Investigation of the crime or unlawful activity Essay

Investigation of the crime or unlawful activity - Essay Example For private investigators, their own learning and experience is the key. When in police as detectives in local, state, or federal agencies, the minimal educational requirement is high school diploma. Some departments may require 1 or 2 years of the college course or in some cases, a college degree. But most of them learn their skills from the intensive training in their agency’s police academy. They are supposed to comply with the law whether on or off duty. Besides, investigative agencies may hire specialized professionals such as forensic experts in case of the criminal investigation, CPA or other qualified management experts in case of the financial scam, depending upon the services required. Many such services are hired on the freelance basis. Expectations from society are high as they are seen as authority and the reliable figures to provide leadership and take charge of the situation.

Implementation of ISO 9001 Case Study Example | Topics and Well Written Essays - 1250 words

Implementation of ISO 9001 - Case Study Example Indeed, ISO 9001:2008 is the International Standard for Quality Management Systems of businesses. The design and purpose of the ISO 9001:2008 applies in any product or service, produced by any process anywhere in the world (9001Council 2013, p.1). The ISO 9001:2008 provides a set of principles for a company to ensure a common sense approach in the management of business activities for purposes of achieving consistent customer satisfaction. Upon implementation, the ISO 9001:2008 derives many benefits, which enables the improvement of operations in any business setup. Ideally, the ISO 9001:2008 involves developing quality management systems (QMS), management responsibility, resource management, product realization, measurement, analysis, and improvement (9001Council 2013, p.1). There are specific ISO 9001 requirements, which include establishing an organization's process-based QMS, documenting the organization's QMS, implementing the organization's QMS, maintaining the organization's Q MS, and improving the organization's QMS (9001Council 2013, p.1). ... ddress the implementation of ISO 9001 on organization workmanship performance in a case study that investigates the effects of ISO 9001 certification on organization workmanship performance using the construction industry. The case study compares the workmanship performance between ISO certified organizations and non-ISO-certified organizations (Iwaro & Mwasha 2012, p.53-67). Various companies seek to achieve ISO 9001certification for different reasons, which may include complying with a contractual or regulatory requirement, to motivate the staff by setting clear goals, and to satisfy the customers’ needs. In addition, companies seek ISO 9001certification as a factor in risk management programs and for purposes of achieving a competitive advantage over its competitors in the same industry who do not implement the ISO 9001 standards (ISO 2013, p.1). It is also a way of demonstrating the company’s commitment to quality and willingness to improving efficiency. Moreover, c ompanies seek the ISO 9001certification in order to boost the image and goodwill of the company to the employees, customers, and other stakeholders (ISOQAR 2013, p.1). In this context, the construction companies that sought to achieve the ISO 9001certification aimed at improving workmanship performance and workmanship factors in their respective companies. Indeed, through the implementation of the ISO 9001, these companies sought to enhance the designing process, improve workmanship quality, improve quality management system within their companies, and establish a management technique that would enhance workmanship performance (Iwaro & Mwasha 2012, p.60). Ultimately, the companies, which implemented the ISO 9001, sought to establish the extent of the relationship between ISO 9001 certification and

PE analysis of performance Essay Example for Free

PE analysis of performance Essay When playing rugby, my position is flanker. I have some obvious strengths and weaknesses when I am playing, and this piece of writing will consider these and evaluate ways to improve my performance.  I think that one of my main strengths as a flanker is pressurising the scrum half a lot. At scrums and rucks I am quick to move around the side to rush the scrum half into passing, possibly forcing an error, or just tackling the scrum half, enabling a turnover or if not it slows down the oppositions ball. This is a main strength required when playing flanker and I think that I use it well most of the time, but I have to be careful to stay onside so as not to give away any penalties. I think that a second strength in my game is that I am aggressive when making tackles or running with the ball. I have more agility because I run in a position where I can side-step relatively easily. I tend to tackle low, and run low when I am carrying the ball so it is more difficult to be tackled. I think that when we are playing I stay positive even if we are losing and try to motivate the team. I need to get a bit lower when I am running with the ball, if I want to get further, but I run low enough to gain a reasonable distance and I am able to shrug off tackles when running if I am aggressive. I think a main weakness in my game is that although I sometimes take a good crash ball, I tend to hang off the rucks too often and I need to get more stuck in because I might sometimes stand in the channel between the scrum half and fly half, which is getting in the way of a pass, and a phase of play in the backs may be better than one in the forwards. I need to stay in the rucks and mauls more often that I stand in the line. Also I think I need to improve my reaction time, especially when reacting to the stimulus, often being the referees whistle. This would suggest that I was concentrating wholly on the game, but if I was more aware of the stimulus then I would give away fewer penalties and infringements, but also, my game would be more disciplined. I could sprint rather than jog to the breakdowns sometimes, so that I could spoil more opposition ball or even turn it over. Improving Performance Over time I will take actions which will increase my strengths and decrease or totally get rid of my weaknesses. This section will help to prioritise the areas for improvement and the areas where my performance is at its optimum level.  I think that the most important of my weaknesses to work on is reaction to the stimulus. I am fairly disciplined, but if I could improve my reaction time then I would become much more disciplined and not make as many errors. I need to focus more on the game as a team sport and think of what effect my actions may have on the game and rest of the team E.g. giving away a penalty. The reason for my strength in putting the scrum half under a lot of pressure is the combination of strength and speed used to get around the breakdown quickly and hit him low and hard. Power enables this to be done with relative ease.  The reason for my main weakness is that I concentrate on one separate thing in the game, such as the man I am marking or the tackle I am about to make, rather than the whole game itself, such as offside and overlaps. I think that the target of giving away less that one penalty each game is easy to fulfil, and it should progressively lower to one per every two games and so on. Also taking training seriously as if it was a match and putting in all the tackles and looking for options instead of taking the first one that comes into my head. Assess the whole situation, not just one small part of it.  I could possibly keep a tally of how many infringements I make in match situations in training, and then aim to make less than this amount in a match. I could record the number I make in a match and aim to concede less in the next match that I played in.  To monitor the progress of my strengths I could record how many turnovers I make and how many times I force an error on the scrum half due to applying a lot of pressure. In training match situations I need to concentrate on the game and the teams performance, not just my own. Increasing my levels of fitness would allow me o get to breakdowns more quickly, thus making me less likely to stand out and possibly get in the scrum half and fly halfs channel. An exercise that would help to increase my strengths and at the same time help to diminish my weaknesses would be practising a rush defence from the triple threat position as it would help me to advance with the line and stay onside at all times possible.

