Subjugation of Freedom in One Flew over the Cuckoos Nest free essay sample

The Subjugation of Freedom in One Flew Over the Cuckoo’s Nest Ken Kesey’s book, One Flew Over the Cuckoo’s Nest, is a multi-faceted work consolidating numerous topical components. One of the most effectively addressable subjects is that of opportunity and its impediments set upon the characters in the novel. Numerous kinds of opportunities are tended to extending from the substantial and genuine to the apparent and inferred. The setting principally happens in a psychological medical clinic on a bolted ward which restrains the characters’ physical opportunities. The characters are continually forced and disparaged by the foe Ms. Ratched which restrains their psychological opportunities. Underneath everything is a subtext of sexual restraint which is continually battled against by McMurphy. Exclusively, every one of these oppressions may be endured offered rejections to the others, however together they burden the men to where their total absence of opportunity nearly turns into a solace. We will compose a custom article test on Enslavement of Freedom in One Flew over the Cuckoos Nest or on the other hand any comparative theme explicitly for you Don't WasteYour Time Recruit WRITER Just 13.90/page Mental emergency clinics are commonly secure offices proposed to give a spot to patients, whose side effects go from minor to extreme, to be made sure about and not be a peril to the remainder of society while treatment is applied. The way wherein the patients are depicted in the story shows that they are not extreme mental cases but rather are the individuals who can't work in the public arena everywhere because of quirks and minor hang-ups, yet they are housed in a ward where they are held safely guarded, their development is limited to one day-room, and their exercises are on a carefully controlled time-table. The vast majority of the men have surrendered their physical opportunity willfully with the desire for treatment, mental recuperating and the possible discharge again into society. McMurphy, then again, was submitted by the state and his sentence relies upon the assessment of the Big Nurse, however he doesn’t understand this immediately. Attendant Ratched doesn't turn to physical touch herself and rather utilizes the three ward associates to play out her physical fierceness for her. McMurphy’s inevitable objective is to get different men out of the ward however much as could reasonably be expected in light of the fact that they have become too habituate to it. To do so at the same time would almost certainly be too incredible a stun so McMurphy begins inside the medical clinic with essentially moving the gathering to one more day room. Bit by bit, they can invest more energy out of the ward with exercises like b-ball and the pool. The zenith of their eccentric treatment is the angling trip where the men re-realize what genuine outside the emergency clinic can resemble. Medical caretaker Ratched doesn’t resort to rawness with the patients. She very much wants mental control and the principle center for her endeavors of control. She has become an ace of nuance and confusion. Before McMurphy shows up she has the men excited and ready to snitch on one another for small rewards. This data is then utilized in bunch treatment meetings where the thought is that the men can depend on one another for quality and the gathering will help lift them up, become more grounded and recuperate. What really happens is each man takes it thus to be assaulted by the others for their issues. This is completely organized astonishingly by Nurse Ratched who has yet to ask a couple of basic guided inquiries toward get the fire consuming. At the point when she isn’t utilizing the men’s own personalities against them she tranquilizes them to keep their contemplations moderate, to keep them unmotivated and to keep them quiet. Additionally in her munititions stockpile is the danger of most extreme mental discipline through stun treatment and lobotomy. Her method is so entirely guileful that the men work their hardest to satisfy her to the disservice of one another and eventually their own selves. She can unendingly keep the men in a state where they accept they need her and the emergency clinics help. Sex is utilized in the novel as a portrayal of all out opportunity. Its activity is quite often depicted by McMurphy who, through his general mien and originality to the emergency clinic, is the most free, explicitly, of any of the men. He is allowed to such an extent, that it experiences gotten him into difficulty as he just is by all accounts ready to follow up without really thinking. Society can't manage his total forsake and he is in the end rebuffed for it by having a bit of his cerebrum evacuated. The remainder of the men are totally stifled for the most part because of some issue they’ve had with the ladies in their lives. Truth be told, it is their powerlessness to manage ladies that got them to the medical clinic the primary spot. Ladies are depicted all through the book as the base of all men’s issues. Attendant Ratched is the penultimate figure of sexual constraint. She doesn't recognize her gentility however conceals it effectively, yet for her chest, underneath her clean, squeezed uniform. She is cold toward the men offering no genuine empathy and serves just to bother the men’s issues with ladies by and large. Her capacity is at last taken from her, actually, when McMurphy tears open her uniform uncovering her bosoms, the image of gentility; she is a lady all things considered. Restricting or expelling opportunity comes down to control. The individuals who confine opportunities wish to practice control upon those whose opportunities have been encroached. In the story, the limitation of all opportunities is embodied and executed by the â€Å"Big Nurse,† Ms. Ratched. She represents all types of suppression and is the essence of the cultural machine, whose reason for existing is to expel singularity and supplant patience with bunch disgrace. The suggestion Kesey proposes is that when an individual isn’t allowed to move, allowed to think, or allowed to adore then they can't be a significant, working citizen. Works Cited Kesey, Ken. One Flew over the Cuckoos Nest, a Novel. New York: Viking, 1962. Print.

Curriculum Development for Inclusive Practice Essay

Educational plan Development for comprehensive practice Curriculum is characterized as the accompanying; a particular outline for discovering that is gotten from substance and execution principles. Educational plan takes substance and shapes it into an arrangement for powerful instructing and learning. Hence, educational program is in excess of a general system, it is a particular arrangement with distinguished exercises in a proper structure and grouping for coordinating instructing (Wiggins and McTighe, 1998). The word ‘curriculum’ is really a Latin word for ‘racecourse’. Educational plan is the exercises that students will embrace to accomplish their learning objectives. The arranging, students experience and request in which it happens are all piece of the educational program. There are an enormous and immense measure of components that help shape an educational plan. There are a wide range of techniques and ways to deal with the plan and execution of educational plan and a ton is dependant on the teachers’ approach of it. In the realm of preparing, the educational program can structured around the destinations of the customers determinations. More often than not educational plan depends on the hierarchical needs of learning and goals, for instance, their educational program. Endorsement from outside offices, for instance, granting bodies give endorsement for the capability to be conveyed. The granting bodies flexibly the schedule or direction which gives the educator the data and structure for conveyance and evaluation of the topic. Outer organizations may give subsidizing now and again and in this occasion the course might be given once the financing has been achieved. Inside the preparation in-house segment of educating, it is ordinarily the business and individual needs’ that sets the benchmark for the prerequisite of bespoke instructional classes. In house preparing/educating cook for the necessities of the staff and in the greater part a ton of the courses achieved by the students don't prompt conventional capabilities. In the entirety of the above occasions the association will flexibly the prospectus or course substance to shape the educational plan. In the event that the schedule or course content isn't accessible the instructor should build up their own based around the subject that must be conveyed. The point of the educators is to recognize the adapting needs, styles and the capability of the students, this needs’ to be accomplished at the before the beginning of the understudies learning. For instance of this a school’s educational plan contains both legal components (counting the National Curriculum, strict training and professions instructions) and non legal components (needs characterized by the school). A region where there will be a hugeness of correspondence and decent variety in the plan of the educational program would be youngsters with multi-tactile hindrances. One of the key standards of the code of training is that all youngsters, incorporating those with exceptional instructive needs ought to be offered full access to an expansive, adjusted and applicable instruction. This is the thing that the national educational plan was intended to give. A few youngsters who are multi-tangible weakened will follow the National Curriculum, for the most part with extra help. Others will follow a changed type of it. Still others will follow progressively specific formative educational programs which will incorporate showing a youngster things that non-handicapped kids definitely know when they start school. Indeed, even kids who follow a similar educational program as non-handicapped friends, be that as it may, will for the most part need extra components in view of their tactile debilitation. These may identify with: * versatility aptitudes, correspondence, tactile turn of events or different angles explicitly influenced by hard of hearing visual impairment * treatment needs †for instance, physiotherapy * ideas generally adapted unexpectedly †for instance, the relational and autonomy abilities utilized at break or supper times All educators adjust the educational program so as to meet the scope of adapting needs in their group. Youngsters who are multi-tactile weakened are probably going to require the educational plan changed on an individual premise, on the grounds that each child’s blend of hearing hindrance, visual impedance, different inabilities and learning qualities will be unique. There are numerous models which influence the conveyance of educational program, manner by which an instructor must achieve the final product, ought to and could convey to the students. For instance, the item model spotlights immensely on the results of a course. The item model is additionally alluded to as the conduct targets model. A model could be of a medical aid course, the educator needs to instruct what must be educated so as to encourage the students to pass. Preparing in the work environment is especially sharpened to the item/social model of educational plan advancement. The educator center prevalently around what must be instructed as opposed to concentrating on what ought to or could be shown The social model of learning focuses on the quantifiable result of educational plan. The upsides of the conduct model are that there is typically a general proclamation of expectation and this is ideally guaranteeing shirking of ambiguity. The appraisal procedure is in reality progressively exact. The learning ought to be bit by bit and it should concentrate on the recently learned material. Ralph Tyler (1971) expressed that there is a rule for educational plan improvement that the connecting impacts of sorted out grant, the student, and society ought to give the prevailing source and impact for educational program advancement. Tyler sorted out his model into four central inquiries, which he expressed ought to be replied when planning educational plan: 1. What are your educational plan points and targets? Which learning encounters meet these points and goals 3. In what capacity can these realizing encounters be sorted out into an educational plan program? 4. By what method would this be able to program be assessed? The Tyler hypothesis to date is the most persuasive model of all in readiness of educational plan, the necessities of society at the hour of advancement and the requirements of the student at the hour of improvement should be basic. The regularly advancing social brain research of our general public must be represented, precisely what are the instructive purposes waiting be achieved. The center ought to be identified with past learning and encounters and after examine the variables how is the educational plan configuration going to envelop and achieve the targets that might not have been reached beforehand. The way of thinking of instruction will significantly influence a student’s life. It is giving the establishments, the parts of information and social encounters are expected to improve learner’s fates. A model could be of preparing, the various settings and mutli-social workforce will have a minor departure from the educational plan. The educational plan should be planned in association with the businesses, so a competency structure will be met. Points and goals should set inside in the competency system which after some time changes with enactment and guidelines. The learning encounters should composed into the educational plan and profundity, intricacy of the subject, guaranteeing that it covers all degrees of learner’s fulfillment. At that point course should be assessed, by what means will the course be assessed and the key destinations achieved? Shortsightedly the Tyler hypothesis by and by is the most idiot proof structure of educational program. The educational plan can be abstract and not entirely clear. Needs examination past to structure of educational plan is basic, the discoveries ought to be summed up and ought to detail some portion of the educational program improvement documentation, which is practice is incredible on the off chance that you have the pertinent data preceding course conveyance. The universe of preparing can be specially appointed and mentors are not generally aware of this data. Be that as it may, the conduct model methodology has gotten analysis. One of the contentions against the social model is that the ‘affective domain’ can't be considered sufficiently as far as explicit practices. The full of feeling space depicts learning destinations that stress an inclination tone, a feeling, or a level of acknowledgment or dismissal, in this way it can't be surveyed enough and the conduct model will debilitate ‘creativity’ with respect to both student and instructor. In the 1980’s behaviorism was supplanted by the humanistic way to deal with educational program structure and execution. The procedure model focuses on course content, applicable information and abilities that can be learnt and applied. This model spotlights on teacher’s exercises, the conditions where the learning happens and the student exercises. A model could incorporate when an individual pays for their course of study. The student would get the advantage of what ‘must’ and ‘should’ be secured just as ‘what’ could be conveyed. Stenhouse (1975) cited the English word reference when characterizing educational plan as ‘a course; particularly a standard course of study as at school or university’. More often than not the course structure/educational plan is the thing that the administering bodies have chosen ought to be instructed. The sets what precisely as instructors ahead of time what realizing will be arranged, accomplished and what objectives ought to be delivered to the oppressed being educated. Stenhouse tested the view that educators should be objective in their perspective on educational program, reasonable even, to guarantee that there is a harmony between the ‘intentions and realities’ that the educational plan configuration will get the best results for their understudies. He draws examinations the procedure of educational plan concerning a formula in cookery, the formula is followed and the outcome would be a dish. In principle this can be an attempted and tried, for instance, how to you know whether the educational plan configuration has accomplished all the instruction objectives until the there is an assessment toward the finish of the course? What number of pass evaluations and what number of disappointments. Like creation a cake it doesn’t consistently rise the way you’d wished it to. Frequently when preparing

