Mary Shelly’s Frankenstein is a story that explores issues of isolation

Mary Shelly’s Frankenstein is a story that explores issues of isolation, domestic affection and the many hardships of society Mary Shelly’s Frankenstein and domestic affection Mary Shelly’s Frankenstein is a story that explores issues of isolation, domestic affection and the many hardships of society, it was published in 1818. Mary shelly wrote the book two years before but had problems getting it published, as women did not have the power to publish novels, it was the males in society who had the power to publish novels at the time. During the time Mary shelly was writing the novel there had been a French revolution overseas in America and the Declaration of independence had been instated. Many of the characters in Frankenstein may portray the actions of the changes in the world at the time. Mary shelly explores the nature nurture debate through Victor the creature and the delaceys. The nature nurture argument addresses lots of different and conflicting views in the development of children. Many people believe that people are born evil and that there is nothing as parents they can do about it. But many believe this is laziness shown by the parents of that child and they believe that the child becomes good or evil, due to the amount of love and protective guidance given to the child from its Parents. Shelley teaches us all well the long-range effects of spoiling a child to the extreme in her novel Frankenstein. Set in the mid-19th century, the novel details the life of Victor Frankenstein, Justine, Elizabeth, the delaceys and the monster he created to tackle issues of isolation, domestic affection and the many hardships of society. However, it also serves as a model of the ultimate repercussi... ...t in if he wanted to have a family that loved him and nurtured him. He starts to realize that this is the end for his hopes of a normal life. The creature tries to be accepted into the family by speaking to the blind man, the blind man is oblivious to any faults the creature may have. Agatha fainted, and safie unable to attend his friend rushed out of the cottage. Felix darted forward and with a supernatural force tore me from his father, to whose knees I clung; in a transport of fury, he dashed me to the ground with a stick .I could have torn him limb form limb, as a lion rends the antelope. He now realizes that all hope is lost of ever finding a family that will love him and show him domestic affection and so wallows in self pity. He then burns down the delaceys house at it is a symbol of a nice warm family that he is not apart of so he destroys it.

Comparative analysis of formalist and realist film theory Essay

Current essay provides a comparative analysis of formalist and realist film theories, based on theoretical approaches, innovations, critical findings and film-making practice of such renowned representatives of both currents of the film theory as Eisenstein, Arnheim and Bazin. Before beginning the analysis of the abovementioned subjects, one should point out that the difference between form and real material in genuine film-making is dialectical. In cinematograph ideas and reality juxtapose to create certain synthesis. This effect is produced by means of formal processing of real visual content. Ideas of a director may be realized with the help of formal elements such as montage, focus, as well as additional means like sound and special effects. This means that even those directors that seek to portray objective reality do not merely reproduce it, but put into their films their ideas, thoughts and concepts. As any form of art, cinematograph heavily depends on its technical (instrumental) and artistic (ideal) means, which are realized with the help of the former. Formal elements are necessary means for every creative director to transmit his/her own ideas and vision of reality. This, however, should not overstate the fact that formal elements may be used to deviate objective reality and help construct ideological and biased vision thereof. The contrary may be also true with respect to pseudo-realist films, which pretend to portray objective reality, while in fact create mere copy of it, devoid of any intellectual content. This can be used for justification of existent reality. This is the case for the majority of commercial films and contemporary film-making industry in general, which is centered on using different forms and genres in the view of getting profit. These aspects and meaning of form and reality representation in the film theory should be taken in consideration in this comparative analysis of realist and formalist film theory. There is no denying the importance of the fact that Eisenstein was among the founding fathers of formalist film theory, as he was the first to develop the theory of montage and specific usage of film editing. These elements of cinematograph constitute the first cornerstone of formalist film theory, as it was developed in Eisenstein’s major works Beyond the Shot and