Fredric Jameson and the limits of postmodern theory Essay Example For Students

Fredric Jameson and the restrictions of postmodern hypothesis Essay The force behind this paper has been the ongoing distribution of Fredric Jamesons 1991 Welleck Lectures, The Seeds of Time. 1 As these talks were conveyed 10 years after Jamesons starting endeavors to outline territory of postmodernity it appeared to me to give an event to think about the current status of Jamesons exceptionally powerful and much reprimanded hypothesis of postmodernism as the social rationale generally private enterprise. It additionally empowers me to come back to, what I consider to be, one of the most alarming parts of Jamesons composing on postmodernism, in other words, the melting away, to utilize Jamesons term, of the political creative mind. As Jameson is likely the preeminent Marxist scholar composing on postmodernism and one of the most persuasive of contemporary social pundits, I discover this loss of motion of the political creative mind notwithstanding postmodernism profoundly hazardous. As the greater part of you are presumably mindful postmodernism is naturally confusing and lively. There is, recommends Jameson a sort of champ loses rationale about it, the more one attempts to characterize what is typically postmodern the less trademark it ends up being. Postmodernism, by definition opposes definition. Hypothetically, postmodernism can just estimate its own states of inconceivability; with neither a fixed subject nor object there can be no hypothesis of postmodernism thusly. This paradoxicality is the thing that Jameson currently distinguishes as the antinomies of postmodernity, the aporia or hypothetical stalemates which entrance postmodern hypothesis and not at all like the more seasoned (pioneer) talk of persuasive logical inconsistency stay unresolvable at a more significant level of reflection. Jameson distinguishes four central antinomies of postmodernism: reality, subject and item, nature and human instinct, lastly the idea of Utopia. Today I will concentrate on simply the first of these antinomies, what Jameson depicts as the essential antinomy of postmodernism, that is, existence, and recommend that the inability to think past the antinomy is suggestive of a progressively broad flopping in Jamesons hypothesis all in all. I will likewise dare to recommend that an increasingly rationalistic comprehension of transience and spatiality may empower us to move past what Jameson sees as the restrictions of the postmodern. Prior to drawing in with this discussion, in any case, I will quickly summarize Jamesons unique postulation and what I despite everything consider to be the significance of his hypothetical undertaking. Jamesons starting intercession in the postmodern discussion, in a 1982 exposition 'The Politics of Theory,2 was fundamentally an endeavor to outline ideological scene of postmodernism, be that as it may, the article finished up on a trademark Jamesonian note, demanding 'the need to get a handle on the present as history. Jameson, at that point, at first appeared to propose the chance of a route through the stalemate of the two most powerful strains of thought rising around then corresponding to postmodernism. From one perspective, one experienced an uncritical festival of the idea by the postmodernists themselves, and, on the other, the charge of social decadence was being leveled by increasingly conventional pundits and more established innovators. We should maintain a strategic distance from, contended Jameson, receiving both of these basically lecturing positions, and rather build up an all the more completely verifiable and rationalistic investigation of the circumstance. In any case there was a recognition that socially something had transformed, we may differ on what that change involves however the discernment itself has a reality that must be represented. To renounce such a social change was just easy, to negligently praise it was smug and degenerate; what was required was an evaluation of this 'new social creation inside the working theory of a general alteration of culture itself inside the social restructuration recently private enterprise as a framework. It was this guarantee to verifiably arrange postmodernism comparable to changes in the industrialist framework and the improvement of worldwide global capital that, for some such as myself who without a moment's delay grasped parts of postmodern hypothesis while staying disparaging of its regularly questionable political position, was presumably the absolute most huge part of Jamesons hypothesis. Simultaneously, in any case, the exact idea of the connection between postmodernism as a social wonder and late private enterprise as a framework was left to some degree under-conjectured and, for myself at any rate, this has stayed one of the most upsetting parts of Jamesons hypothesis of postmodernity. In other words, Jamesons thought of postmodernism as a social predominant, or the social rationale generally free enterprise. Briefly there are three wide employments of the term, postmodernism or postmodernity, to have developed during the 1980s: right off the bat, as a social classification, getting for the most part from banters in engineering yet in addition material to different expressions and writing. In this sense postmodernism is characterized corresponding to innovation and explicitly the high innovation of the between war years. The subsequent sense concerns the thought of epistemic or epochal change has occurred. That is, Lyotards much proclaimed hypothesis of the finish of terrific universalising accounts. This is additionally connected to the explicitly social meaning of postmodernism through the possibility that expressions of the human experience can no longer connected with a more extensive socio-recorded task of human liberation. The entire Enlightenment venture, contended Lyotard, has reached a conclusion, how might we still genuinely talk about human advancement and the discerning control of the existence world after Auschwitz and Stalins gulags. This appears to me to be an especially misleading contention however maybe we can come back to it later. The third utilization of the term postmodernism has been to characterize, though rather loosely, some ongoing patterns inside French way of thinking, especially what have been known as the new Philosophies. Again I remain somewhat muddled about what is imputedly postmodern here the same number of the philosophical positions received are strikingly innovator in tone and substance. Jameson utilization of the term endeavored to ride or consolidate these discussions inside an all the more totalizing hypothesis of postmodernity. That is, Jameson takes postmodernism to be a periodising idea, it is neither a barely social classification assigning explicit highlights which recognize postmodernism from innovation appropriate; nor a worldwide classification assigning another age and radical break with the past; rather, the term serves to 'connect the rise of new conventional highlights in culture with the rise of another kind of public activity and another financial request. What has gotten known as late or worldwide free enterprise. I should, maybe, bring up that the issue for Marxists with the idea of postmodernism, specific in the second sense in which I characterized it above, as another monetary and social request, is that at a stroke it abrogates Marxisms establishing premise. In other words, its chronicled emancipatory story. Marxism, alongside analysis, is praiseworthy of the sort of terrific accounts that postmodernism has, purportedly, delegitimated. The essentialness of the hypothesis recently private enterprise, as it was created by the Ernest Mandel, in this way, can't be downplayed comparable to Jamesons generally speaking task. The hypothesis of Late private enterprise on the double recognizes a further turn of events and restructuration of the free enterprise on a worldwide scale however doesn't set an extreme break with the past. Late free enterprise, buyer society, the post-mechanical society, what ever one wishes to call it, is still on a very basic level the equivalent financial framework. There are two other significant components with respect to late free enterprise that will concern us later: right off the bat each progressive extension of the industrialist framework involves a comparing innovative transformation. Furthermore that adjustments in the social and financial circles include an adjustment in the spatial worldview. I will return to both of these focuses beneath. Late or propelled free enterprise thusly doesn't present us with a drastically new framework or life world; Baudrillards universe of changeable correspondence systems, simulacrum and hyperreality but instead a restructuration at more significant levels of creation of a similar framework. Postmodernism speaks to less a break with the past yet a cleaner type of free enterprise, a further heightening of the rationale of private enterprise, of commodification and reification. For sure, contends Jameson, late free enterprise denotes the last colonization of the last enclaves of protection from commodification: the Third World, the Unconscious and the tasteful. In contrast to innovation, postmodernism doesn't endeavor to reject its status as an item, on the opposite it commends it. Postmodernism denotes the last and complete joining of culture into the item framework. Henceforth the slippage inside Jamesons work between the two terms, postmodernism and late free enterprise, as both come to mean a similar item and to be likened with the totality itself. In Jamesons first stretched out endeavor to explicitly characterize the postmodern, he recommended, that postmodernism was portrayed by another experience of reality. Our experience of fleetingness has been profoundly changed and disjoined through the double impacts of the disintegration of the self-sufficient focused subject and the breakdown of general chronicled stories. Drawing on Lacans deal with schizophrenia and the Deleuzes thought of the migrant or schizoid subject, Jameson contended that our feeling of transience was currently fundamentally disturbed and spasmodic. Without an intelligent or bound together feeling of the subject it turns out to be progressively hard to discuss transience regarding memory, account and history. We are sentenced to an interminable present, the promptness of apparently irregular, detached signifiers. To put it plainly, Baudrillards universe of simulacra and hyper-reality, a world without reference or fixed significance. The positive side of this, in the event that one can discuss it