The Different Scopic Orders Of The Modern Era Film Essay

The Different Scopic Orders Of The Modern Era Film Essay The modern era has allegedly been dominated by the sense of sight, in a way that has seen it set apart from the premodern era and the postmodern era. In his text Scopic Regimes of Modernity Martin Jay draws our attention to scopic order in the modern era, which is an area with many conflicting views that are not often in alignment with each other. Jay argues the point that there may not be one unified scopic regime, a term used by french film theorist Christian Metz, and that there is room for argument with the idea that there are a number of competing regimes associated with the modern era. Jay looks at the mirror of nature, a metaphor in philosophy by Richard Forty, the emphasis of surveillance that was put forward by Michel Foucault, and the society of the spectacle argued by Guy Debord. Jay also goes on to look at the arguably dominant scopic regime known as Cartesian Perspectivalism, what is normally claimed to be the dominant, even totally hegemonic, visual model of the modern era. Also discussed are the major competitors to Cartesian Perspectivalism, which includes mapping, which is, a visual culture very different from what we associate with Renaissance perspective, one which Svetlana Alpers has recently called The Art of Describing. and the third model of vision, which is best identified with the baroque. Wà ¶lfflin later called it, the classical style, the baroque was painterly, recessional, soft-focused, multiple, and open in his study, Renaissance and Baroque. Jacqueline Roses quote used by Jay to back up his opinion that there are many views which come into play when discussing the subject of scopic regimes, our previous history is not the petrified block of a single visual space since, looked at obliquely, it can always be seen to contain its moment of unease. (Rose, 1986, p.232-233.) Jays argument continues with him writing about the idea that this subject is not one of solidity. Bringing in the notion that the topic of, scopic regimes of modern ity, is best discussed on what he describes as, contested terrain, rather then harmoniously integrated complex of visual theories and practices. Modernity has often been considered resolutely ocular-centric, which is the act of basing all experience on the perception of the eyes, with sight being very direct and centered. The invention of printing reinforced the advantage of visual aids such as the telescope, which with its con-vexed lens helped expand the apparent angular size of distant objects. Along with the microscope, which aids the eye to see objects that are too small visually for the naked eye. These inventions helped put more emphasis on sight and vision. It is difficult to deny that the visual sense has been dominant in modern western culture in a wide variety of different ways, with Martin Jay calling visionthe master sense of the modern era. Scopic Regime, a term first coined by French film theorist Christian Metz in his book The Imaginary Signifier a study on cinema and psychoanalysis. It was used to distinguish the differences from the cinema to the theatre. What defines the specifically cinematic scopic regime is not so much the distance kept, the keeping itself (first figure of the lack, common to all voyeurism), as the absence of the object seen. (Metz, 1982, p.61.) The cinema is profoundly different from the theatre as also from more intimate voyeuristic activities with a specifically erotic aim. METZ It is the last recess that is attacked by the cinema signifier, it is in its precise emplacement that it installs a new figure of the lack, the physical absence of the object seen. In the theatre, actors and spectators are present at the same time and in the same location, hence present one to another, as the two protagonists of an authentic perverse couple. But in the cinema, the actor was present when the spectator was not (shooting), and the spectator is present when the actor is no longer. (Projection). A failure to meet of the voyeur and the exhibitionist whose approaches no longer coincide. (they have missed one another) The cinemas voyeurism must do without any very clear mark of consent on the part of the object. There is no equivalent here of the theater actors final bow. And then the latter could see their voyeurs, the game was less unilateral, slightly better distributed. In the darkened hall, the voyeur is really left alone.(P.63) In this text, Metz develops an analysis between film spectatorship and voyeurism. According to him, enhancing the essential property of the voyeuristic gaze that of keeping the desired, seen object at a safe distance from the viewing subject cinema locates its own data in the for- ever inaccessible, in a realm which is incessantly desirable but that can never be possessed, in the scene of absence. Cinema, in other words, shows us the world, and at the same time it takes it away from us. As Metz writes,  «what defines the properly cinematographic scopic regime is not the maintained distance, nor the care exerted in maintaining it, but the sheer absence of the seen object. Cinema is therefore a form of absolute voyeurism: it is founded on an unbridgeable distance, on a total inaccessibility. 3) Emphasize the prevalence of surveillance with Michael Foucault Our society is not one of spectacle, but of surveillanceWe are neither in the amphitheater, nor on the stage, but in the panoptic machine, invested by its effects of power, which we bring to ourselves since we are part of its mechanism. (Foucault, 1979, p.127.) Among French intellectuals in the 1960s and 1970s it was Michel Foucault who most explicitly interrogated the gaze of surveillance and Guy Debord and his situationist international collaborators who explored the vision of the spectacle. Together they provided an array of different arguments looking from different perspectives against the hegemony of the eye. With their work, the ocular-centrism of those who praised the nobility of sight was not so much rejected, as reversed in value. Vision was still the privileged sense, but what that privilege produced in the modern world was damned as almost entirely corrupting. Foucault called it the unimpeded empire of the gaze. (Foucault, 1973, p.39.) and Guy Debord called it society of the spectacle. (Debord, 1981, p.25.) Gilles