Dramaturgy of Film Form. According to Eisenstein, cinema is mainly about montage (Beyond the Shot, p. 13). Using montage is both technical and artistic procedure, since it helps create meanings by means of combination/copulation of different images or situations. Thereby, as Eisenstein constantly states, the artistic effect is created, which is important in the visual type of communication provided by cinema. Eisenstein, for instance, tried to show this phenomenon referring to Japanese hieroglyphs, which often create new meanings by means of copulation (Beyond the Shot, p. 14). The most important thought Eisenstein tried to communicate was that formal elements of film production are central to realization of artistic greater ideas and the work with various materials ranging from historical scenes to innovative scenarios. Montage, according to Eisenstein, is not independent vis-a-vis objective and ideational representation of reality. Besides this, it should be noted that in correspondence with formalist film theory, the inability to use formal elements properly leads to degradation of films as the form of art, and moreover, this precludes realization of director’s ideas – that is ‘intellectual’ film-making. Arnheim, another noted representative of realist film theory, claimed that visual representation of reality in film radically differs from physical perception of reality. This difference, according to Arnheim, gives significance to formal elements of cinema, which create artistic effects. Arnheim’s thorough analysis of these formal features shows that, if properly used, they may produce interesting emotional effects on spectators (Film and Reality, 323). Arnheim claims that creating images in film is neither two-dimensional, nor three-dimensional, but represents golden middle. He provides us with example of the scene from Ruttmann’s film Berlin, where the director creates juxtaposition of the second and the third dimension by making a shot of two trains moving in opposite directions. Film representation of this movement, according to Arnheim, creates certain impression and that is, what differentiates film images from real ones (Arnheim, 324). This vision of form in the film production was often regarded as manipulative by such representatives of realist film theory as Andre Bazin, who claimed that formal elements preclude real communication between spectators and film’s images and plot (The evolution of the language of the cinema, p. 48). However, even so opposed to each other, formalist and realist tradition both criticize positivist realism in cinematograph for its ideological function and positivism. According to Arnheim, documentary genre is not the same as pure reproduction of reality; instead, it is difficult artistic work. Bazin’s great love for documentaries as the representations of objective reality should also be understood considering the abovementioned distinction. Eisenstein’s approach to film production unlike realist school represented by Bazin is based on dialectical theory, which sees the collision of opposites, their simultaneous integrity and negation as a cornerstone of every art. Eisenstein said that shot is not an element, but dialectical cell, which rests in organic unity with entire film. Contrary to that, realist film theory, represented by Bazin, draws on personalist perspective, which believes that a film should be a representation of auteurship. Bazin is deeply opposed to formalist perspectives, because he thinks that it breaks world in many little pieces and prevents genuine and autonomous perception of reality. Instead, Eisenstein puts particular emphasis on dialectical conflicts between shots, counterpoint of music and shot sequence etc. , which makes his formal approach look integral and all-embracing. As he claims, the knowledge of these formal dependencies is the core of genuine film production (Beyond the Shot, 16-17). Bazin in his rediscovery of realism in the history of art ends with a statement of great opposition between pseudorealism (which reproduces illusionary appearances) and realism which distributes the truth among spectators. According to Bazin, formalist film-making exemplified by Eisenstein and others extracts meaning from real images and makes it a product of subjective manipulation with reality, rather than its realist representation. Instead, Bazin claims that realism in film-making is focused on genuine representation of reality, which can be achieved by such technical means as ‘shot-in-depth’, focus or even wide shots (The Evolution of the language of the cinema, p. 49-51). Hence, Bazin does not reject formal elements as such, but transforms them to achieve the purpose of realist representation. The continuity of images and shots should not, however, be interrupted by montage manipulation like in formalist theory; the auteur should follow the unfolding of reality. This means that time and space should not be artificially separated by montage, which is the case with Eisenstein’s formalism, but instead, artistic truths should be