Module a

While writings might be invented builds of composers’ minds, they likewise investigate and address the cultural issues and ideal models of their times. This is obviously the situation with Mary Shelley’s tale, Frankenstein (1818), which draws upon the ascent of Galvanism and the Romantic Movement of the 1800’s, just as Ridley Scott’s film Blade Runner (1992), reflecting upon the expanding registering industry and the transcendence of free enterprise inside the late twentieth Century. Consequently, an examination of both considering their contrasting settings uncover how Shelley and Scott eventually caution us of the critical results of our longing for supremacy and unreasonable logical advancement, ideas which interface the two messages all through time. Made in a break of major logical turns of events, including Galvani’s idea of power as a vivifying power, Shelley’s Frankenstein uses the inventive haughtiness of the Romantic creative mind to mold a Gothic world in which the protagonist’s usurpation of the heavenly benefit of creation has wrecked the customary lines of power and obligation. Her admonition of the risks of such activities is epitomized inside Victor’s review expressions of â€Å"how hazardous is the obtaining of knowledge†, while Shelley’s utilization of a divided epistolatory story includes an upsetting feeling of truth, anticipating the dull outcomes of Frankenstein’s activities. In addition, her suggestions to John Milton’s Paradise Lost summon the lovely retelling of Satan’s go wrong, wherein the daemon’s relationship with â€Å"the fallen angel† worsens the impacts of Victor’s dismissal, at last changing its â€Å"benevolent nature† into a hunger for requital. Along with its scrutinizing of how Victor could â€Å"sport with life†, Shelley’s notice resonates past the page, legitimately scrutinizing the researchers of her time, including transformative scholar Erasmus Darwin, to fortify the perils of our humanity’s characteristic longing to assume the job of the Creator. Such an admonition likewise exists inside Scott’s Blade Runner, subsequently connecting the two messages all through time, where the executive echoes the ascent of entrepreneur goals and the Wall Street mantra, â€Å"greed is good†, through the representative strength of Tyrell’s transcending ziggurat, an impression of the two his craving for transcendence and business power. Tyrell’s egocentric nature is exemplified inside the strict meanings of his house, including his voluminous bed, demonstrated after that of Pope John Paul II, just as his reference to Batty as â€Å"the reckless son†. Such images are unnervingly undercut through both the premonition Chiarscuro of flashing flame light with shadow and his vicious passing because of his own creation. Scott’s cautioning of the threats of such a craving is additionally obvious inside the extensive shots of 2019 LA, uncovering a dull and ominous world lit by the sparkle of corporate notices, a portrayal of a dreary future ruled by business strength. Henceforth, by tons of his specific circumstance, including the development of private enterprise and the ‘trickle-down theory’ of Reagan’s period, Scott positions us to rethink the results of violating our limits. Likewise, both texts’ alerts additionally envelop the threats of excessive logical advancement, where Frankenstein further shows the Romantic Movement’s effect on Shelley’s mentality, as her reactions of the Age of Reason and Industrial Revolution mirror their denigration of soundness. The symbolism of the â€Å"dead corpse† and dull utilization of â€Å"horror† upon the making of the â€Å"miserable monster† set up a solid air of death and hopelessness around this logical progression, while Victor’s cautioning of Walton to â€Å"avoid desire of science and discoveries† exemplifies Shelley’s attack of supporters of the Industrial Revolution, including prestigious innovator James Watt. In addition, Shelley focuses on her notice through the protagonists’ associations with nature, where Victor’s â€Å"insensibility to its charms†, emerging from his submersion in science, brings about his â€Å"deep, dull and deathlike solitude†, with the overwhelming similar sounding word usage epitomizing his debased feeling of humankind. On the other hand, the beast has more noteworthy â€Å"benevolence† and a progressively close association with â€Å"the charming showers and pleasant warmth of spring†, with such characterisation catching Shelley’s impression of Romanticism’s idolisation of nature, advised us against the dehumanizing impact of excessive logical headway. Cutting edge Runner is the same, with Scott’s impression of the blast of innovative advancement during the 1980’s, including the ascent of registering mammoths IBM and Microsoft, featuring the risks of such excessive advancement. Most remarkable is the opening all encompassing shot of bursting smokestacks which, along with the unpleasant manufactured beats of the Vangelis soundtrack, builds up a rotting miasma of mechanical over-burden, adding further semiotic load to the film’s nightmarish tragic motivation. Without a doubt, this depiction of a rotting domain mirrors the developing environmental familiarity with the 1980’s, which, while diverse to Shelley’s Romantic qualities, is correspondingly utilized to feature the annihilation of humanity because of innovation. In addition, Scott lights up us to the dehumanizing impacts of such advancement, foregrounded through Deckard’s â€Å"retiring† of the Replicant Zhora. Here, the expressive situation of the straightforward poncho puts further underlines the savagery of her demise, with moderate movement low point shot passing on her increased feeling of mankind inside her last agonizing minutes. Conversely, Deckard’s deadpan highlights, along with the dreary automaton of the droid, proposes that our fake manifestations will at last lead to the dehumanizing of humankind, subverting our humanist structure and subsequently, cautions us of the critical results of unchecked logical advancement. Subsequently, we can perceive how both Shelley and Scott mirror their zeitgeists in their writings, Frankenstein and Blade Runner, as they draw upon the cultural worries of their occasions so as to caution us of the outcomes of violating our limits and unbridled innovative headway. In this manner, it becomes clear that in spite of their worldly and logical contrasts, the two writings are in actuality connected through their regular concerns and ideas.

Mind Mapping in My Classroom with MindMeister - Focus

Mind Mapping in My Classroom with MindMeister - Focus This blog post has been created by Jennifer Carey.  Jennifer is a student and teacher, as well as a self-confessed long time lover of technology and of all its possibilities in the classroom. Reposted from: Voices of the Learning Revolution and IndianJen.com Mind Mapping is one of the hot buzzwords being thrown around in the world of pedagogy. What exactly are mind maps? Well, in simple terms, they’re those old bubble brainstorming maps that we were all forced to draw in the 8th  grade. If you were particularly artistic, yours may have looked something like this: Personally, mine were always far less colorful and dynamic! However, mind mapping  has come a very long way in recent years, especially with the assistance of technology. No longer are mind maps stagnant and immutable images â€" they are malleable, dynamic, and even collaborative. People are using mind mapping for organizing their personal life, developing business ideas, and in a variety of educational environments. In this post I want to highlight my favorite Mind Mapping software â€" MindMeister â€" and talk about several ways I use mind maps in my classroom. If you think you might like it as much as I do, you may want to participate in an opportunity (I’ll describe it at the end of my post) to get a free professional account for a year. There are many similar products out on the market today (both free and fee-based), but what sets MindMeister apart (in my mind) is that it provides  simultaneously collaborative  brainstorming and visualization tools using  cloud  technology. If you would like to see how MindMeister works, check out this brief video: As you can see, MindMeister has numerous features and allows a great deal of flexibility and creativity. MindMeister also allows for portability with its “Mobile Apps” for iPad, iPhone, and Android devices. You can take your maps on the go! MindMeister has many different plans and pricing tiers, from its basic Individual Account, which is free and allows three individual maps, to its extensive Business Pro accounts that provide broad technical support and an array of tools. They also provide  great discounts  for educational institutions and non-profits. MindMeister in the Classroom While MindMeister has been successfully employed in many sectors, my greatest interest is utilizing it as a tool in education. I have been using the software for the past year both for my own planning and development and as a classroom tool. As an educator, I use it to plan my lessons, organize my writing, and to even blueprint some personal things in my life (perhaps outlining that novel I’m writing…). The classroom, however, is a different story. For me, the best aspect of MindMeister  is its ability to promote collaborative work (and its availability on nearly every platform). My students can access maps from their mobile devices or any computer with an Internet connection. I have used it in the classroom for students to brainstorm a discussion, to begin to organize their ideas for papers and projects, and even to help them study for tests and quizzes. I have had dozens of students simultaneously editing the same document for all of these exercises â€" a key feature in my experience, as it opens the way to innovative discussion and teamwork. Last year, I had students proudly share a map with me that several of them had been using at home to study for their final exam in my history class. I recorded it in my blog: “Students Using MindMeister as a Study Tool.” More than a dozen students, in different class sections and in their own homes, produced this impressive map using the review sheet! Mind Mapping Class Discussions I like to use MindMeister to help organize class discussions. My students recently finished a unit on the  Code of Hammurabi. I divided the class into four groups to focus on laws related to class and status: Civil Law, Criminal Law, Family Law, and Other, which dealt with anything that didn’t fit into the other three â€" a hodgepodge. (Click to enlarge the map.) The whole class had access and the ability to edit the document. Each group (using their smart phones) edited a section, listing off the ways that different laws treated individuals based on their class and/or status. I gave them 15 minutes to edit, then we returned as a group to discuss. We even made a few additions and edits together. This is one of those activities where I’m telling students to get on their phones instead of to get off them! How Would You Use MindMeister? So, now comes the most exciting part of this post. How would  you  use MindMeister in your classroom? Do you think it would fit well into a lesson plan? A group discussion? As a planning tool? The field is wide open. Not long ago, MindMeister contacted me and asked if I’d like to give away three, one-year professional accounts (a $120 value). What better place to do so than here at the Voices blog, where educators are always looking for ways to blend good technology into strategies that can deepen student thinking and learning. These Pro accounts allow unlimited mind-maps, automatic backups, sharing tools, extensive technical support, and much more. The three best ideas will win the coveted prize! To get started, if you do not already have one, go to  MindMeister  and sign up for a free account (or a 30 day free trial of a paid version if you would like to play with all of the bells and whistles). If you have a blog, write a post describing at least one bright idea about how you might use this mind mapping tool in your teaching or professional learning. Then leave a comment here that includes the link to your blog post. If you don’t have a blog, post your idea in the comments section of this post or send it to me via  email. I’ll post the best ideas and announce the winners. All submissions are due  no later than  October 15. Any school-based educator is eligible. I can’t wait to see what you all do with this! Introduce Mind Mapping in Your Classroom Get Started! Its free! Get Started! Mind Mapping in My Classroom with MindMeister - Focus This blog post has been created by Jennifer Carey.  Jennifer is a student and teacher, as well as a self-confessed long time lover of technology and of all its possibilities in the classroom. Reposted from: Voices of the Learning Revolution and IndianJen.com Mind Mapping is one of the hot buzzwords being thrown around in the world of pedagogy. What exactly are mind maps? Well, in simple terms, they’re those old bubble brainstorming maps that we were all forced to draw in the 8th  grade. If you were particularly artistic, yours may have looked something like this: Personally, mine were always far less colorful and dynamic! However, mind mapping  has come a very long way in recent years, especially with the assistance of technology. No longer are mind maps stagnant and immutable images â€" they are malleable, dynamic, and even collaborative. People are using mind mapping for organizing their personal life, developing business ideas, and in a variety of educational environments. In this post I want to highlight my favorite Mind Mapping software â€" MindMeister â€" and talk about several ways I use mind maps in my classroom. If you think you might like it as much as I do, you may want to participate in an opportunity (I’ll describe it at the end of my post) to get a free professional account for a year. There are many similar products out on the market today (both free and fee-based), but what sets MindMeister apart (in my mind) is that it provides  simultaneously collaborative  brainstorming and visualization tools using  cloud  technology. If you would like to see how MindMeister works, check out this brief video: As you can see, MindMeister has numerous features and allows a great deal of flexibility and creativity. MindMeister also allows for portability with its “Mobile Apps” for iPad, iPhone, and Android devices. You can take your maps on the go! MindMeister has many different plans and pricing tiers, from its basic Individual Account, which is free and allows three individual maps, to its extensive Business Pro accounts that provide broad technical support and an array of tools. They also provide  great discounts  for educational institutions and non-profits. MindMeister in the Classroom While MindMeister has been successfully employed in many sectors, my greatest interest is utilizing it as a tool in education. I have been using the software for the past year both for my own planning and development and as a classroom tool. As an educator, I use it to plan my lessons, organize my writing, and to even blueprint some personal things in my life (perhaps outlining that novel I’m writing…). The classroom, however, is a different story. For me, the best aspect of MindMeister  is its ability to promote collaborative work (and its availability on nearly every platform). My students can access maps from their mobile devices or any computer with an Internet connection. I have used it in the classroom for students to brainstorm a discussion, to begin to organize their ideas for papers and projects, and even to help them study for tests and quizzes. I have had dozens of students simultaneously editing the same document for all of these exercises â€" a key feature in my experience, as it opens the way to innovative discussion and teamwork. Last year, I had students proudly share a map with me that several of them had been using at home to study for their final exam in my history class. I recorded it in my blog: “Students Using MindMeister as a Study Tool.” More than a dozen students, in different class sections and in their own homes, produced this impressive map using the review sheet! Mind Mapping Class Discussions I like to use MindMeister to help organize class discussions. My students recently finished a unit on the  Code of Hammurabi. I divided the class into four groups to focus on laws related to class and status: Civil Law, Criminal Law, Family Law, and Other, which dealt with anything that didn’t fit into the other three â€" a hodgepodge. (Click to enlarge the map.) The whole class had access and the ability to edit the document. Each group (using their smart phones) edited a section, listing off the ways that different laws treated individuals based on their class and/or status. I gave them 15 minutes to edit, then we returned as a group to discuss. We even made a few additions and edits together. This is one of those activities where I’m telling students to get on their phones instead of to get off them! How Would You Use MindMeister? So, now comes the most exciting part of this post. How would  you  use MindMeister in your classroom? Do you think it would fit well into a lesson plan? A group discussion? As a planning tool? The field is wide open. Not long ago, MindMeister contacted me and asked if I’d like to give away three, one-year professional accounts (a $120 value). What better place to do so than here at the Voices blog, where educators are always looking for ways to blend good technology into strategies that can deepen student thinking and learning. These Pro accounts allow unlimited mind-maps, automatic backups, sharing tools, extensive technical support, and much more. The three best ideas will win the coveted prize! To get started, if you do not already have one, go to  MindMeister  and sign up for a free account (or a 30 day free trial of a paid version if you would like to play with all of the bells and whistles). If you have a blog, write a post describing at least one bright idea about how you might use this mind mapping tool in your teaching or professional learning. Then leave a comment here that includes the link to your blog post. If you don’t have a blog, post your idea in the comments section of this post or send it to me via  email. I’ll post the best ideas and announce the winners. All submissions are due  no later than  October 15. Any school-based educator is eligible. I can’t wait to see what you all do with this! Introduce Mind Mapping in Your Classroom Get Started! Its free! Get Started!

