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.

Causes Of The Protestant Reformation - 1635 Words

The Protestant Reformation was the 16th-century religious movement that took place in the Western church. Having far-reaching political, economic, and social effect, the Reformation became the basis for the founding of Protestantism, one of the three major branches of Christianity. Without the changes caused by the Renaissance during the fifteenth century, the Reformation would not have been possible (Haigh). Reformers like Martin Luther, John Calvin, and Henry VIII challenged the Catholic church. These reformers’ disruptions triggered wars, persecutions, and later the â€Å"Counter-Reformation.† The Reformation ended the unity imposed by medieval Christianity. Many events in the years leading up to the sixteenth century caused individuals†¦show more content†¦Scholars, upper class, and middle class were able to get their hands on the Bible and understand what it said (â€Å"The Reformation: An Overview†). Many other factors played a part in the process such as the decline of feudalism (a combination of legal and military customs), the rise of nationalism, and the rise of the common law (Kerr). All of these factors led to great individuals putting their foot down and telling the Catholic Church that enough was enough, and they were no longer going to stand idly by while the church abused its power. As the Catholic Church’s grievances were brought to light more and more people started to move away from the church. There were three main people that are credited for helping to start the Protestant Reformation in each of their own countries -- Martin Luther who was an Augustinian monk who nailed his â€Å"95 Theses† on the church door in Germany, Huldrych Zwingli who started the reformation in Switzerland, and Henry VIII who caused England to leave the church because of his quest for a male heir (â€Å"The Reformation: An Overview†). These four people, although from completely different backgrounds, helped the Protestant Reformation move throughout Europe. Martin Luther was born November 10, 1483. In 1505, Luther received his master’s degree from the University of Erfurt. Following his father’s wishes, Martin enrolled in law school at the same university, but droppedShow MoreRelatedThe Causes Of The Protestant Reformation1270 Words   |  6 Pages1. Discuss the causes of the Protestant Reformation. Which cause do you feel is most important? Why? Roman Catholicism and Christianity as a whole expanded throughout the globe over the 16th century. Roman Catholic Churches have a hierarchical organization with the Pope of Rome at the top to facilitate the matters of the Churches around the globe. Their doctrines and teachings came from their interpretations of the Bible. Roman Catholicism was widely accepted in most cases, but someRead MoreThe Causes of the Protestant Reformation599 Words   |  2 PagesThe causes of the Protestant Reformation†¨? In the 1500’s the catholic church was selling indulgences for people that had the black death, in the event of the black death you would get black spots all over the body when these spots appeared the person that was affected had three days to die, if the ill were catholic and decided to go to heaven they would go to the church and buy an indulgence which meant they reserved a spot in heaven. The business of indulgences in the Catholic Church was pullingRead MoreCauses Of The Protestant Reformation725 Words   |  3 Pagesperiod of 1300 to 1789 the churchs power declined by a significant amount. A number of things happened that decreased the churchs power during the time period of 1300 to 1789, but the Protestant reformation and the Scientific Revolution had weakened the role of the church the most. The Protestant Reformation had decreased the role of the church in Europe by decreasing its power by a large margin. Martin Luther had, had some ideas of what was wrong with the church. He expressed his ideas by writingRead MoreCause and Effects of Protestant Reformation Essay754 Words   |  4 PagesMajor Causes and Effects of the Protestant Reformation There were several causes of the Protestant Reformation that effected society, politics, and religion in Europe during the 16th century. In my opinion, the immediate cause that started the reformation was Martin Luther’s act of posting the 95 Theses on the door of the Wittenberg Cathedral in the Roman Empire. Luther was unhappy with the Catholic Church, and posted the Theses due to the sale of indulgences that was going on to raise money forRead MoreDBQ: Causes of the Protestant Reformation739 Words   |  3 PagesThere are approximately eight hundred million Protestant Christians currently in the world with it being the second largest Christian domination (Fairchild). However, there are over a billion followers of the Roman Catholic faith and it currently stands as the Christian domination with the most followers (Fairchild). If it were not for the German monk, Martin Luther, most Christians would have been Roman Catholic in the present. Martin Luther is famous for â€Å"95 Theses† that critiqued the practicesRead MoreWhat Were The Social Cause Of The Protestant Reformation?1289 Words   |  6 PagesW hat were the social causes of the Protestant Reformation? The bible was being made more accessible than ever. One of the things that led to more people interpreting the bible is that it was translated into everyday language. Another was the fact that the printing press was enabled that allowed multiple copies of the bible to be made. Previous to this, scribes would have to write every bible by hand and this could take years, just for one of them. Another factor was the fact