Explore the Psychological Landscape Represented in The Turn of the Screw.

What is the relation between the psychological concerns and the literary conventions of realism and/or modernism?

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One of the various interpretations of The Turn of the Screw could be overtly concerned with psychological factors. You could class it as a realist novel simply about ghosts. However the representation of the characters, and particularly the governess, suggests that there are psychological elements to the novella.

For years after The Turn of the Screw was first published, it was largely dismissed as a simple ghost story. Critics repeatedly thought of the governess's character as that of a benevolent woman, protecting the lives of Miles and Flora. As the years passed, several critics hinted at the governess's madness and eventually Edna Kenton published an essay in 14, placing the theme of madness over ghosts and the children.

It is highly likely that James put psychological elements into the novella. His own sister, Alice, was mentally disturbed and his brother, William a renowned psychologist. This also means that James possibly read Freud, or if he didn't he may have been informed of the psychologist by his brother. The Case of Miss Lucy R. is often claimed as an influence. Lucy R. was one of Freud's patients who also happened to be a governess. Several critics believe this to be an influence and Oscar Cargill even went as far as to say,

James' dependence on his personal knowledge of hysteria and on 'The Case of Miss Lucy R.' make it clear that there are no ghosts in the story and that the phantoms are creations of a hysterical mindonly hallucinations.

Whether this is true or not, is in doubt and depends on how you choose to read the novella. In The Turn of the Screw there are various examples that suggest madness. For example the closeness of the governess to the children,

I was there to protect and defend the little creatures in the world the most bereaved and the most lovable…They had nothing but me, and Iwell, I had THEM. (Chapter 6)

The extent of which the governess values her duties towards the children is particularly excessive and could be seen as a little disturbing. If you are to believe this then you could say that this emphasises her benevolence. However it could also be seen as an unhealthy dependence that she cannot live without.

The governess may be particularly close to the children earlier on in the novella and be stunned by their innocence and beauty. However, as it goes on, she becomes increasingly paranoid that they are communicating with the ghosts. It is also very possible that the governess killed Miles,

I caught him, yes, I held himit may be imagined with what a passion; but at the end of a minute I began to feel what it truly was that I held. We were alone with the quiet day, and his little heart, dispossessed, had stopped. (Chapter 4)

Unless you believe that the ghost exists and Miles simply had a heart attack, it must surely be the governess who killed him. Her madness has finally drawn her over the edge and she has taken her anger out on Miles for a number of reasons.

As well as his death in the final chapter, there are also some revelations on why he was expelled from his school. They are put across in a very ambiguous way and it is still a little unclear as to what he did. As Miles puts it himself, he just 'said things'. Several critics have suggested that Miles' 'things' that he said were of a homosexual nature and there are also hints in the novella that he was either abused or told 'things' by Quint.

The homosexual connotations come from the fact that Miles' comments were 'too bad' by his own admission and he only told 'Those I liked'. It is true that sexual connotations are evident throughout the text. In Victorian 'polite society', sexual matters were very rarely discussed, as it was not particularly socially acceptable. Therefore Victorians tended to read into things as being sexual more than the modern society would.

In 14, Edmund Wilson wrote what is regarded as a particularly influential essay that drew heavily on Freudian theory. In that he stated,

The governess who is made to tell the story is a neurotic case of sex repression

This statement is very possible and explains why she hallucinates and sees ghosts. Sexual misconduct was often suggested where governesses are concerned in Victorian times, particularly in novels in the gothic genre. If you believe in the sexual connotations to a great extent, then you could say that The Turn of the Screw is a parody of the sexual anxieties of the Victorian society.

If you were to look at the novella as a realist text, then most of the sexual references could be completely ignored or disregarded. It is true that despite his background being associated with psychological influences, James also had an interest in ghosts, or was at least surrounded by people with an interest. William James conducted research in the field of spirits and his father was also interested in the subject.

Rob Pope defines realism as,

Specific aesthetic movements which at various times have claimed to represent that reality accurately (p. 8)

So therefore to take The Turn of the Screw as a realist text you have to take certain things for granted. The first thing that you have to do is to trust the governess's story. You then have to take on board conventions that you are familiar with from other texts, in this case there are many recognisable conventions from the gothic genre and in particular ghost stories.

The whole setting of the novel is very gothic; the tower where Quint is first seen, the misty lake and the narrow corridors are certainly not revolutionary ideas. The scenes are always dark and candle lit and the garden outside is also typical of ghost stories. The way that Quint is described is particularly stereotypical of the genre. The fact that he looks 'like nobody' with a 'pale face' and 'sharp, strange' eyes (Chapter 5) paint him out to be a particular chilling, fearful character. This description to Mrs Grose works in defence of the governess' madness as the description is so close to that of Peter Quint that it would have had to be some great coincidence for it to be a hallucination.

The governess is also a fan of the gothic novel,

Was there a' secret' at Bly-a mystery of Udolpho or an insane, an unmentionable relative kept in unsuspected confinement? (Chapter 4)

These are allusions to the gothic texts, Udolpho and Jane Eyre. The fact that she read texts such as this could be a reason for her seeing ghosts and for going mad. The fact that she goes mad could be a combination of her fascination with gothic novels and the surroundings that she has found herself in. It is rather like the character of Jack in Stephen King's, The Shining.