The Art of Film Making is My Passion - 1276 Words

I recently took a trip down to Tennessee with my family over the summer. This was our first time going down to Tennessee, and also our first time going this far down south. We rented a giant log cabin high in the hills in Wears Valley. On this cabin, there was a long, wrap-around porch on the second floor, with an incredible view of the top of the mountains in the distance. It was a fantastic trip, and I wanted to bring the whole thing home with me, so I did. My parents brought our video camera, and, me, being a film major, ferociously volunteered to be the cameraman for the duration of the trip. The setting of Tennessee was almost perfect for filming, because it is mostly rolling hills and vistas and open valleys. Every morning I would†¦show more content†¦There is no need for a sound guy when the sweet, beautiful chirps and tweets of mother nature is all around you. Most importantly, though, is the lack of need for a coffee break, because you essentially work when you want to. Although making your very own â€Å"head-film† may sound like rubbish, it is actually a very good way to, aside from passing time, warm up your mind and trigger your sharp and creative thinking. It is even a great way for someone working in the film industry, mainly a higher-up worker like the director, to warm up and prepare him or herself on the way to the set in the morning and on the way home in the evening. Filming your own scenes in your head can really make you more creative than you previously thought. Film and filmmaking has been a huge part of my life for many years. All I have ever wanted to do for years was get behind the camera and take some ideas from my head and bring them to the silver screen and, in time, make a difference in the audience’s lives. I want to make people bring about emotions that they don’t normally feel. That is the theme of all the movies I plan on making during my life filmmaking after I graduate from college. Hundreds of films are made every year, but there are really only a few that truly bring up the emotions of everyone in the audience. I want to be the one that really taps into the power of the human emotion. I want to make a film that has the audience’s hairs stand up at every frame, everyShow MoreRelatedWhy I Am A College Graduate988 Words   |  4 PagesGreetings, I am Brian Larrell Cruel of Richmond, Virginia, eldest of 5 children born to my parents Taryn Nathaniel Randolph. Not only am I the eldest of five children, I am also a first generation college student in my family. My professional career consists of being an actor, photographer, motivational speaker, aspiring film maker, and recent Spring 2016 graduate of Virginia Union University, where I studied fine arts with a concentration in Theatre and Music. While an undergraduate student at VirginiaRead MoreMy Career Path For My Life1240 Words   |  5 Pagesfirst three letters of Arthritis spell â€Å"art†. To me, art is the creative outlet that has made me the person I am today. My artistic abilities have helped me choose my career path in film that I want to peruse for the rest of my life. I have used my real life obstacles, career goals, accomplishments and personal background to write lyrics, scripts and create art. I am an artist and I know that with the talents I have, will help me accomplish anything I set my mind to. I am the second oldest of fourRead MoreThe Creative Transformational Leader Of Steven Spielberg Essay1546 Words   |  7 PagesSteven Spielberg is an American filmmaker and co-founder of DreamWorks Studios who is considered as one of the founding pioneers of the New Hollywood era. He is regarded as one of the most influential and popular film-makers in film history. In a career spanning more than four decades, his films have explored various themes and genres like science-fiction, adventure and humanism. He is frequently listed among the most influential celebrities in the world by Time, Forbes and Life magazines (AE, 2015)Read MoreThe Founding Pioneers Of The New Hollywood Era Essay1545 Words   |  7 Pagesan American filmmaker, co-founder of DreamWorks Studios, who is considered as one of the founding pioneers of the New Hollywood era. He is regarded as one of the most influential and popular director and producer in film history. In a career spanning more than four decades, his films have explored various themes and genres like science-fiction, adventure and humanism. He is frequently listed or tops the most influential celebrities in America or the world by various magazines like Time, Forbes,Read MoreMy Favorite Career : My Future Life And Career1262 Words   |  6 Pagesabout my preferred career It was necessary for me to seriously consider my future life and career. Many ideas about what I want to do in life have been floating around in my head for the past few years. While I am interested in a number of career options, I have decided that the best career for me resides in the film industry. I have always had an interest in the creation of movies and I have always loved to watch movies. Watching Star Wars for most of my life has definitely contributed to my loveRead MoreAi Weiwei Essay859 Words   |  4 Pagesand music management. I have had a passion for art since childhood. Over the past three years i have sought to use this enthusiasm to good effect. I focused on discovering new talent and learning about the process of creation and also the curating of exhibitions. This lead to me creating a pop up exhibition for students at Central Saint Martins in a vacant space on the Portland estate in Marylebone. I also worked in collaboration with commercial clients; Art related fashion Installations at TheRead MoreSurrealism : An Art Movement1248 Words   |  5 PagesSurrealism was an art movement based on dreams, unconscious thought and defying conventional logic. It grew out of the earlier avant-garde movement called Dada in the 1920s. Dada was about chaos and rejecting logic and rationality, and was also referred to as anti-art. Just like Surrealism it often featured bizarre imagery that didn t make sense. Famous surrealist artists include Salvador Dalà ­, Renà © Magritte, Marcel Duchamp, Man Ray, Max Ernst, and Frida Kahlo (although she rejected the label)Read MoreAmadeus: Original Play vs. Film Adaptation1058 Words   |  4 PagesThough extremely different in many ways, Amadeus was successfully translated from stage to film not as an adaptation but a parallel work. Peter Shaffer’s stage version is highly theatrical and unfortunately does not literally translate well to film, for multiple reasons. Shaffer and Milos Forman adapted Amadeus in a way that appealed to cinema audiences through cutting characters, expanding upon characters, altering language and narration, set and costume design, plot changes and taking full advantageRead More20th Century Arts and Artist Paper1683 Words   |  7 Pages20th Century Arts and Artist Paper The subject of this course is an exploration of the ideas and values from the Scientific Revolution to the Second World War, examining the various revolutions in the world (scientific, political, economic, social, spiritual and artistic) and their impact on philosophy, theology, literature and the arts. This course so far has allowed me to see the influence of the Western thinking, forms of thinking and ideas on non-Western cultures and vice versa. As an accomplishmentRead MoreExit Through The Gift Shop Analysis1722 Words   |  7 PagesGift Shop is widely considered an example of a successful documentary on street art due to its interview-based style and celebrity street-artist director. However, Banksy’s Exit Through the Gift Shop fails as a documentary because of the film’s biases and inconsistencies; because these flaws are obvious to the audience, Banksy, through Exit Through the Gift Shop, ultimately satirizes the documentary genre and street art movement. In Exit Through the Gift Shop, Banksy depicts himself as superior