that there was increasedRead MoreEssay Causes and Effects of the Protestant Reformation1159 Words   |  5 Pagesit, the Protestant Reformation did not happen overnight. Catholics had begun to lose faith in the once infallible Church ever since the Great Schism, when there were two popes, each declaring that the other was the antichrist. Two things in particular can be identified as the final catalyst: a new philosophy and simple disgust. The expanding influence of humanism and the corruption of the Catholic Church led to the Protestant Reformation, which in turn launched the Catholic Reformation and religiousRead MoreThe Causes Of Martin Luther And The Protestant Reformation748 Words   |  3 PagesIn a time where Europe was flourishing between the 14th and 17th centuries with their cultural development of the art and sciences, there was a huge schism in the Catholic Church that was originally created by Martin Luther. The Protestant Reformation was initiated in 1517 when the Ninety-five Theses was posted in Saxony, Germany by Luther. Martin Luther was an Augustinian monk who criticized the Church and the papacy and laid the theological reform for the church and the pope’s authority which brokeRead MoreThe Protestant Reformation And The Reformation Essay1379 Words   |  6 PagesThe Protestant Reformation Why the Protestant Reformation is considered a significant development in the Christian Church. The Protestant Reformation was an event which occurred within the Catholic Church during the 16th century. This Reformation was prompted by Martin Luther’s ‘95 theses’ which were a list of 95 criticisms towards the church. The Reformation formed another branch of Christianity called Protestantism which is comprised of many different Christian denominations including AnglicanRead MoreThe Invention Of The Printing Press932 Words   |  4 Pagestwo effects were the exploration of the Americas and the Protestant Reformation. Exploration was Colombus and his explorers â€Å"discovering† America. The printing press had great influence on these events. The Protestant Reformation was also shaped by the printing press, in some cases more than exploration. The Protestant Reformation, or more simply, The Reformation, was a mass conversion of people from the Catholic Church to the Protestant Church. The citizens of Europe started to access more information

A Study On The Culture Essay - 1842 Words

Introduction A previous study by Menon and Shweder detailed the â€Å"cultural expertise† of Oriyas regarding the icon of Kali, a goddess well-known in their culture. For Oriyas, the image of Kali biting her tongue represents â€Å"lajya†, or shame. However, their conception of shame may differ from typical western views of shame. What emerged from the interviews conducted in Menon and Shweder’s study was that shame seemed to be a respected duty of the women in the culture, and brought about social harmony. This idea seems to be reconcilable with Markus and Kitayama’s review of independent and interdependent cultures, if it is assumed that the Oriyas interviewed were from an interdependent culture. In an interdependent culture, the self is construed in relation to others; a self is thought of as complete only in a social context. Conversely, in independent cultures, which are typically western, the self is thought of as entirely separate from others, and i s encouraged to strive for their own desires without thought to how their actions may affect others. That is not to say that those in independent cultures have no empathy for those around them, and neither is it true that those in interdependent cultures are unable to think for themselves. It is simply a construal of the self in relation to others, and as Markus and Kitayama showed, this leads to several different ways of interacting with the world when a person originates from an independent or an interdependent culture.Show MoreRelatedAnthropology And The Study Of Culture1221 Words   |  5 Pages1. Anthropology and the Study of Culture a. The field of anthropology that I find to be most interesting is anthropological linguistics. Personally, I believe this subdivision is so interesting because it is so diverse and covers so much ground on how our language and others have evolved over time. Ranging from early cave writings, to sign language, to the language and slang we all know and use today, language among not only our cultures but also others have vastly changed and there is proof ofRead MoreA Study of the Egyptian Culture996 Words   |  4 PagesEgyptian Culture Abstract Culture is perceived to be a structure of symbols that is learned, shared as well as passed on throughout generations of a social assembly. Culture is said to have influences on what a person perceives and also guides persons connections with others and it is a process. This paper will briefly introduce the Egyptian culture and go further to highlight on the said culture in terms of Social stratification, political life, gender roles and statues, marriage family and KinshipRead MoreA Study On A Culture Of Peace10177 Words   |  41 Pageschapter which contains the background of the study that provides a brief overview of the study at the beginning. It gives hints about the concept of a culture of peace and emphasizes on the roles of education particularly higher education for the building of a culture of peace in Ethiopia. The second part of the chapter deals with the research problem statement followed by the basic research questions. Subsequently, the main and specific objectives of the study are also included followed by the rationaleRead MoreThe Study Of Popular Culture2197 Words   |  9 PagesThe study of popular culture is useful in many