`We Havent Seen A New Installment Of George Lucas Star Wars Saga Since

`We haven't seen a new installment of George Lucas' Star Wars saga since 1983's Return of the Jedi, but on May 19, 1999, Star Wars Episode 1: The Phantom Menace blasts into theaters with a fresh set of faces -- and some familiar names. Set nearly 40 years before the events of 1977's Star Wars: A New Hope, the story follows Obi-Wan Kenobi and his Jedi brethren as they struggle to help the young Queen Amidala maintain peace in the galaxy. Matters become complicated, however, when they meet eight-year-old Anakin Skywalker, a boy with a dark future.

buy custom Alcohol Drinking among College Students essay

buy custom Alcohol Drinking among College Students essay It is very evident that it is very hard for a college student to resist an offer such as another glass of beer? or here, have another beer on my bill. Due to this, college drinking habits have drawn concerns by public health on the consequences of engaging in heavy alcohol drinking by college students. It is clear that colleges students involve in drinking habits displays certain patterns which are attributed by factors such as peer pressure, access to large amount of alcohol and wrong decisions undertaken by this students. reports from the national survey indicates that from the year 1999-2005, college student who drank five or more drinks between the age of 18 and 24 increased from forty one percent to forty five percent calling for an alarm (Ham Hope, 720). This paper will greatly review on the reasons why college students involve themselves in excess drinking, in what ways are organizations within colleges intend to reform and improve school drinking behaviors and what are the consequences of consuming alcohol in excess. It was in the year 2002 when the national institute on alcohol abuse and alcoholism called for quick action toward the increased drinking among college drinking in the United States. Not only is excess consumption of alcohol affecting the individual but also other people who are round them. It is increasing been noted that most students engages in excessive drinking so as to signify their adulthood, to cope with stress and to enhance collective gatherings. With such an alarming rate in amount of alcohol being consumed by today college students as compared to the past, it is very important that we try to find out what are the main reasons that force these students to engage in excess alcohol consumption. Before trying to discuss the various reasons as to why college students engage in excessive rinking it is important that we first try to define and understand what excessive drinking is (Warner, 56). Excessive drinking is defined as high rates of consuming alcohol which are mainly associated to negative consequences towards an individual consuming it and the people close to him. There are several factors which are known to cause the high rate of drinking among college students. Some of these factors include; Peer pressure. Morean et al (230) observe that it is very important that we define what peer pressure is, the term peer pressure can be defined as how a teenager or an adolescents behaves in the influence or in the presence of her or his adolescents friends. In this case of excessive alcohol consumption, this term has been divided into two that is; active and passive peer pressure. In active peer pressure, a college student may receive an explicit offer to drink more alcohol or just receive spoken criticism for refusing to indulge in alcohol consumption. When in the presence of such friends, a college student may be forced to drink more alcohol so as to avoid such criticism. Other than criticism, one can be subjected to direct pressure such that they are made to participate in drinking games or ordering of many rounds of beer or wine while in the bars and discos. Since different college students dont want to shy away from the various explicit offer there indulge in these drinking spr ees without realizing the consequences involved. Unlike active peer pressure, passive pressure does not involve an adolescent being issued with an explicit offer but rather it largely depend on the teens desire to fit in and adopting the morals and practices being carried out by his fellow teens. The phrase everyone is doing it, why not me can be used to effectively describe what passive pressure refers to. Passive pressure can be divided to social modeling in tthe consumption of alcohol and perceptions that emerges from these excessive drinking. Research indicates that peer pressure affects male students as compared to their female counterparts , it also go ahead in indicating that it is considered to poses a 78.2% in the reasons as to why teenagers engages in excessive alcohol consumption (Warner, 60). Parties in both the campus and residential home. Ham Hope (750) point out that it is very evident that the culture of most college students revolves around holding parties and having fun. Colleges students often hold parties in the absence of their parents, this largely contribute to their great involvement in excessive drinking whereby they tend to consume what they see their parents consuming. For the most students who live off campus they tend to hold house parties where friends are able to gain access to alcohol as compared to the rate they would have gain access in bars and restaurants. Other than home parties, many campuses have on-campus pubs and restaurant where parties are held. In these restaurants people came together and forms groups called fraternity. These groups are associated with excessive consumption of alcohol within the campus. Due to the fame associated to these groups, more youth tend to join them for recognition where later they engage in excessive drinking. Expectancies. It is very important that adolescents and teenage are very curious and they tend to think that they are already mature. Due to the fact that most of parents have a tendency of drinking in the presence of their children, this teenagers expects that excessive alcohol consumption causes pleasurable moments in life. It is due to this are college students engaging in excessive drinking so as to obtain pleasurable moments away from their usual books and constant reading (CASE, 1). Buy custom Alcohol Drinking among College Students essay