Deleuze characterized Foucaults work as a duel investigation of articulable statements and fields of visibilities. Deleuze stated that Foucault continued to be fascinated by what he saw as much as by what he heard or read, and the archaeology he conceived of is an audiovisual archive Foucault never stopped being a voyant at the same time as he marked philosophy with a new style of statement. (Deleuze, 1988, p.50.) Allan Megill, a philosophical writer, has claimed that in his earlier more structuralist moments, Foucault was himself intent on portraying a lucent Apollonian world (Megill, 1983, p.218) within which ocular-centrism was neutrally accepted. The vision that should be incorporated into psychoanalysis Foucault insisted, had to be understood phenomenologically, taking into account the livid spatial experience that emerged from the bodys intertwining with the world. Authentic versions of that experience were undermined, he claimed if vision was reduced to its traditional Cartesian spectral role based on the dualism of subject and object. Foucault was drawn to Belgian Surrealist painter Renà © Magritte, Magrittes work frequently displays a juxtaposition of ordinary objects in an unusual context, giving new meanings to familiar things. The representational use of objects as other than what they seem is typified in his painting, The Treachery of Images, which depicts a pipe that looks as though it is a model for a tobacco store advert. Magritte painted below the pipe ceci nest pas une pipe translated it means This is not a pipe, Which would appear to be a contradiction, but in reality it is a true statement. The painting is no t a pipe, just an image of a pipe. When Magritte was once asked about his painting, he replied that of course it was not a pipe, just try and fill it with tobacco. Magritte used the same approach in a painting of an apple, he painted the fruit realistically and then used an internal caption to deny that the item was an apple. In these works Magritte points out that no matter how closely through art we come to depicting an item accurately we never actually catch the item itself. Foucault explored a more visibly explicit version of interaction within Magrittes work, he described Magrittes canvases as the opposite of trompe loeil which is an art technique involving extremely realistic imagery in order to create the optical illusion that the depicted objects appear in three dimensions because of their understanding of the mimetic conventions of realistic painting. Foucault also referred to them as unraveled calligrams as they refused to close the gap between the image and the world. Resemblance serves representation which rules over it; similitude serves repetition, which ranges across it. Resemblance predicates itself upon a model it must return to and reveal; similitude circulates the simulacrum as an indefinite and reversible relation of the similar to the similar. (Levy, 1990, p.44) The Panopticon (all-seeing) functioned as a round-the-clock surveillance machine. Its design ensured that no prisoner could ever see the inspector who conducted surveillance from the privileged central location within the radial configuration. The prisoner could never know when he was being surveilled mental uncertainty that in itself would prove to be a crucial instrument of discipline. French philosopher Michel Foucault described the implications of Panopticism in his 1975 work Discipline Punish: The Birth of the Prison Hence the major effect of the Panopticon: to induce in the inmate a state of conscious and permanent visibility that assures the automatic functioning of power. So to arrange things that the surveillance is permanent in its effects, even if it is discontinuous in its action; that the perfection of power should tend to render its actual exercise unnecessary; that this architectural apparatus should be a machine for creating and sustaining a power relation independent of the person who exercises it; in short, that the inmates should be caught up in a power situation of which they are themselves the bearers. To achieve this, it is at once too much and too little that the prisoner should be constantly observed by an inspector: too little, for what matters is that he knows himself to be observed; too much, because he has no need in fact of being so. In view of this, Bentham laid down the principle that power should be visible and unverifiable. Visible: the inmate will constantly have befo re his eyes the tall outline of the central tower from which he is spied upon. Unverifiable: the inmate must never know whether he is being looked at at any one moment; but he must be sure that he may always be so. In order to make the presence or absence of the inspector unverifiable, so that the prisoners, in their cells, cannot even see a shadow, Bentham envisaged not only venetian blinds on the windows of the central observation hall, but, on the inside, partitions that intersected the hall at right angles and, in order to pass from one quarter to the other, not doors but zig-zag openings; for the slightest noise, a gleam of light, a brightness in a half-opened door would betray the presence of the guardian. The Panopticon is a machine for dissociating the see/being seen dyad: in the peripheric ring, one is totally seen, without ever seeing; in the central tower, one sees everything without ever being seen. Foucault also compares modern society with Jeremy Benthams Panopticon design for prisons (which was unrealized in its original form, but nonetheless influential): in the Panopticon, a single guard can watch over many prisoners while the guard remains unseen. Ancient prisons have been replaced by clear and visible ones, but Foucault cautions that visibility is a trap. It is through this visibility, Foucault writes, that modern society exercises its controlling systems of power and knowledge (terms Foucault believed to be so fundamentally connected that he often combined them in a single hyphenated concept, power-knowledge). Increasing visibility leads to power located on an increasingly individualized level, shown by the possibility for institutions to track individuals throughout their lives. Foucault suggests that a carceral continuum runs through modern society, from the maximum security prison, through secure accommodation, probation, social workers, police, and teachers, to our e veryday