Whether the text, ghost sightings et al, can be described as a realist text is debatable. If you were to compare it to another realist text, such as Dickens' Oliver Twist, you could argue that it is not one. In Dickens' novel he relies on a setting that is very accurate to London and doesn't touch on such issues as the supernatural, however it does have some ideas that could be seen as being unrealistic, for example where Mr Brownlow talks about Oliver after he has taken him in,

(Oliver) was cast in my way by a stronger hand than fate (Chapter 4)

This shows that other realist texts contain things that are not entirely realistic. However in Victorian times, there was more emphasis or belief in religion and all things spiritual,

The use of the narrative in the novella is particularly interesting and contributes to the ambiguity. The story is actually told by an un-named narrator. His story is transcribed from the governess's manuscript, which was read out by Douglas several years earlier. Therefore, the story that we read is not the actual manuscript.

This could mean an awful lot of things. The story could certainly have been embellished, as ghost stories often are. This would support the fact that the novella is a realist text, as some of the details that suggest the governess's madness could have been made up or exaggerated. The un-named narrator could have changed any detail that he wanted to put his own slant on the text or make it more interesting for his audience.

I think that is why James has put so much emphasis on storytelling in the text. Of course, a story teller hasn't actually embellished any facts, as it is all one big story, written by Henry James. What I earlier stated about having to trust the governess to take the text as a realist one, is of even greater importance in The Turn of the Screw as you also have to trust Douglas and the un-named narrator.

As well as looking at The Turn of the Screw with realism and psychology in mind, you can also consider modernism and new criticism. Some modernists believe that we should ignore historical and social context, where as others believe it is of great importance. The latter often believe that texts do not reflect the world, but help shape it. They also often involve psychological elements and closure in their texts is very rare. Henry James did share a couple of these beliefs, despite being around before the First World War, the period most generally accepted as the start of modernism.

It is particularly interesting that Henry James has taken elements from all three of the movements that I have discussed to produce a text that could be talked about for hours on end, without ever finding the one, clear cut meaning behind it. He, himself wrote in a preface to his novel The Portrait of a Lady,

The house of fiction has in short not one window, but a million a number of possible windows not to be reckoned, rather, every one of which has been pierced, or is still pierceable, in its vast front, by the need of the individual vision and by the pressure of the individual will.

This statement, made by the author himself, sums up the reading of The Turn of the Screw. It basically states that it is up to the reader to take what they want from a text. It also means that the reader will read absolutely anything into his texts, every one of which has been pierced, or is still pierceable. Regardless of the intentionalist fallacy, the reader will take what s/he want from a text, a fact that James seems to be perfectly fine with.

In The Turn of the Screw, the literary conventions of realism and modernism only further the psychological concerns. The governess's and, to a certain extent, Miles's madness are induced by their environment and things the have happened to them in the past. The governess has a fondness for gothic novels and is in her first job of this kind. Miles has been abused, mentally and/or physically by Peter Quint.

The novel is a ghost story and therefore, you have to take on board certain facts about the genre to accept it. On the other hand, it is a story incorporating the psychology of the mind. The three issues that I have discussed work hand in hand and only enhance each other.

Bibliography

Primary Material

James, Henry, The Turn of the Screw (London Penguin, 14)

Pope, Rob, The English Studies Book Second Edition (London Routledge, 00)

Secondary Material

The Turn of the Screw A Ghost Story or a Delve into a Neurotic Mind (online) available at URLhttp//www.nku.edu/~emily/rauch.html (accessed 15th Nov. 00)

The Turn of the Screw, a History of its Critical Interpretations 188-17, Edward J. Parkinson PhD (online) available at URLhttp/www.turnofthescrew.com (accessed 15th Nov. 00)

James, Henry, 'Preface,' The Portrait of a Lady' (1881; Boston Houghton Mifflin, 16), p.7

Wilson, Edmund, 'The Ambiguity of Henry James' (14)

Dickens, Charles, Oliver Twist (London Penguin, 14)

Cargill, Oscar, 'The Turn of the Screw and Alice James' in The Turn of the Screw (New York W.W, Norton & Company Inc., 166)

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Business ethics, role of accountants in policiing and assessment process of social accounting, ethical issues faced by organisations and accountants, development of social accounting issues within organisations

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Social accounting is not another system to be imposed on an organisation it is more an approach, providing a framework which permits the organisation to report on its social performance in the fullest and most effective way possible. Social accounts make use of information which an organisation already gathers, reports which already have to be prepared, and consultations which are already carried out. Gaps in existing documentation and information systems will be identified and new methods of capturing information and gathering stakeholder views developed.

No organisation starts with a clean sheet. All organisations keep records about what they do, abOur staff and volunteers, about their members, about their clients and customers, about training organised, about their members etc. All organisations have records of meetings and produce various reports. This is valuable raw material which can be used in the social accounts. Usually there is much more in the bag than you realise, sometimes tucked away in different departments or different computers and not brought together or only used for one purpose when it could be usefully used to inform others as a part of the social accounting process.

The Five Stages of Social Accounting and Audit

Stage One Introducing Social Accounting and Audit

•What is it?

•Why do a social audit?

•What are the key principles?

•Understanding the jargon

•What do we already do towards a social audit?

•What do others do? history and current practice in different sectors

•Do we want to do it?