Developing curriculum content Research Paper Example | Topics and Well Written Essays - 1500 words

Developing curriculum content - Research Paper Example Developmental approach in designing curriculum content asserts that curriculum should help students to learn the information which is necessary in performing day to day operations or tasks. This model emphasizes that curriculum should provide practical information and should help developing skills and learning capacities for better performance (Browder, et al., 2003). Developmental approach looks forward in developing student abilities to be an excellent performer in their life. This model recognizes students’ development as a sequential growth which starts with academics, then career and then social growth while curriculum should be designed to achieve objectives of all stages of students’ needs. Readiness approach as the name suggests is related to the entry level of students. It refers to particular skills and understanding of a student. Readiness approach suggests that in designing curriculum content, it is important to examine the mental standing of the student where the student is (Marcon, 2002). In an institutions some students may have well developed skills and understanding to complex topics because they were already exposed to learning opportunities but others may not have got the same chances (Muller-Ackerman, 2014). So, curriculum content must be designed considering the readiness of students and the level of their understanding. In contrasting scenario, no prior knowledge of students’ readiness may lead to an unplanned curriculum content which will hinder actual growth and learning of students (Olfman, 2003). Examining readiness provides a series of indicators whereas these indicators help understanding the expectations and needs of students. Based on thes e indicators educationists have better oversight of required curriculum contents which later produces greater learning and growth. Readiness approach as

New York State Politics Essay Example | Topics and Well Written Essays - 500 words

New York State Politics - Essay Example Some of the requirements required to get the card are proof of residency and identity. Special provisions have been put in place for the homeless residents who are also required to apply for the card. There are also provisions of protection put in place especially for people such as the domestic abuse survivors. There is also a platform for appeal for those denied the card. The cardholders are also required to be above 14 years of age and be residents of New York. These rules were put in place with the assistance of the HRA and in response to the online feedback and the October public hearing. The card comes with its benefits, which are benefits and discounts from the 33 city’s largest cultural institutions, which include the museum, art galleries and the zoos (Khurshid). These 33 institutions are on rent-free New York land enjoying the energy and subsidized operations in the city. They are beneficiaries to the $479.7 million spent on Cultural Institution Group (CIG) fiscal year 2013, which there are members (NYC.Gov). These are accounted for in the annual budget at the cultural affairs department that carries about two- thirds. The cards, however, are not membership cards to these institutions, as the holders are required to apply for their individual memberships in these institutions. These applied memberships are valid for a year from the day of signing up. Those who had previously applied for the membership will not be eligible although they will enjoy discounts from the institutions in which they were not members.

Criminal Law Assignment Essay Example | Topics and Well Written Essays - 2000 words