working and domestic lives. All are connected by the (witting or unwitting) supervision (surveillance, application of norms of acceptable behaviour) of some humans by others. Or look into the society of the spectacle with Guy Debord The entire life of societies in which modern conditions of production reign announces itself as an immense accumulation of spectacles. Everything that was directly lived has moved away into representation. (Debord, 1977, par.1.) With the term spectacle, Debord defines the system that is a confluence of advanced capitalism, the mass media, and the types of governments who favor those phenomena. The spectacle is the inverted image of society in which relations between commodities have supplanted relations between people in which passive identification with the spectacle supplants genuine activity. The spectacle is not a collection of images, writes Debord rather, it is a social relationship between people that is meditated by images. In his analysis of the spectacular society, Debord notes that quality of life is impoverished, with such lack of authenticity human perceptions are affected, and theres also a degradation of knowledge with the hindering of critical thought. 4) Cartesian Perspectivalism, is normally considered the dominant hegemonic scopic regime of the modern era. It is a way of seeing both then and now, a method of perception that represents space and the subjects and objects in that space according to the rules of Euclidean geometry. Renaissance painters, such as Brunelleschi, and Alberti, who was known as a draftsman rather than a painter, developed a geometric space complimentary to the mathematical space of Descartess philosophy. Perspective in painting projects a plane onto its object of study and creates a one-to-one correspondence between points on the plane and points on the canvas. Brunelleschi, who is traditionally accorded to the honor of being the practical inventor of perspective, he begun by using architectural figures such as buildings, ceilings, and tiled floors which easily match the grid structure of the projective plane.   Later, other objects were fitted and shaped within the geometrical patterning of linear perspect ive. Alberti is acknowledged, almost universally, as being the first theoretical interpreter of perspective. He regarded mathematics as the common ground for art and sciences. I will take first from the mathematicians those things which my subject is concerned. (Alberti DELLA PITTURA) The scopic regime that was interpreted Descartes philosophy is usually identified with Renaissance notions of perspective in the visual arts and the Cartesian ideas of subjective rationality in philosophy. Art historian William Ivins, Jr., in his Art and Geometry of 1946 said that the history of art during the five hundred years that have elapsed since Alberti wrote has been little more than the story of slow diffusion of his ideas through the artists and peoples of Europe. Richard Rorty discussed Descartes ideas in his writing Philosophy and the Mirror of Nature, published in 1979. He claimed, in the cartesian model the intellect inspects entities modeled on retinal images In Descartes conception the one that become the basis for modern epistemology it is representations which are in the mind. These two prominent social commentators, have illustrated their view which is considered to be be equivalent to our view of the modern scopic regime. The aforementioned quotes assume that Ca rtesian perspectivalism is the main visual model of modernity, these authors believe it best expresses a natural experience of sight validated by the scientific world view. (maybe say it in a simplified form too.) In his famous essay Perspective as Symbolic Form, Panofsky, a German art historian, highlights the break made through linear perspective by contrasting Renaissance painting with that of Greek and Medieval works.  Ã‚   Prior to the Renaissance, painting concerned itself with individual objects, but the space which they inhabited failed to embrace or dissolve the opposition between bodies.   Space acted as a simple superposition, a still unsystematic overlapping.  Ã‚   With linear perspective comes an abstract spatial system capable of ordering objects: As various as antique theories of space were, none of them succeeded in defining space as a system of simple relationships between height, width and depth.   In that case, in the guise of a coordinate system, the difference between front and back, here and there, body and nonbody would have resolved into the higher and more abstract concept of three-dimensional extensions, or even, as Arnold Geulincx puts it, the concept of a corpus generaliter sumptum (body taken in a general sense). (Panofsky, 1991, p.43-44.) Jay says This new concept of space was geometrically isotropic, rectilinear, abstract, and uniform. The three-dimensional, rationalized space of perspectival vision could be rendered on a two-dimensional surface by following all of the transformational rules spelled out in Albertis De Pittura, and later agreements by Viator and Dà ¼rer. A basic painting device occurred from these findings with the use of symmetrical visual pyramids, or cones, with one of their apexes receding towards the vanishing point in the painting, the other into the eye of the painter. Significantly the eye was singular, and not the normal two eyes of binocular vision. The device was made in the manner that just one eye would be looking through a peep-hole (Kemp Science in art pg 13) at a scene in front of it. Brunelleschi used a peep-hole and mirror system for viewing this perspective demonstration of the Florentine Baptistery. Brunelleschi had drilled a small hole in a panel of wood at a point equivalent to that at which his line of sight had struck the Baptistery along a perpendicular axis. The spectator was required to look through this drilled hole from the back of the panel at a mirror held in such a way, so that it would reflect the image. The eye of the viewer would be fixated and unblinking rather than dynamic. In Norman Brysons terms it followed the logic of the Gaze rather than the Glance, which produced one single point of view. Bryson, who is an art theorist, calls this the Founding Perception of the Cartesian perspectivalist tradition. the gaze of the painter arrests the flux of phenomena, contemplates the visual field