found in the articulation of difficult relations between time and space. (As a result, a spectator has more possibilities of interpretation and autonomous understanding). Deep shot, according to Bazin, helps spectator to get closer to the image, which creates ambiguity of interpretation, which is more artistic than subjective manipulation (Bazin, p. 50). Moreover, it helps maintain the integrity of the image and specific elements in it, which is according to Bazin, no less important than montage (Bazin, p. 49). These are the basic similarities and differences between formalist and realist film theories. Main approaches of these theories are essentially exemplified by two famous films: Battleship Potemkin by Eisenstein (USSR, 1925) and Red Desert by Antonioni (Italy, 1964). Battleship Potemkin is a silent film by Eisenstein, which may be considered as practical realization of his formal montage theory. First of all, Eisenstein designed this film to be a propaganda of socialist revolution and, that is why, he put emphasis on emotional messages against repression and for heroism of ordinary people. Eisenstein extensively uses rhythmic and intellectual montage to create certain meaning and emotional effects. This can be best exemplified by famous scene on Odessa steps, where Tsarist forces massacred civil population. Eisenstein uses close-ups and montage juxtapositions of Tsarist’s forces and victims of massacre. The dramatic close-ups of victim’s faces and cold and brutal faces of the soldiers create deep emotional effects, which is the cornerstone of formalist film theory. Wonderful example of shot juxtaposition in the film is the image of baby carriage falling down the stairs and soldiers’ legs going down after it. The montage sequence of this scene has certain artistic meaning: it portrays the brutality of Tsarist regime and its inhuman character and articulates these features by showing the images of its innocent victims. The relations between these two shots are intellectual, that is they help spectators interpret separate images and give meaning to them. Opposite realist theory can be best exemplified by Antonioni’s Red Dessert. The film may be characterized by avoiding manipulation with montage. Instead, author’s realist vision of human alienation, loneliness and ugliness of modern civilization is realized through examining continuity of urban life, its relations and contradictions. Such elements of realist film theory as deep focus, wide shots, and color arrangements. Colors in Antonioni’s film also play formalist function, as he uses different tones and colors for depicting reality. For instance, plants in the film and surrounding objects are represented in red color, which creates certain emotional effects and embeds ambiguity. The result may be described as empathy into the destiny of man in industrial world, which helps poetically describe protagonist’s relations with it. To sum it up, main examples of realist and formalist approach were analyzed, and basic feature of both theories were revealed.

We Need A 2016 A Great Year - 924 Words

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It is expected that a prospective single marry within their social class and religion. Marriage within the same social class is necessary because of the separation seen in Turkey. Turkey is very unlike the United States in the

Classic Airlines Marketing Solution-Mkt 571 Free Essays

Classic Airlines Marketing Solution WK 3 MKT 571 University of Phoenix Abstract Presently Classic Airlines is one of the largest airline carriers in the world. Last year the company had a net income of $10 million dollars on operating revenues of $8. 7 billion. We will write a custom essay sample on Classic Airlines Marketing Solution-Mkt 571 or any similar topic only for you Order Now The year before the company had a net income of $71 million on 8. 5 billion of operating revenues (Classic Airline Scenario, 2010). The net income has decreased $61 million in one year. One of the reasons for the huge decrease in net profit is because of marketing strategies. The company needs to take three stepsto turn the company around. First it needs to analyze the internal and external pressures that has created the present crisis. Second it needs to formulate a problem-solving method, and third it needs to apply the problem-solving method to the current crisis. Analyze current situation {draw:frame} Rising costs, particularly of fuel and labor, have limited Classic Airlines to compete for the valued frequent fliers (Classic Airline Scenario, 2010). To protect the company from possible bankruptcy, a 15% cost reduction has been implementedover the next 18 months. Each department will have cuts, with marketing hardest hit at 21. 5% reduction versus sales and operations at 11. 