ways. To specify, this course has reached its three intended main ideas: what it means to be an American, how to be consumption-conscious, and how to apply these studies in our own lives. Jim Cullen puts this in a less specific sense, arguing that the study of popular culture can â€Å"afford valuable clues – about collective fears, hopes, and debates† (Cullen, The Art of Democracy, 2). We study these clues to understand the world around us, as well as whyRead MoreCulture Clashes Case Study881 Words   |  4 PagesCulture Clashes Case Study CJA/473 March 14, 2011 Culture Clashes Case Study Culture clashes in businesses can differ in many ways, and it is not understood why some cultures make it through a merger, while others appear not to make it through a merger at all. The merger within different businesses can be a major situation for everyone to go through, and when dealing with two of America’s biggest companies, the difficulty of the situation can only increase. Once businesses decide toRead MoreA Study On Mexican American Culture1362 Words   |  6 Pagesbelieve that the Raza Studies program in Tuscan, Arizona is creating hate and resentment towards one particular race, it is actually doing the exact opposite. Love, appreciation, and respect are the foundational components of the Raza Studies program. The program teaches students how to appreciate and respect their own culture and others. Mexican American students can finally learn about the Mexican American experience without having it twisted and skewed by the dominant culture. Mexican American studentsRead MoreStudy of Organizational Culture in Singapore1669 Words   |  7 Pagestogether. Review Culture may be viewed as a group s collective being which is both static and dynamic in nature, and may be studied by looking at the dimensions of the collective being at a point in time as well as over time (RALSTON et al). Low’s (2009; 2002) studies cites the twelve Singaporean values and these values are then cited and used to examine the key value(s) that prevail among these Singapore companies. According to his thesis there are eight types of corporate culture existing in SingaporeRead More Sociology: The Study of Culture Essay1323 Words   |  6 Pagesreligious beliefs. It became apparent to me that all persons are a direct reflection of their environment. In other words, all persons unconsciously, and sometimes consciously, reflect and imitate their environment and the things that they see. Every culture has their own individual stereotypes and belief systems. The reason for this is that people place arbitrary meanings on lifes occurrences based upon those of the individuals which preceded them. Thought patterns of an individual are all dependentRead MoreChange And Culture Case Study1570 Words   |  7 PagesChange and Culture Case Study By Fallon9586 | Studymode.com Change and Culture Case Study I Middle managers occupy a significant section of the organizational hierarchy. All managing roles work together to best meet healthcare demand and organizational goals. Middle managers bridge the gap between the professional staff and clinicians and senior management. During a merger the job of middle managers is important in transitions the two organizations into one. Middle managers make sure that the staffRead MoreChange and Culture Case Study1433 Words   |  6 PagesChange and Culture Case Study I Darlinda Smith HCS/514 October 15, 2012 Steve Kovak, MHA Change and Culture Case Study I During the past decade the hospital industry has made profound organizational changes, including the extensive consolidation of hospital system through merger and the formation hospital systems (Evans amp; Gertler, 2012). The rules of health care are changing. Growth is not about just getting bigger. It is about developing all of the components needed for coordinated

Unified Project Management Methodology †Free Samples to Students

Question: Discuss about the Unified Project Management Methodology. Answer: Introduction: Project methodology is an important part of a project management. Working on the project methodologies and developing an appropriate set of strategies will help the project manager in managing the change. Change is one of the most important parts of a project lifecycle, there are a various set of changes which could occur in a project and managing change is one of the most important parts of any organisation. Project manager working for the growth of the organisation should undertake project management methodologies so that the choices could be made and most relevant methodology could be applied to the project. Working with various project management methodologies and developing a proper set of the plan will help project manager in introducing the new activities. Applying same will help the project management team in managing the growth of the organisation. Hence, an essay is prepared which will include information related to various project management methodologies with the help of which a proper framework will be developed for the growth of the organisation. In this section, all the methodologies which help in managing the project requirements will be undertaken and an appropriate set of the decision will be made of which project management methodology should be adopted. The essay will help in providing a set direction to the organisation of how to make the right choice in adopting an appropriate project management methodology so as to manage a project. The discipline which includes initiation, planning, execution, controlling and closing of the activities which work for the growth of an organisation and provides a relevant set of support in managing the change is known as project management (Gilbert Silvius, Kampinga, Paniagua Mooi, 2017). Project management helps in achieving the specific goals and meeting the success criteria with the help of which project requirements could be achieved. Project management tactics are adopted so as to fulfill the requirements of a workplace with the effect of which progress of a company is managed and sustainability is obtained (Ehrgott, 2010). Decision making is required to be taken into consideration by the project management team because decision making helps in the adoption of most relevant and appropriate methodology for the success of a project. Therefore, gaining information related to project management methodologies will help the project management team in making an appropriate set of d ecision regarding adoption of the correct methodology and applying the same so as to manage the project in a right way (Danesh, Ryan Abbasi, 2017). In this section, a project of Sainsbury is initiated in which an IT System will be developed to manage the communication and the information system at the workplace. Managing IT System is not an easy task for the organisation. It requires that the project management team indulged in the same should work on the methodologies so that work could be managed and project progress could be recorded (Jamali and Oveisi, 2016). It is necessary that a proper methodology should be applied to the IT project by the project management team. This will help Sainsbury in moving on the path of success and sustainability and will help the same in managing the progress and attaining success in the market. Hence, gaining more in depth information related to project management methodologies will help in providing a better option to the project management team so as to make an appropriate set of decision regarding selection of the right path (Saleh Al-Freidi, 2015). Project Management Methodolies Project management methodologies comprise of five phases of project management which are defining the project, planning for the project requirements, launching the project, managing every single activity of the project and closing phase in which the project is required to be terminated and close out is made. The activities identified are related to every single aspect of the project. To manage the project in a right way it is required that every single activity should be considered by the project management team (Tavan and Hosseini, 2016). This will help the project management team in processing the project in a smooth and subtle way. There are a various set of project management methodologies which could be adopted by the project management team so as to manage the project in an appropriate way (Varajo, Colomo-Palacios and Silva, 2017). Hence the project management methodologies which provide a relevant set of support in the progress of the project are: These are some of the project management methodologies which help the project management team in managing the project and fulfilling all set of requirements so that goals and targets of the company could be achieved and relevant set of support could be provided to the organisation for which the project is being developed (Rasnacis Berzisa, 2015). Waterfall methodology is the most common way for the planning of a project. It is a traditional methodology of the project with the help of which project requirements could be fulfilled. Waterfall methodology includes proper planning of every single activity and includes a step by step plan following which will help the project management team in processing the project in an appropriate way (Pathak Saxena, 2012). There are various steps available in waterfall method these are a requirement, designing, implementation, verification, and maintenance. Following every single step helps the team in managing and completing the project in an appropriate way. Critical Path Method (CPM) Critical path method is the method which was developed in the 1950s to provide an effective set of solution to the project management team. It is a method which helps in connecting every single activity and provides a set path following which helps in the project completion. It is a method of project management which helps in determining the most effective as well as the shortest path to complete the project (Layton, 2012). The activity diagram helps in developing a better set of understanding with the working of a critical path method. It could be evaluated that applying the method helps in choosing and selecting the most relevant and appropriate set of the path for the management of the project. This helps in choosing the most effective path for the completion of the project (Edkins, Kurul, Maytorena-Sanchez Rintala, 2007). The agile method provides a set path and framework for the project. The agile method also includes a step by step process for a project and provides a set direction working on which provides a huge scope for the growth of the organisation with the effect of which organisation could sustain in the market. There are a certain set of values which are added to the project: It helps in availing individuals and interactions over the processes and the tools (Crowder Friess, 2013) It helps in working on the software over the documents which are comprehensive in nature It helps in collaboration with the customers and negotiating in the contracts It helps in responding to change over the plan developed by the organisations. The agile method could be used including Scrum, Kanban, Extreme Programming and Adaptive Project Framework (Mller, 2015). All these aspects provide accuracy in the project and help in managing the project in a better way. These methodologies help in providing access to the