Hillsdale College Acceptance Rate, SAT/ACT Scores, GPA

Hillsdale College is an independent liberal arts college with an acceptance rate of 36%. Located in Hillsdale, Michigan and founded by abolitionists in 1844, Hillsdale was the first American college to prohibit discrimination in its charter. Hillsdale accepts no federal or state funding. The college has a 9-to-1  student / faculty ratio  and an average class size of 15. Students can choose from 45 undergraduate majors and pre-professional programs, including engineering, law, and veterinary medicine. Hillsdale also offers a graduate program in political philosophy and American politics through The Van Andel Graduate School of Statesmanship. The Hillsdale Chargers compete in the NCAA Division II  Great Lakes Intercollegiate Athletic Conference. Considering applying to Hillsdale College? Here are the admissions statistics you should know, including average SAT/ACT scores and GPAs of admitted students. Acceptance Rate During the 2017-18 admissions cycle, Hillsdale College had an acceptance rate of 36%. This means that for every 100 students who applied, 36 students were admitted, making Hillsdales admissions process competitive. Admissions Statistics (2017-18) Number of Applicants 2,209 Percent Admitted 36% Percent Admitted Who Enrolled (Yield) 43% SAT Scores and Requirements Hillsdale requires that all applicants submit SAT, ACT, or CLT scores. During the 2017-18 admissions cycle, 34% of admitted students submitted SAT scores. SAT Range (Admitted Students) Section 25th Percentile 75th Percentile ERW 655 740 Math 620 725 ERW=Evidence-Based Reading and Writing This admissions data tells us that most of Hillsdales admitted students fall within the top 20% nationally on the SAT. For the evidence-based reading and writing section, 50% of students admitted to Hillsdale scored between 655 and 740, while 25% scored below 655 and 25% scored above 740. On the math section, 50% of admitted students scored between 620 and 725, while 25% scored below 620 and 25% scored above 725. Applicants with a composite SAT score of 1460 or higher will have particularly competitive chances at Hillsdale College. Requirements Hillsdale College does not require the SAT writing section. Note that Hillsdale does not superscore SAT results; your highest composite SAT score from a single test date will be considered. ACT Scores and Requirements Hillsdale College requires that all applicants submit SAT, ACT, or CLT scores. During the 2017-18 admissions cycle, 69% of admitted students submitted ACT scores. ACT Range (Admitted Students) Section 25th Percentile 75th Percentile English 30 35 Math 26 31 Composite 29 32 This admissions data tells us that most of Hillsdales admitted students fall within the top 9% nationally on the ACT. The middle 50% of students admitted to Hillsdale received a composite ACT score between 29 and 32, while 25% scored above 32 and 25% scored below 29. Requirements Note that Hillsdale does not superscore ACT results; your highest composite ACT score will be considered. Hillsdale does not require the optional ACT writing section. GPA In 2019, the middle 50% of Hillsdale Colleges incoming freshmen class had weighted high school GPAs between 3.89 and 4.0. 25% had a GPA above 4.0, and 25% had a GPA below 3.89. These results suggest that most successful applicants to Hillsdale College have primarily A grades. Admissions Chances Hillsdale College has a competitive admissions pool with a low acceptance rate and high average GPAs and SAT/ACT scores. However, Hillsdale has a holistic admissions process involving other factors beyond your grades and test scores. A strong application essay and glowing letters of recommendation can strengthen your application, as can participation in meaningful extracurricular activities and a rigorous course schedule. While not required, Hillsdale College strongly recommends  interviews  for interested applicants, particularly for those who wish to be considered for scholarships.  Students with compelling stories or achievements can still receive serious consideration even if their grades and test scores are outside Hillsdales average range. If You Like Hillsdale College, You May Also Like These Schools: Kalamazoo CollegeWestern Michigan UniversityPurdue UniversityBowling Green State UniversityOhio UniversityBall State UniversityUniversity of Toledo All admissions data has been sourced from the National Center for Education Statistics and Hillsdale College Undergraduate Admissions Office.

Citation and European Industrial Relations Free Essays

If I commit plagiarism unintentionally, it’s not my fault and I won’t face sanctions as I didn’t copy someone else’s work on purpose. Answer | Selected Answer: | False| Correct Answer: | False| | Only one of the following statements is accurate – which one is it? Answer | Selected Answer:| I used an article found on the internet for my assignment. I attributed the authors name and year of publication in my essay and added the full bibliographic details, including the date accessed, to my bibliography. We will write a custom essay sample on Citation and European Industrial Relations or any similar topic only for you Order Now | | What citation/referencing style are you required to use in assignments submitted as part of your UCD course? Answer | Selected Answer:| Harvard| | In your bibliography when listing a printed journal article, which of the following do you need to include? (Select all correct answers). Correct Answers:| Title of the article Author’s name Volume/issue number of journal Title of the journal| â€Å"To adapt, appropriate, or alter the wording of (a saying or quotation) or the words of (an author or speaker) to suit one’s own purpose† – Oxford English Dictionary Online (draft revision June 2006), available online [accessed 26th August 2008]. Paraphrasing allows you to allude to another’s work in your own assignments. When paraphrasing another’s work, you are required to acknowledge you are using another’s ideas to illustrate a point, and cite from where the information is sourced. When writing up my project if I change a few words with a section of text I don’t have to cite it, because I have paraphrased it. Answer | Selected Answer: | False| | How do you properly â€Å"cite† the source of facts or information you’ve paraphrased? Check all the boxes to indicate exactly what you need to do to properly cite your sources, using the following webpage for further elp. Correct Answers:| Put an in-text reference i. e. (Author name date: page number) at the end of each sentence that contains new information from the source. Add the bibliographic information for the source (author, title, etc. ) to the reference list at the end of your paper| Quotation marks are used when directly reproducing another person’s words. They are generally used when: * The exact words are relevant to your arguments * Something is expressed in a unique way * Rewriting could cause loss of impact How do you properly â€Å"cite† a short direct quotation of a few words in the main body of an assignment? Check all the boxes that are needed to properly cite the source of the direct quotation. Correct Answers:| Put quotation marks around the passage Put an in-text reference i. e. (Author surname, year of publication, page number) after the final quotation mark Add the bibliographic information for the source (author, title, etc. ) to the reference list at the end of your paper| Q8 How do you properly â€Å"cite† a direct quotation of a few sentences in the main body of an assignment? Check all the boxes that are needed to properly cite the source of the direct quotation. Correct Answers:| Indent from the left-hand side of the page Type in single line spacing Acknowledge the source of the quotation by inserting the author’s surname, year of publication and page number Add the bibliographic information for the source (author, title etc) to the reference list at the end of your paper| An annual report (whether in print or electronic) is defined as a â€Å"report on an incorporated company’s affairs that must be sent to shareholders after the end of the financial year. Such reports contain an audited statement of the company’s affairs as well as reports from the management of the company†. (From ‘The Handbook of International Terms in Economics and Business, electronic resource, accessed 30 Sept 2009)Which of the below statements is true? Answer | Selected Answer:| An annual report contains information in the same way as any other source to which you refer in your work and anything used needs to be acknowledged. | | The Web has become a popular source of information for student papers. To avoid plagiarising these sources, follow the same guidelines as print sources. Which of the following would be true of information you find on the World Wide Web or the Internet? Tick all the boxes that apply. Answer | Selected Answers: | Taking small pieces of information from the Internet and using it as my own work or in my assignments without acknowledging its source is plagiarism. I can quote from information I find on the internet or the web for my assignments as long as I acknowledge where the information came from and correctly reference it in my bibliography. | A website is an electronic medium and has its own conventions for citing, including the requirement to state the date on which you accessed the website. This ensures you are citing the most current version of the information on the site. Have a look at www. ucd. ie/library/students/information_skills/citation/harvard. html#pageonwebsite and answer the following question. If I can’t find the authors/publisher s of a website used in my assignment, I don’t have to cite it. Answer | Selected Answer: | False| You are doing an assignment on the role of the Social Partners in Irish Industrial Relations – which is the most authoritative and reliable website source to use for this assignment? Read the descriptions of each source taken from the organisation’s website before you make your decision? Answer | Selected Answer:| European Industrial Relations Observatory – â€Å" The European Industrial Relations Observatory (EIRO) is a monitoring instrument offering news and analysis on European industrial relations. †¦Ã¢â‚¬ ¦. Its aim is to collect, analyse and disseminate high-quality and up-to-date information on key developments in industrial relations in Europe. It aims primarily to serve the needs of national and European level organisations of the social partners, governmental organisations and EU institutions. EIRO is based on a network of leading research institutes in the EU†¦Ã¢â‚¬ ¦ This Committee, composed of representatives of employers, trade unions, member state governments and the European Commission, ensures the objectivity and quality of the information provided. Source: European Industrial Relations Observatory Online(2008) About EIRO, http://www. eurofound. europa. eu/eiro/about_index. htm Accessed 27 May 2010)| | Q13 In the main body of an assignment, an online resource will be referenced in the same fashion as a textbook or journal article [i. e. (Author, Date of Publication)]. Answer | Selected Answer: | True| | In an assignment, an online resource should be referenced in the bi bliography using the following format:Author (if there is one), Year, Title of Article, Organisation/Association, website address/URL [date you accessed the website]Answer | Selected Answer: | True| | How to cite Citation and European Industrial Relations, Essay examples

Analyzing Rip Van Winkle free essay sample

In a selection, an author uses certain characteristics to depict the outcome of a story. In Washington Irving’s â€Å"Rip Van Winkle,† Irving incorporates exaggerated characters, magical events and their consequences, and places the setting in past times to create an American mythology. With these characteristics, Irving impacts the entire story and how the ending resolves. In the story, Irving uses mainly Rip Van Winkle and Dame Van Winkle to show exaggeration in the characters. The townspeople see Rip Van Winkle as a whole-hearted fellow who loves helping everyone with their needs while in contrast Dame Van Winkle sees Rip as a man who is lazy and never does the work he is supposed to do. Throughout the story, Dame constantly nags on Rip and he is seen as just shrugging his shoulders and walking away. Due to this behavior, it helps the magical event become more believable to the reader. We will write a custom essay sample on Analyzing Rip Van Winkle or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page When his laziness is exaggerated by Dame, him sleeping for twenty years is more plausible than if his laziness wasn’t portrayed in the story. Magical events and their consequences also interpret the feeling of an American mythology. Irving uses this characteristic when Rip suddenly comes across a strange place with strange items which he consumes. After consuming a strange drink, Rip falls asleep and doesn’t wake up for another twenty years. During those twenty years, a war has come and left leaving the nation in a completely different atmosphere then when he left. Most of his friends and family have gone or changed in some particular way. Lastly, Irving uses setting to create an American mythology. He places the setting sixty years before his time immediately making it in the past. Also, the story has time that passes by causing the reader to infer something dramatically has changed within that time. With this, fiction and non-fiction come together helping to construct a myth. When composing all these characteristics, it creates an American mythology. If only one of these characteristics were used, the story’s meaning would change drastically. Irving uses exquisite details in his characters, events, and setting that represents an American myth.

