Leaves of Grass by Walt Whitman Essay -- Walt Whitman on Democracy

Walt Whitman is possibly one of the best examples of an artist who drew no distinctions between art and culture. To Whitman art is culture, and culture is history. His role as an artist must then be intrinsically manifesting himself as a representative of the America masses, or express himself as America personified. He saw democracy as an inseparable attribute of Americaness. However, the America he lived in was desperately fractured amongst differing factions with different opinions on the definition of â€Å"democracy†. Regardless, Whitman did not see the problems of his day as a top versus bottom, bottom versus top issue (no entendre intended). But, rather, an issue that exploded out of every orifice of American life. Ernesto Guevara spoke of love and conflict: â€Å"Let me say, with the risk of appearing ridiculous, that the true revolutionary is guided by strong feelings of love. It is impossible to think of an authentic revolutionary without this quality†¦Our vanguard revolutionaries must idealize their love for the people, for the most hallowed causes, and make it one and indivisible†¦They must struggle every day so that their love of living humanity is transformed into concrete deeds, into acts that will serve as an example as a mobilizing factor.† (Minogue, 33). Ezra Greenspan explains that most contemporary criticism falls into one of two camps that are separated by two major historical events. He explains that there is a â€Å"Cold War generation who tended to focus on what they perceived to be the unrestrained freedom of the self† (143) and that there is the â€Å"post-Vietnam War† generation who argue â€Å"that Whitman’s attempts to celebrate modern freedom are compromised and complicated by the immersion of author, subject and t... ... on the battlefield, however, they return to the eternal mother in which they again convene and become an even more physical manifestation of a collective as they combine into the geography of America â€Å"in unseen essence and odor of surface and grass, centuries hence† (396). Works Cited Greenspan, Ezra, and Walt Whitman. Walt Whitman’s â€Å"Song of Myself†: A Sourcebook and Critical Edition. New York [u.a.: Routledge, 2005. Print Minogue, Kenneth. â€Å"Che Guevara.† The New Left. New York: Library, 1971. 17-48. Print. Pascal, Richard. â€Å"Walt Whitman and Woody Guthrie: American Prophet-Singers and their People.† journal of American Studies 24.1 (1990): 41-59. Web. Apr. 2012. Press, H. â€Å"The Existential Basis of Marxism.† Philosophy and Phenomenological Research 37.3 (1977): 331-344. Web. Apr. 2012. Whitman, Walt. Leaves of Grass. New York: Bantam, 1983. Print.

Revolutionized Relationship Essay -- Canadian History

One of the major problems associated with a bilingual country, inevitably, is national unity. In Canada, national unity usually refers to the relations between both the French and English Canadians. English-French relations have always been unstable, ever since the English conquest on the French in the late 1800s. In the twentieth century, this link was further depreciated primarily because of conscriptions during the First and Second World War along with the Quiet Revolution and the October Crisis. Conscription during the First and Second World War was one of the initial major causes that began the deterioration of French-English relations largely because the French had no desire to go to war. The Quiet Revolution was an effort to redefine the role of the francophone civilization inside Canada, which was an attempt at strengthening the French-English relationship. Lastly, the October Crisis, which was a sequence of events that were set off by two kidnapping of government official s by members of the FLQ, Front de liberation du Quebec, caused an uprising between French and English Canadians. Theses moments in history greatly affected the French-English Relation greatly. During the twentieth century, the main reasons for the changes of French-English relationships are conscription during the World Wars, the Quiet Revolution and the October Crisis. When World War One was declared, the French immediately made it clear that they had no interest in fighting in the war, especially alongside the English Canadians. Conscription during the war one of the leading causes that worsened, the already weak English-French relations. Because Canada was part of the British Empire, they were involuntarily forced to partake in the war with the... ... with Quebec and bake until separated. The Martlet. Date of publication May 9, 2012. http://www.mar tlet.ca/martlet/article/recipe-separatism/. French English Relations. Dufferin-Peel Catholic School Board. http://www.dpcdsb.org/NR/rdonlyres/1038755C-4E4C-40DB-837B- DE4023D0B133/38622/FrenchEnglishRelations1950PresentNotes.pdf. French-English Relations. Prairie Land Regional Divisions. Last modified March 2006. http://www.plrd.ab.ca/public/v/ellen.vanderkolk/projectroom/ss10- 13/fr.eng.relations.htm. M. D. Behiels, Francophone-Anglophone Relations. The Canadian Encyclopedia. Last modified 2012. http://www.thecanadianencyclopedia.com/articles/ francophoneanglophone-relations. Robert Bothwell. The October Crisis. The Canadian Encyclopedia. Date of publication November 15, 2010. http://www.cdnexperience.ca/read-the-series/29-the- october-crisis/.

