crow South. Furthermore, emotional hunger also represses much of Richard’s life. Richard desires attention from people. However, since he does not receive much of this at home, he does not really know how to associate with others. This provokes a problem when he leaves home because he cannot understand the friendliness of people around him. â€Å"Nevertheless, I was so starved for association with people that I allowed myself to be.

Media studies coursework for John Steinbeck’s “Of Mice and Men” Essay

We are doing a study of the opening sequence on the novel â€Å"Of Mice and Men†, and the subsequent two films (1995 version, and the 1989 version) on the Novel. The author of the novel is John Ernst Steinbeck, who shares the exact same name as his father. His father was an observer of nature and the natural world, and taught the young Steinbeck to respect and to be a part of nature. This love of nature from his father is incorporated in Steinbeck’s opening sequence of the book, where he describes in great detail the opening beside the Salinas River, this causes a calm and tranquil feeling for the reader and draw him straight into the book. Steinbeck was born and raised in Salinas in California and bases his book around both that area and in the time he was writing it, which was during the American depression in the 1930’s. The opening sequence of the book is set a few miles south of Soldad, in the Salinas river. The Salinas river is a peace full and tranquil place with lots of vegetation and wildlife and gives a very slow and calm start to the book. Steinbeck indicates that it is a spring evening of a hot day, and judging by the two men’s clothes it is sometime in the early 1900’s but he does not indicate exactly what period in the early 1900’s they are in. We can tell they are in this period from the second paragraph when he mentions that there are â€Å"boys coming down from the ranches†. From this and the clothes they are wearing we can also tell that the two men (George and Lennie) are working class and are most likely looking for a job on the ranch near by. We can tell they are working class because before the 1940’s only poor people amd workers would wear that type of clothes, â€Å"denim trousers and denim coat†. This is because they are easy to work in, are not very hot clothes to wear, and also are very durable so they are ideal for workers. The upper class would never wear this type of clothing exactly because the workers wear it and it is not descent clothing for a respectable gentleman to be wearing. The mood set in the book is very tranquil and quiet with great detail paid on the countryside and the animals in it. This is to try and give the reader an exact picture of the scene. Some examples of this are; â€Å"the water is lined with trees-willows fresh and green with every spring, carrying in their lower leaf junctures the debris of the winter flooding; and sycamores with mottled, white, recumbent limbs and branches that arch over the pool†. Another example of this is â€Å"Evening of a hot day started the little wind to moving among the leaves. The shade climbed up the hills toward the top. On the sand-banks the rabbits sat as quietly as little grey, sculpture stones.† In the first paragraph Steinbeck describes the noises and the imprints that have been left in the opening from the animals over many years, â€Å"On the sandy bank under the trees the leaves lie deep and so crisp that a lizard makes a great skittering noise as he runs through them†. And with â€Å"the damp flats are covered with the night tracks of ‘coons, and with the spread pads of dogs from the ranches, and with the split-wedged tracks of deer that come to drink in the dark â€Å". The second paragraph describes how the pool is a popular place for many people and the path has been worn down by human use: â€Å"path beaten hard by boys coming down from the ranch to swim in the deep pool†. The path is also popular with Tramps who want to â€Å"jungle-up near water†. The Characters involved in the opening sequence are called Lennie and George. Lennie seems to be rather dumb and not very observant by the fact that wen his partner (George) stopped right in front of him Lennie carried on walking and â€Å"nearly ran him over†. Lennie does not think of his own safety and needs George to guide him so he can say out of trouble and in good health. He proves this by drinking out of the filthy water from the pool witch is described as being green, witch shows it is not running water. He drank â€Å"with long gulps, snorting into the water like a horse†. Lennie listens to George obediently like a little child, and follows his every command and movement. He again shows his child like behaviour and naivety when he moves his fingers in the water and makes little rings, he immediately shares his excitement with George as he wants him to look, because he is proud of what he has done; â€Å"look George look what I done† he calls to him. We also have the picture of Lennie not being very bright from his physical appearance and the way that he walks. Lennie is described to have a â€Å"shapeless face† witch show lack of emotions and thought witch in turn is linked his lack of intelligence. The way it he walks also show either tiredness or again lack of intelligence â€Å"dragging his feet a little† and the way his arms move like pendulums. Steinbeck relates how he walks he walks to a bear meaning, this because he is saying he is big and strong, or because he has very little intelligence and does not think at all or he might be relating the bear to both his strength and his intelligence. George on the other hand is more intelligent than Lennie and seems to be the leader out of the two them. We get the idea that George is the leader by the fact that they are walking in single file and George is leading, this also gives us at first glance the impression that they might not be friends because usually friends walk next to each other not behind one another. We see a bit later on that this is not true and that George was probably just looking out for Lennie from the fact that he tries to stop Lennie drinking from the dirty pool â€Å"‘Lennie!’ he said sharply. ‘Lennie for God’s sakes don’t drink so much† this shows that he cares for him and doesn’t want Lennie to get sick. George’s appearance is more defined than Lennie’s with â€Å"small, strong hands, slender arms, a thin bony nose.† He is also described as being quick, this could probably means that he is more intelligent but it could also mean that his movement is quick. The genre of the novel is a real life drama. I have come to this conclusion because all the facts in opening sequence are all possible in real life, all the scenery is realistic the animals and the people are all realistic. There are only a few clues to what the story will be like. The clues that we have are that the clearing that George and Lennie are in is near to a ranch because it says in the book that boys come down from it to swim in the pool. We also think that George and Lennie are workers from the cloths they are wearing, so it is perfectly feasible that they are two travelling men looking for work on a nearby ranch. If this is true it would also account for the theme of the book. The 1995 film of â€Å"Of Mice and Men† opens with white credits on a black background and slow starting music. The music repeats itself over and over in a pattern while increasing in volume, this gives the effect that something dramatic or scary is going to happen and this makes the reader feel anticipation of what is going to happen next. After a while the music dies down and gives way to the sound effects of a train moving. The background also changes from totally black to black with white strips of light shining through, this gives the effect of a carriage door on a train. We are now sure that this scene is set on a moving train, but we still have no indication of where it is going or where it has come from. So far there is only a slight indication of the period of time we are in at this point of the film. This is the train because it is a steam train witch indicate to us that this is most likely before the 1970’s and after the 1880’s because this is around a bout the time that steam trains were used. The first glimpse we get of any of the character is when the camera slowly fades into a close-up shot of George lit only from the tiny beams of light coming from the slits in the carriage door. George is not moving at all and his face seems contorted and morose, showing us that he is in deep thought about something bad that has happened in the past, we can also assume now that he is on the train because he is running away from whatever has happened. The next scene strikes you very strongly because it is set in the middle of the day in a lush field witch looks like America. Running towards the camera there is a woman in a bright red dress with tears running down her eyes and obvious signs of distress on her face, her dress has also been ripped as though she has been attacked. This scene has been shot at a slower frame rate to indicate that it is actually George reliving previous events that have happened. The girl running towards the camera showing that she is running away from something, and towards safety. As the Woman runs closer to the camera the shot pans out across the field showing some men working in a field near by. As the women runs towards the men she starts waving and pointing to the direction she has just come from, The men drop their tools and run towards her. All this indicates that something very serious has happened to the Girl. The Men workings in the field have no machinery witch is also an indication of the pe riod we are in. There are three main atmospheres established in the opening sequence of this film these (in order of happening) are; anxiety, fear, and peacefulness. The anxiety is felt at the beginning when you hear the music getting louder and louder and the white on black background, and when you see George for the first time. The first time you feel fear is when you see the girl running through the field towards the workers with the tears running down her face and the rips in her dress. Then there is a small moment of heightened suspense when we see the two friends George and Lennie running away. We feel this way because the music has suddenly stopped and there is only the slight sound of their feet hitting the ground as they run. We go back to the emotion of utter fear and anxiety as we fear for the two men’s lives as they are running away from huge packs of dogs and a posy of men on horse back with guns. Suddenly everything goes quiet as George and Lennie hide in an irrigation ditch while they wait for the chasing posy to pass by. This jump for the loud roaring of feet, horse shoes, and loud barking from the dogs to the quiet gives a feeling of fear and anxiety but it also gives a sense of peace, as you can hear the wind rustling in the wind, the grasshoppers croaking in the distance, and the shallow breathing of the men in the water. The sub characters in the video are workers on a ranch we can tell this from the clothes they are wearing and the fact that they are working on the field when we see them. We can also assume that the main characters George and Lennie are also workers because they were wearing the same clothes as the workers. George seems to be the leader out of the two as he keeps giving instructions to Lennie as they are running away from the workers such as â€Å"keep moving† and â€Å"get down†. He also says it in a reasonably friendly tone showing that he is looking after both himself and Lennie. He doesn’t not sound like he is just trying to save himself and he is stuck with Lennie. Lennie on the other hand doesn’t seem to be that worried because he doesn’t realise in what danger they are in. This is shown when Lennie stops running at one point and comments on the dogs that are chasing him. Lennie does not seem that clever either mainly because he doesn’ t realise what danger he is in, he also seems to be dragging his feet and his speech seems impaired. The clues we have to the story line of the film are the men working on the field, the clothes the men are wearing and their accents, and also the chase seen when George and Lennie are being chased. The story could be about two working men trying to find work while being chased by the law because of some crime they committed and that is why they were running away. This will also be the theme of the film if it is true. The genre of the film so far looks like a western real life drama because of the accents of the men, the time in which this is set in and the fact that everything that has happened could happen in real life in that era. The 1989 video at first glance just looks like another low budget spin of a great book and actually seems like it holds no information at first glance. But if you look at it again you see it does actually hold a lot of information just like the other film did even though the budget was obviously not as big and it was shot 6 years earlier. There is though a large area of the end of the sequence of this video, which is actually totally made up, this includes adding Aunt Clara to the story which in actual fact has died many years ago in the book and in the other film. I feel adding this character holds no relevance to the book and there is no meaning to add her. The 1995 video on the other hand even though the director had rearranged the order in which the scenes appear he did not add any other characters to the story line. By the clothes George and Lennie, what appears to be the sheriff, and Aunt Clara are wearing, and also the style of housing you can tell they are in America in the early 1900’s. There is also Gospel music playing in the background when George and Lennie enter Aunt Clara’s house and there is also a gramophone in the room near the doorway. The clues given as to what the story will be like is George and Lennie running away from the law, George helping Lennie get away and keeping him quiet when they are in the field by coping his hand over Lennie’s mouth. Other clues to what the story will be like is Aunt Clara’s house and herself, George and Lennie could be running away from the law for some reason and going to live with Aunt Clara to lay low for a bit. Another main clue to the story is the music witch is very much like the music in western films with cowboys and Indians this and the contrasting clothes that the pursuers are wearing makes us think this is going to be a western film. From all this we cam also say that the theme of this video will be that of a western with two men on the run from the law. There is very little tension in this film and everything is taken very lightly and almost like a game. This is because the music is very happy with a jumpy rhythm and also a more cowboy style tune, the pursuers have no guns drawn and they seem to be in hurry to catch them and seem to give up very easily. George and Lennie also don’t seem to be in a great hurry to get away and there is no sense of fear in their face when we see the close-up shots, because of this it seems almost like they are playing a game in the fields with a couple of friends, like little kids do. The Genre of this video seems to be a real life western drama. I have come to this conclusion because of everything that has happened could happen in real life and because the pursuers seem to be wearing western type clothes and because of the very strong western music. This time both Lennie and George do no seem that bright both from their appearance and from the way they acted and behaved. Both of them look very scruffy instead of just Lennie and they both have this very deep western accent that is associated with intellectually challenged people. George even though his appearance and his voice is the definite leader out of the two, we are shown this when he tells Lennie what to do and when he cups his hand over Lennie’s mouth to keep him quiet. Another sign that George is the leader is that when they are in Aunt Clara’s house Lennie repeats every word they say. In resent years we have seen the decline of book reading because there has been a vast increase in the standard of T.V quality. The person being entertained does not have to think any more, to picture the scene in his head and so doesn’t have to concentrate so hard. This is why many people just watch T.V these days instead of reading a book. They find it more relaxing, they are almost sleeping there mind and body are asleep this is also why you get addicted to the T.V because your body finds another way to replenish it energy without sleeping. T.V lowers your imagination though, and your concentration span because your brain doesn’t think while watching T.V but while it is reading a book it is constantly thinking and imagining possibilities of what the scene will look like and the characters. I honestly prefer after a had days work to sit in front of the television and just relax a bit. But if I am just bored and I want some entertainment I will open my book and read for couple of hours. My preferred sequence is that of the books because it gives you an exact idea of the scenery and the people while also giving you room to imagine for yourself what they look like. I also enjoyed a lot the 1995 version because it brings a lot of tension and anxiety into the film witch is the opposite to what you feel in the book. This tension and anxiety raises your adrenaline and gives you a enjoyable and on the edge of you seat experience.