Criminal Law Assignment - Essay Example (Woolmington v. DPP)1 It is important to mention that for any offence to be proved it must be proved beyond reasonable doubt and the burden of proof is on the prosecution. Another important point that needs to be raised is that the actus reus and mens rea of the offence must coincide, however a broad approach int his respect has been adopted by the courts. The main elements required to prove an offence are actus reus, mens rea and the absence of any defence. (Lord Diplock in R v Miller)2 The actus reus and mens rea need to coincide, however the requirement is interpreted broadly. (Fagan v. Commissioner of Police3) One of the situation is where the conduct of the defendant created a situation of danger. (R v. Miller)4 The first point of homicide is murder. The actus reus of murder was provided by Sir Edward Coke in the seventeenth century whereby he stated that the act is committed if the defendant ‘unlawfully killeth any reasonable creature in rerum natura under the Queenâ€⠄¢s peace’. The definition of unlawfully does not include the killing of for example the use of reasonable force for self defence (Re a (Children)5. Clearly, Alice died because of the Barry punched her really hard on her head and therefore this is unlawful. As far as killeth is concerned that refers to the requirement that the acts of the defendant can be attributed to be a legal cause of death. Clearly the act of Barry had led to the death of Alice. As far as killing of the reasonable creature in rerum natura is concerned it means that a human life is taken. Clearly this is satisfied as Alice had died. Finally Queen’s peace means that it must have been within England and not the killing of an enemy at war. It can be assumed that Alice’s death occurred in England. Therefore on the facts the actus reus of murder has been satisfied. The next element is that of mens rea of murder which has been termed as ‘malice aforethought’. However, to be precise th e mens rea is the intention to kill or cause grievous bodily harm (Moloney)6 Intention discussed in Woollin and applied by Matthwes and Alleyne7 was described as defendants aim or purpose was to kill or cause grievous bodily harm or he know of such harm as being a virtually certain consequence of such an act, and any level below that of virtual certainty would not suffice. On the facts it is more than evident that Barry clearly did not possess the intention nor was he virtually certain of the consequences. Thus it is quite clear that the mens rea for murder is not satisfied. As far as voluntary manslaughter is concerned it is not relevant to the facts at hand as there was neither provocation or was there any diminished responsibility. Thus voluntary manslaughter in respect of the facts will not be argued. The next step is that of involuntary manslaughter. The first manslaughter that would be considered is that of reckless manslaughter. The change brought about by Moloney means that for manslaughter recklessness will suffice. However, on the facts it can be said that Barry was not subjectively reckless as he was not aware of the fact that Alice had an exceptionally thin skull. The next in line is gross negligence manslaughter which requires proof of a high degree of negligence. The approach can be seen from Lord Atkin’s judgment in Andrews v. DPP8 where he stated ‘[In the older cases] expressions will be found which indicate that to cause death by any lack of due care will amount to