customer in implementing some or the other modification in the plans which could help in managing the project in a more appropriate way. Flexibility helps the project management team in bringing accuracy and processing the project in a better way (Ginsberg, 2016). Change Management Methodologies Change management methodologies are the methodologies which are designed for the controlling the change which can occur in near future (Geraldi Sderlund, 2017). These are the methodologies which are developed to manage the risk and taking control over the changes which can occur in the project. There are various change management methodologies which could be adopted by project management team so as to ensure that the future risk factors could get controlled in a proper way. These change management methodologies are: It is a methodology which helps in underlying the ideas behind various chain methodologies so that the potential risks which are attached to the project could be managed and scope for the project could be developed (Besner Hobbs, 2012). It helps in determining the reason behind the unexpected reasons or risk aspects which could occur in near future in the project. Extreme project management is a methodology which is opposite of the waterfall method which offers a path to manage the massive changes which could occur in the project. Extreme project management helps in altering the project plan, budget and helps in finalizing the deliverables to manage and fit the need of change management (Hydari, 2016). EPM is a perfect way to manage any kind of change which could have a huge impact on the project and which could affect its progress. Process Based Methodologies Process based methodology is the methodology which helps in managing the practicality of the project. Every single method indulges in the process based methodology helps in managing the aspects of the project in a proper way. It helps in developing a valid plan for the project which will help in managing the project progress. Lean is the method which will help in evaluating the shortest path for the processing the work. It is necessary that the shortest path should be evaluated by a project manager to process the work (Hadad, Keren Laslo, 2013). The lean method helps in reducing the steps of processing the work; this helps in creating an effective and shortest path to manage the work process and provides a support system which helps in reducing the cost of the project. Six Sigma is a statistical method used to provide quantitative data for the project. Evaluating the quantitative information and delivering it with the help of graphical representation helps the project manager in managing the project. Such type of aspects provides a better option to maintain accuracy in the project. The appropriate decision could be made in relation to the progress of the project by applying Six Sigma method (Gilbert Silvius, Kampinga, Paniagua Mooi, 2017). PRINCE2 is the methodology in which PRINCE stands for Project in Controlled Environments. It is a process which helps in managing the project used by the government of UK. PRINCE2 is the methodology which is applied to the product based plans and projects. It is the method which helps in managing the projects which are project based and provides an opportunity to the manufacturing units or the stores to manage the sale of the project. Project Integrating Sustainable Method is the project management methodology aimed to manage the change in the project (Ehrgott, 2010). The method is incorporated with environmental sustainability and helps in managing the project in a proper way. It is necessary that a proper method should be adopted by the project management team so as to manage any kind of change in near future. Benefit Analysis The method which helps in analysing the progress of the project from conception to its execution to the delivery and beyond is known as benefit analysis method. It is a method used by the project manager so as to evaluate all set of benefits that he will get from the progress of the project. From the initial phase only all the estimations related with the project progress and the benefits it will provide in near future are being done (Danesh, Ryan Abbasi, 2017). This helps in managing the project in an appropriate way and helps the project manager in estimating the present as well as future benefits. These were some of the methodologies which could be used by the project managers in their concerned projects. One of the most important things required to be kept in mind is making the right choice. It is important that the project manager should understand what type of project will be initiated and then they should make the decision for the adoption of the methodology they are willing to adopt (Danesh, Ryan Abbasi, 2017). It is necessary that the project manager should have proper knowledge of all set of methodologies so he could make the correct decision and ensure to manage the project in a most effective and efficient way. It was discussed that Sainsbury is willing to develop an IT System which could help it in managing its information system and its flow in a proper way (Jamali and Oveisi, 2016). With the evaluation of every single aspect indulges in the report it could be decided that Sainsbury should use Agile Methodology to manage its Information Technology Project. The reason behind the suggestion is that agile method is an effective method which provides a huge scope for accuracy (Saleh Al-Freidi, 2015). Managing an IT project is not a simple task so it becomes necessary that the right method should be adopted so that project process could become easy and simple to manage. The project manager will get