Blog Archive Do I Need an MBA Application Consultant with an Admissions Background

Blog Archive Do I Need an MBA Application Consultant with an Admissions Background When our business school applicant clients are trying to decide which of our Senior Consultants to work with on their MBA applications, they often ask us, “Should I pick someone who has worked in an admissions office before?” We will answer this question using an analogy. A food critic is someone who is skilled at evaluating meals that others have prepared. When reviewing a dish, a food critic critically assesses only the end product, considering various factors, such as composition, presentation, flavor, texture, and freshness. They then determine whether or not they enjoyed the dish and whether it could be enhanced. A chef, on the other hand, is someone who is skilled at preparing meals. Chefs focus on the process of producing the desired end product rather than judging that end product when it is complete. Beginning with raw ingredients, a chef conceives of an idea and then manages the additions, adjustments, and balancing of the elements involved to ultimately create the best possible version of the final dishâ€"the end product the food critic will assess. Within the context of MBA admissions consulting, former admissions officers and experienced writers can be seen as food critics and chefs, respectively. The former is trained in appraising the value of a candidate’s end productâ€"the applicationâ€"and making a decision about its effectiveness. However, these individuals do not participate in the process of creating the applications they review. In fact, a former director of admissions at a top MBA program once admitted to us, “I would make a terrible admissions consultant because, while I know what I like to see, I don’t know how to help applicants get there.” Even though having firsthand experience within a business school’s admissions office can confer some applicable insight, this alone is not enough to equip someone to guide an applicant through the process of crafting a compelling application. This is why at mbaMission, we ensure that every MBA admissions expert we hire is an accomplished writer (who also has an MBA), someone who knows the ins and outs of creating an engaging and successful narrative. We are “chefs” who oversee the fusion of the various components of an applicant’s candidacyâ€"exploring different stories, mixing and matching them, changing the proportionsâ€"so that the end product is something the candidate is proud of. Start getting answers to all your questions by taking advantage of a free  30-minute consultation with an expert from mbaMission’s  Senior Consultant team. No matter where you are in the application process, we can provide you with actionable feedback that will help you improve your MBA application.   Share ThisTweet Application Tips

Domestication History of Rye

Rye (Secale cereale subspecies cereale) was likely fully domesticated from its weedy relative (S. cereale ssp segetale) or perhaps S. vavilovii, in Anatolia or the Euphrates River valley of what is today Syria, at least as early as 6600 BC, and perhaps as early as 10,000 years ago. Evidence for domestication is at Natufian sites such as Can Hasan III in Turkey at 6600 cal BC (calendar years BC); domesticated rye reached central Europe (Poland and Romania) about 4,500 cal BC. Today rye is grown on about 6 million hectares in Europe where it is mostly used for making bread, as animal feed and forage, and in the production of rye and vodka. Prehistorically rye was used for food in a variety of ways, as animal fodder and for straw for the thatched rooves. Characteristics Rye is a member of the Triticeae tribe of Pooideae subfamily of the Poaceae grasses, meaning it is closely related to wheat and barley. There are around 14 different species of the Secale genus, but only S. cereale is domesticated. Rye is allogamous: its reproductive strategies promote outcrossing. Compared to wheat and barley, rye is relatively tolerant to frost, drought, and marginal soil fertility. It has an enormous genome size (~8,100 Mb), and its resistance to frost stress appears to be a result of the high genetic diversity among and within rye populations. The domestic forms of rye have larger seeds than wild forms as well as a non-shattering rachis (the part of the stem that holds the seeds onto the plant). Wild rye is free-threshing, with a tough rachis and loose chaff: a farmer can free the grains by a single threshing since straw and chaff are eliminated by a single round of winnowing. Domestic rye maintained the free-threshing characteristic and both forms of rye are vulnerable to ergot and to munching by pesky rodents while still ripening. Experimenting with Rye Cultivation There is some evidence that Pre-Pottery Neolithic (or Epi-Paleolithic) hunters and gatherers living in the Euphrates valley of northern Syria cultivated wild rye during the cool, arid centuries of the Younger Dryas, some 11,000-12,000 years ago. Several sites in northern Syria show that increased levels of rye were present during the Younger Dryas, implying that the plant must have been specifically cultivated to survive. Evidence discovered at Abu Hureyra (~10,000 cal BC), TellAbr (9500-9200 cal BC), Mureybet 3 (also spelled Murehibit, 9500-9200 cal BC), Jerf el Ahmar (9500-9000 cal BC), and Djade (9000-8300 cal BC) includes the presence of multiple querns (grain mortars) placed in food processing stations and charred wild rye, barley, and einkorn wheat grains. In several of these sites, rye was the dominant grain. Ryes advantages over wheat and barley are its ease of threshing in the wild stage; it is less glassy than wheat and can be more easily prepared as food (roasting, grinding, boiling and mashing). Rye starch is hydrolyzed to sugars more slowly and it produces a lower insulin response than wheat, and is, therefore, more sustaining than wheat. Weediness Recently, scholars have discovered that rye, more than other domesticated crops has followed a weedy species type of domestication process--from wild to weed to crop and then back to weed again. Weedy rye (S. cereale ssp segetale) is distinctive from the crop form in that it includes stem shattering, smaller seeds and a delay in flowering time. It has been found to have spontaneously redeveloped itself out of the domesticated version in California, in as few as 60 generations. Sources This article is part of the About.com guide to Plant Domestication, and part of the Dictionary of Archaeology Hillman G, Hedges R, Moore A, Colledge S, and Pettitt P. 2001. New evidence of Late Glacial cereal cultivation at Abu Hureyra on the Euphrates. The Holocene 11(4):383-393. Li Y, Haseneyer G, Schà ¶n C-C, Ankerst D, Korzun V, Wilde P, and Bauer E. 2011. High levels of nucleotide diversity and fast decline of linkage disequilibrium in rye (Secale cerealeL.) genes involved in frost response. BMC Plant Biology 11(1):1-14. http://dx.doi.org/10.1186/1471-2229-11-6 (Springer link is currently not working) Marques A, Banaei-Moghaddam AM, Klemme S, Blattner FR, Niwa K, Guerra M, and Houben A. 2013. B chromosomes of rye are highly conserved and accompanied the development of early agriculture. Annals of Botany 112(3):527-534. Martis MM, Zhou R, Haseneyer G, Schmutzer T, Vrà ¡na J, Kubalà ¡kovà ¡ M, Kà ¶nig S, Kugler KG, Scholz U, Hackauf B et al. 2013. Reticulate Evolution of the Rye Genome. The Plant Cell 25:3685-3698. Salamini F, Ozkan H, Brandolini A, Schafer-Pregl R, and Martin W. 2002. Genetics and geography of wild cereal domestication in the near east. Nature Reviews Genetics 3(6):429-441.   Shang H-Y, Wei Y-M, Wang X-R, and Zheng Y-L. 2006. Genetic diversity and phylogenetic relationships in the rye genus Secale L. (rye) based on Secale cereale microsatellite markers. Genetics and Molecular Biology 29:685-691. Tsartsidou G, Lev-Yadun S, Efstratiou N, and Weiner S. 2008. Ethnoarchaeological study of phytolith assemblages from an agro-pastoral village in Northern Greece (Sarakini): development and application of a Phytolith Difference Index. Journal of Archaeological Science 35(3):600-613. Vigueira CC, Olsen KM, and Caicedo AL. 2013. The red queen in the corn: agricultural weeds as models of rapid adaptive evolution. Heredity 110(4):303-311.   Willcox G. 2005. The distribution, natural habitats, and availability of wild cereals in relation to their domestication in the Near East: multiple events, multiple centres. Vegetation History and Archaeobotany 14(4):534-541. http://dx.doi.org/10.1007/s00334-005-0075-x (Springer link not working) Willcox G, and Stordeur D. 2012. Large-scale cereal processing before domestication during the 10th millennium Cal BC in northern Syria. Antiquity 86(331):99-114.