from a vantage-point outside the mobility of duration, in an eternal moment of disclosed presence; while in the moment of viewing, the viewing subject unites his gaze with the Founding Perception, in a moment of perfect recreation of that first epiphany. With this visual order arose many implications, with the abstract coldness of the perspectival gaze, which meant the painters emotional connection with the objects they depicted in geometricalized space was lost. The gap between spectacle and spectator widened. Cartesian perspectivalism has, in fact, been the target of a widespread philosophical critique, which has denounced its privileging of an ahistorical, disinterested, disembodied subject entirely outside of the world it claims to know only from afar. (Jay Cartesian perspectivalism itself that it suggest it was not quite as uniformly coercive as is sometimes assumed. Although artificial perspective was the dominant model, its competitor was never entirely forgotten. John White, an artist, distinguishes between what he terms artificial perspective, in which the mirror held up to nature is flat, and synthetic perspective, in which that mirror is presumed to be concave, thus producing a curved rather than planar space on the canvas. The Cartesian perspectivalist tradition contained a potential for internal contestation in the possible uncoupling of the painters view of the scene from that of the presumed beholder. Norman Bryson identifies this development with Johannes Vermeer , who represents for him a second state perspectivalism even more discarnated that that of Alberti. The bond with the viewers physique is broken and the viewing subjectis now proposed and assumed as a notional point, a non-empirical Gaze. This observation opens up more consideration, that there is an alternative scopic regime, that may be understood as more than a sub-variant of Cartesian perspectivalism. 5) Mapping, or as Svetlana Alpers called, The Art of Descriping. A visual culture very different from what is associated with the Renaissance perspective. According to Alpers the hegemonic role of Italian painting in art history has occluded an appreciation of a second influential tradition which flourished during the seventeenth-century Dutch art. contrast realist and naturalist fictionthat the Italian Renaissance art, for all its fascination with the techniques of perspective, still held fast to the storytelling function for which they were used. GEORGE LUKACS Summarizing the contrasts between the art of describing and Cartesian perspectivalism, Alpers points out the following oppositions: attention to many small things versus a few large ones; light reflected off objects modeled by light and shadow; the surface of objects, their colours and textures, dealt with rather than their placement in a legible space; an unframed image versus one than is clearly framed; one with no clearly situated viewer compared to one with such a viewer. The distinction follows a hierarchical model of distinguishing between phenomena commonly referred to as primary and secondary: objects and space versus the surfaces, forms versus the textures of the world. (ALPERS) The non-mathematical impulse of this tradition accords well with the indifference to hierarchy, proportion, and analogical resemblances characteristic of Cartesian perspectivalism. Instead it casts its eye on the fragmentary, detailed, and richly articulated surface of a world it is content to describe rather than explain. 6) Baroque Painting The third model of vision, best identified with the baroque. As early as 1888, and Heinrich Wà ¶fflins study, Renaissance and Baroque, art historians have been tempted to find connections between the two styles in both painting and architecture. In opposition to the lucid linear, solid, fixed, planimetric, closed form of the Renaissance, or as Wà ¶lfflin called it, the classical style, the Baroque was painterly, recessional, soft-focused, multiple and open. The Baroque style began as somewhat of a continuation of the Renaissance. Later, however, scholars of the time began to see the drastic differences between the two styles as the Renaissance style gave way to Baroque art. Baroque architecture, sculpture, and painting of a dramatic nature were powerful tools in the hands of religious and secular absolutism, and flourished in the service of the Catholic Church and of Catholic monarchies. The Baroque artists were particularly focused on natural forms, spaces, colors, lights, and the relationship between the observer and the literary or portrait subject in order to produce a strong, if muted, emotional experience. The Council of Trent (1545-63), in which the Roman Catholic Church answered many questions of internal reform raised by both Protestants and by those who had remained inside the Catholic Church, addressed the representational arts by demanding that paintings and sculptures in church contexts should speak to the illiterate rather than to the well-informed. Due to this Baroque art tends to focus on Saints, the Virgin Mary, and other well known Bible stories. Religious painting, history painting, allegories, and portraits were still considered the most noble subjects, but landscapes, still life, and genre scenes rapidly gained notoriety. Nativity by Josefa de Óbidos, 1669, National Museum of Ancient Art, Lisbon Rorty, Richard, Philosophy and the Mirror of Nature (Princeton: Princeton University Press, 1979) Rose, Jacqueline, Sexuality in the Field of Vision (London: Verso, 1986) p.232-233. Metz, Christian, The Imaginary Signifier: Psychoanalysis and the Cinema (Bloomington: Indiana University Press, 1982), p.61. Foucault, Michael, Discipline and Punish: The Birth of the Prison, trans, Alan Sheridan (New York, 1979), p.217. Foucault, The Birth of the Clinic: An Archaeology of Medical Perception, trans. A.M. Sheridan (London, 1973), p.39. Debord, Society of the Spectacle. trans. Ken Knabb (Berkeley, 1981), p.25. Deleuze, Gilles, Foucault, trans. and ed. Sean Hand (Minneapolis, 1988), p.50. Megill, Allan, Prophets of Extremity: Nietzche, Heidegger, Foucault and Derrida (Berkeley, 1985), p.218. Levy, Silvano, Foucault on Magritte and Resemblance, The Modern Language Review, 85,1 (January 1990), p.44. Debord, Guy, Society of the Spectacle (Detroit 1977), par.1. Panofsky, Erwin.   Perspective as Symbolic Form. New York: Zone Books, 1991. 41-43.