Nursing Leadership of Florence Schorske Wald Research Paper

Nursing Leadership of Florence Schorske Wald - Research Paper Example Florence Yale served as an instructor at Yale initially, and then became dean. She resigned from her deanship after being inspired by Cicely Saunders’s (an English physician) work on hospices and pursued education in palliative care (Friedrich, 2011). Starting with an interdisciplinary team that led to the establishment of the first hospice in US, her hospice movement brought about many positive changes in the field of nursing in relation to care for the terminally ill and/or dying patients (Mills, 2003). 1.2 Significant Contributions to Nursing In 1971, Wald and colleagues opened the first Hospice in the USA (Mills, 2003). The aim of this hospice according to Wald (1969) was to assist the persons going through the developmental stage of saying good bye in maintaining dignity and quality of life. After the establishment of this first US Hospice, Wald started a Hospice movement, which spread a lot in the following years and resulted in the establishment of more than 4700 hospic es all over USA. Wald attained several awards and honors for her work and in addition to her contribution in motivating, organizing and training nursing, her highest contribution to the profession of nursing remains her Hospice movement (Bullough, 2000). ... 1.3 Leadership Strategies Wald was doubtlessly a great leader and inspired many others to take further initiatives in hospice (McKorcle, 2009). According to Adams (2010) Wald was critical of the way dying patients were treated after World War II. Her mission was to bring a change for the better in the care of dying patients. Her leadership was transformational; she imprinted a change in the field of hospice (Adams, 2010). Interviews from her close colleagues regarding her leadership style revealed that she included an element of caring while leading her team. All her activities were research based and she motivated her team on basis of empirical evidence regarding the difference hospice care can make in the lives of the dying. Wald was in the habit of obtaining a consensus from her interdisciplinary team before implementing anything. She was a committed mentor and strived to enhance the quality of life for dying patients (Adams, 2010). 2. BARRIERS FACED BY FLORENCE SCHROSKE WALD Wald faced many barriers inclusive and exclusive of nursing in the pursuit of her mission. 2.1 Nursing Barriers The department of medicine was over burdened with patients after the World War II and the dying or terminally ill patients were deliberately shifted towards the end of sick ward, so as to discriminate between the patients who had hope of life and those who did not (Wald, 1979). This situation in the country posed a problem in initiating and pursuing the Hospice movement (Adams, 2010). This was a great barrier faced by Wald, since it was difficult to convince the medical officials to treat the dying and non dying patients equally (Friedrich, 2011). Wald fought this barrier by immaculate transformational leadership and by involving the

Authenticating iOS devices to join the Active Directory Domain Essay

Authenticating iOS devices to join the Active Directory Domain - Essay Example Closely associated with this is the Lightweight Directory Access Protocol (LDAP) which will be employed to utilize its security and access features. With the understanding that the network will require wireless access, this paper gives the means through which such connections can be secured to assure integrity- the 802.1x is preferred.Closely associated with this is the Lightweight Directory Access Protocol (LDAP) which will be employed to utilize its security and access features. With the understanding that the network will require wireless access, this paper gives the means through which such connections can be secured to assure integrity- the 802.1x is preferred.The overall objectives of this network are first: to allow iOS users to securely access resources on networks at their learning institutions or workplaces from any point within and without the premises and second, to cut down on costs of having to wire buildings with network cables. As a result convenience concerns are ave rted and comfort during access to services in the institution is attained. The Lightweight Directory Access Protocol (LDAP) is a directory service protocol. It operates on a layer above the IP/TCP stack. It gives a system used to Search, connect to, and in the modification of Internet directories. The main purpose of LDAP is to facilitate access to an existing directory. LDAP is an open network protocol standard created to provide access to distributed directories, so that information can be retrieved or modified (Thompson).  