Impact of Spanish Civil War on Surrealism Art

Impact of Spanish Civil War on Surrealism Art   This investigation assesses the significance of surrealist artists responses to the Spanish Civil War and how the experiences of the horrific event were documented visually. In order to evaluate such significance, this investigation examines the impact the events the war had on surrealist art in Spain, through the use of primary recounts of the wars impact on art and visual art history, mostly focusing on works by Salvador Dalà ­ and Pablo Picasso who became world renowned for their contribution. The Spanish Civil War broke out in the summer of 1936, as did the revolution within surrealist art. It was an event that did not just affect people locally, but on an international scale. Although, European art in general was impacted by the war, this investigation will not examine the effect the war had on continental surrealism, thus will only focus on Spanish artists and their work. As the leading artists in this movement were the Spanish born artists Picasso and Dali, they will be the central focus. Two of the sources used in this essay will assess are Surrealism and the Spanish Civil War by Robin Adà ¨le Greenley and The Secret Life of Salvador Dalà ­ by Salvador Dalà ­ will be evaluated for their origins, purposes, values and limitations. This investigation does not assess the difference in ideologies (Republicanism versus Nationalism) tearing apart Spain, nor does it assess other surrealist art movements in literature, philosophy, film, architecture or music. Background on the Spanish Civil War The summer of 1936 marked the beginning of a landmark event within modern European history: the Spanish Civil War, inviting with it a three-year tumultuous period of terror, destruction and persecution, shattering the nation. Its deep rooting ideological confrontations resulted in the intense commitment of all its participants and the loss of over half a million Spanish lives acted as a stimulus to the various international surrealist movements of the time, inspiring artists of all cultures. The creative energy focused on portraying political ideologies and illusions, the social idealisms and the military take on modern warfare, documenting the hopes and despair of the participants in this Kafkaesque war. The fall of the crumbling Spanish Monarchy and the dissatisfying Second Republic, and the electoral success of the leftist Popular Front, a rebellion against the newly elected government erupted. The Falange or the Nationalists, lead by General Franco, conducted a nationwide revolt, alongside General Mola. They managed to seize the key cities in Northern Spain, including Madrid. The Catalan and Basque country, both known for their persistent separatist movement, anarchism and socialism, unsurprisingly sided and remained loyal to the Republic. This politically polarized Spain, dividing the country into the Nationalist and Republicans. Mostly socialists, separatists, artists and intellectuals sided with Republicans. Franco wanted to follow Mussolinis example and establish a secular conservative regime and was supported mostly by the conservatives, the military, the royalists and the Clergy. Even though the Church and the Falange experienced some friction, they continued to remain in their marriage of convince because the Republic was seen as antidisestablishmentarian and lethally temporal. The Nationalists rose against the electoral Popular Front government and finally over threw it. The interferences from external powers such as Germany and the Soviet Union dragged out the war and worsened the conflict. Horrific events which paralyzed the country, such as the annihilation of the Basque country by the German Luftwaffes Blitzkrieg, served as inspiration which sparked the notion of a world exhibition in France, in 1937. The section dedicated to Spain was known was the Pavilion. Many artists, such as Dali, Picasso and Renau were asked to participate; each created a response to the many atrocities which occurred in the past year of the war. It was the first exhibition of its kind, prompting propaganda from countries such as Spain. Surrealism and the Spanish Civil War Surrealism, with no exact definition due to its ambiguous nature, is known for imaginative eccentricity and became a major movement in the late 1920s and throughout 1930s Europe; mostly in places like Germany and Spain. The twisted yet fantastic reality which surrealism creates is seen as an escape from the actual reality. Surrealist artist art is considered to be closely connected with Freudian psychological analysis, claiming that such warped art is an insight into a deeper psyche. The surrealist works of the Andalusian painters Dalà ­ and Picasso (amongst others) became signatures of the satirical content of the war, acting as world informants of the paralyzing happenings within the country. Although both artists had very different notions of surrealism, both artists depict the war in a grotesque, incomprehensible, violent and audacious manner which reflected the Civil War in all its accuracy. It can be concluded that the war distorted many perspectives of reality. Traditional elements of surrealism stemmed from the Dadaism movement and were subjected to metamorphosis by many artists who incorporated components from cubism, impressionism, Enlightenment and post impressionism as well as various other movements. In its purest form, surrealism had little or no affect on the civil war, in fact, prior to the war, it was much more submissive and discerning. However, the introduction of war perverted the movement in Spain most notably by Dalà ­s Autumn Cannibalism (1936) (fig. 2) and Soft Construction with Boiled Beans: Premonition of Civil War (July, 1936) (fig. 1) and Picassos Guernika (1937) (fig. 3). Such works were considered a mutation and mockery of works of artists from previous movements like El Greco whose work was considered contemporary for his time. The Spanish surrealist art culture became a symbol of the Spanish Civil War as well as its leftist orientation and the Republic. This demonstrated the highly interlinked nature of political and cultural developments in 1930s Spain. Architects, like Alphonse Laurencic, drew inspiration from the twisted works of Dali, Kandinsky and Klee among others to invent a form of psychotechnic torture found in the mind-bending prison-cells and torture chambers of Barcelona and elsewhere, built in 1938. Jose Millicua suggested that through the use of the psychological properties of colors and geometric abstraction found in these works, Laurencic created a hell that would physically distort and mentally disturb the victim connecting the growing art culture with the growing militaristic government. Section C Evaluation of Sources [400w] Surrealism and the Spanish Civil War was written by Robin Adà ¨le Greenley, a respected art historian, currently Latin American Studies professor at the Connecticut University. The book, published in 2006 by Yale University Press, New Haven, is a critical interpretation of Surrealist art works by five artists, including, Dali and Picasso. The purpose of Greenleys work is an attempt to unravel the correspondence between aesthetics and politics during the Spanish Civil War and focuses on surrealist aspects of the war, how they differed and were affected by the intense struggle plaguing the country. The value of the book is that there is a clear study of the correlation between the art and the events which took place. It is a secondary source, designed mainly for the purpose of educating. Greenley intimately analyzes how artistic practice offers unique insight into the cataclysmic debacle of war. The limitation of the book from a historical perspective are the existence of some peculia rities in relation to its subject because she examines the surrealist artists and their work immaculately, but fails to draw strong parallels between the political situation of the time and the drastic change of the movement. Her work, although useful, is mostly suited for contemporary aesthetics and critical theory. The Secret Life of Salvador Dalà ­ was written by Salvador Dali (published in 1942 in its original French, then in 2000, translated