5% (Classic Airline Scenario, 2010). The following shows the cost reduction goals by department (Classic Airline Scenario, 2010). To make sure Classic Airlines does not go into bankruptcy, the marking department needs to focus on three issues. First, the internal and external pressures causing the decrease in net income needs to be identified. A plan to decrease or eliminate the identified internal and external pressures needs to be formulated. Second, the challenges of the marketing department needs to be solved. The third and final step is to formulate financial strategies by examining possible available resources and other airline’s marketing solutions. Internal and external pressures Classic Airlines is faced with many external and internal pressures. External pressures include the present consumer uncertainty about flying. After the September 11, 2001 terrorist high jacking of anAmerican commercial aircraft, every airline has suffered the worse consumer’s crisis the country has ever experienced. Since the terrorist attack on airplanes, consumers have an unpleasant feeling about air safety. The travel downturn after September 11 has subsided, Classic Airlines overestimated the reversal,and expanded too quickly. That caused Classic to face a restrictive cost structure (Classic Airline Scenario, 2010). Shortly after the terrorist attack, the county entered its worse economic downturn since the Great Depression,which severely crippled the economic stability of world markets. The rising costs of fuel and labor has affected Classic Airlines ability to compete for the frequent flier. Because of increased uncertainty about flying, the economic downturn, and increased labor and fuel costs, Classic Airlines has seen a 10% decrease in share prices in the past year. Other external pressures include: fierce price cutting from competitors, negative effects of the public created low employee morale, and declining confidence of the consumers. The internal pressures includean increasingly volatile union climate and the lowest employee morale in the company’s history. The financial statements including the balance sheet, income statement, and cash flow statements shows a company headed for financial disaster. Last year the net income of the company was $10 million, however;the year before the net income was $71 million, for a decrease of $61 million in one year. To counter further financial crisis the company has mandated a 15% cost reduction over the next 18 months. If the company can’t meet the 15% reduction, the company faces bankruptcy (Classic Airlines Scenario, 2010). Other internal pressures include: increasing cost of labor, low margins, poor employee morale, decrease in customer satisfaction, poor customer service management, and expensive marketing budgets. Objectives,_ obstacles, and resources available in the marketing department _ The main obstacle in achieving the marketing objectives are that Classic Airlines can’t cut prices further. The profit margins can’t decreased to lower levels. The company’s Customer Relationship Management (CRM) is not focused on consumer satisfaction. The Customer Relationship Management department has caused faithful customers to turn to the Internet for their travel needs. Another problem is that the company is trying to avoid bankruptcy by mandating a 15% cost reduction over the next 18 months. This is marketing’s biggest obstacle, to reduce costs by 15% when they need to increase marketing efforts. _Problem- solving method_ By implementing the 9-Step problem -Solving Model, Classic Airlines can solve their challenges and at the same time uncover numerous opportunities. It serves as a valuable tool for all businesses, both large and small. It identifies the problem, plans the solutions, display ethical dilemmas, and defines ensuing issues. The 9 Step problem solving model includes the following steps: Step 1) Define the problem-Knowing exactly what the problem is. Step 2) Measure the problem- Measurement of the current level of performance, to be measured against future performance, Step 3) Set the goals-Goals provide direction and must be stated in terms that are measurable. Step 4) Determine root causes-determine why the process is working the way it presently does. Step 5) Select best strategy- Select a strategy that will best solve the problem. Step 6) Implement strategy- Develop and action plan to implement the solution. Step 7) Evaluate results- Evaluate the effect of the chosen solution. Step 8) Implement appropriate changes in the process- Improves and perfects the process. Step 9) Continuous improvement- Improve the process continuously (Problem-Solving Model, 2010). To be successful in solving Classic Airline challenges, goals will be set and achieved. The goals must address the main challenges of the company including lack of sales, decrease in net income, low employee morale, downturn in the Classic Rewards program, and required budget cuts. Goals will meet the SMART standard of beingspecific, measureable, agreed upon, realistic and time-based. The goal, must be specific which means it iswell defined. Who is involved, what is to be accomplished, location, requirements and constraints should be identified and the reason the goal should be accomplished. The goal should be clear to