Significance of Janes and Antoinettes dreams in Jane Eyre and Wide Sargasso Sea

Free Essays on Characterazation Of Jim

A role model is someone whom you greatly look up to; someone you model your life after. Anymore, it’s not too common to admire someone like Jim in the adventures of Huckleberry Finn. Yet, Huck looked to Jim as a father figure, and the only one to show him loyalty, faith, compassion, strength, wisdom, guidance, and above all else, love. Before their trip down the Mississippi, Huck’s only authoritative figure was Tom Sawyer. His father, Pap Finn, showed no sense of caring except to his next bottle of whiskey, and all other adults who tried to teach Huck were trying to educate in ways that couldn’t be done. Jim, on the other hand, takes the time to befriend Huck and help him make his own decisions, despite what society would say. After all, society looked down on slaves at that time. What would they think of a slave as a leader or a father figure? Jim teaches Huck many things as they travel South on the River. First at Jackson Island, Jim notices the nervous actions of the birds and predicts it will rain. When a violent storm moves upon the island, Huck realizes that he has experience and indeed knows what he is talking about. Jim also shows Huck his great sense of caring. When they were separated in the fog, he tells Huck that his â€Å"heart wuz mos’ broke bekase you wuz los’, en I didn’ k’yer no mo’ what bcome er me en de raf.† Also, his kindness is shown when Tom injures his leg towards the end of the story, and Jim refuses to leave him alone. Jim is seen as a heroic figure in Huckleberry Finn for his loyalty, care, and devotion to Tom and Huck. He also shines a light on the battle of slavery in the civil war era. All men are created equal and slaves are people, too. They have feelings for others, and deserve kindness just like everyone else.... Free Essays on Characterazation Of Jim Free Essays on Characterazation Of Jim A role model is someone whom you greatly look up to; someone you model your life after. Anymore, it’s not too common to admire someone like Jim in the adventures of Huckleberry Finn. Yet, Huck looked to Jim as a father figure, and the only one to show him loyalty, faith, compassion, strength, wisdom, guidance, and above all else, love. Before their trip down the Mississippi, Huck’s only authoritative figure was Tom Sawyer. His father, Pap Finn, showed no sense of caring except to his next bottle of whiskey, and all other adults who tried to teach Huck were trying to educate in ways that couldn’t be done. Jim, on the other hand, takes the time to befriend Huck and help him make his own decisions, despite what society would say. After all, society looked down on slaves at that time. What would they think of a slave as a leader or a father figure? Jim teaches Huck many things as they travel South on the River. First at Jackson Island, Jim notices the nervous actions of the birds and predicts it will rain. When a violent storm moves upon the island, Huck realizes that he has experience and indeed knows what he is talking about. Jim also shows Huck his great sense of caring. When they were separated in the fog, he tells Huck that his â€Å"heart wuz mos’ broke bekase you wuz los’, en I didn’ k’yer no mo’ what bcome er me en de raf.† Also, his kindness is shown when Tom injures his leg towards the end of the story, and Jim refuses to leave him alone. Jim is seen as a heroic figure in Huckleberry Finn for his loyalty, care, and devotion to Tom and Huck. He also shines a light on the battle of slavery in the civil war era. All men are created equal and slaves are people, too. They have feelings for others, and deserve kindness just like everyone else....

Business Decision Making - Investigating the Leisure Industries Assignment

Business Decision Making - Investigating the Leisure Industries - Assignment Example re the main six sort of division of the Heuristics: the recognition heuristic, the minimalist strategies, the lexicographic strategy, take the last strategy, sequential decision making, and elimination by aspect. Goodwin & Wright (2014) assert that heuristic is used for multiple making decisions that involve several or multiple objectives. For an instant, in this case a choice is to be made in picking two alternatives which are either to choose Egypt or Edinburg. Goldstein & Gigerenzer (2002) argues that recognition heuristic is the simplest of all the heuristics hence can be introduced as fast and frugal in this particular program. This is due to the fact that individuals tend to have good recognition memory. In this type of heuristic, when an individual perceives one of two things, he or she will judge the perceived thing to be more prominent in whatever measurements associated with recognition. Oppenheimer (2003) argues that the size of the city is positively associated with recognition hence through the recognition heuristic, it will predict that the recognized cities will be judged as larger in comparison with the cities that are not recognized. This type of heuristic is useful in settling on choice rapidly though it gives an illusion of a good choice by excluding other opportunities such as prior hypothesis. For an instant, some individuals may choose the most visited countries and cheap countries while other may opt for either Egypt or Edinburg due to safety and security reasons. Miao & Mattila (2007) illuminates that information results in confidence in making judgment in reference to the price of the consumers and their decisions. The Smart technique is based on a model that is additive linearly. It implies that the overall of an alternative is calculated as the total sum of the performance score of every criterion multiplied with that criterion’s weight (DTU Transport, 2014). Goodwin & Wright (2014) explain that the application of SMART is

Job Redesign and Workplace Rewards Assessment Essay

Job Redesign and Workplace Rewards Assessment - Essay Example It is up to the staff to see how creatively the problem is tackled. The heads or the superiors are not involved and do not intervene unless the solution to be provided is beyond the staff. As such there is minimal intervention. At the same time guidance is provide by the superiors when required. The staff is free to seek information as and when required. Also, the staff is free to tackle complex tasks on its own, even where superior guidance is required. At the same time, the staff is also free to develop new skills on its own. All these self management practices prove to be a motivating factor for the personnel. Since the staff can creatively tackle the queries, they are motivated to do better each time. Similarly minimal intervention by the heads makes them feel trusted and competent. At the same time the opportunity to develop new skills satisfies there internal urge for education. As pointed out below, "Self-managing employees require less oversight, so they improve productivity by reducing the need for continuous supervision. But that's just the beginning. By seeking out opportunities for growth and professional development, self-managing employees foster an environment of creative problem-solving, innovation, and personal accountability that strengthens the organization's strategic advantage. Although you can't train your employees to manage themselves, you can cultivate an environment conducive to self-management through support, recognition, and rewards for employees who take initiative and exhibit self-discipline" (Shauf, 2007). However, there is one practice that works against the motivational element. That is, the principal duties of the staff are segregated. The personnel handling the client queries are prevented from carrying out the back operations of the organization. As such even if a member of the staff is knowledgeable about both the functions of the department, he is not allowed to exercise his opinion. This sometimes makes some members of the staff distrusted. This necessarily works against intrinsic motivation for the job. Similarly, as far as hiring of new members is concerned, the heads or the staff is only partially consulted. They do not have a final say in hiring the staff. This is also an important element where the personnel feel unworthy. Rewards and Motivation "Jack Zigon defines rewards as 'something than increases the frequency of an employee action' (1998). This definition points to an obvious