into English by Haakon M. Chevalier). The purpose of this source is a memoire, allowing an inside scope to Dalis life. The sources value is that it is a direct account from the leading artist of the Surrealist movement, providing the historian with a unique and personal insight as how the war impacted him and his work. Dali is considered one of the few misunderstood artists of his time and here the idea that his genius saves him from chaos allows us to understand him more. The book allows a deeper understanding of the awesome painter. It is a primary source and therefore is subjected to personal prejudice. Taking into account that the source is a personal memoire, Dali has grandiose his life and placed a very positive theme to everything he did with is ingenious use of words. This highlights the limitations of the source. However, he acknowledges some o f this over-the-top heroism on his part in the central chapters of his prose as false memories. The memoir written only three years after the war, and passions were still running high in Spain while many people were trying to exonerate themselves from the general violence and anarchy. Section D Analysis [650w] Both the civil war and the surrealist art movement are closely connected and referred to by Greenley, as the publics awakening of politics and pictures in the politically polarized Spain. It is an accurate description of the relationship between the cultural and political aspects of the war, pointing out how closely connected the two were, although they are often treated as two separate issues within the 1930s. Common Themes in Surrealist Art Spains political polarization was that of artistic polarization too. The Spanish artistic culture were more than just a visual voice of the wars terrors; they took a more proactive role within the war, thus recording and commenting on the accounts of the petrifying events from a firsthand perspective. The perversion of the surrealist art movement was done in a manner that possibly was perfectly collaborated between all artists. There is no evidence that suggests this, however. The idea of the body as a political metaphor for the country, the people, the artist, for the audience to relate to was simply a trend that caught on. The lewd art united the people, it was not only those who were suffering on Spanish soils, but those who had suffered from the previous war and the various other struggles that were happening concurrently or had passed recently. The surrealistic art evolved and functioned in ways that one can relate his stylistic consistencies to his wild political swings Both Gr eenley and Dalà ­ agree that that surrealism is the portrayal horrific metaphor for the physical annihilation of life. Prevalent abstract portrayal in surrealist works Fundamental components which make up work such as that of Dalà ­ and Picasso were considered contemporary, even for surrealism and, to some extent, were frowned upon and considered the assassination of painting. These innovative elements found in surrealism seemed to pervert the movement making reality more abhorrent and unnatural, but at the same time it acted as an escape from the living nightmares of their reality allowing life to have a more satirical texture to it. Things such as disembodied humans, genitals, death, destruction, furniture and foods even references to religion and Catholicism became the norm in surrealist works represented the supple irony of the artists lives as well as that of the people; they were painting from their perspective of a war that created a reality for the world that was so obscene, it could not be captured any other way Spains political polarization was that of artistic polarization too. The Spanish artistic culture were more than just a visual voice of the wars terrors; they took a more proactive role within the war, thus recording and commenting on the accounts of the petrifying events from a firsthand perspective. The perversion of the surrealist art movement was done in a manner that possibly was perfectly collaborated between all artists. There is no evidence that suggests this, however. The idea of the body as a political metaphor for the country, the people, the artist, for the audience to relate to was simply a trend that caught on. The lewd art united the people, it was not only those who were suffering on Spanish soils, but those who had suffered from the previous war and the various other struggles that were happening concurrently or had passed recently. The surrealistic art evolved and functioned in ways that one can relate his stylistic consistencies to his wild political swings Both Gr eenley and Dalà ­ agree that that surrealism is the portrayal horrific metaphor for the physical annihilation of life. Use of media Elements of Spanish Surrealism became mostly to do with fascism in a farcical, perverse form of display, causing a ruin of surrealism. This was mostly Dalis movement, joined with other surrealists like Rene Magritte and Max Ernst. Dali, in particular, served as the main revolutionary artist to this complex way of painting. The constant elements of his works were things he found some sort of fascination in as a child such as food, death, the idea of sexuality, the human anatomy, insects, a crutch, and various other strange items which he later turned into a satirical, metaphorical component for his work. The idea of the body as a political metaphor became a fast trend throughout Surrealists work. The body came to represent many concepts of the happenings within their lives. It was a metaphor for the artists body, a body wounded by war and its ritualized combat, personal strife of civilians and artists, of politicized or sexualized body, an indicator of unconscious desires as well as body mechanisms acting as a transgression of avant-garde within the social context. It was created in a fashion as a universal component; anyone and everyone could relate to the art effortlessly. Picassos Guernika (1937) utilized these aspects to create an unconscious conception of war, where the strong prey on the weak as a response to the Pavilion,capturing the violence and the disruptive nature of the confusion of private sexuality. It was a symbol of Guernicas struggle and suffering after its violation by the German Blitzkrieg attack. Dalis Autumn Cannibalism (1936) also took into consideration these components, as well as his signature elements to represent the Kafkaesque idea of the war with a more ironic twist than Picassos art. Dalis work making mockery of bourgeoisie and the subtle grotesque manner in which this war is carried out, an element of sadomasochistic aggression between the two faceless, closely entwined figures that have an almost parasitic feel to them, turning a seemingly amorous kiss into a fatal, inescapable trap; underlining the murderous violence depicted. Artists social and political issues in their work A majority of the art responses to the war were surrealist, proving an obvious correlation between the two events. The war had an overwhelming impact of the surrealist art movement inspiring artists such as Dalà ­ and Picasso throughout Spain. Section E Conclusion [200w] It is evident the Spanish Civil War had an impact on the surrealist visual art movement and altered, significantly, the ways in which the movement was captured. The fundamental elements and secondary components that such works were composed of obtained many satirical and metaphorical characteristics which were impacted very much by the war. Previously, the image of the body as a perverse form of political metaphor was not thought of and therefore rarely appeared in surrealist paintings for the mutation of the body was seen as sacrilegious, and in doing so, the already worrying contemporary art became aesthetically tormenting The perverse maturity of the images from artists such as Dalà ­ and Picasso have been used as ideal examples of this epic movement which altered not only the way people saw their reality but the global ideal of art and art history. The Spanish Civil War did impact surrealist visual art in Spain by forcing the elements of the work not only more uniform among the artists but changed them to represent something more than the war in their minds.