everyone associated with the program. There must be an exact way for measuring the progress toward the goal. The goal should be agreed upon by all stakeholders and attainable, achievable, and action-oriented. The goal is realistic when people are willing and able to work for its achievement. A goal is realistic when people believe it can be accomplished in the set timeframe. The goal should be set within a certain time frame (Haughey, 2010). Classic Airlines has formulated a table of SMART questions that address the challenges of lack of sales, decrease in net income, low employee morale, downturn in the Classic Rewards program, and required budget cuts (Haughey, 2010). Marketing recommendations Classic airlines needs to cut expenses to produce a net income and avoid bankruptcy. The following are some methods of cutting costs: direct booking through the internet or call center with no sales commissions. Use uniform aircraft such as just the 737-300 airplanes, use a simple system of pricing, on the aircrafts use high seating density and load factors to be efficient, no frills such as free food or drinks, and use of secondary airports to cut charges and turnaround times. One of the ways Classic Airlines can make the airline more attractive to existing customers and new customers is to restructure the company’s frequent flier program. Reforming the Classic Rewards program will be a challenge, however;the returns could turn the company around. Rewarding frequent fliers with new rewards that include various redemption options could improve consumer moral and loyalty. Classic Airlines must provide better service to all their customers, especially the frequent fliers. The goal of the company should be to retain and win back customers, provide exceptional customer service, and offer attractive alternatives to redeeming their frequent flier miles. Providing exceptional service to their frequent fliers and meeting the need of each customer is a duty and obligation of Classic Airlines. Classic Airlines should increase the number of miles Basic, Silver, and Gold members can use in a year by 10%. Classic Airlines should also decrease the number of black-out days. Without improving the frequent flier program, the company will continue to losecustomers, market share, and see net profit continue to decline. Alliance with other carriers would expand available routes and provide more options for frequent flyers to use their loyalty rewards. Alliance with other carriers could decrease its operating costs and increase net income. The company would benefit by becoming a larger company with more services. Conclusion References Classic Airline Scenario, 2010. _University of Phoenix materials-Classic Airlines Exhibit B. _ (2010_). _ Retrieved on March 22, 2010 from University of Phoenix, Resource, MKT/571- Marketing Web site: https://ecampus. phoenix. edu/classroom/ic/classroom. aspx. Classic Airline Scenario, 2010. _University of Phoenix materials-Classic Scenario: Classic _ Airlines. (2010_). _ Retrieved on March 22, 2010 from University of Phoenix, Resource, MKT/571- Marketing Web site: https://ecampus. hoenix. edu/classroom/ic/classroom. aspx. Haughey, D. (2010). Smart Goals. Projectsmart. Retrieved March 23, 2010, from: http://www. projectsmart. co. uk/smart-goals. html Kotler, P. Keller, K. A framework for marketing management, 3rde. (2007). Prentice Hall. Retrieved on March 23,2010 from University of Phoenix, Resource, MKT/571-Marketing Web site: https://ecampus. phoenix. edu/classroom/ic/classroom. aspx. Problem-Solving Model, 2010. BPI consulting. Retrieved on March 24, 2010 from: http://www. spcforexcel. com/problem-solving-model How to cite Classic Airlines Marketing Solution-Mkt 571, Essays

Art The Ultimate Expression Essay Example For Students

Art: The Ultimate Expression Essay Before the portrayal of the human body can be critiqued, you must understand the artists culture. As man evolved over centuries, his views of the body also transformed. Our tour definitely showed the drastic changes in different cultures art. Each culture and era presents very distinct characteristics. Through time and experimentation, we have expressed our views of the human body clearly with our art. Egyptians were the first people to make a large impact on the world of art. Egyptians needed art for their religious beliefs more than decoration or self-gratification. The most important aspect of Egyptian life is the ka, the part of the human spirit that lives on after death. The ka needed a physical place to occupy or it would disappear. Most of the important men of Egypt paid to have their body carved out of stone. That was were the spirit would live after the man dies. They used stone because it was the strongest material they could find. Longevity was very important. The bodies are always idealized and clothed. Figures are very rigid, close-fisted, and are built on a vertical axis to show that the person is grand or intimidating. Most of the figures were seen in the same: profile of the legs, frontal view of the