•Managing the Social Audit

Stage Two The foundations

•Clarify the social Objectives and the Activities undertaken to achieve them.

•State the Values which underpin the purpose and work of the organisation.

•Prepare a Stakeholder map of the organisation, and

•Identify the Key Stakeholders

•Determine the Scope of the social audit

Stage Three The nuts and bolts Social Book-keeping

•Agree the indicators which will allow performance to be assessed

•Identify what existing records and data can be used

•Decide what new, additional data will be collected and how

•Agree how and when to consult which stakeholders, and about what

•Organise the resources needed to carry out the social book-keeping and the stakeholder consultation

•Produce a Social Accounting Plan and time-table

•Implement the Plan and monitor progress

Stage Four Preparing and Using the Social Accounts

•Draft the Social Accounts using existing information, the data collected and the views of the stakeholders

•Identify the key issues on which the organisation should act

•Review the Objectives and Activities, and the Values

•Set targets for the future

•Review the social accounting process and make necessary adjustments

•Plan dialogue and discussion with stakeholders

•Review the social accounting process and make necessary adjustments

•Plan how to publish (a summary of) the audited Social Accounts to all stakeholders

Stage Five The Social Audit

•Appoint the members of the Social Audit Panel

•Present the social accounts to the Social Audit Panel

•The Panel arranges to verify a sample of the data used;

•Assesses the interpretations given in the accounts; and

•Comments on the quality of the social accounting and reporting

•The Social Accounts are revised in accordance with the Panels recommendations, and

•The Social Audit Statement is issued.

•Publish (a summary of) the audited accounts to all stakeholders

•Continue with the next cycle of social accounting

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Malaria

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Malaria is a disease which is common in; Central America, South America, Haiti, Dominican Republic, Africa, India, Southeast Asia, Middle East, and Oceania. It causes the destruction of red blood cells, which carry oxygen and nutrients throughout the body, and can result in a variety of things such as flu-like symptoms to death. There are 4 main types of Malaria; they are P. Falciparum, P. Vivax, P. Ovale, and P. Malariae. Malaria is a disease that can be treated and prevented. Although 00-500 people get Malaria a year and 1 to million people die a year of Malaria, and billion people live in areas were they are exposed to Malaria.

First there is the diagnosis and causes of Malaria. It is caused by the bite of a female Anopheles mosquito. The symptoms are Headaches, muscle aches, and fever possibly up to 106 degrees, chills, vomiting, coughing, and abdominal pains. The first symptoms usually appear within 7 to 1 days of the mosquito bite. The symptoms may be mild at first and similar to the flu. Once you are diagnosed with Malaria, you have "Malarial attacks." This is when for about two hours you have all of the symptoms named above. When the attack is over you feel better, but you are very weak.

Next there is the Treatment of Malaria. In most cases there are two drugs that can treat and cure Malaria. They are called Chloroquine and Primaquine. Some varieties of P. Falciparum resist the treatment of these drugs. In these cases doctors prescribe Quinine, Mefloquine, or Halofautrine. Chloroquine cannot only cure Malaria, but it can also prevent it. People who are traveling to places were they may be exposed to Malaria, should take Chloroquine before, during, and after their trip. P Falciparum may be fatal. It can lead to liver failure, kidney failure, fluid in the lungs, convulsions, a coma, or death in 7% of North American and European travelers.

There are many ways to Prevent Malaria today. Although there is currently no vaccine, there are many other ways to prevent it. They all include controlling the Anopheles mosquito. You can do this by getting your house sprayed by insecticides, putting netting in windows, and applying insect repellents when outside and to keep them out of there homes and off themselves. Also people are taking action in the environment, by draining, spraying, and filling in stagnant bodies of water.

So as you can see Malaria can be treated and cured, but in some cases may also be fatal. Since there is a high risk of Malaria in so many places, travelers and people who are exposed to Malaria daily need to be careful and take necessary precautions and you can easily keep from getting Malaria. Therefore, it is important to know that malaria can be treated, prevented, and even cured!

Please note that this sample paper on Malaria is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Malaria, we are here to assist you. Your cheap custom research papers on Malaria will be written from scratch, so you do not have to worry about its originality.

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How does Baz Luhrmann recreate the atmosphere of the Moulin Rouge, in the opening sequence of the film?

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Introduction.

Moulin Rouge, the Red Windmill situated in Montmartre, Paris, was recreated by Baz Luhrmann who inevitably made it astonishing for all in many different ways. The director creates an accurate, historical account of the Moulin Rouge at the turn of the century, from the 1th century to the 0th century. Many people quickly welcomed the base lines of the Moulin Rouge. The public had discovered a new dance with rhythm and proposition through the Moulin Rouge, and this was the French Cancan. It came to the public through the Chahuteuses who were the unruly girls. What with its boisterous rhythm and shocking costume designs along with the dance routines, the Moulin Rouge had become quite famous. These dancers who were seen to have elasticity in them because of the way their legs were launched in and out of the air.

'Moulin Rouge' a musical fantasy is set in a notorious, but glamorous nightclub in Paris, one of which everyone would dream to be set in. The director Baz Luhrman devised and utilised a method known as the Red Curtain style in the making of this film.