SB2C Helldiver - Curtiss SB2C Helldiver

SB2C Helldiver - Specifications: General Length: 36 ft. 9 in. Wingspan: 49 ft. 9 in. Height: 14 ft. 9 in. Wing Area: 422 sq. ft. Empty Weight: 10,114 lbs. Loaded Weight: 13,674 lbs. Crew: 2 Number Built: 7,140 Performance Power Plant: 1 Ãâ€" Wright R-2600 radial engine, 1,900 hp Range: 1,200 miles Max Speed: 294 mph Ceiling: 25,000 ft Armament Guns: 2 Ãâ€" 20 mm (.79 in) cannon in the wings, 2 Ãâ€" 0.30 in M1919 Browning machine guns in rear cockpit Bombs/Torpedo: Internal bay - 2,000 lbs. of bombs or 1 Mark 13 torpedo, Underwing Hard Points - 2 x 500 lb. bombs SB2C Helldiver - Design Development: In 1938, the US Navys Bureau of Aeronautics (BuAer) circulated a request for proposals for a for a next-generation dive bomber to replace the new SBD Dauntless. Though the SBD had yet to enter service, BuAer sought an aircraft with greater speed, range, and payload. In addition, it was to be powered by the new Wright R-2600 Cyclone engine, possess an internal bomb bay, and be of a size that two of the aircraft could fit on a carriers elevator. While six companies submitted entries, BuAer selected Curtiss design as the winner in May 1939. Designated the SB2C Helldiver, the design immediately began showing problems. Early wind tunnel testing in February 1940 found the SB2C to have an excessive stall speed and poor longitudinal stability. While efforts to fix the stall speed included increasing the size of the wings, the latter issue presented greater problems and was a result of BuAers request that two aircraft be able to fit on an elevator. This limited the length of the aircraft despite the fact it was to have more power and a greater internal volume than its predecessor. The result of these increases, without an increase in length, was instability. As the aircraft could not be lengthened, the only solution was to enlarge its vertical tail, which was done twice during development. One prototype was constructed and first flew on December 18, 1940. Built in a conventional fashion, the aircraft possessed a semi-monocoque fuselage and two-spar, four-section wings. The initial armament consisted of two .50 cal. machine guns mounted in the cowling as well as one in each wing. This was supplemented by twin .30 cal. machine guns on a flexible mounting for the radio operator. The internal bomb bay could carry a single 1,000 lb. bomb, two 500 lb. bombs, or a torpedo. SB2C Helldiver - Problems Persist: Following the initial flight, problems remained with the design as bugs were found in the Cyclone engines and the SB2C showed instability at high speed. After a crash in February, flight testing continued through the fall until December 21 when the right wing and stabilizer gave out during a dive test. The crash effectively grounded the type for six months as the problems were addressed and the first production aircraft built. When the first SB2C-1 flew on June 30, 1942, it incorporated a variety of changes which increased its weight by nearly 3,000 lbs. and reduced its speed by 40 mph. SB2C Helldiver - Production Nightmares: Though unhappy with this drop in performance, BuAer was too committed to the program to pull out and was forced to push ahead. This was partly due to an earlier insistence that the aircraft be mass-produced to anticipate wartime needs. As a result, Curtiss had received orders for 4,000 aircraft before the first production type flew. With the first production aircraft emerging from their Columbus, OH plant, Curtiss found a series of problems with the SB2C. These generated so many fixes that a second assembly line was built to immediately modify newly built aircraft to the latest standard. Moving through three modification schemes, Curtiss was not able to incorporate all of the changes into the main assembly line until 600 SB2Cs were built. In addition to the fixes, other alterations to the SB2C series included the removal of the .50 machine guns in the wings (the cowl guns had been removed earlier) and replacing them with 20mm cannon. Production of the -1 series ended in spring 1944 with the switch to the -3. The Helldiver was built in variants through -5 with key changes being the use of a more powerful engine, four-bladed propeller, and the addition of wing racks for eight 5 in. rockets. SB2C Helldiver - Operational History: The reputation of the SB2C was well known before the type began arriving in late 1943. As a result, many front-line units actively resisted giving up their SBDs for the new aircraft. Due to its reputation and appearance, the Helldiver quickly earned the nicknames Son of a Bitch 2nd Class, Big-Tailed Beast, and just Beast. Among the issues put forward by crews in regard to the SB2C-1 was that it was underpowered, poorly built, possessed a faulty electrical system, and required extensive maintenance. First deployed with VB-17 aboard USS Bunker Hill, the type entered combat on November 11, 1943 during raids on Rabaul. It was not until spring 1944 that the Helldiver began to arrive in larger numbers. Seeing combat during the Battle of the Philippine Sea, the type had a mixed showing as many were forced to ditch during the long return flight after dark. Despite this loss of aircraft, it sped the arrival of improved SB2C-3s. Becoming the US Navys principal dive bomber, the SB2C saw action during the remainder of the conflicts battles in the Pacific including Leyte Gulf, Iwo Jima, and Okinawa. Helldivers also took part in attacks on the Japanese mainland. As later variants of the aircraft improved, many pilots came to have a grudging respect for the SB2C citing its ability to sustain heavy damage and remain aloft, its large payload, and longer range. Despite its early problems, the SB2C proved an effective combat aircraft and may have been the best dive bomber flown by the US Navy. The type was also the last designed for the US Navy as actions late in the war increasingly showed that fighters equipped with bombs and rockets were as effective as dedicated dive bombers and did not require air superiority. In the years after World War II, the Helldiver was retained as the US Navys prime attack aircraft and inherited the torpedo bombing role previously filled by the Grumman TBF Avenger. The type continued to fly until it was finally replaced by the Douglas A-1 Skyraider in 1949. SB2C Helldiver - Other Users: Watching the success of the German Junkers Ju 87 Stuka during the early days of World War II, the US Army Air Corps began looking for a dive bomber. Rather than seek a new design, the USAAC turned to existing types then in use with the US Navy. Ordering a quantity of SBDs under the designation A-24 Banshee, they also made plans to purchase a large number of modified SB2C-1s under the name A-25 Shrike. Between late 1942 and early 1944 900 Shrikes were built. Having re-assessed their needs based on combat in Europe, the US Army Air Forces found these aircraft were not needed and turned many back to the US Marine Corps while some were retained for secondary roles. The Helldiver was also flown by the Royal Navy, France, Italy, Greece, Portugal, Australia, and Thailand. French and Thai SB2Cs saw action against the Viet Minh during the First Indochina War while Greek Helldivers were used to attack Communist insurgents in the late 1940s. The last nation to use the aircraft was Italy which retired their Helldivers in 1959. Selected Sources Ace Pilot: SB2C HelldiverMilitary Factory: SB2C Helldiver Warbird Alley: SB2C Helldiver

Review on Cat in the Rain - 882 Words

Review on Cat in The Rain of Ernest Hemingway A couple of Americans traveled in Italy. At the hotel, on a raining day, the wife found a cat crouched in the rain and wanted to take the cat and possess it. She went out and searched the cat in the rain, to find it had gone. Coming back, she told her husband her wish to change her hair style and was turned down by her husband. After her several other wishes were also turned down, a waitress of the hotel knocked the door, at the demand of the hotel owner, and sent her a cat. These are the main plots of Hemingway’s novel, Cat in The Rain. Main characters in the story are the American wife and her husband. Hemingway’s purpose of writing this novel is to illustrate the relationship between the†¦show more content†¦She is sent a big tortoise-shell cat. It doesn’t matter whether this cat is the cat in the rain several minutes ago. It’s just a symbol of change for the woman. It’s not enough for the wo man. It’s just a beginning. What she wants is not just a cat. She wants to change. Anyhow, it’s a good sign, too. Alsoï ¼Å'the using of words shows some attitudes, too. The different titles of the cat, like the kitty; and that of the woman, like the girl. These different addresses show the childish characteristics of the woman. This feature shows that her inferior statue comparing with her husband. All in all, the main problem of the story is their relationship: the husband controls all affairs, while the wife’s failure of trying to make a change. However, there is still a sign of change at the end of the story, which shows the author’s hope forShow MoreRelatedCat in the Rain - Woman the Inequality3717 Words   |  15 Pagessociety in the work â€Å"Cat in the rain†? (3) What in the work â€Å"Cat in the rain† can show the reader the inequality of rights of women? â€Æ' II. BACKGROUND OF THE RESEARCH A. METHOD OF STUDY In this research paper, the main method of study used is library research with the textbook of this subject, the sources from the internet include comments, essays, analyze and the quotations. B. LITERATURE REVIEW Darren Felty mentioned in â€Å"Spatial Confinement in Hemingway’s ‘Cat in the Rain’ † (1997; page 363-369)Read MoreStructuralism and Interpretation Ernest Hemingways Cat in Ther Ain9284 Words   |  38 PagesPorter Institute for Poetics and Semiotics Analysis and Interpretation of the Realist Text: A Pluralistic Approach to Ernest Hemingways Cat in the Rain Author(s): David Lodge Source: Poetics Today, Vol. 1, No. 4, Narratology II: The Fictional Text and the Reader (Summer, 1980), pp. 5-22 Published by: Duke University Press Stable URL: http://www.jstor.org/stable/1771885 . 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If the coffee is not let dry in perfect conditions, the taste could be too earthy or too fruityRead More Dogs, Ferrets, and Toads in the Wyoming Plains Essay1222 Words   |  5 Pagesrodents found in the grasslands. A ferret can be found in the abandoned burrow of a prairie dog. Ferrets are mostly active at night and are very solitary creatures except during the breeding season. The lifestyle of a ferret’s is similar to a cat in that they will mark and defend their territory against same sex competitors. The black footed ferret is reproductively unique in that they exhibit a phenomenon known as â€Å"delayed implantation,† in which the fertilized egg does not start developingRead MoreDescription Of Sheraton Anchorage Hotel And Spa833 Words   |  4 Pages Home Sheraton Anchorage Hotel Spa 4.1 (10 reviews) 401 East 6th Avenue, Anchorage, AK, 99501, United States †¢ Weather: Light rain, 10  °C / 50  °F †¢ Local Time: 12:22pm †¢ Phone: (907) 276-8700 †¢ Hotel Reservations: 888-627-8046 Englishlanguage navigation HomePhotosRoomsLocal AreaHotel FeaturesDiningMeetings EventsWeddingsIce SpaOffersReviews Reserve Your Stay Explore Anchorage this Summer The Minute Summer Got Closer. Lock in our best rates of the summer when you book todayRead MoreMarketing Report of Window Weatherguard3870 Words   |  16 PagesMarketing Report of Window Weatherguard Executive summary This report is to design the marketing strategy of one of new inventions in 2011- Window Weatherguard. 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The Power of Focus by Jack Canfield Essay Sample free essay sample