The link between social class issues and depression for women in Essay

The link between social class issues and depression for women in Scotland - Essay Example Besides, evidence also suggests that social issues such as poverty and discrimination can â€Å"undermine the recovery of people† from mental health problems (Myers, McCollam & Woodhouse, 2005, p.1). It further transpires that despite various initiatives taken to mitigate the problem, various challenges to mental health in Scotland arising out of â€Å"poverty, deprivation, discrimination and inequality† still remain unresolved (p.1). The problem appears to be more compounded in the case of Scottish females from lower social strata as they are unlikely to be financially independent and, thus, have to cope with various other stress elements. In this scenario, a research into the relationship between social class and depression in females in Scotland can facilitate reasonable insights into the mental health problems of this segment, which the logic behind the choice of this topic. The research will primarily be based on the information gleaned from various articles publis hed on the topic, which have been discussed in detail in the annotated bibliography appended below. Scotland’s Mental Health and Its Context: Adults 2009, written by Taulbut M, Parkinson J, Catto S, and Gordon D: This report, co-authored by four professionals in the public health field, on behalf of NHS Health Scotland, identifies the improvement of mental health as a â€Å"national priority† and sets out the objectives of the Scotland government (Taulbut et al, 2009, p.1). It attempts to describe the concept of mental health, identify the risk factors that may cause mental problems as well as the â€Å"difference within the adult population by selected dimensions of equality† (p.1). The report has relied on both quantitative and qualitative data in arriving at its findings and overall it captures the situation in Scotland, especially in the context of specific social status. The data considered for the report are from reliable sources such as public surveys or published by organizations in public or mental health. The surveys relating to 2003 suggest that women and people who live in â€Å"deprived communities† are â€Å"significantly more likely† to become victims of the mental health problems (p.17). It further points to the findings that women have higher risk of mental health problems and â€Å"17%† females have been found to be having ailing from mental health problem while the percentage of males remained at 13 (p.18). In the specific context of depression, the report maintains that it did not â€Å"significantly† differ among gender or age (p.20). Available data further suggests that the adults from lower social strata are more likely to manifest the symptoms of mental health problems at â€Å"12% compared with 8%† of those from higher echelons of the society (p.21). The findings of the study further suggest about three-fourth of the indicators of equalities analysis indicate an â€Å"association between poor mental health† and socio-economic disadvantages (p.155). The report finally provides benchmarks for â€Å"mental health improvement in Scotland† but concedes to one limitation that the data in most cases relate to the year 2000. However, the authors believe that when the availability and quality of data improves in the future the benchmarks can be modified suitably. The

Pier Paolo Pasolini Essay Example | Topics and Well Written Essays - 1750 words

Pier Paolo Pasolini - Essay Example Were it simply a question ÃŽ ¿f quantity, however, were Pasolini's art no more than the indulgence ÃŽ ¿f an unrepressed narcissist, there would be scant interest in a study ÃŽ ¿f this kind. Instead, his work offers an extraordinarily fertile and dense example ÃŽ ¿f how subjectivities are built on something other and something far more complex than merely saying 'I'. Indeed, one might say that his work offers an illustration ÃŽ ¿f the ultimate incompatibility ÃŽ ¿f saying 'I' and being 'I', in any cohesive sense these phrases might have (Benveniste, 1966, 259-60). For Pasolini does indeed, as Barberi Squarotti implies, constantly offer himself up for display in his work, but to such a degree ÃŽ ¿f intensity that conventional mediation 'is cast aside: he is personally, bodily present within language, as he explains in Petrolio, 'in queste pagine io mi sono rivolto al lettore direttamente [. . .] in carne e ossa'. In other words, he uses the textuality ÃŽ ¿f his work or the semiosis ÃŽ ¿f his multiform interventions in order to embody himself, to project himself into, rather than onto forms ÃŽ ¿f expression. The project is, ÃŽ ¿f course, deeply flawed and unrealizable, but also strangely utopian. It is an almost mystical aspiration to being-in-the text, to textual transubstantiation which can be related to his homosexuality. It represents a recourse to the essential signifier ÃŽ ¿f an 'authentic' body as a public locus ÃŽ ¿f discourse, in response to the exclusion from discourse and from normative sexual ideologies. But the recourse is a subversive and not a naturalizing one, since the irreducible aura f presence surrounding the body disavows coded norms (Dollimore, 1991). It radicalizes the relations between selfhood, signification and the real by projecting irreducible markers f the latter into the first two. It brings selfhood and form into uneasy synthesis, in a dynamic akin to that seen by De Lauretis, 1984, in Pasolini's essays in film semiology: a deployment and experience f forms f discourse as active and subjective

Outline macro journal Essay Example | Topics and Well Written Essays - 500 words

Outline macro journal - Essay Example They obtained more than five hundred information pieces in relation to the background of students, as well as the facilities and resources available in their schools (Heyneman & Loxley 1163). Data was collected from Uganda from sixty-one primary schools spread across five districts and three urban areas of Kampala, Mbale, and Jinja through primary leaving examination performances, inventories of facilities by the principals, and questionnaires (Heyneman & Loxley 1166). In El Salvador, they selected 595 schools based on their location and number of students after which they tested 50% of the students in these schools in social studies, math, and science. They also collected data from Bolivia, Argentina, Colombia, Peru, Mexico, Paraguay, and Brazil under the ECIEL auspices, obtaining information on attitudinal characteristics and background. Data from Egypt included school quality and achievement information and was collected from 1.250 students in 5th and 6th grade attending sixty schools picked at random. Finally, they also collected data from Botswana with regards to reading and math comprehension for 3rd, 5th, and 7th grade students, as well as inventories on facilitie s, principals, and teachers (Heyneman & Loxley 1168). Due to the similarity of each study’s design, the authors examined societal differences at varying economic development levels. Comparing the studies that they got their data from raised several concerns regarding the achievement tests’ intent, the test questions’ content, the sample populations, administration of the studies, and the sample representation (Heyneman & Loxley 1169). In their own methodological procedures, their country samples involved some five hundred independent measures of education. 300 experts in 18 countries using 14 languages in 10,000 institutions with 260,000 students and 50, 000 teachers, carried out the data they used. 45 items in the questionnaire referred to the opportunity for students

Is fairtrade beneficial to producers and farmers in developing Essay

Is fairtrade beneficial to producers and farmers in developing countries - Essay Example However, fair Trade USA which was formerly under Fairtrade international label left the label and begun implementing a different labeled scheme and included all crops and estates as well as individual smallholder farmers This paper focuses on the analysis of Fairtrade and holds the view that Fairtrade is not beneficial to farmers and producers in the developing countries. As will be evident in this paper, while Fairtrade report a substantial increment in year to year trade, these increments in profits do not cascade down to farmers and producers because of several factors related to inefficiency in marketing and distribution of products in the developing countries. As stated by Griffiths (2012 p.369), the sales of Fairtrade international certified products totaled to approximately 98 billion United states dollars which represent 22 percent increment compared to the previous year. However, Fairtrade does not give a breakdown of how much of these sales reach the producers in developing countries. Moreover Fairtrade does not reveal how much of these figures are from the extra prices charged for Fairtrade goods. Inefficient marketing system is one of the major factors that have resulted into lack of benefits to farers and producers. Fairtrade emphasizes on selling through monopolist cooperatives which are most of the times corrupt and inefficient (Griffiths, 2012 p. 370). It is also important to note that some private traders are more efficient than the cooperatives. In this regard it is also very difficult for the members of a cooperative to switch even if the cooperative is being mismanaged or when a cooperative is being bankrupt especially when they want to attain fair trade status. Fairtrade is also inefficient since it goes against the free market ideal of certain economies. Griffiths (2012 p. 268), refers to Fairtrade as a â€Å"misguided attempt to make up for the market failures.† This is because deviation from free market result into

Discuss how RAID can be implimented Essay Example | Topics and Well Written Essays - 250 words

Discuss how RAID can be implimented - Essay Example back is its high cost due to use of a separate processor and software which gives the RAID system greater strength to handle recovery and disk rebuilding. Another approach to implementing hardware RAID is IOC. The advantage of controller-based RAID is that it is cheaper because it simply uses processors on the disk controllers. However, controller based RAID is restricted by the power of the processor and the memory bandwidth of the controller, which makes it slower than IOP RAID. On the other hand, software RAID can be implemented using a disk controller driver or an operating system. Software RAID is cheaper than hardware RAID but is not as reliable. Software RAID may be useful in small applications where quality performance is not really expected. It is used in the drivers of the hard disk controllers and is independent of the operating system. Operating System based RAID uses a RAID engine in the operating system. Both disk controller driver and operating system driver RAID are dependent on system processor which can be specifically used in low performance and lightly loaded