Symbols and Symbolism in Charlotte Perkins Gilmans The Yellow Wallpaper :: Gilman Yellow Wallpaper Essays Papers

Symbols and Symbolism in Charlotte Perkins Gilman's The Yellow Wallpaper  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Reflecting their role in society, women in literature are often portrayed in a position that is dominated by men. Especially in the nineteenth century, women were repressed and controlled by their husbands as well as other male influences. In "The Yellow WallPaper," by Charlotte Perkins Gilman, the protagonist is oppressed and represents the effect of the oppression of women in society. This effect is created by the use of complex symbols such as the house, the window, and the wall-paper which facilitate her oppression as well as her self expression. It is customary to find the symbol of the house as representing a secure place for a woman's transformation and her release of self expression. However, in this story, the house is not her own and she does not want to be in it. She declares it is "haunted," and that "there is something queer about it." Although she acknowledges the beauty of the house and especially what surrounds it, she constantly goes back to her feeling that "there is something strange about the house." Her impression is like a premonition for the transformation that takes place in herself while she is there. In this way the house still is the cocoon for her transformation. It does not take the form of the traditional symbol of security for the domestic activities of a woman, but it does allow for and contain her metamorphosis. The house also facilitates her release, accommodating her, her writing and her thoughts. These two activities evolve because of the fact that she is kept in the house. One specific characteristic of the house that symbolizes not only her potential but also her trapped feeling is the window. Traditionally this symbol represents a view of possibilities, but now it also becomes a view to what she does not want to see. Through it she sees all that she could be and everything that she could have. But she says near the end, "I don't like to look out of the windows even - there are so many of those creeping women, and they creep so fast." She knows that she has to hide and lie low; she has to creep in order to be a part of society and she does not want to see all the other women who have to do the same because she knows they are a reflection of herself.