Every person has its ain dreams and ends in life. Each of them frequently thinks of something for this dream or end should come to go through ; such as reading. The Power of Focus by Jack Canfield teaches the reader some keys which is the concentrating schemes that has a possible to take one to success. The writer of this book divide these concentrating schemes into 10 logical countries. These are wonts. focal point. ends ( seeing the large image ) . balance. relationships. inquiring for what you want. continuity. assurance. decisive action. and purpose. At the terminal of each chapter theAction Stairsssubdivisions were rather effectual in prosecuting the reader in believing about the stuff every bit good as get downing to use this stuff to their ain life’s journey. Deductions: Harmonizing to the author’s position that successful people have successful wonts and unsuccessful people don’t. Taking this idea from the degree of single to organisation the same statement can be made for illustration ; successful organisations or companies have successful wonts and unsuccessful organisations don’t. We will write a custom essay sample on The Power of Focus by Jack Canfield Essay Sample or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page In the procedure of taking or pull offing for success. it makes enormous sense to reexamine one’s organisation to see whatwontsare working for illustration ; adding value to the procedure and whatwontsare non working. All excessively frequently organisations and people within an organisation autumn into accustomed behaviour. which is really non profiting either. the organisation or the clients ( stakeholders ) served by that organisation. Examples of these types of non-productive wonts such as long disorganised meetings. sloppy communications. deficiency of procedure subject. and failure to document quality cheques. Equally of import is the demand to reenforce good wonts both at the single degree and within groups. The most of import thing in this procedure is the demand to maintain in head the author’s warning that before you can alter a wont. you need to first look into how long you or the organisation have owned it. The author’s place that one should concentr ate on their natural endowments or strengths to assist see success. Mention hypertext transfer protocol: //www. bizsum. com/articles/art_the-power-of-focus. php

Mysteries Essays - Ghosts, Black Shuck, Humphrey Bogart, Free Essays

Mysteries There are many mysteries that question the mind, but none that can compare to the intrigue in the supernatural. Ghosts, goblins, poltergeists, Death Omens, curses, unexplainable phenomena, and hauntings; mysteries of the paranormal could go on and on. There are centuries of ghost stories and tales that have been passed down from generation to generation. From the Bermuda Triangle mysteries, phantoms of the ocean, ships, and glowing ghosts of little boys, to the curse of James' Deans' car, The Little Bastard and the Amityville Horror. A little background history of this bone-chilling horror may help one decide whether or not to believe in the existence of the beyond. Everywhere on earth and all through history, people have believed that there is more to the world than meets the eye. Behind the outward material appearance of things there is sensed something inward, immaterial, and probably invisible.(Cavendish 1) Apparitions of things have been seen all over the world. The definition of apparition, as given by Richard Cavendish, is the supernormal manifestation of people, animals, objects, and spirits. (Cavendish 25) In the ancient folklore of England and Europe, glowing ghosts of little boys who have been murdered by their mothers appear. This particular apparition portends ill luck and a violent death. The name radiant boys could have possibly originated in German folklore with the word kindermorderinn. However, there are numerous radiant boy stories in the Cumberland area of England. These boys seem to resemble a flame ; slightly orange with a glow about them. These ghosts have never been proved to have caused any ha! rm, they simply appear and disappear as mysteriously as they came. There has only been one claim that these radiant boys have attempted to cause harm or scare people. One account of the radiant boy apparition was in Knebworth, England when Edward Bulwer-Lytton stated that he had seen a strange glowing boy with long golden hair sitting in front of the fire. This boy then drew his finger and slid it across his throat three times. Later, however this story was proved to be false and just another attention-getting scheme by Edward Bulwer-Lytton.(Guiley 274) Another mind-boggling series of apparitions was the Legend of the Faceless Gray Man of Pawley's Island. The story has it that this faceless man appears just before hurricanes strike at Pawley's Island off the coast of South Carolina. In fact, this particular apparition has been credited with saving thousands of lives. Residents of the island believe him to be the ghost Percival Pawley who was the first to settle and name the island. Whatever the case may be, inhabitants of the island claim that this faceless phantom appeared just before the hurricanes of 1822, 1893, 1916, 1954, and 1955. (Guiley 115) A more recent ghost, and a female at that, was Resurrection Mary. Resurrection Mary is one of Chicago's most famous ghosts. This beautiful blonde, blue-eyed girl dressed in white has been reported in the Chicago environs since 1934, the year of her alleged death. Mary takes her name from Resurrection Cemetery where she is supposed to be buried. Her full name is unknown and her existence is unproved. According to legend Mary was killed one night in an automobile accident in 1934 after an evening of dancing at the Willowbrook Ballroom, formerly known as the O'Henry Ballroom. Her ghost was said to have begun making appearances in 1934. She would hitchhike, and request a ride to the O'Henry where she would dance the night away. After a fairytale evening of dancing, she would then request a ride home. She would give the driver vague instructions past Resurrection cemetery where she would mysteriously disappear. All of Mary's dance partners throughout the evening said tha! t she was quiet, aloof and with icy cold skin. The only evidence or proof of Resurrection Mary is old cemetery records of a Polish girl near Mary's age buried in that same cemetery. (Guiley 280) On different note, another type of supernatural mystery is the childhood fear of Bogart , or otherwise known as the Bogey Man. Believe it or not, there is actually belief of the bogey man in English folklore. The Bogart is abogey or type of hobgoblin that has habits like that of a poltergeist. Although at times the Bogart can be helpful and sociable with some people, but is most often mischievous, annoying and frightening. The Bogart is not a visible nuisance, but plays tricks on people, like pulling off their bedclothes. The Bogart hauntings are also accompanied by terrible noises or laughter. The Bogart is also known to be nasty and mean; these habits include scratching, punching and pinching, and even in some cases snatching people up and

Erida, The goddess of hate essays

Erida, The goddess of hate essays Erida is Hate. She is Strife and Discord. Unfortunately, there are many conflicting sources of information about this Greek Goddess of Hate. Most sources cite her as the twin sister of Ares; some sources say that she is the same as Eris, Goddess of Discord, while others state that Eris and Erida are two totally different goddesses. One source even said that Erida is the daughter of Eris. There is also the fact that the names Erida and Eris are uncannily similar. Besides that, there is the question whether Erida is actually in the book The Iliad by Homer, which is one of my main sources. The Goddess of Hate is not explicitly named in The Iliad as Erida but is rather referred to as Strife. So for purposes of this essay, I will assume that Erida is indeed the same goddess as Eris. Twin sister of the God of War, Erida was Ares constant companion. Eridas greatest joy was making trouble. In Book Five of The Iliad, Erida is described as Strife insatiable. Her anger is never satisfied. She possessed a golden apple so radiant that everyone wanted to have it. Erida would throw her golden apple among friends and foes alike. If she threw it among friends, their friendship quickly ended. If she threw it among enemies, war would break out. Essentially an action of Erida led to the Trojan War. Zeus was giving a wedding for Peleus, a young king of Thessaly, and Thetis, a beautiful Nereid. All the gods and goddesses were invited to the wedding except Erida. She was furious so she threw one of her golden apples of discord into the crowd of guests and shouted, The fairest of the goddesses shall have it! Hera, Athena, and Aphrodite rushed to pick it up, each thinking that they were the fairest of them all, and soon they began to argue with each other about who should have the apple. The wedding broke up and the goddesses went back to Olympus still in discord. ...

Security Issues Within Virtualization Coursework

Security Issues Within Virtualization - Coursework Example Citrix Systems, Inc. (2008, October). Citrix xenserver V5.0 and netapp storage best practices. Retrieved from CITRIX Web site: http://www.citrix.com/site/resources/dynamic/partnerDocs/CitrixXSNetAppStorageBestPracticesGuidefinal.pdf This article shows the best way to use NetApp storage systems and Citrix XenServer. It also speaks about the future of these methods in the furthering of virtualization. Although pushing their product, this article has good information. The great IT cost is reduced by the virtual desktop. The need to download extra software and patches are thing of the past according to this article. Since it was written in 2005, the author is full of promise for the virtual desktop, with no concern. This is important to show the attitude when the virtual desktop was new. This web site provides access to technology white papers and can provide me with an excellent source of information on the subject of virtualization. Most of the technology is being developed by well know vendors, having easy access to their technology white papers will help provide a reliable source for information. Ghodke, N. (2004). Virtualization techniques to enable transparent access to Peripheral devices across networks (Masters Thesis, University Of Florida, 2004). Retrieved from http://etd.fcla.edu/UF/UFE0005684/ghodke_n.pdf Many individuals get excited about virtualization without taking into account the security measures necessary to run virtualization without being hacked or interfered with by outside sources. This article informs about security measures needed. This article also speaks about security for virtualized environments. The authors did an empirical study into the security exposure to hosts of hostile virtualized environments. Their findings were very interesting and vital to my research. This article speaks about the unknown factors of virtualization. Mike Rothman believes that there are a number of potential