Customized Learning Theory Essay Example for Free

Customized Learning Theory Essay Educational techniques have been around for many centuries. Through the centuries, teaching techniques have not changed. However, many methods have emerged which has been defined as educational theory. Students have many different learning styles that help them learn. Teachers must learn how to teach to include each of the learning styles so each student learns what they need to know. Teaching students with attention deficit hyperactivity disorder (ADHD) can be very difficult to teach. These students need to be active in what they are doing and what they are learning. Using the kinesthetic learning style will help tremendously when teaching a child with ADHD. Learning disabilities are problems that affect the brains ability to receive, process, analyze, or store information. These problems can make it difficult for a student to learn as quickly as someone who is not affected by learning disabilities. Certain kinds of learning disabilities can interfere with a persons ability to concentrate or focus and can cause someones mind to wander too much. Other learning disabilities can make it difficult for a student to read, write, spell, or solve math problems. Research is being conducted daily to be able to determine which learning theories work for which student. Some students learn better by listening, some by doing and some by hearing. Although, teaching can be dated back to the bible, Proverbs 4:2 states I give you sound learning, so do not forsake my teaching (Holy Bible, NIV). Romans 12:7 states that if it is serving, then serve; if it is teaching, then teach (Holy Bible, NIV). No matter what a teacher teaches, as long as each student gets what they deserve out of the teaching is the only thing that matters. Learning Theory and its Importance Every teacher has his or her own learning theory. Not every theory is the same. One of the best known learning theories in use today is the Piaget’s theory (Slavin, 2012). Piaget believed that there were four factors that lead to a child’s development. Children use aids and begin to understand how things work which helps the child learn how to do things for themselves. Another factor is that children learn from socializing with other children their age. This gives the child an opportunity to view other childrens behaviors and learn from each behavior. The child will then be able to develop their own patterns and personality. From there, the child can make their own decisions and find out what works best for them. Culture plays a big part in ways that affect learning theories. Vygotsky thought of the practice of education as a source rather than a result of the development of cognitive and learning skills. Many people before Vygotsky believed that people possessed the essential learning ability; however, it just needed to be coaxed out. Adolescence is one of the most trying times for a new Christian. According to Hosseini, Elias, Krauss, Aishah (2010), adolescence is a point in time when an individual makes a choice in their future education, any major life roles, any relationships, and where a child establishes toward long-term goal to work toward to. This proves that it is imperative of having Christian principles of morality integrated into the school systems. Description of an Effective Teacher and Learning Environment Being an effective teacher takes a lot of determination, understanding and commitment and also considered to be an intentional teacher. When a teacher focuses too much of his or her instruction on one area, other instructional areas could drop. Slavin (2012) states that teaching involves planning and preparation, and the components which make a good teacher are decision making, reflection, application of education research and self-knowledge and self-regulation. Teachers need to be highly qualified according to federal law. The problem was that a negative impact of the requirement of having highly qualified teacher on recruitment and retention of personnel in rural areas was feared. Leading educators in education and special education have argued that the requirement may worsen the already significant critical shortages and attrition rate in rural special education. Another problem that was brought up was the cost to have highly qualified teachers and no extra compensation. Administrators fear that they might not be able to recruit special education teachers who meet the highly qualified standard. This legislation has made an impact on the rural areas of public and private schools. If the standards are set high, then individuals who would want to be teachers would see education as â€Å"not as attractive as other career options† (Courtade et. al. , 2010, p. 10). Everybody knows that there are no two children who learn at the same pace but only an effective teacher would understand this. An effective teacher would use different learning styles to help educate each child. Direct instruction and setting objectives are important in the classroom. Being able to translate directive instructions clearly and concisely is imperative. An effective teacher wants to make sure the student can understand what is being taught which makes the difference between good and great learning. Being able to effectively deliver educational material would allow the students to become confident with his or her ability to learn what is being taught. According to Slavin (2012), poor delivery of lesson plans can have a negative impact on a student’s mental set. When a teacher has a good lesson delivery, it allows the students to become more confident; however, it is necessary that the lesson delivery be given using various delivery methods. During classroom instructions, a student does not only need ample time to learn new material, the student needs to review old material that was already taught. Having the time to review and learn new material shows the students how the old and new material goes together and instills the importance of all the material. Homework is a part of a lesson plan that is extremely important. Homework was once thought to be essential to learning and should be mandatory. It was once thought that homework was important and can further a student’s education more than a student who did not complete the homework assignments. This was contradicted when research was conducted when students were allowed to choose whether or not they wanted to do homework. Results showed that the group who did not do the homework outperformed the students who did the mandatory homework (Gutarts Baines (2010). Technology has become a big part in education. Technology has taken over the ranks for textbooks, emails, information, and paper. Several counties in Virginia have been using iPads and laptops instead of textbooks (Reid, 2011). Digital technology holds enormous potential for transforming instruction (Reid, 2011). The introduction of new technology into the classroom is an important component to help foster a learning environment that will encourage problem-solving and critical thinking (Reid, 2011). However, if a teacher chooses to use any form of technology in the classroom, the teacher needs to be well educated with technology. Some people would think that if a teacher was illiterate when it comes to computers, then why teach with them or use computers in a classroom. A teacher may not need to know the â€Å"ins and outs† of technology but he or she must know what websites are trusted, how to â€Å"surf† the internet, send out emails, set up blackboards, and use whiteboards (which can display what is on the computer onto the wall or blackboard). Technology has been very helpful when it comes to distance learning. Distance learning has helped many adults go back to college to get a degree when his or her life does not allow them to go to an actual classroom. Individuals with reading disabilities tend to become overwhelmed with reading and other activities during school. A child who cannot read well and is in middle school will not be able to take proper notes because he or she does not know how to write well either. In one study, a teacher used an iPad as a tool to help a fifth grade struggling reader with ADHD. The use of the iPad helped the student focus attention, and the iPad also helped the student become more metacognitive in reading. Using the iPad showed an increase of one year’s growth in a six week period using pre- and post-assessments (McClanahan, Williams, Kennedy, Tate, 2012). The student also gained in confidence and sense of being in control of his learning. While generalizations to other struggling readers with Attention Deficit Hyperactivity Disorder cannot be made, the success this student experienced suggests that the use of this device is worth serious consideration and research in similar contexts (McClanahan, et. al. , 2012). Learning Characteristics: Modalities and Ability Grouping Learning modalities are important when it comes to learning and teaching. The three different types of modalities include, visual, auditory, and kinesthetic. According to Anderson (n. d. ), learning modalities are the sensory channels or pathways through which individuals give, receive, and store information. Perception, memory, and sensation include the notion of modality. Approximately 25-30% of students are visual learners (Anderson, n. d. ). Visual learners are those who learn by seeing (Anderson, n. d. ). Approximately 25-30% of students are auditory learners (Anderson, n. d. ). Auditory learners are those who must hear what he or she hears to really understand it. Approximately 15% of students are tactile or kinesthetic learners (Anderson, n. . ). Tactile or kinesthetic learners need to feel and touch and get a better understanding if movement is involved. However, students can have mixed modalities which include visual and auditory, visual and kinesthetic, and auditory and kinesthetic. There are about 25-30% of students who have mixed modalities (Anderson, n. d. ). Learning modalities are important but it is not the only thing that helps the students. Teachers need to be prepared in their subject and need to be knowledgeable in the area they are teaching. Just because a teacher is knowledgeable, does not make them an intentional teacher and does not make them knowledgeable in writing lesson plans. If a teacher does not know how to deliver the knowledge to the students, the students are not going to learn as much as they should. When a teacher makes a lesson plan, it helps the teacher to be prepared and helps the teacher know how to convey much needed knowledge to the students. The concept of ability grouping goes along with learning modalities. Ability grouping allows students to group together based on their ability to learn. Ability grouping allows students of higher level to be grouped with high achieving students. Ability grouping also allows students of lower level to be grouped with lower achieving students. This type of grouping makes the assumption that the teacher will be able to teach the students based on the same level. This causes a problem because it can cause the lower level students to fall further being the higher level students because they are not taught the same things and the same ways. Personal Reflection When conducting the Learning Styles Profile on myself, it made me aware of my learning styles which is that I am a more of a visual learner than anything but I feel that I am more of a kinesthetic learner so I would classify myself as having mixed modalities. Just watching something being done would not keep my attention but if I watched something being done while I was doing it, then I would have a better understanding. I would use this as part of my theory because an effective teacher has to have something for everyone. An effective teacher would have instructions for the auditory, visual and kinesthetic students so that each student can learn his or her own way. When conducting the Philosophical Methodology of Learning Profile, it showed that I scored highest and I have strong feeling in progressivist, and traditionalist methodology. My lowest score was actually a negative score and that was in socialist methodology. Inasmuch as I am an extreme progressivist, not all of it is true. I believe that everything has to have a point and to be proven but that does not mean that I deny the existence of God. I really believe that in the progressive mode the teacher becomes the facilitator or the director of learning, while the student becomes the center of focus as an individual. I believe that school revolves around the children. I believe that if a teacher looks at a class as a whole and not individuals, the individuals who need help will not get it. A child with special needs â€Å"slips through the cracks† all the time, and in my opinion, that is not acceptable. The supervisor of learning can direct the learning from different perspectives ultimately considering the needs of the individual. An experience centered approach stems from this philosophical methodology using projects, cooperative group activities, and critical thinking and problem solving, decision-making skills. Getting children to work together as well as separately will help the children get ideas off of other students. This way, the student will know if they need extra help in a certain area and can ask for help when needed. Conclusion Each child learns differently. Each teacher has to have his or her own theory on what would work in his or her classroom. Schools are for learning† and â€Å"teaching promotes learning, but learning also takes place through experience and individual study† (Van Brummelen, 2009, p. 13). A teacher must â€Å"trust in the Lord with all your heart and lean not on your own understanding† (Proverbs 3:5). Inasmuch as educational theories have been around for centuries, times change, the way that teachers educate students will change, and the way children learn will change. Teachers must adapt to the â€Å"New Age† which includes many forms of technology and new learning theories.