Portrayal Of Mexican American Heritage Film Studies Essay

Portrayal Of Mexican American Heritage Film Studies Essay There are many names that are often used to depict one of Mexican American heritage. Most Americans are familiar the use of such names as Chicanos and Cholos to name a few. But what do you often think of when you hear the terms being used? In this paper I will address the negative views that seem to be brought with these terms and the undeniable impact that the filming industry has had on these said associations. On the television a promotion comes on to entice you to go see the blockbuster movie of the month. The film is said to portray a loving Hispanic family that has just lost their daughter in a tragic accident. The television suddenly shuts off before you have a chance to see the rest of the advertisement for the movie. You start to predict the main plot of the movie yourself. Since the movie is about a Hispanic family, it is probably filmed in a rundown part of town with graffiti and abandoned buildings everywhere. Their daughter has more than likely been the victim of a stray bullet from a drive by shooting that was initiated over a gang fight or drugs. These types of views are not uncommon among most in America. The depiction of Hispanic characters in the past has usually been portrayed as criminal, greasy, and unintelligent. Directors and writers often put their prejudices into the work that they create and that in turn has created a world on screen of cultural stereotypes. Many actors are pushed to speak with certain accents and at times even their skin is made darker for effect. Women are usually cast to play roles as housemaids or an extremely sexual individual. Men often play the role of a mobster, landscaper, or extremely aggressive drunk person. The size of a typical Mexican family on film is often massive, with many children. Throughout U.S. history, Mexican Americans have, and continue to, endure various types of negative stereotypes which have long circulated in cinema. Silent films of the mid 1920s led to a few opportunities for Hispanics. Most of the early filmmakers were European immigrants and did not originally have the racial attitudes of Americans. Latinos were able to be actors and directors in Hollywood. The first Charlie Chaplin movies cameraman was from Mexico. There was no language barrier to contend with in the silent films either and were not subject to English-only prejudice. The Latin Lover, played by an Italian actor Ruben Valentino in early years, created an image that Latinos were much more passionate and sexual in comparison to Whites. By the end of the 1920s, however, European filmmakers had adopted U.S. racial values. They began excluding Latinos from the industry except when they were needed in front of the cameras. There they would generally play the stereotypical roles. The Latin Lover image often still exists today. With this Latin Lover image in the 1920s many Latinos were given leading roles. This also developed an image of Hispanic men as gigolos or Hispanic women as vamps in the mind of moviegoers. Spanish-language films were produced for the years between 1928 and 1939. They soon found that audiences only wanted to see the original stars of the film and decided to stop. This gave way to opportunities for Latino to star and participate as the image of the Latin Lover had diminished. Actors would generally change their names, hid their identities to be passed as white, or take stereotypical roles. Dark-skinned Latinos were confined to play negative roles or not work at all. One of Hollywoods and Mexicos biggest film stars during the 1920s and 1930s was Dolores Del Rio. Being dark-skinned, the studios would lighten her up. She was very proud of her heritage and declined roles that would put down her culture. She had refused to be branded by the studios as Spanish and insisted in being recognized as Mexican. Unfortunately, every time she turned down a character there was another actress willing play the demeaning role. Lupe Velez, known as the Mexican Spitfire, believed they would eventually return to more meaningful roles. After the 1930s, most Latinos who rose in popularity did so by hiding their identities using Anglo names. In later decades actors such as and Martin Sheen changed their names to avoid Hollywood typecasting. Raquel Welch was born Jo Raquel Tejada. Martin Sheen had his name changed from Ramon Estevez. The few leading Hispanic roles in films were often cast with White actors and this practice still continues today. For example, Marlon Brando played Emiliano Zapata in Viva Zapata! (1952). Natalie Woods stared in West Side Story (1961) as a young Puerto Rican woman. New opportunities arose in the Good Neighbor films of the 1940s although they were commonly minor Latin Lover roles and were often back-up to a white American lead. Latin Americans with musical abilities were brought in to perform in musical numbers. Among the most successful were Desi Arnaz and Carmen Miranda. Carmen Miranda was a singer-actress born in Portugal. She was known for her exaggerated costumes and style of performance. They each came to symbolize the comic, tropical Latino, a stereotype that is widely known today. Actor Cheech Marin is one of Hollywoods most recognizable Hispanic stars. He was the other half of the comedy team Cheech and Chong, opposite Tommy Chong, in the 1970s. The team was often criticized by some in the Latino community for their portrayals with negative stereotypes, even though they were hugely popular at the box office. Cheech portrayed a low-rider who spoke Calo and wore clothes looking similar to a Zoot Suit with a wallet chain. His Chicano character was heavily into smoking marijuana. Marin went on to write, direct, and star in Born in East L.A which is a film about a third-generation Hispanic American who accidentally becomes mistaken as an illegal immigrant from Mexico and is deported. Unfortunately, he neither speaks nor understands Spanish. Stereotypes often come into play throughout the entire movie such as when the main character teaches some locals how to act like a vato. That same year he appeared in From Dusk till Dawn, a horror film written by Quentin Tarati no. In the movie Marin plays three different roles. He is a border official, doorman for a strip club, and criminal contact for the villains of the movie. On a side note, Selma Hayek is cast in the movie as Santanico Pandemonium who is the vampire princess and main attraction at the strip club, thus further enforcing the belief of the sexual vamp. The referenced Cheech movies and its characters show typical stereotypes of Hispanics as criminals and unintelligent druggies. Marin did an interview in which he claimed he was often persuaded into being more cholo with this character in order for it to sell better. One cannot contemplate he impacts of famous Hispanic actors without thinking of Edward James Olmos. Olmos got his first big break in the production of Zoot Suit in 1978, which was a musical based on the famous Zoot Suit Riots in Los Angeles in 1942. He was cast as the narrator El Pachuco and, more or less, the films master of ceremonies. He is the main characters demonic, zoot-suited alter ego. Olmoss character seems to represents the fury inside this main character and the remains of his machismo. Unfortunately, though the movie and play try to make a point of obvious racism against Hispanics, it also plays into the common stereotypes instead of against them. The Calo words pachuco, vato, simon, and chale are said way above the normal usage for anyone. In the film Stand and Deliver, which was based on a true story, Olmos portrayed teacher Jaime Escalanet who will do anything to teach his Hispanic students the complicated mathematics of Calculus. The movie is very close to the actual real life story of the Garfield High students experience with Mr. Escalante. However, I believe that the Hispanic stereotypes used were a bit over indulged and exaggerated for the sake of the movie in order to make it more appealing. Lou Diamond Phillips has starred in many pictures where he was cast in the stereotypical Hispanic roles. He was a co-star alongside Edward James Olmos in Stand and Deliver where he played Angel Guzman, a young troubled gang member. One of his most memorable roles was his portrayal of the life and death of singer Ritchie Valens in La Bamba. He also portrayed a young outlaw named Jose Chavez Y Chavez in Young Guns and Young Guns II. Chavez y Chavez was a member of the Regulators where he met Billy the Kid and soon joined his group of wanted outlaws. While the films mentioned are based on real life accounts, they serve as prime examples of the Hispanic stereotype. To add to the writing for the movie, directors had the actors embellish certain Mexican traits within these characters to make them stand out more in order to entertain the viewer. In contrast, we can look at another famous actor Emilio Estevez. Because of his blonde hair and blue eyes he has been cast in many mainstream pictures. Unlike his brother and father, who are both great actors in their own right, Emilio decided to take on his surname of Estevez. In 1958, Emilios father was forced to change his name for the movie industry. He didnt look Hispanic but to have a Hispanic or Latino last name was not popular. The same could be said when Emilio started his acting career. He battled with his father about whether to use the name Sheen over Estevez. His father had persuaded him to keep his name; partially due to the regret he had for deciding to change his. While he held on to the surname of Estevez, Emilio has done everything but a Hispanic character on screen. In the movie Young Guns he was cast as Billy the Kid, with the Mexican role of Jose Chavez y Chavez being played by Lou Diamond Phillips. He has avoided any Latino roles altogether, thus avoiding the po ssibility of any stereotypes involved. The cult classic Scarface was about a greasy immigrant named Tony Montana who became a Cuban/Latino drug lord. While he is a disgraceful character, many Latinos love to claim him as their own. It portrays on the big screen the label of Latinos as gun toting, drug running killers. It further adds to the impression of having a White woman as their own being a symbol of an achieved higher status. Hollywood will continue to represent Latinos in this way as long as the audience applauds it. Children learn stereotypes and attitudes about race from their parents, caretakers and the world around them. The Disney studios have long been a culprit of putting cultural stereotypes on the screen. The original Speedy cartoons had many stereotypes and unflattering characterizations of Mexicans. Speedy Gonzales is a stereotypical poor Mexican mouse with a highly exaggerated accent that could run very fast. This was in comparison to his sluggish, continually lazy friends who were also shown as drinkers in the earlier versions of the cartoon. For example, there was his cousin Eslow Poke Rodriguez. The animated movie Oliver and Company had a Latino Chihuahua named Alonzo that is typecast as a troublemaker who at one point in the film talks about stealing cars. In yet another Disney film, A Bugs Life, the grasshoppers are presented as being tough, rowdy, and uncivilized and are always ready to start a fight. In one particular scene the grasshoppers are relaxing and drinking alcohol. Th ey are in a southern environment ordering Mexican drinks and dancing to Hispanic music. This correlation reinforces the cultural classifications by associating Hispanic culture with drunken and rowdy celebrations Hollywood has a long and continued history of racial insensitivity. Stereotypes could be considered its stock in trade. It is always going to exploit the stereotypes of Hispanic culture in order to appeal to the hostility others may have towards them. For the sake of the film industry and sales, directors are always going to tell Hispanic actors to speak with exaggerated accents and have overstated mannerisms. There is always going to be the Latina maid or the sexy Hispanic landscaper ready and willing to perform their employers every fantasy. The Latin housekeeper is going to be either the truth-teller or the fantasy wife in comedies about an American household. Actress Lupe Ontiveros has been cast in film as a maid over 150 times. That is definitely a perfect example of type casting strictly because of her ethnic background. In conclusion, stereotypes are just a simple, one-dimensional portrayal of people. Usually they are based on sex, race, religion, profession or age. As we try to make sense of the world, we have all been guilty of stereotyping people to some degree.  Filmmakers will continue to rely heavily on stereotypes. They are a quick, simple way to establish the traits of the characters in the movie. For example, Blonde women are dumb, Teenagers are sex-crazed, foreigners are villains, Mexicans are lazy, and Blacks are natural born athletes. While the film industry of today may be more sensitive to issues of culture than it once was, many movies still keep alive common false impressions about groups of people. Such oversimplified and inaccurate portrayals have a profound effect on how we perceive one another. It also has an effect on how we relate to one another and how we value ourselves.

Disater Management Essay

Disaster Resistant Construction Practices Introduction Disaster Resistant construction practices are as important as disaster resistant structrual designs. Infact the methodology for construction also should be designed for disaster resistance. We should have proper implemenation of the structural details so as to let the structure behave as envisiged. The quality and methodology of construction is equally important. For example we use cover blocks. If the cover blocks are not cast properly in good quality concrete then they facilitate concrete deterioration. Ultimately this affects durability and serviceablity of the structure. The Durability and serviceablity are the key elements of any structure. Ensuring Quality in construction will enable achieving durability and serviceablity as a desired end result. Openings too close to corners Too high and long walls Use of Cut Lintels Usually a building comprises of: 1. Walls 2. Openings 3. Foundation 4. Plinth 5. Beams/Columns 6. Roof / Slabs Deficient Bond at corners Parts of a Building Differential settlement due to soft soil.