International Dispute Settlement. Galactic Commodities Inc case Essay

International Dispute Settlement. Galactic Commodities Inc case studies - Essay Example In this discussion, decisions enacted as arbitral awards will be considered; this award means that settlements are implemented after being recorded in an arbitral proceeding. Different issues present themselves in this situation in instances when the law would allow the â€Å"settlement reached in conciliation to be recorded in an enforceable arbitral award† 4. One such issue pertains to form requirements which vary from country to country. An issue in this case is if there is a requirement for clarification for the settlement to be recorded in an award. Should the payment and performance obligations agreed upon be written in much the same way as awards? Or should the tribunals reconceptualize such obligations in the award into others?5 The award based on agreed terms should therefore be clear enough to be enforced without the need for reformulation of interpretation. Recording settlements in an award are based on providing finality and enabling a faster enforcement of the set tlement6. In instances when the parties call for an arbitral tribunal to carry out an award based on agreed terms, risks are often seen and problems of clarity can arise when the parties negotiating settlement are focused on the elements of the settlement, not on the need to fulfill the formal requirements of awards7. An issue may also be seen when the settlement of the parties resolves only some of the issues being forwarded8. This situation can sometimes be easily resolved when a partial award would be given and the other issues are left unresolved. A greater issue results when the settlement includes matters â€Å"which are not within the jurisdiction of the arbitrators, either because such matters fall outside the arbitration agreement or because they have not been submitted to the arbitrators for determination†9. In instances when the settlement resolves matters which are not included in the arbitration agreement, it is clear that the arbitral tribunal does not have cove rage in resolving the issue and rendering awards on the dispute. Another issue which would arise relates to the fact that the settlement gives rights to a party who is not included in the arbitration. This is seen in instances when both or one of the parties belong to a group of corporations where the settled performance must be made or the rights must be exercised by a parent or a sister company10. Awards on the terms agreed upon cannot bind the rights of the third party. The follow-up question in this case is if the arbitral tribunal would still record the settlement in the award. In these instances, the dispute raised before the tribunal is resolved and the arbitration is terminated. If the law allows the tribunal to record the settlement in the award or when the different parties allow the tribunal to record the settlement, the tribunal would now be confused and would be in a dilemma on what to do11. Still another question is if statements shall be possible to record in award fo rms on terms agreed upon. Motives for settlements recorded in awards on agreed terms may not be successfully captured in declaratory statements. But on the other hand, the res judicata effect may already be sufficient reason12. The right to implement awards on agreed terms can call for requests by both parties. The issue arises on what the tribunal should do if the settlement

Factors Affecting Organizational Structure Essay Example for Free

Factors Affecting Organizational Structure Essay A companys organizational structure can determine its success or failure upon entry into the market. The decisions a small-business owner makes in choosing management and employee roles within the company help determine the organizational structure and can have a large influence on the culture within the business. If structure doesnt reflect the owners business goals, employees may have a hard time working successfully for the company. Change management process Research-based, holistic model for managing the people side of changewww. change-management.com Size of Business As a small-business owner, the size of your company can have a significant influence on the organizational structure of your company. If youre running a sole proprietorship with a few employees, you may not even need a well-defined organizational structure if you perform all the management functions of the business. A larger organization requires more structure to allow its different components to communicate effectively with one another. For example, a full-service restaurant requires a kitchen manager, floor manager, bar manager and general manager to run each division within the establishment and keep the employees in each division working to task. Stage of Development The stage of your companys development can dictate its needs regarding organizational structure. The youth stage of a companys life cycle emphasizes growth and the needs of the customer. This may require you as a business owner to develop an organizational structure around increased customer service, including a system to handle complaints and develop better service strategies. At this stage youre still very much in control of the majority of the companys day-to-day business decisions. By contrast, in the midlife stage of development, your company may require more levels of management to handle the growing departments with the company. Organizational structure may feel more mechanized with you as the owner somewhat removed from the day-to-day running of the company. Reflecting Organizational Culture The business culture you wish to project to your employees can dictate aspects of your companys organizational structure. For example, a company with multiple redundancies in the management infrastructure may prize procedure- and rule-following, whereas a company with a more lax management approach may encourage a culture of personal ownership among employees. Each culture has its place and benefits. A construction or manufacturing company has greater need of organizational structure and redundancy in the management infrastructure than a law firm where employees are working independently under the loose rubric of senior partners in management roles. Overall Business Strategy How your company intends to enter the market and become successful can play a role in how you choose to set up its organizational structure. For example, an aggressive marketing and product-placement strategy may require multiple department heads to coordinate efforts and ensure no portion of the companys larger plan lags behind the rest. Alternatively, a more methodical development strategy may require a smaller, more focused organizational structure, so you can actively monitor all the details of a plan and survey progress.

Mesopotamia, Egypt And The Hebrews :: essays research papers fc

October 10th, 1994 Mesopotamia, Egypt and the Hebrews Their development from the 3rd millennium to 2nd C.E. When the canonization of the Hebrew Holy ("TaNaKh") took place. Frank Mancini irg@ix.netcom.com MESOPOTAMIA Mesopotamia was the land of four primary civilizations: the Sumerian, the Akkadians, the Babylonian and the Assyrians. The Hebrews, like the Akkadians, belong to a group of people known as Semites and from there we can see the influence of Mesopotamian culture in some of the Hebrews traditions. During the same time, civilization began in Egypt, and there can be seen a distinct difference in the social, religious and political system from Mesopotamia; that the link between the two civilizations are the Hebrews, and although no historical records are available aside from the Holy Scriptures, it is believed that the Hebrews settled in Egypt during the era of Hyksos domination in the seventeenth century B.C.E. These three civilizations to be discussed were the foundation of today's society and provided the common era with concrete religious beliefs still practiced today. Evidence of the mechanics on the evolution of social, religious and political values, as well as the fluctuating development of the role of women then and now, are present in these documents, beginning with the oldest document which is most likely the Epic of Gilgamesh, first passed on by word of mouth and later recorded by the Sumerians around the third millennium and finally edited and written down in cuneiform by the Babylonians. This legend appears to have been used by all the civilizations in Mesopotamia in order to satisfy the need to know why we die and to justify the instincts that drove the people of these societies to war, to kill and to control as a must for survival. The gods were the only outlet available to justify such behavior to grant permission to rule, to kill and subdue the weak. The Epic of Gilgamesh does just that: It serves as a model for the warrior, the king and the tragic hero and the standards for divine right, friendship, brotherhood and loyalty. Finally, it becomes evident from the beginning of a higher consciousness that justifies love, brotherhood and loyalty in the midst of this need for war and gods. The Epic is divided into seven main parts: the "Coming of Enkidu", the "Forest Journey", "Ishtar", the "Search for Everlasting Life", the "Story of the Flood", the "Return", and the "Death of Gilgamesh". The Creation of life was, and is, a mystery and therefore must be justified as it shows in the "Coming of Enkidu", where he was created by Aruru by dipping "her hands in water and pinching off clay" (EOG 62).

Allusions in Arthur Millers “The Crucible” Essay

The Crucible contains many allusions, which is a reference to something supposed to be known, but not explicitly mentioned; a covert indication; indirect reference. Miller uses allusions to convey the theological beliefs and religious convictions of his characters. There is chaos in the town after the people there find out that there might be witches that inhabited the village. Abigail and her friends are accusing people of being possessed by demons. When Hale shows up he is convinced that there are witches in the town and believes Abigail. As Abigail walks through the crowd of people surrounding the courtroom where a meeting is being held all the people disperse away from her creating a pathway. In the Old Testament Moses comes to a sea and places his staff into the ground and suddenly the seas part allowing the Moses and the slaves to pass through the other side. When Abigail passes through the crowd, it opens up just like what had happened in the Old Testament. This also is irony because Millers audience that is reading the play knows that Abigail is making up these false accusations, but some people in the town believe her and are making her into some kind of religious figure. In the Crucible there is an allusion to Good vs. Evil. In Act III Danforth says, â€Å"a person is either with this court or he must be counted against it†(Miller 1137). The town is religiously and morally based so you are either classified under a believer or someone who believes in evil. The good people are seen as opponents of the court and the bad people are seen as proponents of the court. The irony in that is that the good people are treated like criminals and the criminals are treated like heroes. Miller uses allusion to portray Reverend Hale. In the begging of the play Hale came to the town and wanted to make the town pure once again. He believed in everything that Abigail and the girls said and questioned everyone that they had accused. Then he left for a while which was just like Jesus leaving and going into the desert for 40 days and 40 nights. When Reverend Hale returned he talked to John Proctor and believed him. This was like Hale went from this person who believed so much that there was witches in the town to coming to his senses and believing in the facts. We can  compare Reverend Hale to John Newton. Newton was a slave trader, who didn’t believe in God and was caught in a bad storm and called out to God for help and experienced what he was to refer to later as his â€Å"great deliverance†. After that he became believer and was baptized. So this man went form not believing to believing in god. John Proctor the protagonist in The Crucible could be compared to Jesus. In the last Act Proctor was faced with an important decision. Danforth offered Proctor a chance to get out of being hung but refused because he didn’t want them to make a mockery of him. So he took his punishment of death. He could have gotten out of being killed but did not because he knew what he was doing was right. Jesus knew the night before that the guards were coming to capture him so he could be killed. Jesus could have run and have gotten away but he made peace with God and died on the cross for our sins. When Abigail was accusing everyone in the town of being witches people were being hung without fair trials. This was like people in the early century being persecuted when they were completely innocent to begin with. In the end of the play people were started to realize that she was phony and she took off. The Crucible had a lot to due with people’s reputations than anything, which is a form of corruption, which we see a lot in these days. The Crucible contained many allusions that portrayed the bad characters in the play as religious figures. Being such as morally and religious based town he people who were innocent were seen as criminals through the eyes of the town because they believed in something that was truly evil.