Sales Tax Essay Example for Free

Sales Tax Essay OBJECTIVE   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The objective of this work is to discuss sales tax issues from the viewpoint of both the citizen and the Budget Director. Reviewed will be issues of ‘volatility’, ‘reliability’, and ‘equity’ as well as how the sales tax impacts activities of government such as economic development, community initiatives and service provision. Finally this work will answer the question of whether there are any other taxes or revenue sources to substitute for the sales tax as well as stating why or alternatively why there is not an existing substitute. INTRODUCTION: SALES TAX ECONOMIC DEVELOPMENT   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Sales taxes are collected at the local and state levels and utilized by the government in service provision to the citizens of the United States. The United States imposes sales taxes in both state and local administrations in which the customer is charged a combined rate which bundles together (USA Sales Use Tax, 2006) the state tax with the local tax. A merchant is required to charged a sales tax if the business has nexus. A nexus is defined as a substantial physical presence. (USA Sales Use Tax, 2006) Not all products are subject to the sales tax and different states exempt difference products. Sales taxes are applied on the end purchase of goods in retail sales. Economic development has been defined as a multi-faceted approach to the development of policies and programs designed to preserve, enhance and promote a vibrant and successful business community. (Economic Development Action Program, 2005) The health and success of the businesses in communities are stated to be directly linked to the quality of life experienced by residents in that community (Economic Development Action Program, 2005) which is of primary importance to the entire city or municipality. Creation of jobs and generation of sales tax revenues provide a major contribution to fund the initiatives of service provision with the city. The economic development within a city of municipality is greatly dependent on sales tax revenues in most U.S. states. VOLATILITY, RELIABILITY, AND EQUITY ‘Volatility’ and ‘Reliability’ are the two primary considerations of a budget director when revenues raised by taxes are spent on new initiatives. Hirsch et al state that Reliability and Volatility are that which marks the outcome of the question which asks: â€Å"Are new revenues raised by the taxes relatively stable over time or are they excessively volatile and difficult to predict? It is a fact that generation of revenues from sales taxes may be unpredictable since these revenues are greatly dependent on seasonal factors and economic conditions therefore, merchants may experience a really great Christmas hence the sales tax revenues for the government will be great as well however, a lean year for merchants will also result in the coffers of the government for spending in economic development being quite thin as well. In a journal article relating to the impact of sales tax on the economy of the state of California it is stated that: â€Å"If times are good and consumption is high, there will be more revenue from sales taxes than otherwise. If times are bad and layoffs and unemployment are up, personal income taxes will be reduced. Some taxpayers will lose their jobs or not have opportunities to work overtime. Sluggish economic activity will hurt profits and thus collections from corporate income taxes. Similarly, if times are bad, certain kinds of welfare-related expenditures may increase. While the linkage between economic developments and the status of the budget is clear, the actual budget process involves making a forecast of what those economic developments will be. Then budget forecasters must estimate precisely how the assumed developments will affect revenue† (Hirsch, et al, 2004) The third element is that of Equity which is one of the five principles stated by the National Conference of State Legislatures (NCSL) that were compiled in 1988 with input from lawmakers and academics. The principle involving Equity along with the other principles for sound tax policy. The five principles are:   (1) Provision of appropriate revenues (sufficiency, stability, and certainty of revenues produced) (2) Neutrality; (3) Equity; (4) Easy and economical to administer; (5) accountability – (i) taxpayers are accountable for payment of their taxes (ii) tax agencies are accountable for administration and enforcement of the tax laws efficiently and fairly; and (iii) lawmakers accountable for the integrity of the tax laws. (Hirsch et al, 2004) III. VIOLATION OF PRINCIPLES IN NEW YORK ECONOMIC DEVELOPEMNT In a recent testimony before the U.S. Senate in a hearing before the Subcommittee on International Trade of the Committee on Finance earlier this year given by Walter Hellerstein who is said to be: â€Å"the nations leading legal academic authority on state and local taxation† stated is that a New York economic development incentive to attract sales to the New York exchanges was a discriminatory tax to the Boston Stock Exchange that viewed the incentive as diverting economic activity from the Boston exchange, a view with which the U.S. Supreme Court concurred. (Testimony of Walter Hellerstein, 2006) Stated as well is that the economic development incentive for its fledging wine industry was a discriminatory tax to sellers of alcoholic beverages produced in other states, a view with which the U.S. Supreme Court concurred. (Ibid) SUMMARY AND CONCLUSION   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Clearly the sales tax scheme or plan of a city or municipality involves the necessary view which is all-inclusive of the factors that will impact the revenues realized from sales taxes and as well are able to realize the volatility or alternatively the reliability of the sales tax revenues in the budget plan. Then the comprehension of the sales taxes as they affect the individuals within the community both from the advantages of the economic development in the community as well as the impact the increase of sales tax will have on the spending habits in times that are characterized by layoffs and unemployment in the area. Finally it must be comprehended that all of this is inherently linked in the planning of sales taxes, city budgets and economic development in that economic development works to ensure a healthy and quality lifestyle for the taxpayers that reside in the community, and as well that economic development furthers the growth of businesses and employment within the community. These successful individuals and households within the community in turn replenish the community or city coffers with the sales taxes on the purchases that they make in the community thereby funding even more economic development in the community. Last, the principles that have been reviewed in this research as set out by the National Conference of State Legislatures (NCSL) must be followed in order to avoid the situation that the economic development initiatives in New York and Hawaii experienced in being found in violation of those principles by the U.S. Supreme Court. WORKS CITED Testimony of Walter Hellerstein before the U.S. Senate; Hearing before the Subcommittee on International Trade of the Committee on Finance (2006) Online available at: http://64.233.161.104/search?q=cache:EnVhxxKAqIYJ:www.law.uga.edu/news/advocate/spring2006/hellerstein.pdf+seconomic+development:+sales+tax+issueshl=engl=usct=clnkcd=17 Economic Development Action Program (2005) City of Bothell nd Online available at: http://www.ci.bothell.wa.us/dept/CM/EconDev/ActionProgram.html One Taxpayers Economic Development Incentive Is Often Anothers Discriminatory Tax.(Advocate: Spring/Summer 2006 Online available at: http://64.233.161.104/search?q=cache:EnVhxxKAqIYJ:www.law.uga.edu/news/advocate/spring2006/hellerstein.pdf+seconomic+development:+sales+tax+issueshl=engl=usct=clnkcd=17 Hirsch, Werner A. et al (2004) Making California’s State Budget More User-Friendly And Transparent Online available at: http://www.spa.ucla.edu/calpolicy02/HirschEtc.pdf USA Sales Use Tax, (2006) http://www.ustaxnetwork.com/