How is happiness conveyed in Jane Austen’s Emma and Charlotte Bronte’s Villette?

The nineteenth century was an era of great discovery, invention and social change as a result of political unrest in the previous years. The American Revolution which culminated in the United States Declaration of Independence, lead to a change in political thought, bringing ideas of ‘Life, Liberty and the Pursuit of Happiness' (1776: line4), though how much this extended to women is debateable. Published thirty-seven years apart, Emma and Villette tell the stories of two girls trying to find happiness in difficult societies. The two lead characters are very different; Emma is a respected, wealthy and attractive young woman yet rather spoilt, whereas Lucy Snowe is passive and secretive, with no significant amount of money or family connections. Living in the same century, therefore, it would seem safe to assume that the girls would find happiness in the same things; good company, money and a happy marriage. As Philip Davis argues, Victorian novels (though Emma predates Victoria's reign by approximately twenty years) were concerned only with ‘Humanity, Duty, Vocation, Work, Marriage [and] Family' (2002:2). However, this is not the case for either of the girls. Lucy finds comfort in solitude and some of the passages in Bronte's novel where she is most at ease are those in which she is alone. If not alone, Lucy prefers the company of just one or two trusted friends, but even this is problematical, as she often hides her feelings from the reader. Emma on the other hand, appears to take pleasure in helping others to be happy; often to their detriment! What can be said, nonetheless, is that both novels convey moral journeys towards a greater understanding of self and society. By looking at a few specific incidents in each novel, the methods with which the authors explore the feeling of happiness can be uncovered. Emma Woodhouse, handsome, clever, and rich, with a comfortable home and happy disposition, seemed to unite some of the best blessings of existence; and had lived nearly twenty-one years in the world with very little to distress or vex her (Emma p. 5). The opening sentence of Jane Austen's novel manages to summarise Emma's situation and history in a few simple words. The reader is already informed by the omniscient narrator that this central character is content and privileged in every aspect that a young lady could wish for. In comparison, Villette has a very different approach. For example, it is not until the second chapter that we find out the name of the protagonist and narrator, Lucy Snowe. Interesting to note also that the first two chapters are names of characters, ‘Bretton' and ‘Paulina', as if the narrator is happy to talk about them, but reluctant to talk about herself. We hear about the people surrounding the narrator, events in the past but very little physical or characteristic detail. We are given few clues as to how Lucy feels or thinks about these events; ‘well I liked the visit' (Villette p. 1) is the only indication of preference or opinion. Even by the end of the novel we do not know where her ‘home' was, and Lucy is constantly evasive about places and locations. The reader is left to speculate why this is; because of unhappiness there and desire to forget it? Or perhaps she is ashamed? It is almost as if she does not trust the reader and as a result becomes difficult to like. Most readers will assume that this past, of which Lucy is so vague, holds bad memories or experiences which set the tone of her character from the start. As a narrator, Lucy is unreliable and the revelation that Dr. John and Graham Bretton are, in fact, the same people, is the prime example of this. ‘I first recognized him on that occasion, noted several chapters back, when my unguardedly-fixed attention had drawn me on the mortification of an implied rebuke' (Villette p. 70-1). Only when the reader will find out for themselves, does Lucy tell us that she knew all along. ‘I had preferred to keep the matter to myself' she reasons, ‘I liked entering his presence covered with a cloud he had not seen through' (Villette p. 171). This motif of hiding, or being screened, recurs throughout the novel. Lucy is often seen observing or people watching, preferring to be out of the limelig ht. However, this changes when she is recruited to be in M. Paul's play after one of the lead characters falls ill. Nevertheless, she puts on a performance, a mask, and is not herself. The clothes she wears are men's and by speaking another person's lines, Lucy distances herself from that which makes her feel so uncomfortable, her own feelings. It seems as if she is afraid to admit to herself how she feels. By suppressing her emotions and living an almost muted life, Lucy denies herself happiness. This alienation is heightened by her being in Belgium, where she does not speak French initially, by being a Protestant in a Catholic society and through the atmosphere of the Mme. Beck's school. Despite working very closely with the headmistress, Lucy still finds her searching through her belongings one evening, showing a lack of trust between the characters. Lucy's narrative style shows a lot about her unhappiness as a character and surprisingly Emma shares some of these traits. Emma is told through a third-person omniscient narrator, whereas Lucy tells us the story through her own, if somewhat limited perspective. Austen's narrator gives us a wider outlook on the events at Highbury, although the free-indirect style means that the narrator's opinions are sometimes blurred with those of the characters and there is some mimicry of Emma's thoughts and tone. She is a more open character, whom the narrator can easily display to the reader, and her feelings are more easily accessible, on first impression. As Emma is already ‘handsome, clever and rich' (Emma p. 1), her happiness is taken for granted, but looking a little deeper it is evident that she is not fully content. The novel is based around a series of shocks for Emma; Miss Taylor's marriage, Mr. Elton's proposal, Frank and Jane's engagement, and she seems in a constant struggle to maintain a certain decorum and propriety. It is ironic that Jane Austen's novels are so often seen as portrayals of a stagnant society, when Highbury is full of entrances and exits; Mrs. Elton, Frank Churchill, Jane Fairfax and Harriet. The proximity to London, peculiarly, does not seem to have an effect on the community. Emma's constant need to help others could be interpreted as dissatisfaction within herself. Instead of realising her feelings for Mr. Knightly at the beginning of the novel, as so easily could have occurred, Emma goes through systematic pairing up of her acquaintances, to try and arrange as many couples as possible. It is only when Harriet confides in her regarding her own feelings for Knightly that Emma is forced to identify and realise her attachment to him. Because she demands a kind of variety and excitement life cannot supply, Emma allows her fancy and imagination to shape and distort her perception of reality [†¦. What Emma constantly desires and frequently demands is not simply that her world admire her; it must also be as rich and vital and beautiful as she feels herself potentially to be [†¦. ] The crux of the matter, then, is the peculiar way in which Emma's life depends upon and is dedicated to richness and beauty in human experience. (Minter 1966 : 51) Minter argues that Emma relies on this constant application of herself to try and adapt her surroundings to suit her. In