Modernist Fiction and the Camera-Eye. - Free Essay Example

Sample details Pages: 21 Words: 6449 Downloads: 1 Date added: 2017/06/26 Category Statistics Essay Did you like this example? Style in itself is an absolute manner of seeing: Modernist Fiction and the Camera-Eye. In 1897, Joseph Conrad began The Nigger of Narcissus with the declaration that, my task which I am trying to achieve is, by the power of the written word to make you hear, to make you feel- it is, before all, to make you see. His emphasis on the artists loyalties to more perfectly convey the world in fiction prompted literatures move beyond mimetic Realism and toward a new type of representational writing where authors could use language to investigate the ways we perceive the world.. Don’t waste time! Our writers will create an original "Modernist Fiction and the Camera-Eye." essay for you Create order However, forty years earlier, Gustav Flaubert had similarly emphasised this need for a mastery of language to make the reader see through style alone. He believed the future of Art lay in the direct engagement of language with expression and thoughts on reality (Flaubert 301) characterised in his novel about nothing, Madame Bovary (1857). Flauberts theory predicts the ideas of the literary impressionist movement, pioneered by Walter Pater and defined by its preoccupations with the processes of perception and visual sensation, its evocation of superimposition and multiple perspectivesand its understanding of enduring and essential forms underlying the visible world (Marcus 186). The attempts of literary impressionism to depart from mere aesthetic representation and turn inwards embodied Modernisms desires to investigate deeper into their characters, continuing the work of Flaubert by experimenting with language to represent these processes of perception, perfecting techniques such as stream of consciousness, narrative temporality and alternating points of view. It is by the presence of these features in Flauberts work that led to his characterisation as proto-modernist, foreshadowing the later stylistic experiments of Modernist authors like James Joyce in Ulysses (1922) which embraced the interior experience of reality, providing an ideal comparison in an investigation into modes of seeing. However, while such experimentation with narrative representation was occurring in literature at the turn of the century, a new art was emerging that promised to perfect the way we viewed the world- the cinema. In 1913, D.W Griffiths reiterated Conrads manifesto, saying T he task I am trying to achieve is above all to make you see (Spiegel xii); only this time he was referring to his intentions for film. When cinema first came to public attention in 1895, it predominantly focused on documentary films that mimetically represented the world as a series of images. Yet, as technological advances mobilised the camera, many filmmakers recognised that by organising the images on screen as part of the conceptual design, film held the same diegetic potential as literature (Spiegel xii). This notion of a narrative film was heavily theorised by Dziga Vertov, a Soviet filmmaker from the 1920s and pioneer of the kino-eye, translated here as the camera-eye. One of his most pertinent beliefs was that film would perfect the imperfect human eye and improve its ability to portray reality since, we cannot improve the making of our eyes but we can endlessly perfect the camera (15). However, disdainful of the mimetic, Vertovs camera-eye extended beyond the lens to the editing of the film-pieces to form the narrative of the film thus making camera-eye a style in itself. The sole purpose is, through the ca mera, to organise the film pieces wrested from life intoa meaningful visual phrase, an essence of I SEE (88) subliminally invoking Conrad and his Modernist contemporaries intentions and also providing the link between the film editor and the author. In considering the techniques film uses to achieve a diegetic quality, we recognise many similarities to its literary predecessors, notably Flaubert and Joyce, explaining their categorisation as cinematic novels. For Flaubert, this classification lay in his foreshadowing of cinematic forms and for Joyce, his close relationship with the cinema inspiring his revolutionary style of representing reality, with both authors displaying ultimate mastery and directorial control over the world they create. In Theory of Film, Balazs emphasised the advantages of witnessing the birth of a new art and that studying the evolutionary process of film would help understand its predecessors, namely literature itself (22). The synonymous relationship Balazs establishes between literature and film presupposes a reciprocity between the two mediums; as cinema develops itself by adopting literary techniques, modernist literature draws on cinematic techniques to assist its experimentation in showing reality. However, seeing was not exclusive to vision, the modernist narrative relates to modes of seeing as modes of knowing (Danius 21) and so we must explore the ways Modernist literature sought to bring interiority to the foreground, encouraged by cinematic form. By drawing on knowledge of Modernist techniques and film theory while analysing the novel and its adaptation, we can hope to ascertain how both genres departed from mimetic representations of the world and turned towards more diegetic engageme nts by striving to create a more perfect eye with which to perceive the world, adopting the camera-eye. With Madame Bovary, Flaubert wanted to create a book about nothingheld together by the strength of its style (Flaubert 300). Since nothing of this calibre had been attempted, Flaubert needed to create new modes of representation to achieve these ambitious narrative objectives, a feat which caused him great difficulty; I have to portray, simultaneously and in the same conversation, five or six characters who speak, several others who are spoke about and the whole town, giving physical descriptions of people and objects: and in the midst of all that, I have to show a man and a woman who are beginning to fall in love with each other. If only I had space! (Flaubert 304). Flauberts dissatisfaction with the current authors pen led him to refine his use of language establishing his distinctively visual style as a character of his novels in itself. Considering Flauberts narrative in this way poses a problem for the filmmaker hoping to adapt these now recognisably cinematic representational techniques to the screen since as Stam notes, not only do Flauberts characters refuse to sit still for their portrait, the portraitist- Flaubert or better still the narratorial camera- also refuses to stay still (154). It is this narratorial camera that will provide our focus. As opposed to viewing the adaptations of Renoir (1933), Minnelli (1949) and Chabrol (1991), in terms of their fidelity to the text, by analysing Flauberts most cinematic chapter, the Agricultural Fair, we may hope to better understand the features by which Flaubert aimed to make us see life as it is, most aptly through narrative montage. Chabrol, professed to make the film Flaubert would have mad e had he a camera instead of a pen (Stam 176) offering an intriguing analogy through which to investigate Flauberts writings as a precursor to the controlled and controlling camera-eye encouraged by Vertov. The crux of the chapter resides in the juxtaposition of the menial village fair and Emma and Rodolphes retreat upstairs to the town-hall, foreshadowing Eisensteins concept of constructive montage. Viewed as a collision of ideas, Eisenstein believed from the superimposition of two elements of the same dimension always arises a new, higher dimension (49) seeing montage as a narrative driving force rather than just a rhetorical device. The narration of the two scenes is initially divided by alternating paragraphs between the lovers conversation and the councillors speeches yet by disintegrating these distinctions, Flaubert increases the scenes momentum, mirroring the escalating passion between the lovers. In likening Flauberts syntactical play to the editing of the film cuts, we can better understand his vision as he creates an experiential narrative, facilitated by the mobility of his narratorial camera. Flaubert begins with a wide-angle equivalent shot intricately listing each aspect of the fair, gradually building a complete pictorial representation before filling his tableau with people pouring in from the lanes, the alleys, the houses; and from time to time one heard banging of doors closing behind the ladies of the town in cotton gloves who were going to the fete (108). Having established this opening shot, Flaubert replaces the presence of the omniscient novelist with the seeing eye of man (Spiegel 30), not only giving a broader view of the scene but also in alternating between these two modes of perception offers a deeper representation by presenting the world through the perspectives of the characters involved. This is exemplified though the switch in point of view to Mme Lefrancois and Homais watching the couple walk through the fair and then to Flauberts recreation of Emma and Rodolphes frenetic gait as they try to escape the watchful eye of Homais, They were obliged to sep arate because of a great pile of chairs that a man was carrying behind them (111). Recognising the distinctly cinematic nature of this section, both Minnelli and Chabrol focalise the narration of this scene through the gossips, transposing the camera-eye to their view of the couple. Renoirs relatively stationary camera meant this type of swift movement was unattainable and so, omitting this early section of the chapter, he favours basic cuts to transition the eye between Emma and Rodolphe and the councillors outside to demonstrate their simultaneity. In this way, Flauberts panning narratorial camera was already more advanced in its ability to travel with its characters and mimic their eye-line. However, in utilizing pan shots to impersonate Emmas gaze watching Rodolphe, Renoir bestows the camera with a voyeuristic quality, directly implicating it within the narrative in the same way Flaubert was able to do by passing the narration to the vision of the gossips. Minnelli and Chabrols more technologically advanced cameras enable the filmmaker to employ more sophisticated editing techniques to provide a silent narrative. This is exemplified through Minnellis use of quick succession cutting; the gossips watching the off-screen couple, Charles on the stage alone; the two in the empty room upstairs reminding us where Emma should be watching her husband on stage. Flauberts use of multiple vantage points lends itself well to the cinema, as exemplified by Chabrols imitation of the lines of vision of his characters, notably the view down from the window of the town-hall to the councillor on stage and the view up to the window as though from the audience, creating a multi-layered representation of the scene. As aforementioned, Flauberts use of syntactical leaps, predating film-cuts, provide great scope for the film editor looking to create a film narrative, as illustrated by Chabrol. As the tension building between the lovers emanates into the disintegrating paragraphs of the text, Chabrol intensifies the scene with rapid cuts between the couple and the scene below their window. One of the most apparent advantages of film is the use of sound, which allows adaptations of Madame Bovary to embrace the subtleties of Flauberts language to encapsulate the same dramatic semantic overlap championed in the text. By cross-cutting the scenes and their dialogue, Flaubert used language itself to direct our perception of the scene, exemplified by the convergence of the word duty in both scenarios as either Rodolphe overhears the speech outside or if this overlap is a way for Flaubert to ensure duty resonates with the reader, subtly influencing our perception of the characters since we know neither have much respect for marital duty: born of respect for law and the practice of duty Ah! again! said Rodolphe. Always duty. I am sick of the word (117). Minnellis screenplay dramatises these moments through the overlaid soundtrack of the speeches outside the window while Emma and Rodolphe sit in silence. As Emma finally yields to Rodolphes advances, the councillor outside announces Dr Charles Bovary, disrupting her fantasy. As she tries to run off, Charles voice can be heard outside talking about a brash imposter; demonstrating the ingenious use of dialogic in addition to scenic overlap to narrate the situation without implicitly including it in the words themselves. In giving this line to Charles, the audience is made aware, as is Emma, of the atrocity of her behaviour. Chabrol similarly incorporates the narrative capabilities of sound into his diegesis by using the window as a means for the speeches outside to filter into the room adding an extra level of sensorial perception. In extracting these subtleties from the text, the adaptations literalise the fluidity of sound exemplified through these syntactical distinctions whilst comp lementing the drama of the scene. In Flauberts