The techniques used in this film were very evident in the opening scenes of the Moulin Rouge. The Red Curtain style at the opening of the film indicates it is a typical Hollywood film, with its one main aim to promote the audience's participation. The story line is very thin, but not as simple as you would have presumed. It is about a writer called Christian who searches the Moulin Rouge to fall in love for the first time, and does so with a courtesan named Satine.

Baz Luhrman created the background, ideas, emotions, and priorities of the characters just as they were in the real world Moulin Rouge. It was as if by magic you escaped from any problems in the real world and absorbed yourself in a Bohemian artistic lifestyle, only believing in beauty, truth, freedom and love.

The term Bohemian lifestyle came from the movements' place of origin in Prague, which was capital of the state of Bohemia, which is now part of the Czech Republic. The money driven club's manager, Zidler and the duke reflects the nations and ethics of the real world that people sought to escape to inside the Moulin Rouge.

The film is a mixture of wild extravagance and intoxicating substances, with hallucinations, and as you watch the film you gather up a sense of distortion. Hallucinations in the sense that, because the fast moving dancers and the blinding colours the vision seems to cause confusion amongst the audience and gives a distorted feeling. The use of camera lighting and techniques are significantly effective throughout the film. At the beginning of the film there are tilt shots, crane shots and 45-degree angles of the camera that provides a giddy chaos mood for the audience.

The characters were very well premeditated and had a number of different characteristics. The main characters were an impecunious writer called Christian, who was played by Ewan McGregor, a rich, gripped and obsessed fan called the Duke of Worcester, who was played by Richard Roxburgh,

A considerate courtesan torn between love, named Satine, who was played by Nicole Kidman, and the ring leader of them all Zidler who was played by Jim Broadbent. Ewan McGregor and Nicole Kidman are seen as actors and actresses, but when Christian bursts into song and sings "The Hills Are alive With The Sound Of Music" the other characters' mouths drop open, this reaction would also be the reaction from the audience because they are finding that he has entered a musical film and not his normal genre film.

As the curtains open, there is the non diagetic sound of an applause in the background; signifying as the curtains open at the theatre, that it is the turn of the century. A conductor stands and conducts the commonly music heard at the beginning of Hollywood films that have been made. The significance of the conductor being stood there shows that the film has strong well played music and is as the band would play inside the Moulin Rouge. The music played which is "The Hills Are Alive With The Sound Of Music"; this indicates the genre of the film that of course is a musical. The curtains close and re open to introduce the '0th Century Fox' which has huge searchlights to signify the importance of the logo presented through the Red Curtain fashion production. Compared to the little spotlights upon the stage they are very insignificant towards the huge spotlights which show how important the logo is.

The title "Moulin Rouge!" pops onto the screen, whichis as if it has been stated as the title. Diagetic sounds are used throughout the film such as clapping, this is important because it represents the appreciation expected when the movie is released. At the end of the title there is an exclamation mark, which is dotted with a windmill, it is made known as a shocking, exciting bold statement which is what a title should imply. The Moulin Rouge film is a very loud film which stands out amongst the few, just like the title has done with the big bold exclamation mark. The windmill represents the Moulin Rouge because in French, Moulin Rouge is translated into English says Red Windmill. The Moulin Rouge title is set in Sepia tones of colour that are introduced to the scene; the conductor who is Baz Luhrmann himself is still conducting as the Cancan song comes on. Behind the credits are silhouettes of dancers dancing the Cancan, then as the title fades, credits come up making us aware that the production is a Baz Luhrmann production.

The scene opens in black and white with Toulouse Lautrec on the left hand side singing about Christian. Toulouse sings a verse of this song "The greatest thing you'll ever learn, is just to love, and be loved in return". The significance of Toulouse Lautrec being in black and white is that it represents what old films on scene used to look like before colour was introduced onto the scene. Before we even know the story line, we are shown the ending. As Toulouse is singing, we se images of Christian that are wiped off the screen. The type of colour tones are called Sepia tones which are implying that the film was set quite some time ago and the colours in the background are yellows and browns. The camera shoots down past Toulouse Lautrec in a tilted sort of manner and sets the scene with a black picture of Christian, he does not immediately come into colour, we get the impression he is depressed and upset. The colour starts to set in Christian's face is lit up on his right side with a blue light which emphasis the fact that he is not happy and is very upset. The blue light indicates depression and sadness. Baz Luhrmann has created this effect to show the audience how distraught and upset Christian is. There are editing techniques then used to show us the ways of how Christian is living. Blue lights highlight the typewriter; this is significant because the whole story is told through the typewriter. Empty bottles of beer are highlighted blue, which indicates Christian has been drinking alcohol. Alcohol drowns the sorrows and so that is why Christian is drinking it. The blue light signifies the mood that Christian is in, he is depressed because the one person he has fallen in love with for the very first time, he has lost and that person has died.

Mise-en-scene is French for what you see on the scene, for instance it was the character Christian on the right hand side as we come through the window with the camera, then on the left hand side there were blue-lit bottles and screwed up paper, then the typewriter which the whole story evolves around.

The movement of the actors in the film also illustrates the atmosphere. The characters on the dance floor move in a very fast, somewhat aggressive fashion. This recreates the effects that would have been achieved by the dancers in the Moulin Rouge at that time. The dancers were very fast moving, creating a dizzy sense. Baz Luhrmann does this to create confusion in the audiences' minds.