access to use Kanban and Scrum method while working on the agile methodology which will bring accuracy to the project. For better understanding, agile life cycle could be taken into consideration by the project manager. This lifecycle will help in delivering a clear image of the project and will provide a set path moving on which help the project manager in processing the project requirements in an appropriate way (Tavan and Hosseini, 2016). Agile lifecycle includes every single activity with the help of which project processes could get managed by the project manager. According to the method, it is necessary that proper information related to the project should be gathered, and then initiation should be done (Varajo, Colomo-Palacios and Silva, 2017). There are three development phases provided in the agile method working upon which will help in providing access to the project manager in implementing accuracy to the project. Testing is also being done in agile methodology which is termed as one of the most important parts of project management. It is necessary that proper testing should be done so that all the bugs could be removed and gaps could be filled by the project manager. Hence, it could be evaluated that Agile methodology will be most suitable for the progress of the project which will help in managing the project and completing the same within the required deadlines (Brioso, 2015). Conclusion It could be concluded that project methodologies play a very vital role in managing a project. Methodologies help the project manager in delivering quality to the project. Assurance is made that the project will get completed within the budget and time decided at the initial time. It is necessary that project manager should have appropriate knowledge regarding the choice that is required to be made in relation with project methodologies. Choosing an appropriate methodology will in bringing quality to the project and completing the same within the required deadlines. Agile and Waterfall methodologies are the two methodologies which provide a step by step description of every single activity. Hence, project managers could make choice between the two to develop a new project and in case of managing the continuing processes lean and Six Sigma are the methodologies which could be adopted by the project manager and decision could be made to move on the path of success and sustainability. References Besner, C., Hobbs, B. (2012). An Empirical Identification of Project Management Toolsets and a Comparison Among Project Types.Project Management Journal,43(5), Pp. 24-46. Brioso, X. (2015). Integrating ISO 21500 Guidance on Project Management, Lean Construction and PMBOK.Procedia Engineering, 123, pp.76-84. Crowder, J., Friess, S. (2013).Systems engineering agile design methodologies. New York, NY: Springer. Danesh, D., Ryan, M., Abbasi, A. (2017). Multi-criteria Decision-making Methods for Project Portfolio Management: A Literature Review.International Journal Of Management And Decision Making,16(1), Pp. 1. Edkins, A., Kurul, E., Maytorena-Sanchez, E., Rintala, K. (2007). The application of cognitive mapping methodologies in project management research.International Journal Of Project Management,25(8), Pp. 762-772. Ehrgott, M. (2010).Multiple criteria decision making for sustainable energy and transportation systems. Berlin [u.a.]: Springer. Geraldi, J., Sderlund, J. (2017). Project studies: What it is, where it is going.International Journal Of Project Management,23, Pp. 138-139. Gilbert Silvius, A., Kampinga, M., Paniagua, S., Mooi, H. (2017). Considering sustainability in project management decision making; An investigation using Q-methodology.International Journal Of Project Management,35(6), Pp. 1133-1150. Ginsberg, N. (2016). Determining the context of an international development project.The Journal Of Developing Areas,50(5), Pp. 431-442. Hadad, Y., Keren, B., Laslo, Z. (2013). A decision-making support system module for project manager selection according to past performance.International Journal Of Project Management,31(4), Pp. 532-541. Hydari, H. (2016). Exercising Agency: Decision Making and Project Initiation.Project Management Journal,47(1), Pp. 3-7. Jamali, G. and Oveisi, M. (2016). A Study on Project Management Based on PMBOK and PRINCE2.Modern Applied Science, 10(6), p.142. Layton, M. (2012).Agile project management for dummies. Hoboken, N.J.: Wiley. Mller, R. (2015). The Migration of Methodologies for Project Management Research.Project Management Journal,46(2), Pp. 3-5. Pathak, S., Saxena, P. (2012). Hybrid Methodology Involving Scrum and Waterfall Model towards the Software Project Development in Academic Knowledge Centers.International Journal Of Evaluation And Research In Education (IJERE),1(1), Pp. 4-6. Rasnacis, A., Berzisa, S. (2015). Adaptation of Agile Project Management Methodology for Project Team.Information Technology And Management Science,18(1), Pp. 128-129. Rozenes, S. (2011). The Impact of Project Management Methodologies on Project Performance.International Journal Of Information Technology Project Management,2(2), Pp. 64-73. Saleh Al-Freidi, S. (2015). A Unified Project Management Methodology (UPMM) based on PMBOK and PRINCE2 protocols: foundations, principles, structures, and benefits of the integrated approach.International Journal of Business Policy and Strategy Management, 2(1), pp.27-38. Tavan, F. and Hosseini, M. (2016). Comparison and analysis of PMBOK 2013 and ISO 21500.Journal of Project Management, (10), pp.27-34. Varajo, J., Colomo-Palacios, R. and Silva, H. (2017). ISO 21500:2012 and PMBoK 5 processes in information systems project management.Computer Standards Interfaces, 50, pp.216-222.