Aeschyluss Oresteia: Summary and Analysis

Aeschyluss Oresteia: Summary and Analysis Aeschyluss Oresteia touched a chord within Francis Bacon both in its themes of parental violence and pursuit by the Eumenides and in the way Aeschyluss poetry communicated in a subconscious emotional level.Analyzing three triptychs, a closer examination is made between the works. Francis Bacon paints images communicating his feelings and emotions but which transcend his own personal experience and convey the tensions and violent emotions of the twentieth century, and possibly beyond their creative timeframe to become universally pertinent and timeless for all mankind.In reading Aeschyluss Oresteia, the poetry touched a chord within him such that he was to use motifs from the trilogy in a number of his works but also it pointed the way for him to engender strong emotions through his paintings without employing narrative.Additionally the fate driven outcomes of the plays relate to Bacons painting practice of utilising accident in developing his paintings.The initial appeal of Aeschylus was most likely rooted in this bloody story of parental violence, revenge and exile from the home and the ongoing pursuit by the Eumenides. The extensive records of Bacons conversations will be used to prove that Aeschylus was an influence and it will be seen how Bacon translates the cathartic experience of tragedy into the medium of paint.After a brief examination of the influence of his childhood, we will look at the general influence of Aeschylus on his work before analysing three triptychs based on The Oresteia.To show the relationship between these paintings, Aeschylus Oresteia and Bacon, an in depth analysis of Three Studies for Figures at the Base of a Crucifixion (1944) will be made, following this up by examining the Second Version of Triptych 1944 (1988) and Triptych Inspired by the Oresteia of Aeschylus (1981). In conclusion Aeschyluss influence will be confirmed and Bacons status of an painter of epic emotions and universal relevance will be raised. It is difficult to say with any certainty how much Bacon was influenced by his interest in literature because he so often contradicts himself that one can never be quite sure what he really means. Most of the time when one talks about painting, one says nothing interesting.Its always rather superficial.What can one say? Archimbaud (1993) p171 Despite this comment, he was a most vociferous painter.One only has to read David Sylvester and Michael Peppiatt to find many instances of contradictory views.For example his desire to avoid narrative painting is frequently stated on record, yet when talking with David Sylvester, Bacon says: I dont want to avoid telling a story but I want very, very much to do the thing that Valery (the French poet) said to give sensation without the boredom of conveyance. Sylvester (1980) p 65 Bacon used interviews skilfully to manage how his work was perceived and interpreted, sometimes being open and clear and at others intentionally misleading or at least spreading an air of mystery about his images and sources.The interviews with David Sylvester are a mine of information about his work and in them he acknowledges his profound debt to literature specifically Aeschylus and Eliot. Additionally he could list for Michael Leiris, cited in Gale (2008), p23, what books informed Triptych 1976.And Michael Peppiatt recorded that Bacon admitted that literature had more effect on his paintings than anything else. Bacons primary aim was to convey strong feelings and emotions: the shock of violence, fear of the threat and rumblings of fate. He wanted to communicate up onto the nervous system using subconscious feelings and raw emotion rather than tell or show directly.This is just what he got from Aeschylus and T. S. Eliot.The Wasteland is not a narrative poem; it evokes feelings and, The Oresteia of Aeschylus . . . its epic nature and hyperbolic language and imagery make it into something more universal . . . its inherent emotional violence. Gale (2008) p21 And Bacon was a man steeped in violence.Francis Bacons father, Edward, was a hardened war veteran with an innate belief in physical courage and toughness.He brought his children up under a tough military regime and had little time or affection for his son.Being an asthmatic, allergic to dogs and horses didnt prevent his father from forcing him to ride to hounds and is reputed to have had him beaten by the grooms in the stable for no reason other than to make a man of him.These grooms were also those with whom he had sex after he was expelled from public school for his relationships with other boys.This fusion between sex and violence is probably what forged his sadomasochistic instincts.Finally, his father discovered him dressed in his mothers underwear and expelled him from the family home to which he was never to return.The paternal violence and the experiences of being cast out could have been linked to why The Oresteia struck such a chord with him.The tormented personal history, is subconsciously awoken by the poetry of Aeschylus, Eliot and others, particularly Shakespeare, and is expressed by Bacon in the violence of all his works.And it is Bacons intention that these paintings communicate this violence of his life and sources to the viewer through feeling rather than narrative.As Andrew Brighton writes, Bacons stories of his traumatic childhood and early sex life may have been told for their own sake honest and cathartic revelations and fibs but they give us one of Bacons pretexts.By word of mouth and in published sources, his account of himself increasingly accompanied him and his work.They lent authenticity to his art and its rhetoric of despair.They tell us something both of how he wanted others to understand his history and how he understood it himself.These understandings became sources for his paintings; they are in a sense part of the literature on which his work drew. Brighton (2001) p17 Whilst in this essay the focus is on Bacon and Aeschylus, Bacons literary influences extended to T. S. Eliot (The Family Reunion amodern reworking of The Oresteia), W. B. Yeats, Frederico Garcia Lorca, Ezra Pound, William Shakespeare (Hamlet being another reworking of The Oresteia motif) Webster, Conrad and Freke Brut, Satre (Les Mouches yet another reworking of the Oresteia) and on to Sigmund Freuds writings and theories which were very in vogue at the time. The common thread in many of these writers is tragedy.Aristotle commented that the purpose of tragedy was to purge by pity and terror.This cathartic theatrical experience, which can be related to Freudian theory, could well be a further aspect of the plays that attracted Bacon to the tragedies and that dramatic effect what he wanted to achieve through his painting, reworking the themes and motifs in a very different medium. Bacon referred to these paintings as sketches for the Eumenides, the ancient pursuers of revenge for familial murder.Bacons source for these creatures was The Oresteia, a trilogy by Aeschylus. (see Appendix A for a prà ©cis of The Oresteia) What might the Eumenides mean to man, particularly Francis Bacon, well read in Freudian theory?Could they represent the super ego, Freuds internal parent which governs our excesses?Bacons father as discussed was a brutal, disciplined man with very different value to Francis whose super ego would have been the internalisation of his parents value system.Are they subconscious feelings such as guilt or even pressure to conform to social mores of the time?Bacon viewed his homosexuality as a defect when society viewed it with such abhorrence that it was still a criminal act until 1968. Whilst these deductions have evidence to support them, what is more overwhelmingly true of Bacon is that he absorbed the feelings that poetry aroused in a subconscious, non verbal manner. When he painted he used these feelings as sources of inspiration thus painting from deep within himself where his life experience and the poetry synthesised to create paintings raw with human experience. It is notable that Three Studies for Figures at the Base of a Crucifixion, 1944, the turning point of his career, is an expression of his own demons.The whole painting conveys a savage inhuman terror, wrought with pain.The Eumenides are avengers of familial murder so it is pertinent that Bacon chose them instead of the traditional saints as his figures at the base of the crucifixion, symbolising the sacrificial murder of Jesus Christ by His Father and could be a subconscious expression of his feelings about his fathers abuse of him when a child but from the outset showing his sensitivity to mans inhumanity to man. I know for religious people, for Christians, the crucifixion has a totally different significance.But as a non-believer, it was just an act of Mans behaviour, a way of behaving to another. Although many state that the painting was completed in two days, Three Studies for Figures at the Base of a Crucifixion, dated 1944 was developed over a number of the preceding war years and many interpreted the triptych as Bacons reaction to the horrors of war.But Bacon tended not to depict mankind in general, such as Picasso did in Guernica, but often painted single figures which communicated with the individual in each of us to share universal truths and personal feelings. In Greek and Roman mythology there are overlapping similarities between the Eumenides known as the Erinyes (the angry ones) before their transformation to the Eumenides (the kindly ones), the Furies and the Gorgons.In ancient myths these creatures have heads wreathed in snakes, eyes dripping with blood, the body of a dog and bird or bat wings.In The Family Reunion, the play by T. S. Eliot in which he reworked the motifs of The Oresteia,Harry, the protagonist, describes them as sleepless hunters that will not let me sleep a phrase which engenders the unremitting hounding they represent.Eliots The Family Reunion was Bacons introduction to Aeschyluss Oresteia, the play that was to provide inspirational source material for many of his paintings.The Oresteia is a play steeped in multiple murders, revenge and retribution where the Erinyes/Eumenides pursue Orestes after he murdered his mother Clytemnestra and her lover Aegisthus in revenge for his mothers murder of her husband Agamemnon and his mistress Cassandra in revenge for his sacrifice of his daughter Iphigenia.These merciless creatures with an unassuageable thirst for mindless retribution of familial murder were the subjects of Three Studies for Figures at the Base of a Crucifixion.Bacon stated that they were influenced by Picassos biomorphs and when he wanted to further explore the organic form that relates to the human image but is a complete distortion of it, Sylvester (1980) p8, the Eumenides would have provided an ideal opportunity. The development of the biomorphic figures in Three Figures at the Base of a Crucifixion can be seen in earlier Bacon paintings: Man in Cap (1943); Figure Getting out of a Car (1943) and Man Standing (1941-2) and in subsequent paintings of that era:Figure Study I (1946) and Figure Study II (1946) which show reworking but with clothing and everyday props such as plants and flowers. These placements of the figures, with everyday objects that enter into our personal world, make them all the more threatening.From these beginnings, the Eumenides would become a recurring icon that Bacon would revisit many times until his Second Version of Triptych 1944. Bacon said that he chose the triptych because he couldnt paint everything he needed to on one canvas. Ive never been able to make the one image that sums up all the others.So one image against the other seems to be able to say the thing more. Sylvester (1980) p22 However, it is also interesting to note that crucifixions traditionally adopt the triptych format.The three figures stand in for the saints traditionally depicted at the base of the cross or even for Christ himself and the two thieves crucified with him. Additionally, The Oresteia is three plays and there are three Furies so the number three is woven throughout this work. The cadmium orange background, another element of this triptych that he would reuse throughout his career has been interpreted as a metaphor for violence but the evidence for this isnt clear.Nevertheless the grating burnt orange used in these painting demands the viewers attention and is unsettling.In this painting, the paint is applied more thinly than in later years and the Eumenides are contained within their distinct biomorphic forms.At this stage of his life and career he may have needed to contain the figures symbolically controlling his own psychological demons. In later paintings, where he is a more experienced and established painter, he allowed himself to work more freely and allow accident to play its part. In the Oresteia, the Eumenides are black but Bacon paints them white and grey like classical Greek statues, the shades of stone reminding us of the Gorgons. In the left hand painting an armless, legless or kneeling female with her head hung in despair or supplication appears to be more of a victim than an instrument of vengeance. Hugh Davies viewed her as a mourner at the cross. whilst Michael Peppiatt as Clytemnestra brooding like a hen over her sorrow Peppiatt (2007) p112. The central figure, blinded by a cloth draped over her eyes, is sourced from the blindfolded Christ in Grunewalds Mocking of Christ with the cloth being a metaphor for the blind pursuit of retribution by the Eumenides. The right hand biomorph looks like a penis with a savage biting mouth. Taking a psychological interpretation, this can be viewed as the Eumenides representing Bacons own guilt about his sado-masochism and homosexuality. Aeschyluss phrase the reek of human blood smiles out at me touched a nerve with Bacon and his paintings of mouths in this and other paintings is him expressing it though his own medium. In visual terms, a major visual source for this mouth was a still of the Nurses scream in the film Battleship Potemkin (1952) by Sergai Eisenstein. Bacon originally intended this painting as a study for a further, mush larger crucifixion painting but this intention was never fulfilled. Nevertheless, many characteristics of this painting would be reused: the cadmium orange background; the triptych format; the gaping scream and the biomorphic Eumenides. In 1988 he painted Second Version of Triptych 1944 which became his last painting of the Eumenides. It is over twice the size of the 1944 version and the harsh orange was replaced by saturated blood red backgrounds in the outer paintings and a carpet of blood red running down the central one. This is the blood red carpet that Clytemnestra lays down for Agamemnon as her ironic greeting welcomes him home to his death.