The birds :: essays research papers

In the course of this film we see Melanie develop as a person through confronting the things she fears. Melanie confronts many fears through the course of the film and grows as a person as the film progresses. She goes through a lot in the film and the story implies that she has found herself by the end of the film. The story is of course a thriller but behind the thriller is Melanie’s journey. Melanie’s journey is very quick. She was extremely immature and lost at the beginning of the film and is some what grown up by the end. At the start of the film Melanie was very immature and lost. She is very rich and seems to want to do something with her life. She apparently spends time with charity and other activities of the sort. She is a prankster who apparently went skinny dipping in a fountain at Rome. She also wants to teach a miner bird lewd saying to give to her linguistic aunt. She must be very lost and has no direction in life. Through this film she gains a little more maturity. Melanie gains more maturity through the film. She acts like a lost little rich kid at the beginning and through the film she begins to show a little more maturity and self respect. She begins to see who she really is under all the confidence and pranks. She is needed in the film and she needs that responsibility to become a woman. She gains more responsibility and she becomes a woman, at last. The bird attacks give that catalyst that is needed to start her to become a responsible grown up. She needs the birds to let her become the friend of Cathy, the friend of Lydia and the girlfriend of Mitch. She needs the birds to let her become a protector and a great friend of Annie. She becomes a great person because of the love she shows for the family.

Free Oedipus Rex Essays: The Role of Characters :: Oedipus the King Oedipus Rex

The Role of Characters in Oedipus the King Characters play a very important role in the play "Oedipus the King" by Sophocles. Without characters, the play would lack a certain dimension and be very difficult to read. The presence of characters in the play make it more easily understood. If characters did not appear in the play it would be close to impossible to understand it since everything that takes place is through the words of the characters. Also if there were no characters the outcome of the play would be different. The significance of characters in the play is very obvious. Without them the play would be much shorter and much more boring. The role of characters is very important to the play. Characters make the play possible just by the virtue of existing. If they did not exist the play would not either. If the play did not exist then the characters would not either. The characters and the play are codependent and need to have a symbiotic relationship to ensure their mutual survival. A lack of characters in the play would make very difficult reading and perhaps more difficult viewing. A lack of characters would necessitate some other device to be used and a substitute has not been found that replaces the role characters play in a play. An example from the play is when Oedipus was speaking to Teiresias: "I did not know then you would talk like a fool ­or it would have been long before I called you". If there had not been any characters in this play, this could not have happened. If the play did not have characters the outcome would be much different. All the actions and conversations could not have taken place without the use of characters. Characters made the play and its tragedy possible. Without characters nothing could have taken place. They made it possible for Oedipus to kill his father and have sex with his mother and for everything that was bad to happen. If Jocasta or better Oedipus did not exist within the context of the play everyone would have been much happier and the tragedy could have been avoided. Even if the herdsman who saved Oedipus as a child did not exist or the messenger from Cithaeron the tragedy of the play would have been avoided and made for a much happier ending.

Remember the Titans

Remember the Titans Directed by Boaz Yakin, Remember the Titans explores racism in the community of Alexandria and the struggles of dealing with an integrated society, school and football team. Remember the Titans makes evident that ultimately the community of Alexandria are the real winners after the Titans gain victory at the Championship and the public learn to accept the opposite race and treat them with newfound respect. The creation of friendships, their attitudes towards each other and realising opportunities are all positives that came from the gradual acceptance of change.Characters in the film form friendships within the community whether they’re African-American or Caucasian, subsequently to the good example set by the Titans’ Championship team. This is seen through Julius Campbell and Gerry Bertier when they are placed in a room together on football camp causing agitation between the two. Julius and Gerry first meet when they are seated together on the bus a nd Coach Boone announces â€Å"the person I have you sitting next to is the same one that you’ll be rooming with for the duration of this camp†.The two characters show their hate for each other in many ways, the first being on the bus Julius tells Gerry he â€Å"can shut-up†, causing more conflict between the two. Together with the encounter over a poster in their room, it’s clear the two are far from friends. Although as the team starts pulling together and begin to win their games of football this changes dramatically. Gerry listens to Julius and lectures one of the team members, Gerry’s best friend about his terrible blocking for one of the African-American players.This results in Julius and Gerry shouting â€Å"left-side† â€Å"strong side† at each other, being the start of a close friendship and unity. This great friendship develops over time and they soon become so close they call each other â€Å"brother[s]† and Gerry in vites Julius over to meet his â€Å"mama† which is a big deal, considering at the start of their friendship Gerry’s mum didn’t agree with it. Sheryl and Nicky become friends after the Titans work as an integrated team and they gradually grow to have similar interests instead of being totally opposed to spending time with each other.In the beginning of the film the two girls were totally different, Sheryl not putting in any effort to â€Å"play dolls† or Nicky refusing to play basketball because she â€Å"just did [her] nails†. Ultimately they get excited with each other about the Titans winning streak and celebrate by hugging and jumping around together. This shows friendship formed because of the Titans and the team’s victory. The success of the Titans is a positive reflection on the relationships formed within the team, where their cohesion allows the rest of the Alexandria community to see the benefits of amalgamation and inter-racial res pect.Conclusively the whole town of Alexandria benefitted and were the winners after all, due to the Titans helping form friendships. In the film, Remember the Titans the town of Alexandria