torso, and profile of the head. Like most civilizations, Egyptians put a lot of faith in gods. The sky god Horus, a bird, is found in a great amount of Egyptian art. Little recognition was ever given to the artists. The emphasis was on the patron. Early Greek art was greatly influenced by the Egyptians. Geography permitted both cultures to exchange their talents. The beginning of Greek art is marked by the Geometric phase. The most common art during the Geometric phase was vase painting. After the vase was formed but before it was painted, the artist applied a slip dark pigment to outside. Then the vase was fired and the artist would incise his decorations into the hard shell. It was important to incise humans into the fired slip and not paint with slip. The people in the pictures needed light colored skin, which was the color beneath the slip, because Greeks wanted to make their art as realistic as possible. Much like Egyptian art, the Greeks idealized the bodies of the people in their works. As the Archaic Period evolved, Greek sculptures were almost identical to the Egyptians. Unlike Egyptians, the Greeks refined their techniques. Greeks used marble to construct their sculptures. It was considered more valuable and beautiful than any material available. They softened the lines of the body. Greek sculptors slowly perfected every contour in the human figure. Greek people viewed the human body as something beautiful and so they depicted nude men. Women were eventually nude but only when there was a reason, they needed to be bathing or something where they would be naked. They people that are sculpted are always young and their bodies are still idealized. The Greeks invented contrapposto,  the relaxed natural stance of a sculpture. A figure that is standing in contrapposto becomes a sculpture in the round, meaning that the emphasis is not only on a frontal view but also from all angles. The Hellenistic Period emerged as the Romans began to produce some of the finest art in history. This new revolutionary style was incredible. Figures werent confined to the unnatural or boring positions they had for centuries. All body parts were in perfect proportion. These statues came alive as their limbs reached out into space. Vacant stares evolved into human emotions, which were easily recognized on their faces. I think this renaissance portrayed the way people were thinking. They were exploring philosophy, religion, and politics. This was a time for rebirth. Computer Hackers EssayByzantine and medieval art was very representative. The artists ability to produce lifelike figures had regressed. The emphasis was not on man anymore. Their art was made to glorify God. The fifteenth century marked the arrival of the Renaissance. Artists have finally recaptured the amazing detail and realism that the Greeks and Romans perfected. Artists pushed the limits with new exciting mediums and bright colors. Filippo Brunelleschi, allowed artists to determine the relative size of each figure by inventing the vanishing point perspective. With that tool it was possible to put everything in perfect proportion. Humans were not always idealized as they were in earlier centuries. Many elderly people are found in the paintings. Neoclassical paintings commonly showed contemporary garments and scenes. History painting became very popular. A larger transition was made when color was used to set a mood or express inner feelings. Nothing like this had ever been con sidered. Man viewed his experiences as important stepping stones. To assure that experiences arent forgotten they were preserved in artworks. Humans are often used in modern art. Although the people may appear very large or important, they are usually just vehicles used to convey a message to the audience. In Segals Red Light, we saw a man walking alone in front of n old truck. The man was not colored at all. He seemed to be sauntering across a street at night. A feeling of depression or sadness surrounds the man. The human is not important but the emotion is. Most of the modern art uses the human body to portray a feeling or emotion. Rarely will you find any new art that displays a humans because they extraordinary. Romantic landscaping is incredible. The idea of most of these pieces is to show how insignificant man is. Before humans were always the center of attention but now here they are almost trivial. Artists like Thomas Cole show us what is pure and simple. The paintings use a lot of color to create very natural, unaffected scenes. It seems that we come upon these landscapes almost by accident. They depict ideal settings that are unscathed by the injustices of the world. In my opinion, the beauty of these works is unsurpassed by any other art. Through the ages each culture had its own interpretation of what the human body means. I have briefly explained a few of the broadest views of the human body. In order to explain one in great detail would take volumes. I thoroughly enjoyed Monas tour of the museum and I hope to see her there again. Arts and Painting