doing this, Emma is attempting to create an environment in which she is truly comfortable; not a trait one would associate with a young lady of ‘happy disposition' (Emma p. ), but more with slightly nervous and compulsive behaviour. It is as if Emma must have control of the events around her to feel content. This shows a certain extent of self-consciousness and dissatisfaction, reflected most clearly in her thoughts of Jane Fairfax: Why she did not like Jane Fairfax might be a difficult question to answer; Mr Knightly had once told her it was because she saw in her the really accomplished young woman, which she wanted to be thought herself. (Emma p. 125) View in this manner, Emma becomes, in essence, a structured action in which Jane Austen renders both the nobility and the dangers, the significance and the consequences of Emma's endeavour to force an aesthetic ideal upon her world' (Minter 1966 : 51). As a character, Lucy Snowe is built up in a different way by Charlotte Bronte than Emma is by Jane Austen. By looking at their happiest and lowest points in each text, the reader has an insight into their extremes of emotion, and how these are created by the authors. Lucy characterises her weakest moments by images of storms and tempests. This occurs several times throughout the novel and blurs the situations which Lucy does not want the reader to know or understand fully, perhaps because she does not understand herself. This is first seen upon Lucy's departure from Bretton; ‘I must have somehow fallen overboard, or that there must have been wreck at last' (Villette p. 30). It is not certain whether Lucy actually embarks on a boat journey or whether she just uses this as an extended metaphor. Bronte adds the scream of the Banshee to symbolise the coming of bad news; Miss Marchmont dies and leaves Lucy with little money. However, the worst for Lucy personally is arguably the fall ‘headlong down an abyss' (Villette p. 160) after her visit to the church. She has been ill for a long while and her soul leaves her body ‘hoping to leave for rest (Villette p. 160). The reunion of the two is a particularly painful image, ‘a sort of racking struggle', ‘with pain, with reluctance' (Villette p. 161). Villette's final chapter is the most ambiguous sequence of the whole text, in which Lucy almost leaves the conclusion of the novel down to the reader. ‘Reader, they were the three happiest years of my life. Do you scout the paradox? Listen' (Villette p. 488), she appeals to us. Whether M. Paul is killed in a tempest on his return is not overtly stated, though the image of the storm again would imply that he does. If the past three years ‘were' the happiest, then it follows that these are now unhappy times. As with the beginning of the novel, Lucy finishes by telling us what happened to other characters, but not herself; ‘Madame Beck prospered all the days of her life; so did Pire Silas; Madame Walravens fulfilled her ninetieth year before she died. Farewell' (Villette p. 491). With a similar style of description and attitude, it is as if Lucy Snowe has come full circle; she is just as happy at the end of the novel, as at the start, or there seems no noticeable difference. Victor Hugo wrote in Les Miserables that ‘life's greatest happiness is to be convinced we are loved' (1862) and it is this sentiment that gives Lucy the highest moment in Villette. She says that her love for M. Paul ‘gave me such pleasure as, certainly, I had ever felt' (Villette p. 403). Emma's happiest moment comes with similar thoughts on Mr. Knightley, but also a revelation about herself and her own actions; ‘How long had Mr. Knightley been so dear to her, as every feeling now declared him now to be? When had his influence, such influence begun? ‘ (Emma p. 312). This sequence comes with a long set of rhetorical questions in which Emma begins to see her flaws; perhaps this is the ultimate happiness for her? Mahatma Ghandi is often famously quoted as saying, ‘Happiness is when what you think, what you say and what you do are in harmony'1 and this can be seen clearly in the closing chapters of Emma. Finally Emma is settled in herself; knows how she feels, is able to talk openly and does, of course, eventually marry Mr. Knightley. What totally different feelings did Emma take back into the house from what she had brought out! – she had then been only daring to hope for a little respite of suffering; – now in an exquisite flutter of happiness – and such happiness, moreover, as she believed must still be greater when the flutter should have passed away. (Emma p. 328) Emma's reaction is markedly different from Lucy's. Her language is more descriptive and appears fast, almost as if she cannot keep up with what her mind is thinking. The narrator here sounds just like the character of Emma, speaking rapidly with the use of many exclamation marks. Lucy falters, questions M. Paul's affections and seems unsure of the situation. ‘I was content', she states (Villette p. 403) compared to Emma's ‘state of spirits' (Emma p. 328). Emma's unfeeling comments to Miss Bates at the picnic however, paint her in a very different light; ‘†Ah! Ma'am, but there may be a difficulty. Pardon me – but you will be limited as to a number – only three at once†Ã¢â‚¬Ëœ (Emma p. 280). This can be seen as Emma's most unkind and lowest moment in the text, ‘she had never been so depressed' (Emma p. 284) it is a necessary addition that makes her realise how badly she has behaved, although requiring a little help from Mr. Knightley. Throughout Emma and Villette, Austen and Bronte shape their main characters with the use of these dramatic highs and lows, which alter their perceptions and also the reader's perceptions of them. By using specifically chosen language, the feelings and emotions of Lucy Snowe and Emma Woodhouse are made apparent and so the reader can share in their delight and depression. Jane Austen's novel appears overall a happier text, despite the continual failings of Emma's matchmaking, and ends positively with both Emma and Harriet getting married, and Harriet discovering her parentage. Although their marriages are well paired, with men who will complete them, the reader cannot help questioning whether marriage and money will always create ‘perfect happiness' (Emma p. 367). Villette on the other hand, ends just as mournfully as it begins, with very little defined ending. It could be argued that Lucy Snowe finds an inner peace with herself, after enjoying three happy years, despite not having M. Paul with her. Perhaps knowing she is loved is enough, and so with this and the solitary life which has given her comfort throughout the novel, Lucy can be settled. With her flourishing school as financial security, Lucy does not require anything more; she has stability and security, that which she has lacked from a young age. Though the storm imagery, if consistent with the rest of Bronte's novel, indicates further change, we are not given any clues as to how this will transpire. With so many novels of this era, both Emma and Villette look at the difficulty of a woman finding true happiness in such a patriarchal society. Kate Millett argued that Villette was ‘too subversive to be popular' (1977:140), accurate considering the conformity of many novels of the time. Emma, for example, still allows a happy ending and a marriage, despite the main character's actions throughout. In creating this alternative style, Charlotte Bronte shows happiness through a perhaps more realistic perspective, rather than Austen's romanticised, ‘happily-ever-after' story.