Island of the Sequined Love Nun Chapter 29~31

29 Safe in the Hands of Medicine â€Å"How are you feeling today?† Sebastian Curtis pulled the sheet down to Tuck's knees and lifted the pilot's hospital gown. Tucker flinched when the doctor touched the catheter. â€Å"Better,† Tuck said. â€Å"That thing is itching, though.† â€Å"It's healing.† The doctor palpated the lymph nodes in Tucker's crotch. His hands were cold and Tuck shivered at the touch. â€Å"The infection is subsiding. This happened to you in the plane crash?† â€Å"I fell back on some levers while I was trying to get a passenger out of the plane.† â€Å"The hooker?† The doctor didn't look up from his work. Tuck wanted to throw the sheets over his head and hide. Instead, he said, â€Å"I don't suppose it would make a difference if I said I didn't know she was a hooker.† Sebastian Curtis looked up and smiled; his eyes were light gray flecked with orange. With his gray hair and tropical tan, he could have been a re-tired general, Rommel maybe. â€Å"I'm not really concerned with what the woman was doing there. What does concern me is that you had been drinking. We can't have that here, Mr. Case. You may have to fly on a moment's notice, so you won't be able to drink or indulge in any other chemical diversions. I assume that won't pose a problem.† â€Å"No. None,† Tuck said, but he felt like he'd been hit with a bag of sand. He'd been craving a drink since he'd regained consciousness. â€Å"By the way, Doc, since we're going to be doing business together, maybe you should call me Tucker.† â€Å"Tucker it is,† Curtis said. â€Å"And you can call me Dr. Curtis.† He smiled again. â€Å"Swell. And your wife's name is?† â€Å"Mrs. Curtis.† â€Å"Of course.† The doctor finished his examination and pulled the sheet back up to Tuck's waist. â€Å"You should be on your feet in a few days. We'll move you to your bungalow this afternoon. I think you'll find everything you need there, but if you do need anything, please let us know.† A gin and tonic, Tuck thought. â€Å"I'd like to find out what happened to the guy who was piloting my boat.† â€Å"As I told you, the islanders found you and a few pieces of your boat.† There was a finality in his voice that made it clear that he didn't want to talk about Kimi or the boat. Tuck pressed on. Respect for authority had never been his long suit. â€Å"I guess I'll ask around when I get out of here. Maybe he washed up on a different part of the island. I remember being hung in a tree with him by an old cannibal.† Tuck saw a frown cross the doctor's face like a fleeting shadow, then the professional smile was back. â€Å"Mr. Case, there haven't been any cannibals in these islands for a hundred years. Besides, I will have to ask you to stay inside the compound while you are here. You'll have access to beaches and there's plenty of room to roam, but you won't be having any contact with the islanders.† â€Å"Why, I mean if they saved me?† â€Å"The Shark People have a very closed society. We try not to intrude on that any more than is necessary for us to do our work.† â€Å"The Shark People? Why the Shark People?† â€Å"I'll explain it all to you when you are feeling better. Right now you need to rest.† The doctor took a syringe from a metal drawer by the wall and filled it from a vial of clear fluid, then injected it into Tuck's IV. â€Å"When do you think you'll be ready to fly?† Tuck felt as if a veil of gauze had been thrown over his mind. Everything in the room went soft and fuzzy. â€Å"Not real soon if you keep giving me that stuff. Wow, what was that? Hey, you're a doctor. Do you think we taste like Spam?† He was going to ask another question, but somehow it didn't seem to matter anymore. The Sorcerer stormed into the Sky Priestess's bungalow, stripped off his lab coat, and threw it into the corner. He went to the open kitchen, ripped open the freezer, pulled out a frosty fifth of Absolut, and poured a triple shot into a water glass that froze and steamed like dry ice in the humidity. â€Å"Malink lied,† he said. Then he tossed back half the glass and grabbed his temples when the cold hit his brain. The Sky Priestess looked up from her magazine. â€Å"A little stressed, darling?† She was lying out on the lanai, naked except for a wide-brimmed straw hat, her white skin shining in the sun like pearl. The Sorcerer joined her and fell onto a chaise lounge, a hand still clamped on his temples. â€Å"Case says there was another man with him on the island. He said an old cannibal hung them in a tree.† â€Å"I heard him,† the Sky Priestess said. â€Å"He's delirious?† â€Å"I don't think so. I think Malink lied. That they found the boat pilot and didn't tell us.† She moved next to him on the chaise lounge and pried the glass of vodka out of his hand. â€Å"So send the ninjas on a search mission. You're paying them. They might as well do something.† â€Å"That's not an option and you know it.† â€Å"Well, then go yourself. Or call Malink on it. Tell him that you know there was another man and you want him brought here chop-chop.† â€Å"I think we're losing them, Beth. Malink wouldn't have dared lie to me a month ago. It's that dream. He dreams that Vincent is sending them a pilot, then you tell him it's not true, then a pilot washes up on the reef.† The Sky Priestess drained the glass of vodka and handed it back to him empty. â€Å"Yeah, nothing fucks up a good religion like the intervention of a real god.† â€Å"I wish you wouldn't talk that way.† â€Å"So what are you going to do, after you get a refill, I mean?† The Sorcerer looked up at her as if noticing her for the first time. â€Å"Beth, what are you doing out here? The Priestess of the Sky does not have a tan.† She reached under the chaise lounge and came up with a plastic bottle of lotion. â€Å"SPF 90. Relax, ‘Bastian, this stuff would keep me creamy white in a nuclear flare. You want to rub some on me?† She pushed her hat back on her head so he could see the predator seriousness in her eyes. â€Å"Beth, please. I'm on the cusp of a crisis here.† â€Å"It's not a crisis. It's obvious why the Shark People are getting restless.† â€Å"It is?† â€Å"No one has been chosen in over two months, ‘Bastian.† He shook his head. â€Å"Case isn't ready to fly.† â€Å"Well, get him ready.† 30 Fashion Statements Kimi sat under a coconut palm outside of the bachelors' house sulking. His flowered dress was gone and he wore a blue thu, the long saronglike loin-cloth worn by the Shark men. Gone too was his blond wig, his high heels, and his best friend, Roberto, who he had not seen since the cannibal tree. Now it looked as if he had no place to sleep. Sepie had thrown him out. Sepie came out of the bachelors' house wearing Kimi's floral dress and glared at him. She paused on the coral pathway. â€Å"I am not a monkey,† she said. Then she picked up a stone from the path and hurled it at him, barely missing his head. Kimi scuffled to the leeward side of the tree and peeked around. â€Å"I didn't say you were a monkey. I said that if you didn't shave your legs, you would soon look like a monkey.† A rock whizzed by his face so close he could feel the wind of it. She was getting more accurate with each throw. â€Å"You know nothing,† she said. â€Å"You are just a girl-man.† Kimi dug a stone from the sand at his feet and hurled it at her, but his heart wasn't in it and it missed her by five feet. In English he said, â€Å"You just a poxy oar with a big mouth.† He hoped this verbal missile hit closer to home. They were the last words of Malcolme, Kimi's pimp back in Ma-nila. In retrospect, Malcolme's mistake had been one of memory. He had forgotten that the overly made-up little girl standing in front of him with a machete was, in fact, a wiry young man with the anger of hundreds of beatings burning in his memory. â€Å"I no have the pox,† Kimi said to Malcolme, whose look of surprise remained fixed even as his head rolled into the corner of the hotel room, where a rat darted out and gently licked his shortened neck. â€Å"I no have the pox,† Sepie said in English, punctuating her statement with a thrown lump of coral. â€Å"I know,† Kimi said. â€Å"I'm sorry I say that.† He skulked off down the beach. Sepie stood outside the bachelors' house watching him, totally disarmed. No man had ever apologized to her before. Kimi hadn't meant to hurt her feelings. Sometimes it takes a thick skin to trade beauty tips with a girlfriend. Sepie was naturally pretty, but she didn't understand fashion. Why bother to put on a pretty dress if you're going to have monkey legs and tufts of hair hanging out from under your arms making it look like bats hanging there? Bats. Kimi missed Roberto. The Shark men wouldn't talk to him, the women ignored him, except for Sepie, who was angry at him now, and even Tucker had been taken away to the other side of the island. Kimi was lonely. And as he walked down the beach, past the children playing with a trained frigate bird, past the men lounging in the shade of an empty boathouse, his loneliness turned to anger. He turned up the beach and took a path into the village to look for a weapon. It was time to go see the old cannibal. Outside each of the houses, near the cook sheds, stood an iron spike – a pick head that was driven into the ground and used to husk coconuts. Kimi stopped at one house and yanked on the spike, but it wouldn't budge. He moved between the houses, vacant now in the early morning, the women working in the taro field, the men lounging in various patches of shade. He peeked into a cook shed, and there, by the pot that held the crust of this morning's rice, he found a long chef's knife. He looked around to make sure that no one was watching, then bolted into the shed and snatched the knife, fitting it into his thu so that only the handle protruded at the small of his back. Ten minutes later he was hiding in a patch of giant ferns, watching the old cannibal roll coconut husk fibers into rope on his leathery old thighs. He sat with his back against a palm tree, his legs straight out in front of him, pulling the fibers that had been soaked and separated out of a basket and measuring by feel the right amount to add to the coil of cord that was building on the ground beside him. From time to time he stopped and took a drink from a jar of milky liquid that Kimi was sure was alcoholic tuba. Good, he was drunk. Kimi moved slowly around the house, staying in the undergrowth of ferns and elephant ears, careful not to kick up any of the coral gravel that rang like broken glass if you didn't place your feet carefully. Once he was behind the old man, he drew the knife from the small of his back and moved forward to kill that man who had eaten his friend. From the window of his new quarters Tucker Case watched the Japanese guards move through the compound carrying palm fronds and broken branches, detritus of the typhoon, which they piled in an open space at the side of the hangar to dry in the sun. They were dressed like a police SWAT team, in black coveralls with baseball caps and paratrooper boots, and if he squinted, they looked like giant worker ants cleaning out the nest. From time to time one of the guards would look toward his bungalow, then quickly turn away when he saw Tucker standing in the window in his pajamas. He had given up waving to them after the first hour of being ignored. He'd been in the one-room bungalow for four days now, but this was the first time he'd felt well enough to get up and move around, other than to use the bathroom, which to his surprise, had hot and cold running water, a flush toilet, and a shower stall made of galvanized metal. The walls were tightly woven grass between a sturdy frame of teak and mahogany logs; the floor was unfinished teak, sanded smooth and pink; and the furniture was wicker with brightly colored cushions. A ceiling fan spun languidly above a double bed that was draped with a canopy of mosquito netting. The windows looked out on the compound and hangar on one side and through a grove of palm trees to the ocean on the other. He could see sev-eral bungalows perched near the beach, a small dock, and the cinderblock hospital building, its tin roof arrayed with antennae, solar electric panels, and a massive satellite dish. Tuck backed away from the window and sat down on the wicker couch. A few minutes on his feet and he felt exhausted. He was twenty pounds lighter than when he had left Houston and there wasn't a six-inch patch of skin on his body that didn't have some kind of bandage on it. The doc had said that between the cuts on his arms, knees, and scalp, he had taken a hundred sutures. The first time he looked in the little mirror in his bathroom, he thought he was looking at a human version of the mangy feral dog he'd seen on Truk. His blue eyes lay like dull ice in sunken brown craters and his cheeks were drawn into his face like a mummified bog man's. His hair had been bleached white by the sun and stuck out in straw-dry tufts between pink patches where the doctor had shaved his scalp to stitch him up. He took small comfort in the fact that there were no women around to see him. No real women, anyway. The doctor's wife, who came several times a day to bring him food or to change his bandages, seemed robotic, like some Stepford/Barbie hybrid with the smooth sexless carriage of a mannequin and a personality pulled out of an Eisenhower-era soap commercial. She made the straight-laced cosmetic reps from his past seem like a tribe of pillbox ny mpho hose hunters. There was a tap on the door and Beth Curtis breezed in carrying a wooden serving tray with plates of pancakes and fresh fruit. â€Å"Mr. Case, you're up. Feeling better today?