The actions of the Bohemian Revolutionaries in the premier scenes of the film are also very vigorous and almost larger than life, which was most likely the manner of such people in Paris and in other bastions of culture in Europe at that time. The actions taken by the Bohemian Revolutionaries was like a free will to do anything way of life. Their own rules, but not breaking any others.

Along with the actors' movements, the costumes and sets are also aspects of the film's making that add depth to Luhrmann's outcrop of the atmosphere of the Moulin Rouge at the height of its appreciation. There is a distinct contrast between the costumes of the dancers and the clubs' patrons. The dancers with their elaborate dresses and multi-coloured petticoats show the loud and intense atmosphere and nature of the Moulin Rouge. The colour red is also very common among these characters, which signifies the courtesan colour and nature of dancing and the way that they act. The way the dancers act is in a playful manner but not a pleasant manner for women to attend the Moulin Rouge. The women would lift up their skirts or dresses to the men and show off their fancy knickers.

The Moulin Rouge brings many emotions such as emotions like passion, anger and love; love being a support of fashion, anger being the dance routines, and passion being the love for the money. The suits worn by the characters such as Satine being the one in love but trying desperately to maintain her job as a courtesan. Christian who wears the suit of the love and at the begging and end of the film he wears the suits of the depressed and distraught. Then Toulouse Lautrec who wears the suit or happiness and drowning sorrows away. Zidler wears the suits of leadership. All these suits represent the serious and restrained life in the large metropolises that many wished to escape by entering the Moulin Rouge.

The lighting in Moulin Rouge plays its part and brings out the feelings from the characters. At the beginning of the film as the camera spins through

Montmartre and through Christian's window and greets his discontented face which is lit up by a blue light from one side, making the other half of his face look shadowy and ominous. This is showing the audience the mood of which Christian is in. During most of the scenes the lighting is very bright but for the bulk of the scenes, there is a feeling of depression found within them. The outside of the Moulin Rouge is dark atmosphere which signifies that being inside the Moulin Rouge which is full of vibrant colours and dazzling lighting, is better than being outside the Moulin Rouge. This represents the contrast between the reality world itself and the fantasy world of which the Moulin Rouge lies within.

There are other techniques in the mise-en-scene which are on film along with more advanced computer generated images such as the Green Fairy who was played by Kylie Minogue. These images were created in the minds of the characters because of the Absinthe of which they had been drinking.

Absinthe has a very high alcohol percentage; it is an alcoholic drink, which stimulates the sexual desires, and gets you very under the influence. In one of the beginning scenes Toulouse Lautrec, who is played by John Leguizamo drinks a glass of Absinthe, and because the drink is so high in volume, he dribbles because the alcohol makes the mouth insensitive and strapping.

Baz Luhrmann's Moulin Rogue provides a vivid image of the kind of impression that the original nightclub would have had on those who visited and beheld it at the Zenith of it popularity, at the turn or the 0th century. Luhrmann's use of the mise-en-scene is the pivotal point in this achievement, as well as the use of modern computered generated imagery, and including many of the ideas of the clientele most that view it. However the one undisputable factor regarding this film is that it conveys a sense of the atmosphere in the Moulin Rouge in its prime.

Baz Luhrmann recreates the atmosphere through out the Moulin Rouge with a huge sense of imagination, skill on camera and computer generated scenes. The lighting and scenery creates a better view for the audience to see what is happening in the screen. The lighting and sounds are effective through out the audience of the Moulin Rouge production. This creates the accurate atmosphere for the Moulin Rouge and the audience viewing it.

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College essay

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As a person, I have many aspects of a reliable, energetic, and excellent student. I became a member of the National Honor Society in my junior year. You have to hold four decisive factors to be chosen. The four factors are to have leadership, service, character, and be highly academic. I have done many services not only for my school but also for the community. I have joined many clubs such as Environmental Club, Key Club, Student Council, and also been part of the Girl's Tennis Team. I have also kept many leadership positions. I was the secretary of the Environmental Club in my junior year and was currently been chosen to be the president. I am also the co-captain of the girl's tennis team and an executive member of the student council. I became a member of the National Honor Society in my junior year. I have received First Honors and also the Principle Academic Award since my freshman year.

I have always liked to aid others in anyway I can. I have volunteered at the Meadowlands Hospital and helped the patients. I would get them water, food, and even get them a newspaper or magazine to read. I am involved in many school clubs and participated in many school and community activities. Being part of the girl's tennis team, I would help my teammates by being there for them if they need advice or help them in something they have trouble with. Also part of the Key Club, we go to nursing homes, shovel snow for the senior citizens, and other things that we can help our community. As a pharmacist, I could aid the patients in getting them there medications and answering any questions they might have. I may also make a difference to the world by discovering a new drug or producing a natural compound of beneficial value.

I am interested in studying pharmacy because since I was small I wanted to be interacted with people and go into medicine to help other people. However, I did not intend to become a doctor. I wanted to find a way I could help other people without having to face the sight of blood. As I did my research, my interest in pharmacy grew. Pharmacy is a practice of compounding the dispensing drugs. They are involved with their patients and inform them the use, hazards, interactions, and side effects of any drug that they give out. They make sure their patients are following their doctor's instructions on the way to use the medication and keep medical profiles to ensure that the patients won't have dangerous drug interactions. Pharmacists also are involved with the chemical and medical profession responsibility for discovering new drugs and producing organic compounds of beneficial value. I believe that I would be a great asset to your community.