was disadvantaged by being segregated, where not only were the people in the community missing out on friendships opportunities, but also business and team opportunities. They were missing out on a different, more helpful and compassionate way of life. An example of this is the business that turns away Petey and Blue to eat there because they’re African-American.The diner misses out on a sale not only then, but from all the other hundred or more Negro people that would purchase food there if they were accepted. But instead they were told â€Å"to head out back and pick it up from there† as if having a person with a different appearance in their diner would affect business sales. â€Å"in Virginia, high school football is a way of life,† and throughout Remember the Titans the team are significant social leaders, to both races; black and white.Especially after the Titans win the Championship, the audience sees Alexandria realise that their people are all the same, and finally start to treat each other with some respect. â€Å"You taught his city how to trust the soul of a man, rather than the look of him†¦Ã¢â‚¬  If Alexandria was still segregated the friendships wouldn’t be the same: the Titans might not have won the Championship game, Coach Yoast could have received a place in the â€Å"Hall of Fame†, Gerry wouldn’t have had the car accident, they wouldn’t have accepted change, and they would still be as close minded, biased and prejudiced as they were the year before the game.The town showed a real change after the Titans won the Northern Regional Championship Game, all the people of the town whether they were black or white were there to cheer and congratulate the team on their victory. This was a huge change in the a ttitudes of the township. Although the change was hard, the town is better of being integrated due to the transformation after the win thanks to the Titans. It is the tragedies and mistakes within Remember the Titans that cause the community of Alexandria to learn and develop in order to ultimately benefit from the example of the Titans.Even though the town eventually advanced greatly from the example set by the Titans not everybody in the film was a ‘winner’. Ray Budds was part of the Titans, but as the team advanced in their acceptance Ray did not change in the way he felt about integration. Eventually he was removed from the team by the person who used to be his best friend, Gerry, after he â€Å"missed the block on purpose†. This consequence for Ray helps the team move forward together after gaining more unity and helping each other more, with no negative relationships in the team.Coach Yoast also had to sacrifice something to help the Titans; willingly Yoast gives up his spot in the â€Å"Hall of Fame† so that the team can fairly win one of the games of football they play. Even though he had worked extremely hard for that spot, he realised that it was not right to let the other team cheat on his behalf to acquire the Hall of Fame place. Coach Yoast understood that the people choosing the recipient were a â€Å"bunch of rednecks† and that himself and his daughter Sheryl would work just as hard to be the receiver of the Hall of Fame place next year, once the judgemental people realised he was a worthy recipient.Ultimately the town and the people in the town had to sacrifice some important things in their lives after they realised it was the right thing to do, making the town of Alexandria a better, happier, integrated town. Throughout Boaz Yakin’s Remember the Titans people change, to overall make the town of Alexandria a better place to live and work. No matter what race, people in Alexandria are accepted. Being abl e to accept something different is a difficult task and the Titans set the example and helped Alexandria as a whole to be winners. Remember the Titans Sherry Holloway Analysis Essay Remember the Titans Based on actual events that took place in 1971, this movie is about the racial and social tensions of the South. Alexandria, Virginia is a community torn apart by racial hatred and the order to integrate their public high schools. Reluctantly, the school board replaces Bill Yoast (Will Patton), the popular white coach, with Herman Boone (Denzel Washington), a reputable black coach, as head coach of the T. C. Williams Titans football team. Yoast, under an invitation from Boone, accepts the position as coach of the defensive line.Together they inspire, not just the team, but the town to â€Å"Trust the soul of a man rather than the look of him. † This is a brilliant movie that not only entertains, but teaches a life changing lessons. Remember the Titans shows its viewers to look further than a person’s outward appearance and look at a person’s soul. Racism and football is the backdrop for the clash of leadership st yles and personal perspectives that each man must learn and understand in order to become a winning team.Furthermore, this movie goes beyond the lesson of racism, it also teaches unity, trust, loyalty, and integrity. First, while they are at football camp the racial tensions come to a head and cause an outpour of hatred as the coaches integrate the all-white team with the all-black team. It’s not until one white player is partnered with one black player and forced to find out personal information do they start to realize they are all somewhat the same on the inside. Another lesson that came out in this part of the film is that not all prejudices occur between different ethnic groups.Ronnie Bass (Kip Pardue) arrives at football camp, with long blonde hair, just having moved from California. The team quickly nicknames him â€Å"Sunshine† because they assume that since he is from California and has long hair, he must be gay. Next, unity is brought to light when the captai n of the all-white team, Gerry Bertier (Ryan Hurt) confronts the captain of the all-black team, Julius Campbell (Wood Harris) about his team playing as individuals and not a team. Things start to turn around when Julius tells Gerry â€Å"Actions eflect leadership, captain†, that’s when Gerry realizes he is not being a good leader and letting the team down. Additionally, when the team gets back from camp they quickly realize the town does not share their newly unified team loyalty and some of the team members start to regress and lose their trust in unity. Once the team rallies and shows the town that they are working together and are loyal regardless of skin color most of the town follows the lead of the football team and accepts the new coach and team members.Unfortunately, not all the town is so accepting and some try to sabotage a football game, with the officiating, to cause the team to lose. Coach Yoast sees what is happening and stops it, showing his loyalty is t o the team and not the school board. Finally, the team is losing in the State Championship and Coach Yoast is still letting his pride stand in the way of asking Coach Boone for help with the defensive line.It takes Coach Yoast’s nine year old daughter, Sheryl (Hayden Panettiere), encouraging him to trust a man’s soul rather than his looks to finally unite the two coaches. All in all, Remember