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Spread tapestries in his way. Let the great king   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Walk a crimson pathway to the home   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  He never hoped to see. A crimson path! His just reward; now justice shall be done. Step down, my lord. The rest will follow. I shall not rest Till the gods grant what you have earned. The bloody yet regal colouring, the grander scale, the more refined technique and the compositional symmetry afford this painting a more majestic formality. The backgrounds are simpler and flatter and the figures smaller making the feeling of the later version less claustrophobic and despite being diffused in blood, it has less of the horror of the 1944 triptych. The Eumenides return as Martin Harrison remarked, as a sign of Bacons own fury and despair. Martin Harrison, in Rachel Tant in Gale Stephens (2008) p234 In the left hand panel the figure is less substantial and the chair more so, giving the figure an unearthly characteristic. This Eumenides has more distinct wings and is less frightening than her predecessor. She is more of an onlooker, a creature of despair perhaps even Bacons mother? The central figure has an egg-like form and looks out at the viewer with a grimace of pain. Perhaps Bacon the child? One of the stands legs looks like a scythe, the grim reaper on the red carpet on which Agamemnon was murdered. Here we have birth and death in the same painting. The right had biomorph is more like a human body squatting on a table ready to pounce. Perhaps his father? The Second Version of Triptych 1944 is a grander more refined, more mature painting than the original 1944 triptych but the raw pain is diluted suggesting a man more in control of his own demons and calmer in his advancing years. The Triptych Inspired by the Oresteia of Aeschylus, 1981 shows sparse modern room settings which relate the theme of these pictures to the present day. The epic sensations of the Oresteia: fear, revenge, power, envy, desire, guilt, family infighting, are just as relevant today, in fact they are timeless. Although each panel is set in a room, the figures are supported or contained by a framework of lines, a common Bacon technique. Frank Laukotters (2006, p184) view was that these shifting spatial perspectives indicate the vagaries of fate. On the side panels these lines lead into a doorway leading into a dark abyss, whereas in the central panel they form a plinth and a structure symbolising a throne on the blood red carpet. This bloodied carpet will be revisited by Bacon in his later triptych, Second Version of Triptych 1944, of the Eumenides. The Oresteia is a violent and murderous play with constant references to blood:   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Death and grief forever   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Blood of a people lost. Agamemnon, Lines 715-716 Blood calls for Blood   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Libation Bearers, Line 77   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  The Gorgon waits, Living and dead are watching, Waiting to see The killer killed, Blood spilled for Blood. Libation Bearers, Lines 832-837 Step in blood, On thrones of blood, Blood-smeared from head to toe. Eumenides, Lines 163-165 Bacon wrote to Michael Leiris in 1976 that he was working on a large triptych in which the accidents were based on the Oresteia. I could not paint Agamemnon, Clytemnestra of Cassandra as that would have been merely another type of historical painting. . . Therefore, I tried to create an image of the effect it produced inside of me. Francis Bacon in Gale Stephens (2008) p216 Christopher Collard, in the introduction to his translation of the Oresteia, says that a detailed knowledge of the Oresteia is necessary in unravelling the depth of meaning in this triptych. Whilst this obviously helps with a concrete analysis and may also contribute to a subconscious understanding, in Bacons own terms, it is not an absolute necessity for the communication of the feelings of loneliness, violence and despair that he aims to convey up onto the nervous system. The central panel is the first to command the viewers attention. A contorted figure, with a grotesque, elongated neck and exposed vertebrae is bent down so that the head lies against a bowl of dark genitalia. This decomposing figure symbolises decaying power, defeat and death and arouses our pity as it struggles onto a raised platform. Here is a figure eaten away by inner conflict; consumed and gnawed by guilt. The blood red carpet suggests that the figure is Agamemnon but it could equally be Orestes and in the linked paintings, the Eumenides appear as they do in the Oresteia after the murder of Clytemnestra. On the left hand panel, a winged Eumenides with legs is flying over the door where matricide has taken place, into the framed space in front of it, already in pursuit of Orestes. Under the door, from the black abyss symbolising the never ending pain of sin, flows a rivulet of the victims blood. It seems most likely that this rapacious mutant, often blood-smeared and as if about to pounce on its prey, represented a deeply uneasy conscience. . . When Bacon remarked the Furies often visit me,he was alluding to what he considered the most insidious punishment of all: guilt, which he believed stalked modern post-Freudian man as the Erinyes pursued the Greeks. Peppiatt (2008)p 334 This painting shows a particularly good example of the operation and control of accident in his technique. Out of the face of the left hand Eumenides, is a congealed streak of blood where Bacon has squeezed paint directly out of the tube and then controlled the tail with a light brushstroke. As Andrew Durham says, Chance is exploited but the result is far from arbitrary: the creative and the critical become a single act. Ades Forge(1985) p 233 In the right-hand panel, a headless male, probably Orestes is being burrowed in to by a Eumenides, visually linked to the left hand one by the similar legs. In this way, the murder of the left hand panel is linked to the retribution in the right. Orestes seems to be cleft in half by the door signifying the tragic curse that tore the House of Atreus apart and the cycle of murders that forces him into exile. The feeling engendered in Bacon by this aspect of the Oresteia would have potently echoed his own rejection when his father found him dressed in his mothers underwear and cast him out of the family home when only fifteen.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  As was discussed at the start of this essay, one cannot always accept Francis Bacons spoken words absolute fact. He was a manipulator of his own image and often contradicted himself. However, in the case of the influence of Aeschylus on his paintings, we have extensive evidence recorded in interviews that is confirmed by the examination of the paintings themselves. On examination of Bacons childhood, parental cruelty, the blurring of sex and violence and the experience of being cast out from the family home at age 16, it can be seen why Aeschyluss Oresteia,struck such a chord within him. The murders committed by both parents, the sexual deceit, the exile of Orestes and the pursuit of the Eumenides, which Bacon admitted often visited him.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  But, it was the way in which the poetry of Aeschylus conveyed subconscious raw emotion that was the greatest influence on Bacon. Always avoiding the narrative in his paintings he looked to convey feelings directly, without the conscious intervention of storytelling. His paintings communicate up onto the nervous system. His emotions speak directly to ours. And on seeing the Oresteia, it is not so much the story that provides the cathartic experience of tragedy, but again profound emotions stirred by shocking violence and terror.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  In analysing the three triptychs influenced by the Oresteia, it is clear that Bacon used the Eumenides to depict his own demons: his fathers betrayal of his parental role, his experience as an outcast, he guilt about homosexuality and sadomasochism, his belief in mans inherent. In the Oresteia triptych (1981), he shows us the decaying power of authority, the blood red carpet of the murder scene of a dying dynasty. One of the figures eating himself away, consumed by guilt. Aeschylus provided the inspiration and the means to paint the pain and horror of his existence, which he did so every morning before blotting it all out in an alcoholic anaesthetic.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Aeschylus wrote about fate and accident and this too was important to Bacon who used to try to use accident in his painting in order to move it further onto the subconscious plane and to make it more spontaneous and visuaqlly interesting.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Aeschylus was an epic poet who has used universal themes and powerful language to create a masterpiece of unquestionable greatness that has stood the test of time. I am a great fan of Francis Bacons paintings which to me are magnetic, full of emotion and mystery and over time, my interest has increased rather than waned. But it is too soon to say whether or not he is an epic or even a great painter. Bibliography Ades, Dawn, Forge, Andrew, with a note on technique by Andrew Durham (1985) Francis Bacon, London: Thames and Hudson, in association with the Tate Gallery. Aeschylus (1991) Plays Two, Oresteia, Agamemnon, Libation Bearers, Eumenides, Translated by Frederic Raphael Kenneth McLeish, Introduced by J. Michael Walton, London: Methuen. Archimbaud, Michel (1993) Francis Bacon: In Conversation with Michel Archimbaud, London: Phaidon Brighton, Andrew (c2001) Francis Bacon, London: Tate Gallery. Cork, Richard (), Bacon and Edge Sunday Times Magazine, Daniels, Rebecca (2008) Behind the Myth of Francis Bacon, The Daily Telegraph Review, 16.08.08, pp.1-3. Deleuze, Gilles (2004) Francis Bacon: The Logic of Sensation, Minneapolis: University of Minnesota Press. Dickinson, Hugh (1969) Myth on the Modern Stage, Urbana: University of Illinois Press. Eliot, T. S. (1972) The Wasteland and other Poems, London: Faber Faber. Ficacci, Luigi (2006) Bacon, Germany: Taschen. Gale, Matthew Stephens, Chris (2008) Francis Bacon, Tate Publishing. Harrison, Martin Daniels, Rebecca (2008) Francis Bacon: Incunabula, foreword by Barbara Dawson, London: Thames Hudson. Hatch, John G (1998), Fatum as Theme and Method in the work of Francis Bacon, Artibus et Historiae, Vol 19, no. 37 pp. 163-175, Januszczak, Waldemar (2009) A career in three slices, Sunday Times Culture Magazine. Laessoe, Rolf (1983) Francis Bacon and T.S, Eliot, Hafnia Copenhagen Papers in the History of Art, Vol 9. Leiris, Michel (1983) Francis Bacon: full face and in profile, Oxford: Phaidon, Oxford. Maughfling, Gavin (2001) The Pulverising Machine in Engage, Issue 10, Autumn. Peppiatt, Michael (2008) Anatomy of an Enigma, London: Constable. Peppiatt, Michael (2009) Portrait of a Paradox, Study of a Saint and a Sinner, Sunday Times Culture Magazine. Perl, Jed (2009) Slaughterhouse, New Republic, Vol. 240, Issue 10, pp.25-28. Porter, David H. () Some Inversions not Righted: A note on the Eumenides, The Classical Journal, 101.1, pp.1-10. Stanford, W. B. (1942) Aeschylus in his style: a study in language and personality, Dublin: The University Press. Sylvester, David (c1998) Francis Bacon: the human body, London: Hayward Gallery. Sylvester, David (c1980) Interviews with Francis Bacon 1962-1979, London, Thames and Hudson. Trucci, Lorenzo (1976) Francis Bacon, London: Thames and Hudson. Yezzi, David (2008) Bacons Theatre of the Absurd, The New Criterion, December, pp. 25-28 Zweite, Armin (ed) (2006) in collaboration with Maria Muller, texts by Peter Burger [et al.], Francis Bacon: the violence of the real, London: Thames Hudson.