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Is My Father My Dad?

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Is My Father My Dad?

I have been asked numerous times throughout my life what my dad is like. I have always asked the person to clarify if they want to know about my dad or my stepfather. Both have been a very important part of my life; however, they have significant differences. The same question always arises If a man is my father does that automatically make him a dad? I believe anyone can be a father, but it takes someone special to be a dad.

My biological father stands about five-feet ten-inches tall and reminds me of Santa Claus in a way, with his big belly, white hair, mustache and beard. From the time I can remember my father has always had a three-bedroom house big enough for his current wife and her child. Our weekend visits usually meant spending time with our stepmother and stepsister. Since my father was a truck driver he was gone most of the time. Weekends when he was at home I recall spending much of my time fighting for his attention, which left me feeling emotionally closer to him when he was on the road rather than when he was in the same room with me. I still have these same feelings after all these years. I never enjoyed seeing my father hugging and kissing my stepsister and pushing me away when my stepmother was in the room.

My father claimed he held high family values; everything he did was for his family. The part he frequently left out was that this only applied to his current family, not the children he had left behind, emotionally and physically. My father worked long, hard hours driving an eighteen-wheeler truck across the United States to provide for his family. Unfortunately, he did not use his money for his biological children. My mother stopped receiving child support payments when I was around six-years old. One day when I was around 11 years old my father told me "I will always be a truck driver. This is the only way I can stay away from the house and make my marriage work." My father quit school in the 11th grade and began driving trucks when I was approximately four-years old. He did not believe then or now that having an education would help anyone succeed in life. Life experiences are all the education you need, and if you need something someone will give it to you. Unfortunately this is my father and the way he is; luckily for me he was not the father figure in my day-to-day life.

Now to introduce my stepfather, he has been in my life since I was five-years old. My stepfather stands six-foot two-inches tall. Although he is very tall, he has always been a slender man. I remember to this day the large, six-bedroom house we grew up in; everyone had his or her own room for privacy. I can still remember playing baseball in the backyard, table tennis in the den and having my stepfather at my soccer games cheering me on. Although there were a total of five children in the house my stepfather always spent one-on-one time with each child, making us feel important and loved. I will never forget the Christmas when I was nine-years old; all I wanted that Christmas was a red fur coat. I found out fifteen years later that my stepfather spent two months driving around and calling every major store in an hour's radius of our home looking for a red fur coat. It was the last present I opened that day and though I did not know it at the time I learned what the true meaning of family and loving someone is. My stepfather was a very quiet, cold looking man on the surface, but when it came to family he was the warmest person I knew. He always seemed to know when I needed a hug to cheer me up or when I needed to be left alone to sort things out.

I believe my stepfather holds high family values; he was very focused on his family. He worked very long, hard hours in management for an aerospace company. He believed in being home every night with his family with an occasional business trip a couple of times a year. My stepfather once told me, "If your family needs help you should be there to offer any support you can. Always put your family before your career; it is the only one you will ever have." My stepfather graduated from college and went straight to work; he held one job his entire life until he chose to retire. From the time I can remember my stepfather always challenged us to be the best we could be at whatever came into our lives; he instilled in us that if we want something badly enough we will work hard enough to get it. He challenged us to attend college so we could have a career; a job is a job but a career will make our family successful.

Both my biological father and my stepfather have had major effects on my life. Although I do love my biological father, after all he did help bring me into the world, I do not consider him to be my dad. I will always consider my stepfather to be my dad; after all he has always provided the love and guidance that I needed while growing up. Anyone can be a father, but it takes unconditional love to be a dad. My father has taught me what kind of life I do not want, while my dad taught me how good life can be. Caring, loving and nurturing through the good times and the bad are some of the values that make a dad.

Please note that this sample paper on Is My Father My Dad? is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Is My Father My Dad?, we are here to assist you. Your cheap custom college paper on Is My Father My Dad? will be written from scratch, so you do not have to worry about its originality.

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Fall of Adam & Eve

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Artist's Summary 1 Michelangelo's bold clarity was in use with the Fall of Adam and Eve and the Expulsion from the Garden of Eden. Note the compositions three pilasters, the fallen pair to the left, the pair expelled from Paradise to the right, and the anthropomorphized tree of knowledge with the striking female tempter in the center with her legs wrapping the tree of knowledge, join arms at the top to form the letter M in uncial script. The composition's rhythm flows from left to right. Eve grasps at the fruit boldly, Adam acquisitively, for they wanted perfection. God became secondary. To the left, the intimate expression driven by pride and disobedience seems of as great as the misfortune of shame and guilt in the expulsion, on the right. They know that through the fall, God, who was near, has become more inaccessible and remote. No longer worthy of the garden, humanity's truth will have to be learned in the desert of our destiny. Salient is the cherubim with the raised sword pointing the way out. Good and evil have divided. This fresco is full of mysteries, which have their parallels in the artistic and the structural. Everything connects in his designs, but the terms are visual and symbolic.