the Titans shows how reverence is a stern antidote for racial hatred and bigotry. The sport of football became a workshop for teaching the young and old about racial harmony, trust, and loyalty. People said that it could not work, black and white, but the Titans made it work every day. Remember the Titans Remember the Titans Directed by Boaz Yakin, Remember the Titans explores racism in the community of Alexandria and the struggles of dealing with an integrated society, school and football team. Remember the Titans makes evident that ultimately the community of Alexandria are the real winners after the Titans gain victory at the Championship and the public learn to accept the opposite race and treat them with newfound respect. The creation of friendships, their attitudes towards each other and realising opportunities are all positives that came from the gradual acceptance of change.Characters in the film form friendships within the community whether they’re African-American or Caucasian, subsequently to the good example set by the Titans’ Championship team. This is seen through Julius Campbell and Gerry Bertier when they are placed in a room together on football camp causing agitation between the two. Julius and Gerry first meet when they are seated together on the bus a nd Coach Boone announces â€Å"the person I have you sitting next to is the same one that you’ll be rooming with for the duration of this camp†.The two characters show their hate for each other in many ways, the first being on the bus Julius tells Gerry he â€Å"can shut-up†, causing more conflict between the two. Together with the encounter over a poster in their room, it’s clear the two are far from friends. Although as the team starts pulling together and begin to win their games of football this changes dramatically. Gerry listens to Julius and lectures one of the team members, Gerry’s best friend about his terrible blocking for one of the African-American players.This results in Julius and Gerry shouting â€Å"left-side† â€Å"strong side† at each other, being the start of a close friendship and unity. This great friendship develops over time and they soon become so close they call each other â€Å"brother[s]† and Gerry in vites Julius over to meet his â€Å"mama† which is a big deal, considering at the start of their friendship Gerry’s mum didn’t agree with it. Sheryl and Nicky become friends after the Titans work as an integrated team and they gradually grow to have similar interests instead of being totally opposed to spending time with each other.In the beginning of the film the two girls were totally different, Sheryl not putting in any effort to â€Å"play dolls† or Nicky refusing to play basketball because she â€Å"just did [her] nails†. Ultimately they get excited with each other about the Titans winning streak and celebrate by hugging and jumping around together. This shows friendship formed because of the Titans and the team’s victory. The success of the Titans is a positive reflection on the relationships formed within the team, where their cohesion allows the rest of the Alexandria community to see the benefits of amalgamation and inter-racial res pect.Conclusively the whole town of Alexandria benefitted and were the winners after all, due to the Titans helping form friendships. In the film, Remember the Titans the town of Alexandria was disadvantaged by being segregated, where not only were the people in the community missing out on friendships opportunities, but also business and team opportunities. They were missing out on a different, more helpful and compassionate way of life. An example of this is the business that turns away Petey and Blue to eat there because they’re African-American.The diner misses out on a sale not only then, but from all the other hundred or more Negro people that would purchase food there if they were accepted. But instead they were told â€Å"to head out back and pick it up from there† as if having a person with a different appearance in their diner would affect business sales. â€Å"in Virginia, high school football is a way of life,† and throughout Remember the Titans the team are significant social leaders, to both races; black and white.Especially after the Titans win the Championship, the audience sees Alexandria realise that their people are all the same, and finally start to treat each other with some respect. â€Å"You taught his city how to trust the soul of a man, rather than the look of him†¦Ã¢â‚¬  If Alexandria was still segregated the friendships wouldn’t be the same: the Titans might not have won the Championship game, Coach Yoast could have received a place in the â€Å"Hall of Fame†, Gerry wouldn’t have had the car accident, they wouldn’t have accepted change, and they would still be as close minded, biased and prejudiced as they were the year before the game.The town showed a real change after the Titans won the Northern Regional Championship Game, all the people of the town whether they were black or white were there to cheer and congratulate the team on their victory. This was a huge change in the a ttitudes of the township. Although the change was hard, the town is better of being integrated due to the transformation after the win thanks to the Titans. It is the tragedies and mistakes within Remember the Titans that cause the community of Alexandria to learn and develop in order to ultimately benefit from the example of the Titans.Even though the town eventually advanced greatly from the example set by the Titans not everybody in the film was a ‘winner’. Ray Budds was part of the Titans, but as the team advanced in their acceptance Ray did not change in the way he felt about integration. Eventually he was removed from the team by the person who used to be his best friend, Gerry, after he â€Å"missed the block on purpose†. This consequence for Ray helps the team move forward together after gaining more unity and helping each other more, with no negative relationships in the team.Coach Yoast also had to sacrifice something to help the Titans; willingly Yoast gives up his spot in the â€Å"Hall of Fame† so that the team can fairly win one of the games of football they play. Even though he had worked extremely hard for that spot, he realised that it was not right to let the other team cheat on his behalf to acquire the Hall of Fame place. Coach Yoast understood that the people choosing the recipient were a â€Å"bunch of rednecks† and that himself and his daughter Sheryl would work just as hard to be the receiver of the Hall of Fame place next year, once the judgemental people realised he was a worthy recipient.Ultimately the town and the people in the town had to sacrifice some important things in their lives after they realised it was the right thing to do, making the town of Alexandria a better, happier, integrated town. Throughout Boaz Yakin’s Remember the Titans people change, to overall make the town of Alexandria a better place to live and work. No matter what race, people in Alexandria are accepted. Being abl e to accept something different is a difficult task and the Titans set the example and helped Alexandria as a whole to be winners.