Imagery of Disease and Decay in Hamlet Essay -- GCSE English Literatur

Imagery of Disease and Decay in Hamlet  Ã‚     Ã‚  Ã‚   William Shakespeare found that imagery was a useful tool to give his works greater impact and hidden meaning. In Hamlet, Shakespeare used imagery to present ideas about the atmosphere, Hamlet's character, and the major theme of the play. He used imagery of decay to give the reader a feel of the changing atmosphere. He used imagery of disease to hint how some of the different characters perceived Hamlet as he put on his "antic disposition". And finally, he used imagery of poison to emphasize the main theme of the play; everybody receives rightful retribution in the end.      Early in Hamlet, Shakespeare's first use of imagery was of decay. Marcellus says, "Something is rotten in the state of Denmark" (I; iv; 90), to Horatio after Hamlet leaves to talk with the ghost of his father. The imagery of decay used here gives the reader a background understanding of a few things. First, it foreshadows that the king's throne (the state of Denmark) is on shaky ground because Hamlet will shortly find out that his father was murdered and not bitten by a snake as was originally thought. Also, it reveals the building atmosphere of suspicion (something is rotten) which would play a role for a big part of the play. Then, two scenes later, imagery of decay was used a second time when Hamlet says, "For if the sun breed maggots in a dead dog, being a good kissing carrion", (II; i; 182-183) to Polonius during their first conversation in the play. The imagery of decay used here subtly gets across information of a few things. First, it foreshadows that Hamlet (the sun) wil l kill Polonius (breed maggots in a dead dog). And secondly, at this point in the scene, Hamlet goes on to talk about his own ... ...mastery of imagery that helped Shakespeare lift himself in the world of literature and to give him a solid place as one of the greatest playwrights of all time.    Works Cited and Consulted: Bodkin, Maud. Death and Decay in Hamlet   Oxford: Oxford University Press. 1934. Burnett, Mark, ed. New Essays on Hamlet. New York: AMS Press, 1994. Levin, Richard. 1990. 'The Poetics and Politics of Bardicide.' PMLA 105: 491-504. Vickers, Brian. Appropriating Shakespeare: Contemporary Critical Quarrels. New Haven and London: Yale University Press. 1993. Watson, Robert N. 1990. 'Giving up the Ghost in a World of Decay: Hamlet, Revenge and Denial.' Renaissance Drama 21:199-223. Wright, George T. 1981. 'Hendiadys and Hamlet.' PMLA 96:168-193. Shakespeare, William. The Tradegy of Hamlet Prince of Denmark.   New York: Washington Square Press, 1992