Summary Comments from The Anchor Bible StudyThe stage set, action and suspense, psychological insight and subtle irony, light and shadow is all achieved in two-dozen verses. The characterization is all the more effective for its indirectness. Everything is transposed into human terms. The serpent is endowed with mans faculties, and even God is pictured in subjective and anthropomorphic fashion. When Adam has been caught in his transparent attempt at evasion, Yahweh speaks to him as a father would to his child. For what J (Yahwist) has thus evoked is the childhood of mankind itself. The target is much more than just to tell a story. The J work is the record of a spiritual experience of a whole nation. The nation is made up of individuals, who have their ancestry all the way back in time. The experience is retraced and recorded, the result is also great literature. The many traditions provide the author with his raw material. The focal point is the tree of knowledge. The eating of its forbidden fruit imparts "knowing good and evil." The idiom here is the sense of possessing mental and physical powers. Motifs as sexual awareness, wisdom and nature's paradise are familiar from ancient sources. J made use of traditions in Primeval History that originated in Mesopotamia. As a whole the narrative is synthetic and stratified. The author's genius makes an unforgettable contribution.

The Collegeville Bible Commentary Summary Their nakedness is a symbol of their relationship to God. Only with the disruption of that relationship is their nakedness an embarrassment. The serpent is judged as being cunning. In Hebrew, cunning (arum) forms wordplay with naked (arummim). This wordplay stresses the fact that man and woman become aware of their nakedness because of the cunning of the serpent. The story of Genesis says nothing about the serpents motives in tempting the man and the woman. 4 Indeed, the source of evil itself is left a mystery. It does tell us is that the presence of evil in the world is due to humanitys decision to oppose Gods directive. The author portrays both man and woman as listening to the serpent. The fact that woman is presented first may simply be a literary device that keeps the story moving. The temptation scene has all the characteristics of a universal depiction of temptation. This is the way every human being is tempted. The serpent, with an opening question, insinuates that God has some ulterior motive for the command, that God is keeping something from humanity. The woman jumps to Gods defence, but the serpent has succeeded in attracting her attention and proceeds with three half-truths (1) you will not die; () your eyes will be opened; () you will be like God, knowing good and evil (vv. 4-5). Humanity violated the limit imposed by God and appropriated the knowledge. Now humanity exists in the position of deciding for itself. It defines itself in rebellion against the Creator. Humanity does become like God in a sense that now it makes its own decisions, but it makes decisions as creature, without the breadth and depth of wisdom or vision of the Creator. In spite of sin and its consequences, life goes on. Yahweh's care for humanity continues. He makes them garments "covering up" their guilt and shame. Yet, humanity is unable to seize the Deity's prerogative of immortality.

My Reflection The painter knew how to blend forms and colours into harmony. Man and woman have come to know evil and the first way it shows initially is in their own bodies. The inner harmony is broken and concupiscence raises its head. Original justice has now destroyed the harmony they found in themselves. The control of spiritual faculties and the man-woman union is now subject to tensions and apprehensions. Relations become marked by lust and dominion. Harmony with creation is broken. Spiritual death and eventual death makes an entrance into human history.

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My reaction to the fresco is one of deep sadness, and then great anger. I'm sad and hurt that man, who was graced with immortality, upright (very good) and blessed as a friend in relationship with God, has the audacity to doubt God's truthfulness and yields to his own very selfish sensual appetites. I'm angry just thinking of the consequences of being expelled from the garden. I'm also scared and humiliated that my very own nakedness is my place in history as it emerges from humanity's expulsion from the garden. It is scary and intimidating to see our own frailty and weakness that is revealed in our own, very human nature. However, it is especially reassuring to know we have a God, who cares lovingly about our every need, whom did this for a mysterious greater good. Aside, what is striking in the fresco is the female serpent. 5

I choose these commentaries specifically since they mostly reflected my own thinking. So that you'll know, I agree whole-heartedly with both commentaries and summarized them in a manner that adds a foundation to my reflections. I apologize for my wordiness, longwinded I seemed unable to get it all in three pages. I suspect, I "bit off" to big a piece.

I am also greatly inspired by Aquinas' love of truth. In his Summa II-II, 180, 4, we contemplate the ultimate perfection of the human intellect is the truth of God. Other truths fulfil the intellect in view of the truth of God. This is the goal of human life as a whole. For the moment there is only of an imperfect contemplation of the truth of God.

The destiny of every human being seems to be decided by what goes on inside his skull while he is challenged with what goes on outside his skull. Each of us, instrumentally, designs his own life. Destiny shows that by diverse means we come to the same ends, and by similar means we come to diverse ends. We carry stuff in our heads telling us what to do and not do, we carry aspirations in images of the way we would like it to be, and among them, we put our shows on the road. These shows can correspond to the "good life" or they can become thwarted and distorted into shows of lovelessness, mindlessness or joylessness. How is it that the humanity with all its accumulated wisdom, self-awareness, and desire for truth can permit situations of pathos and self-deception? Is it because we have not evolved enough or grown up enough yet? There are certain bodily, mental and social functioning, which happen to man in spite of himself, that sort of slip out as it were, because they were programmed to do so. Some people don't know what they are doing to themselves and others. I guess to know what one is doing is the opposite of being programmed or scripted.

For me the artwork and the commentaries chosen culminate in a deep psychological game, the beginning of the game is the temptation and the end of the game is the expulsion consequences. The game also can be seen in a universal sense operationally in psychological terms as a manipulation or exploitation. It was looking through these game-centred eyes that I learned the most about games themselves.