Netscape’s Initial Public Offering

Finance 414- Individual Case Questions: â€Å"Netscape’s Initial Public Offering† SS13 You are responsible for handing in written answers to the following questions drawn from the case â€Å"Netscape’s Initial Public Offering. † You can work with others on this assignment, but each individual must hand in their own set of answers. 1. The case indicates that a group of media firms made an investment in Netscape during April of 1995. Using figures from the case, what is the minimum value these investors must have assessed for Netscape’s assets when they made this investment?The minimum value these investors must have assessed for Netscape’s assets when they made this investment was $163,636,363. 60. ($18M/. 11) I used $18M because that would be 11% of their equity. 2. Using figures in the exhibits, estimate Microsoft’s market value of equity on June 30, 1995. Microsoft’s market value of equity on June 30, 1995 was $56,730,960. (39 . 00*2. 32*627,000 shares) 3. Why would Netscape prefer an IPO to the alternative of attempting to borrow new funds from a bank?Netscape would prefer an IPO to the alternative of attempting to borrow new funds from a bank because they wished to fund expected future growth, stockpile cash, and gain visibility. Discussion question: You do not need to answer the following question, but you should think about it in advance since we will be discussing it in class. Is $28 the correct price for Netscape stock? What assumptions about growth rates in earnings might justify this stock price?