The Use Of Race In Their Eyes Were Watching God Essays -

The Use Of Race In Their Eyes Were Watching God The Use of Race in Their Eyes Were Watching God This novel, while poetically conveying a black woman's pursuit of true love, seriously addresses society's ability to be judgmental and oppressive. Gender, race, economic security, and social stratification share equally important roles in the development of the main character, Janie. Hurston vividly describes how each qualification specifically affects the character, although the racial implications are much more subtle. This subtlety allows the reader to mistakenly perceive indifferent or positive feelings towards the novel's black community. Hurston initially establishes the ideal unimportance of race by using Janie's innocent childhood memory. Janie painfully recalls Mr. Washburn, who is the father of the family with whom they live, abusively laughing at her belief of being the same as his white children. She also remembers being teased by the other black children for her clothing, which is better than others' because hers is the Washburn children's old clothing. This recollection is multiply used by Hurston. It capitalizes children's acceptance of people for their actions, which is surpassingly more believable than portraying adults with the same feelings. It displays the dependence of black people on white people for success. Finally, it instates the Washburn family as the representation of white culture; accordingly initiating a negative undertone towards Janie's ethnicity. However, these prejudices and their undermining effect depicted within the novel are soundly contrasted by Janie's peaceful disposition at the en d of her narration. Hurston masterfully uses the emotional responses of the black characters, specifically pertaining to successful and potentially successful endeavors of Joe, as metaphors of society's prejudice. The initial astonishment of the black characters to Joe's monetary holdings and accomplishments deftly conveys this idea. Hurston again attaches a plethora of meaning to these scenes. Joe is followed by the men from town, while going to purchase the land, because they do not believe a black man could have money. His house's description, as overly opulent and making the others seem as servant's quarters, is parallel to the rich white men of other towns. He faults the lazy black men for the town's lack of development, portraying the incapability of black men for leadership. He is revered by the town when he is present, then slandered when he is no longer able to hear them. Despite being freed from slavery, during the early 1900's, black people's lives are mostly unchanged. The similarity between their work now as farmhands and formally as slaves is an active personification of this theory. The only successful black man is Joe. The other black characters either are sharecroppers or are menially employed. This explains the contempt the two men on the porch have for Joe, which is the same contempt that they would have for a white man. Black men seldom had the opportunity, but more importantly the financial ability, to own property. This makes wealthy and successful black men extremely scarce. White men owned virtually everything. Therefore, Joe's entirety equally represents the dominating white man and the extremely unlikely black man's success. Mrs. Turner, while sharing Janie's mixed racial background, speaks adamantly against blacks. She insultingly and unsuccessfully suggests that Janie marry a lighter skinned man than Tea Cake. The duality of Mrs. Turner's perspective is profound. Her attitudes exploit oppressive white sentiments, while simultaneously expressing the effect slavery and continued oppression has on the black community. She implies that black people deserve injustice. Not using a white character to display these attitudes allows Hurston more tenacity in her expression. Attempting to clean the yard after the hurricane, Tea Cake is approached by two white men. His initial reaction is to run before they see him, which he does not do. The men call him by the wrong name and coerce him into burying the dead. This occurs within the emotional and tragic scene of loss and devastation, making the power exerted by the white men easily overlooked. They carry guns, a symbol of power, and insist that no coffin be wasted on the body of a black person and that no white person be dumped in a grave. The value society places on a black persons life is clearly made here. In the