In the quest for immortality, the tree of life, although not seen in the fresco, may have its origins from ancient materials. 6 We all play games because they are a rich source of strokes. By a stroke, I mean any form of attention or recognition. I believe the whole word is stroke-deprived, at least, to some extent. Games can be played hard or soft. Most games also occur outside of our awareness. Games are a way of filling time and advancing the action. Most games are soft and relatively harmless. However, the serpent's temptation game here is a very hard game since it results in tissue damage (eventual death) and spiritual damage (spiritual death). For these reasons I postulate that games are patterns of misguided attempts, which are motivated to get positive strokes that backfire, producing negative strokes that turn out wrong or badly. The serpent's game is such a pattern of manipulation or exploitation. It is a series of crooked ulterior operations moving to a well-defined pay-off. Crooked in the sense that they are not straight, direct, undiluted, simple and pure expressions. They are ulterior, since the serpent's operations are covert, hidden or concealed. The serpent has a hidden agenda. He cons. He pretends to be doing one thing while he is really doing something else. He cons with his opening question, "You shall not eat any tree in the garden?" On a social level this question seems innocent enough, however on the deeper psychological level it really challenges God. Please keep in mind, a confidence trick can only work if there is a weakness it can hook into, like a "gimmick" to get hold of in the respondent. In this case, the respondents are Adam and Eve and on a deeper psychological level their weakness is that they want perfection. They want to "be perfect." They fear death, but they want to be like God, immortal, eyes opened and knowing. So, how does the serpent "hook" his "mark"? He insinuates that God has some ulterior motive for His prohibition, that God is keeping something from humanity, which, of course, is exactly their weakness or the gimmick to get a hold on them. "You will not die." And now after the "mark" is hooked, he continues with a switch to get his pay-off. The switch is, "For God knows that when you eat… You will be like God, knowing good and evil." The serpent's pay-off is partly ostensibly impossible, for he wants to frustrate God's plan, and in part possible, to entice man into perdition. Adam and Eve collect their pay-off in bad feelings of shame and guilt followed by God's original justice.

I believe our major task is to embark on the painful search of our own games. No one should allow himself to use any form of deception or dissimulation. My goal is to be authentically honest, unswitching, aware of my own ulterior motives and be always willing to reveal them. The big question is not "Do I play games?" but rather "What games do I play?" We need to carefully analyze our own games and our unconscious life plans, so that we have an objective appraisal about our very own cons and gimmicks. With this knowledge, we can "calibrate" ourselves, that is, make the adjustments and compensations for our own exploitive and manipulative inclinations. God has given us the capacity, so we can recover our awareness in the here and now, so we can be spontaneous liberating ourselves from compulsion, and all through Him as the principle cause, we can be intimate with God and our neighbours. I feel a stronger growing interest in philosophy, religion and social action has given some new meaning to my life. I feel it also helps to understand what we have done and what others have done concerning their "soul" and "spirit" to free themselves from the slavery of manipulations and exploitations.

Bibliography and Notes

1. http//www.christusrex.org/www1/sistine/6b-fall.jpg. Michelangelo painted the ceiling of the Sistine Chapel from 1508 to 151, commissioned by Pope Julius II. The sixth scene in the chronological order of the narrative, The Fall and Expulsion from Garden of Eden, is depicted in the large field of the vault of the second bay, between the triangular spandrels. Picture enclosed.

. Spieser, E. A., The Anchor Bible Genesis Introduction, translation and Notes, Albright, W.F., Freedman, D.N., editors, Doubleday & Co. Inc Garden City, New York, 164, pages 0-8. This commentary seems more thorough and advanced with more textual and critical information.

. Viviano, Pauline A., The Collegeville Bible Commentary Based on the New American Bible, Old Testament, Bergant, Dianne, ed., The Liturgical Press Collegeville, Minnesota. 1, pages 4-45. This single volume has handy, relatively shorter, yet informative commentaries on individual books.

4. http//www.newadvent.org/www.nccbuscc.org/nab/genesis/genesis.htm. There is copy Genesis Chapter enclosed here.

5. Spieser, E. A., The Anchor Bible Genesis Introduction, translation and Notes, Albright, W.F., Freedman, D.N., editors, Doubleday & Co. Inc Garden City, New York, 164, page 6. Perhaps the artist's iconography was that found jointly in a single passage of the Gilgamesh Epic (Tablet I, column iv, lines 16ff., ANET, page 75), where Enkidu was effectively tempted by the temptress who marks his status by improvising some clothing for him (column ii, lines 7f, ANET, page77).

6. ibid., page 7. The tale of Adapa (ANET, pp. 101ff.) in the Epic of Gilgamesh makes use of a magic plant and a serpent in man's failed quest for immortality.

Creator God… help me to hear your word as I behold creation, the work of your hands. As I study created reality, help me to know that all this comes from you, and that the greater my understanding of creation, the greater the knowledge I will have of you, a Divine Creator. Thomas Aquinas

Please note that this sample paper on Fall of Adam & Eve is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Fall of Adam & Eve, we are here to assist you. Your cheap custom college paper on Fall of Adam & Eve will be written from scratch, so you do not have to worry about its originality.

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