writing it is not only words that speak but bodily presence, exemplified through his reference to the physicality of his characters as a way to further our understanding of their interior consciousnesses. Flauberts use of the body as a narrative tool foreshadows Balazs theory that the expressive moment is the aboriginal mother tongue of the human race (42), able to articulate emotion external of dialogue itself. Flauberts revolutionary style of writing therefore disproves Balazs belief that in the epoch of word culture, we made little use of the expressive powers of our body and have therefore partly lost that power (42). In this way, cinema can be seen as a reclamation of this lost type of narrative and so in adapting novels we are given a new mode of perception as we can analyse the language of gesture lacking in the novel; it is the visual means of communication Man has again become visible (41). Once again, we return to this idea of seeing and so considering this, ci nemas materialism moves to enhance the visuality of Flauberts original novel rather than reduce it to mere drama. Flauberts text embraces the performative aspect Balazs defends in film, allowing his narration to enter Emmas body as it reacts to her situation; all the time she was conscious of Rodolphes head by her side she kept hearing, through the throbbing of her temples, the murmur of the crowd and the voice of the councillor intoning his phrases (119). In representing Emmas consciousness as she struggles to cope with Rodolphes advances and the proximity of her husband outside, Flaubert adds to the experiential nature of the text by endowing the characters body parts with narrative ability as manifestations of the characters thought processes; He passed his hand over his faceThen he let it fall on Emmas. She drew it back. But the councillor was still reading (116). Chabrol particularly focuses on these understated instances, reiterating his profession of implementing Flauberts pen for his camera. Rather than undermining the language itself, his substitution of Flauberts words with visual repr esentations reaffirms the necessity of the moment within the narration of the action itself. In seeing adaptations as ways by which to enlighten the reader to Flauberts visionary intentions, the eye watching the screen is forced to engage with the brain, stimulated by the page, through use of editing techniques. Bluestone believed one may see visually through the eye or imaginatively through the mind (1) yet these adaptations suggest that in order to more perfectly perceive the world, one needs to engage both the eye and brain, an idea pioneered by Virginia Woolf in her polemic, The Cinema (1926). She chastises the moviegoer as the savage of the 20th Century (55), a passive receiver of information on the screen requiring no involvement of the brain; the eye licks it all up instantaneously and the brain, agreeably titillated, settles down to watch things happening without bestirring itself to think (54). The alliance of eye and brain is unnatural, as they are torn asunder ruthlessly as they try vainly to work in couples (56), so, regarding adaptation, while the eye recognises the woman on the screen as Emma Bovary, the brain does not; Flaubert ensured we knew Emma through the inside of her brain and so to see her now, materialised, causes a conflict in our perception. However, Woolf recognises cinemas potential as an expressive art if only it can formulate a mode through which both eye and brain can coexist, complimenting each other, only when some new symbol for expressing thought is found, the filmmaker has enormous riches at his command (57). Considering the establishment of diegetic film by Vertov and Eisenstein, it seems filmmakers were listening to Woolfs suggestion for the cinema. Their new type of representation satisfies Woolfs assumption that much of our thinking and feeling is connected with seeing, as previously suggested by Danius, believing there must be some residue of visual emotion (57) not of use to writers that the cinema can adopt in order to enrich its images. If the filmmaker could animate the perfect form with thought (57), then cinema as a representational form could even surpass literature. In this way, Flauberts intensely visual style of writing predates Modernist hopes for the cinema through his attempts to convey the vi sible characteristics of thought itself (57). But in cinema, the eye wants help (55), unable to perceive reality alone, it needs the assistance of the brain to understand the reality on screen just as the brain draws on its minds-eye to visualise the images in the novel, returning us to the notion of reciprocity between literature and film. While Flauberts focus was on the object seen, emphasising the eye, Joyces Ulysses switched focus to the actual act of the seer seeing, focusing in on the mind, as Spiegel wrote where Flaubert saw wider, Joyce saw harder and deeper (64). Rather than aiming for an accurate representation of life like Flaubert, Joyce looked to interior life and so situates both authors in an ideal parallel to explore the evolution of modes of perceiving reality. Part of the appeal of cinema to Joyce was that it could free him from the tediousness of storytelling and precise observation of everyday and allow him to develop the novel in more esoteric ways; linguistic experimentation and psychological complexity (Sinyard vii) something Ulysses certainly demonstrates. Like Madame Bovary, Ulysses is a novel about nothing; a sensorial exploration of Dublin in one day, narrated through an omnipotent roaming eye and the interior experiences of his two protagonists, Leopold Bloom and Stephen Dedalus. The result is a reality composed from the impressions and perceptions of these two men as they connect with their environment, allowing the reader to experience the primary moment of perception as they do. Platt said things are conceived as they are perceived: to think is to act.This is the new cinema (Marcus 8). Considering this in literature, is it possible to modify Platts statement; while it may be the new cinema, it has most likely been influenced by the new literature that was perfecting its own omnipotent camera-eye as demonstrated in Ulysses. Experimental filmmaker and friend of Joyce, Sergei Eisenstein wrote that What Joyce does with literature is quite close to what were doing with the new cinematography and even closer to what were going to do (Trotter 87). What Eisenstein was specifically referring to was Joyces focus on interior monologue, just becoming available to cinema through the advent of sound. Eisentein believed Ulysses was the most significant event in the history of cinema (Marcus 425). Interestingly categorising it amongst cinema, Eisenstein supports the belief that Joyces personal interest in film directly facilitated the distinct dramatic and cinematic features in the novel, enabling Joyce to use cinema as a trope for what he saw in his minds-eye as cataracts and eye operations diminished his sight (Norris 8). While Woolf wanted the mind to join the eye in cinema, Joyce refined his fictional, camera-eye to compensate for his lack of actual sight, responding to Platts idea that one perceives through thoug ht itself. In this way, Danius believes we should view Ulysses as an advancement of Conrads imperative as Joyce answers the call to perceive, turning it into an axiomatic and autonomous aesthetic principle (22) and so in reading it as such we can attempt to investigate the ways in which Joyce attempts to make us see, principally through imploring the senses, making perception a corporeal experience. Joyce said Eisenstein was one of the only directors he would allow to adapt Ulysses; the ultimate meeting of eye and brain, Eisenstein as one of the greatest artists in the visual medium of film and Joyce, one of the greatest writers of prose who had virtually no sight (Norris 10) but unfortunately the pairing never came to be. In 1967, Joseph Strick approached Ulysses, qualified by his expertise in cinema verite that gave the camera a status as a character in the film and foregrounded its role in producing perspective and point of view (Norris 17) demonstrated in his debut, The Savage Eye (1959). Since the main adaptive challenge resides in how to convey Joyces interiority, this style of camera-work was suited to depicting Joyces internalisation of the narratorial eye as he makes us see through perception itself. One of the most cinematic sections in the text is Wandering Rocks, a chapter consisting of nineteen short scenes set around Dublin featuring most of the characters in the novel. A more elaborate experiment than that of the Agricultural Fair whose aim was to represent simultaneity of events for dramatic purposes, Joyces use of montage orchestrates an almost anthropological study of the everyday in the city. The camera-eye in Wandering Rocks roams the city and closes in on the protagonists of each scene while still conscious of the presence of characters already met on the journey or ones we will meet later. These characters are not always seen by the protagonist and so emphasises the readers privileged view. Blooms shadowy presence is first seen in scene 5 where Boylan is buying a present for Molly in Thorntons while flirting with the shopkeeper. A single sentence inserted into their conversation;A darkbacked figure under Merchants arch scanned books on the hawkers car (291), alerts u s to the simultaneous presence of Bloom, buying Molly a new book as promised earlier in the novel. The narratorial eye does not encounter Bloom again until sc9, this time the darkbacked figure scanning books on the hawkers cart (299) is identified by Lenehan as Bloom. The subtle change to the progressive tense signals a switch in perspective as the reader witnesses the same scene as Lenehan. Much as Flaubert added to his narration by representing the physicality of his characters, Joyces use of montage endows certain images and figures with diegetic quality by positioning them as temporal markers within the narrative itself. For instance the HELYs sandwich board men we met earlier in Blooms shopping trip in Lestrygonians are encountered again, further in their journey in sc5, HELYs filed before himpast Tangier Lane, plodding towards their goal (291). In reintroducing them into the narrative, Joyce forcibly engages his readers minds-eye and brain as they recall when they last saw the image. This argument supports Eisensteins claim that montage is the mightiest means for acreative remoulding of nature (5). Despite the intensely cinematic feel of the section, Strick chose to omit the Wandering Rocks from his adaption instead focusing more on the ways in which Joyce represented the psychological interiority of the characters through their hallucinations and inner monologues, feeling it is through knowing the mind of the characters that the audience could hope to see the world as they do. In Proteus, Joyce uses the inner monologue in Stephens mind, the great spectator hero (Spiegel 1), to deal explicitly with the nature of perception providing an ideal insight into the use of cinematographic stylistics in his sensorial exploration of the day in Dublin. As he walks down Sandymount Strand, Stephen considers the ineluctable modality of the visible (45), questioning the flawed way in which we rely on our sight to see the world which is only capable of receiving signatures of all things (45) from reality rather than a true perception, thought through my eyes (45). Stephen discerns to counter the limits of the diaphane (45) and problematic sight by seeing with another sense hearing, shut your eyes and see (45). Danius suggests this type of synaesthetic imagery suggests the pre-eminence of the language of the eye (172) reiterating the focus on the visual in fiction. If our knowledge of seeing the world relies solely on sight, then in closing off that sense, Stephen fears th e world will cease to exist, bolstering himself to open his eyes, I will see if I can see (46). The world continues to exist without him, and ever shall be, world without end (46), this is reminiscent of Woolfs belief that the cinema can depict the world as though we have no part in it (55) furthering the notion that Joyce draws on cinematic ideas to perfect modes of seeing in literature. This emphasis on seeing invokes Vertovs theory of the imperfect human eye, something Joyce counters in transforming Stephens eye into a camera. Watching the waves on the beach, he exclaims Ah see now! Falls back suddenly, frozen in stereoscope. Click does the trick (61), emphasising the poignancy of vision in perception and the privileged position of the modernist writer to be able to freeze time in order to comment upon reality. Strick is able to literalise this effect through the transposition of the camera lens for Stephens eyes, implementing a black screen as he closes his eyes, providing what Eisenstein called a rushing visuality (105). In doing so, Strick similarly isolates the senses of the audience enabling us to perceive the sounds of the beach with Stephen, his footsteps on the pebbles, the tapping of his ashplant cane, uniting the audiences experience with