† She set the tray down on the coffee table in front of him and stepped back. Today she was in pleated khaki pants and a white blouse with puffed shoulders. Her hair was tied back with a big white bow at the back of her neck. She might have just walked out of a Stewart Granger safari movie. â€Å"Yes, better,† Tuck said, â€Å"But I wore myself out just walking to the window.† â€Å"Your body is still fighting off the infection. The doctor will be by soon to give you some antibiotics. For now you need to eat.† She sat on the chair across from him. Tuck cut a divot out of the stack of pancakes with a fork and speared it through a piece of papaya. After the first bite, he realized how hungry he really was and began wolfing down the pancakes. Beth Curtis smiled. â€Å"Have you had a chance to look over the manuals for the airplane?† Tuck nodded, his mouth still full. She'd left the operations manuals on his bed two days ago. He'd leafed through them enough to know that he could fly the thing. He swallowed and said, â€Å"I used to fly a Lear 25 for Mary Jean. This one is a little faster and has longer range, but basically it's the same. Shouldn't be a problem.† â€Å"Oh, good,† she said, sporting one of her plastic smiles. â€Å"When will you be able to fly?† Tucker put down his fork. â€Å"Mrs. Curtis, I don't mean to be rude, but what in the hell is going on around here?† â€Å"Regarding what, Mr. Case?† â€Å"Well, first, regarding the man I came to this island with. I was sick, but I wasn't hallucinating. We were strung up in a tree by an old native guy and cut down by a bunch of others. What happened to my friend?† She shifted in her chair, and the wicker crackled like snapping rat bones. â€Å"My husband told you what the islanders told us, Mr. Case. The natives live on the other side of the island. They have their own society, their own chief, their own laws. We try to take care of their medical needs and bring a few souls into the fold, but they are a private people. I'll ask them about your friend. If I find out anything, I'll let you know.† She stood and straightened the front of her slacks. â€Å"I'd appreciate that,† Tuck said. â€Å"I promised him I'd get him back to Yap and I owe him some money. The natives didn't find my backpack, did they? My money was in it.† She shook her head. â€Å"Just the clothes you had on. We burned them. Fortunately, you and Sebastian are about the same size. Now, if you'll ex-cuse me, Mr. Case, I have some work to do. Sebastian will be along in a bit with your medicine. I'm glad you're feeling better.† She turned and walked out the door into the blinding sunlight. Tucker stood and watched her walk across the compound. The Japanese guards stopped their work and leered at her. She spun on them and waited, her hands on her hips, until one by one they lost their courage and returned to their work, not embarrassed but afraid, as if meeting her direct gaze might turn them to frost. Tuck sat down to his half-eaten pancakes and shivered, thinking it must be the fever. A half hour later the doctor entered the bungalow. Tucker was spread out on the couch descending into a nap. They'd been doing this since they'd moved him to the bungalow, tag-teaming him, one showing up at least every hour to check on him, bring him food or medicine, change the sheets, take his temperature, help him to the bathroom, wipe his forehead. It looked like concerned care, but it felt like surveillance. Sebastian Curtis took a capped syringe from his coat pocket as he crossed the room. Tuck sighed. â€Å"Another one?† â€Å"You must be feeling like a pin cushion by now, Mr. Case. I need you to roll over.† Tuck rolled over and the doctor gave him the injection. â€Å"It's either this or the IV. We've got this infection on the run, but we don't want it to get a foothold again.† Tuck rubbed his bottom and sat up. Before he could say anything, the doctor stuck a digital thermometer in his mouth. â€Å"Beth tells me that you're worried about your friend, the one you say came to the island with you?† Tuck nodded. â€Å"I'll check into it, I promise you. In the meantime, if you're feeling up to it, Beth and I would like you to join us for dinner. Get to know each other a little. Let you know what's expected of you.† He pulled the thermometer out of Tuck's mouth and checked it but made no comment. â€Å"You up for dinner tonight?† â€Å"Sure,† Tuck said. â€Å"But†¦Ã¢â‚¬  â€Å"Good. We'll eat at seven. I'll have Beth bring you down some clothes. I'm sorry about the hand-me-downs, but it's the best we can do for now.† He started to leave. â€Å"Doc?† Sebastian turned. â€Å"Yes.† â€Å"You've been out here, what, thirty years?† The doctor stiffened. â€Å"Twenty-eight. Why?† â€Å"Well, Mrs. Curtis doesn't look†¦Ã¢â‚¬  â€Å"Yes, Beth is quite a bit younger than I am. But we can talk about all that at dinner. You should probably rest now and let those antibiotics do their work. I need you healthy, Mr. Case. We have a round of golf to play.† â€Å"Golf?† â€Å"You do play, don't you?† Tuck took a second to catch up with the abrupt change of subject, then said, â€Å"You play golf here?† â€Å"I am a physician, Mr. Case. Even in the Pacific we have Wednesdays.† Then he smiled and left the bungalow. 31 Revenge: Sweet and Low in Calories Sarapul twisted the last of the fibers into his rope and drew his knife to trim the ragged end. It was a good knife, made in Germany, with a thin flexible blade that was perfect for filleting fish or cutting microthin slices from coconut stems to keep the tuba running. He'd had the knife for ten years and he kept it honed and polished on a piece of tanned pig hide. The blade flashed blue as he picked it up and he saw the face of vengeance re-flected in the metal. Without turning, he said, â€Å"The young ones are going to kill you.† Kimi stopped, his knife held ready to strike the old man in the neck. â€Å"You ate my friend.† Sarapul gripped his knife blade down so he might turn and slash at the same time. There was no quickness in his bones, though. The Filipino would kill him before he got halfway around. â€Å"Your friend is with the white Sorcerer and Vincent's bitch. Malink took him away.† â€Å"Not that one. Roberto. The bat.† â€Å"Bats are taboo. We don't eat bats on Alualu.† Kimi lowered his knife an inch. â€Å"You are not supposed to eat people either, but you do.† â€Å"Not people I know. Come over here where I can see you. I am old and my neck won't turn that far around.† Kimi walked a crescent around the tree and crouched at ready in front of the old man. Sarapul said, â€Å"You were going to kill me.† â€Å"If you ate Roberto.† â€Å"I like that. Nobody kills anybody anymore. Oh, the young ones are talking about killing you, but I think Malink will talk them out of it.† Kimi cleared his throat. â€Å"Were you going to eat me when they killed me?† â€Å"Someone brought that up at the drinking circle. I don't remember who.† â€Å"Then how do I know you did not eat Roberto?† â€Å"Look at me, little one. I am a hundred years old maybe. Sometimes I go to the beach to pee and the tides change before my water comes. How would I catch a bat?† Kimi sat down on the ground across from the old man and dropped his knife in the gravel. â€Å"Something happened to Roberto. He flew off.† â€Å"Maybe he found a girl bat,† Sarapul said. â€Å"Maybe he will come back. You want a drink?† The old cannibal offered his jar of tuba to Kimi, who leaned forward and snatched it before retreating out of knife range. Kimi took a sip and grimaced. â€Å"Why are they going to kill me?† â€Å"They say you are a girl-man and that you make Sepie forget her duties as mispel. And they don't like you. Don't worry, no one kills anyone anymore. It is just drunk talk.† Kimi hung his head. â€Å"Sepie sent me away from the bachelors' house. She is mad at me. I have nowhere to go.† Sarapul nodded in sympathy, but said nothing. He'd been exiled for so long that he'd gotten used to the alienation, but he remembered how he had felt when Malink had first banished him. â€Å"You speak our language pretty good,† Sarapul said. â€Å"My father was from Satawan. He was a great navigator. He taught me.† â€Å"You're a navigator?† In the old days the navigators stood above even the chiefs – and just below the gods. As a boy, Sarapul idolized the two navigators of Alualu. The long-dead dream of his boyhood surfaced and he remembered learning from them, watching them draw star charts in the sand and stand at the beach lecturing on tides and currents and winds. He had wanted to be a navigator, had begun the training, for in the rigid caste system of the Yapese islands it was the one way for a man to distin-guish himself. But one of the navigators had died of a fever and the other was killed in a fight before he could pass on his knowledge. The navigators and warriors were ghosts of the past. If this girl-man was a navigator, then the bachelors were piss ants to talk of killing him. Sarpul felt infused with an energy he hadn't felt in years. â€Å"I can show you something,† Sarapul said. He tried to climb to his feet and fell back into a crouch. Kimi took him by a bony arm and helped him up. â€Å"Come,† Sarapul said. The old man led Kimi down the path to the beach and stopped at the water's edge. He began to sing, his voice like dried palm leaves rattling in the wind. He waved his arms in arcs, then threw them wide to the sky so that his chest looked as if it might crack open like a rotten breadfruit. And the wind came up. He took handfuls of sand and cast them into the wind, then clapped his hands and resumed singing until the palms above them were waving in the wind. Then he stopped. â€Å"Now we wait,† he said. He pointed out to sea. â€Å"Watch there.† A column of fog rose off the ocean at the horizon and boiled black and silver into a huge thunderhead. Sarapul clapped his hands again and a lightning bolt ripped out of the cloud and across the sky like a jagged white fissure in blue glass. The thunderclap was instant, deafening, and crackled for a full ten seconds. Sarapul turned to Kimi, who was staring at the thunderhead with his mouth open. â€Å"Can you do that?† Kimi shook off his astonishment with a shiver. â€Å"No, I never learned that. My father said he could send the thunder, but I didn't see him do it.† Sarapul grinned. â€Å"Ever eat a guy?† Kimi shook his head. â€Å"No.† â€Å"Tastes like Spam,† Sarapul said. â€Å"I heard that.† â€Å"I can teach you to send the thunder. I don't know the stars, though.† â€Å"I know the stars,† Kimi said. â€Å"Go get your things,† Sarapul said.