Benefits of Therapy and Christianity

I have found a lot about myself and how to deal with many problems for myself and others. I will learn to become more important in the classroom and the real world. This course helped me overcome worry of concern. When I first entered the class, I was not sure of myself, but I first got to know myself and other things at first by seeing my inner self and the outside self . I am always goal-oriented and I generally know the life I desire. This course will help me understand myself better. Christian counseling is a type of psychotherapy that emphasizes the importance of relationships between humans and God. Christian counseling correctly understands and treats patients using psychology of Christian psychology. Both Christian psychology and Christian counseling can help people to understand themselves psychologically and in the eyes of God. This special form of counseling combines individual's own religious perspectives to create a more personalized form of treatment. Supporters of toda y's most convincing conversion therapy are often institutions that treat fundamental Christian groups and homosexuals with religious grounds rather than as ill. The main organization advocating secular transformation therapy is the National Association for Homosexuality Research and Treatment (NARTH), which often cooperates with religious organizations. Conversion therapy techniques used in the United States and Western Europe before 1981 include treatment of hysterectomy, chemical castration and hormone therapy, treatment of aversion to things such as giving an electric shock to opponents and genitals, nausea Simultaneous administration with drugs causing homologous stimulation and masturbation repair

Equity, Conscience and Things of Confidence and Fiduciary Obligation Essay

Equity, Conscience and Things of Confidence and Fiduciary Obligation Discuss - Essay Example It represents a clear delineation of information deemed as confidential as well the constituents of a brief of confidentiality. In a confidentiality agreement, there are typical requirements. Those requirements include not disclosing the items discussed as well as the scope and ramifications of discussions between the parties, not utilizing confidential information for any purpose other than is clearly delineated in the agreement, and not disclosing any information deemed as confidential to individuals or entities other than the employees or representatives of the recipient without the prior written consent. If employees or representatives of the recipient are granted access to confidential information, the party revealing the information should engage in a subsequent agreement binding the recipient to the same obligation as the original obligation of confidentiality. In addition to this, the original party remains responsible for the actions of those individuals who were provided wi th subsequent confidentiality agreement. Fiduciary obligation is defined as the legal duty of one party to look after the well being of another. Fiduciary obligation can apply to governments, corporations and individuals alike. By acting in the capacity of a fiduciary, a party is bounded to act ethically, responsibly and with the best interest of the appointee at hand. In so doing, a fiduciary obligation is subjected to breach and pertinent remedies when a breach takes place. The case of Canson Enterprises Ltd. v. Boughton & Co (1991) addresses a breach fiduciary obligation wherein Boughton & Company failed to disclose information on the secret profits obtained on a flip. This case dates back to May, 1977, wherein Cranso Enterpise Ltd. Entered into an agreement with Peregrine Ventures Inc. wherein it was agreed they would enter into a joint venture to purchase a piece of property and develop it.

History of Mathematics Essay Example | Topics and Well Written Essays - 1500 words

History of Mathematics - Essay Example The Pythagorean idea of the world was that natural numbers were the answer to the different secrets of humans and matter. They thought that everything was made up of numbers, the reason for what anything was could only be figured out in numbers (Early Concepts of Number and Number Mysticism). For the numbers from 1 to 10, each number has a special property. The number 1 is a monad and stands for unity because it is the cause of the other numbers and in number, mysticism is the number of reason. The number 2 is called a dyad for diversity or opinion and is mystically the first female number (all the even numbers are called female in many early cultures). The number 3 is a triad and means harmony because it adds up unity (number 1) plus diversity (number 2) and is considered the first male number (all the odd numbers are male in many early cultures). Number 4 is the number for justice or the squaring of accounts (number 2 squared). Number 5 is for marriage because the number 2 (first female) plus the number 3 (first male) equals the number 5. Number 6 is for creation because the number 2 (first female) plus the number 3 (first male) plus 1 more monad equals 6. The Number 10 is for the Universe because as tetractys it is the sum of all possible dimensions in geometry.