that of the character. Using centred long axial shots (Trotter 100), Strick interposes tableaus of the sea, birds and the beach, not only representing Stephens line of vision but also by displaying them as quick flashes he illustrates Joyces notion of perceiving mere signatures of objects that the brain places together it make sense of reality. In forcing the audience to connect eye and brain in such a way, Strick captures Joyces intention to use the narratorial eye to translate the representation of senses into mental sensations to be seen or heard in the silent interiority of the reader (Danius 185) involving them in the primary moment of perception alongside Stephen. Moving from the sensorial, Circe descends into the hallucinatory Nighttown where even perfectly refined senses will not help perception of this world. Written in the style of a screenplay with stage directions, speakers names and delivery notes, this surreal section removes itself from reality concerning itself with the internal consciousnesses of Stephen and Bloom. In adopting a script format, Circe details the characters thoughts with mimetic accuracy, as though the reader is viewing a performance in the characters mind, whilst advancing the diegesis by enriching our understanding of the character through this interiority. This is most pertinent in Stephens meeting with the ghost of his dead mother. Drunk in the brothel, Stephen imagines he sees his mother, asking her Choking with remorse and horror: They say I killed you mother (681), echoing Bucks earlier comment that his aunt believes Stephen killed her and so implying its impact on his consciousness. Strick replaces the novels horrific descriptions of The Mother with a blurred outline of a woman advancing towards Stephen, fitting the scene in the context of a drunken dream rather than the terrifying manifestation of guilt in the text. To break from the unconscious, Strick ensures we are aware of Stephens conscious position in the brothel with Bloom and the whores by infiltrating his hallucination with Zoes voice, Im melting! and concern at Stephens whiteness. The novels stage directions indicating Blooms movement to open the window are translated into dialogue, adding to the complete visual experience since the audience are not in the lounge but in the darkness depicting Stephens mind. The scene provides a privileged insight into how Stephen perceives himself as instigated by the comments of another, namely Bucks aunt, representing the layers of perception Joyce deems necessary to infiltrate in order to perfect our view of this world. While Circe withdraws narrative power from the characters by presupposing a playwright of the events, it is further removed in Ithaca where Joyce utilises the question and answer format of catechistic techniques to give an invisible narrator complete control over what the reader is permitted to know, its only aim to make us see. Rather than tailoring the questions to only answer material details of the scene, the catechizer ensures they require more insightful responses in order to maintain the intensity of interior narration that has dominated the novel, for example, Did Bloom discover common factors of similarity between their respective like and unlike reactions to experience? (777) The responses provide exact details to the extent of pedanticism, perhaps satirising the ways in which art attempts to mimic reality; such details do not add anything to the direct understanding of the moment but do demonstrate the lengths a modernist writer goes in order to make the reader perceive a scene on every level. The plethora of minutiae details in the text could confound a straight-forward literalisation to the screen and so Strick counters these potential difficulties by preserving the catechism format as a voice-over alternated between Stephen and Bloom as the image on screen depicts their unheard conversation in Blooms kitchen before following Bloom to the bedroom with Molly. The alternation of voices creates the effect of the characters narrating themselves and others as the questions ask how they perceive one another; while Bloom makes tea, the voice-over asks: [Stephen] Which seemed to the host to be the predominant qualities of his guest? [Bloom] Confidence in himself, an equal and oppositional power of abandonment and recuperation. Catechism shortens the process of perception by removing the intermediary thought processes, exemplified in Proteus, by employing the omniscient narrator to chart Blooms internal analysis of Stephen built from his impressions of him up to this point. In addition to this, Joyce manipulates this style to reveal more subtle expressions of the emotions of this character, notably in the resulting presentation of Bloom. Once Stephen has left, Bloom returns to the house, Alone, what did Bloom hear? The double reverberation of retreating feet(827). In the film, Strick adds the sound-effect of bedsprings solidifying Blooms paranoia about Mollys infidelity upstairs. This concern is subtly confirmed when asked: What did his limbs, when gradually extended, encounter? The presence of human form, female. Hers. The imprint of a human form. Male. Not his (862). The short sentence structure encapsulates Blooms emotion in his realisation that another man has indeed just been in his bed. The adaptation benefits from the spoken voice in its ability to attend to tonal changes in the actors voice to more adequately convey the impression this event has had on the character. Similarly, the final line fades into the sound of a ticking clock as Bloom drifts to sleep and the rhythm of speech passes over to Molly, opening up the final narrative act of the novel in Penelope. In this section, Joyce focuses on the ultimate act of self-narration in an unpunctuated inner monologue in the form of stream of consciousness. In choosing this form, Joyce emphasises the importance placed on processes of perception throughout Ulysses by turning his literary camera-eye inwards. The removal of punctuation dramatises the swift transitionless jumps of the mind from one perspective to another (Spiegel 168), reminiscent of montage techniques. In this way, the narrative can be likened to the cinematograph itself, a kaleidoscope of incident (Spiegel 79) perhaps characterising Penelope as the most visionary and so most accurate conveyance of representing reality. As a reconstruction of the laws of the thought process, Marcus believes the montage form Joyce adopts is allied to that particular penetration of interior vision (91) and it is through this penetration alone that Joyce not only shows but tells his world. Eisenstein believed that only the sound film was capable of reconstructing the course of thought (105), which clearly encouraged Stricks decision to record the voice-over monologue first, hoping it would inspire the aesthetic texture of the rest of the film (Norris 21). In separating the voice from the speaker through voice-over, Strick literalises the notion of inner monologue as a feverish inner debate behind the story mask of the face (105) with Barbara Jeffords emotive performance intensifying our experience of Mollys mind. However, perhaps most imperative to our understanding of the scene follows from Eisensteins idea of the quivering inner words relating to visual images (105) in the mind that can be literalised on screen, something Strick exploits to great effect adding another perceptive level to the monologue itself. By providing constantly changing images, Strick further articulates the fragmentary nature of Mollys mind represented in Joyces narration and replaces the minds-eye we see within the text with the perfected human eye of the camera. While the images do not necessarily correspond to Joyces words semantically, they refunction the text by actualising the images circulating in Mollys mind, transforming the camera into Mollys consciousness itself and so allowing the audience direct entrance to perceive her in her most exposed form. As the scene begins, the camera adopts an eye-level shot following her gaze around the room, watching the ceiling while chastising Blooms request for breakfast in bed. Ruminating on whether Bloom is having an affair, the image changes to Bloom and their former maid, Mary Driscoll, in the kitchen. Her declaration that I wouldnt lower myself to spy on them is paired with an image of her searching in a drawer, a memory of her past behaviour. Her admission of jealously at Blooms alleged infidelity is followed by memories of her liaisons with Boylan. While the text does not explicitly name Boylan at this point, Strick speculates on who she could be thinking about, sometimes you love so wildly when you feel that way so nice all over you cant help yourself (875) by adding the sequence of Molly and Bloom passionately kissing on her bed. Each image on the screen relates directly to an interpretation of the text, her visit to confession is ingrained with her internal guilt as the priest emerge s as Boylan and the stills of the churchs stained glass windows show a figure, head in hands, being scolded. Stricks choice of images support the argument that the screen has transformed into an uncensored projection of Mollys internal thoughts, notably through the use of naked male statues to represent her irreverent sexual desire. When not directly conveying the surreal images of Mollys mind, the camera returns to omniscient eye, for example showing her kissing rosary beads, possibly representing her Catholic guilt for thinking such lascivious thoughts whilst reminding us of our voyeuristic position amongst these thoughts. To further Mollys reflection on herself, Strick uses mirrors and shot/reverse shots, with the camera behind her shoulder, as she looks at herself, saying only not to look ugly or those lines from the strain; we see what she sees since we look into the mirror with her. Oscillating between this type of shot and eye-level shots, Strick gives the effect at once of being inside Mollys mind but similarly reaffirming the audiences position as a privileged observer of this scene. As the text provides an uncomfortably close access to Mollys sexual fantasies and conquests, Strick translates this through the extreme close-ups of the looming faces of her lovers again creating an experiential style of viewing, similar to the style of writing Joyce used in Proteus. The texts intense visuality makes it impossible to avoid engaging the brain without the minds-eye and without this mutuality the monologue would risk misinterpretation. Stricks decision to record images after the audio satisfies Woolfs intentions by remaining loyal to the imperatives of the modernists to primarily appeal to the brain which will always elaborate itself with images through its minds-eye, yet here the brain is assisted by the camera. By closing this exploration of perception with an entirely internal speech, Joyce seems to be saying that it is through this interiority that we are able to truly see. The sensorial experiments exemplified in Flaubert and Joyce show the Modernists advancement from mimesis as a means of making the audience see, to engaging with how the characters perceive the world, using language as an entrance into their thought processes to unite the reader with the character at the initial moment of perception. To return us to this moment, the author needs complete editorial control over all components that constitute the perceptive experience; namely visual engagement with the object and its influence on the consciousness. While literature was experimenting with ways to engage more intellectually with reality, the Modernist writer found inspiration in the emerging art form of cinema that was similarly attempting to perfect the eye by transposing it through the camera-lens. Tolstoy said: The cinemas swift change of scene, this blending of emotion and experience iscloser to life. In life, changes and transitions flash by before our eyes and emotions of the soul a re like a hurricane. (Sinyard vii) epitomising our argument as to why Modernist writers looked towards cinema to inspire their pen as they sought new styles through which to make us see the world. Tolstoy saw the camera as a direct threat to the writer, claiming it will make a revolution in our life- in the life of writersA new form of writing will be necessaryBut I rather like it (Cartmell 5). Viewed as such, the cinematic stylistics in literature can be said to be the product of this threat and so supports the idea of the cinematic novel and cinema as analogous, a logical progression of representational art forms that can compliment and interpret one another as both modes seek to express new ways of seeing. In this way, supporting our belief that filmic adaptation of these novels can offer new interpretations and so provide a continuation of Conrads imperative to make us see. Flauberts conclusion that style is an absolute manner of seeing (301) prompted modernist writers to imbue the pen with cinemas camera-eye by merging both mediums visual techniques. In doing so, the writer is given a new dialectic through which to observe and write about life, revivifying the representational capabilities of his pen.