Acc project Assignment Example | Topics and Well Written Essays - 250 words

Acc project - Assignment Example The firm should also consider if it is within the maximum and minimum prices implied in the industry. The price of $3.70 should be neither beyond nor below the set maximum and minimum prices. Factors that to be considered about the market campaigns are the quality of the marketing campaign, whether it will accomplish the objectives of carrying it out. The method used to carry it out. Two methods of market campaigns are through either the media or using written forms like banners and pamphlets. The duration of the marketing, campaign and lastly, effectiveness and competence of the staff used in the campaign are paramount. Alternative two was to accept an offer from an overseas customer to purchase units at a cost of $3.00 each, and this would lead to additional administration cost of $5,000. The various factors to consider are The customer loyalty, this is very crucial as it prevents the issue of bad debts and losses from the sale. Some elements to consider in this case are; whether the customer pays his debts on time, and the duration that he has been in the company, and lastly the amount of goods that he normally purchases. The customer is overseas and therefore the management should determine the cost of exporting the goods to him according to the custom duty regulations. The cost of packaging is relevant. Packaging of the goods should be using the safest method to avoid the goods being damaged during transit and in a way that the customer has

Compare and contrast the possible biological risks and hazards when Essay - 2

Compare and contrast the possible biological risks and hazards when using Computed Tomography (CT), Magnetic Resonance Imaging (MRI) and Ultrasound (US) when imaging a pregnant patient - Essay Example With the type of diagnostics required, magnetic resonance imaging (MRI), computed tomography (CT) scan, and ultrasound (US) are used; each of these diagnostic methods has both detrimental and beneficial effects on a normal pregnancy. During the first trimester organogenesis takes place in the fetus, teratogenic substances from the environmental will cause organ agenesis and malformations, also death of the fetus is very likely (Holmes, 2011). The teratogens can be in the form of chemicals and radiations, which the mother is exposed to in the environment. With the basic knowledge on teratogenic substances and effects on the fetus, it is important that risks and benefits of any diagnostic methods are determined. This is a non-invasive method that uses of narrow beam x-ray to scan successive layers of tissue in the body for a cross sectional view. This diagnostic method is reliably used in diagnosing pelvic, neurological, skeletal abdominal thoracic conditions and cancers (Shetty, 2010). During pregnancy, it is used to diagnose congenital malformations such as neural tube defects tumors and hemorrhagic conditions in the fetus. However, when the CT scan is done in pregnancy it is likely to bring about the fear of teratogenic and carcinogenic effects due to the ionizing radiations to the growing fetus. The effects are more pronounced when the fetus is in the field of view during the procedure as chances of exposure to the beams are increased. Frequent exposures to the CT scans can also bring about stochastic effects through causing DNA changes in the fetus (Pommier et al., 2009). CT scan has been associated with use of contrast dyes to obtain clear images. Barium and other iodine based intravenous chemicals are used in the process; however, these chemicals have hazardous effects to the growth of the fetus and the health of the mother. Manriquez et al. (2010) also found out that the existence of maternal preeclampsia as an

Term paper For economic's The Business Cycle Example | Topics and Well Written Essays - 2000 words

For economic's The Business Cycle - Term Paper Example Policy makers can determine business cycles by observing work productivity gains. This economic factor refers to output per given worker. Increasing work productivity gain has a negative relationship inflation rate. If work productivity per worker goes up there is reduction in production cost that ultimately results into lower prices of goods and services and decreased inflation rate. Despite the above economic leading indicators, investors have relied heavily on stock market to determine the trends in business cycle. It has been observed for so long that when there is decline in the stock market, the economy follows suit. However, less information is available on whether stock markets may result to better or worse performance of economy. This is an area that needs further research to establish the relationship between the stock market and business cycle or economy. There have been arguments that stock market has no direct effect on the economy as a whole. The stock market only acts as mirror that corrects beliefs of people about what may happen in the economy, but can not be said to be a certain indicator of economy.

Compare and contrast the possible biological risks and hazards when Essay - 2

Compare and contrast the possible biological risks and hazards when using Computed Tomography (CT), Magnetic Resonance Imaging (MRI) and Ultrasound (US) when imaging a pregnant patient - Essay Example With the type of diagnostics required, magnetic resonance imaging (MRI), computed tomography (CT) scan, and ultrasound (US) are used; each of these diagnostic methods has both detrimental and beneficial effects on a normal pregnancy. During the first trimester organogenesis takes place in the fetus, teratogenic substances from the environmental will cause organ agenesis and malformations, also death of the fetus is very likely (Holmes, 2011). The teratogens can be in the form of chemicals and radiations, which the mother is exposed to in the environment. With the basic knowledge on teratogenic substances and effects on the fetus, it is important that risks and benefits of any diagnostic methods are determined. This is a non-invasive method that uses of narrow beam x-ray to scan successive layers of tissue in the body for a cross sectional view. This diagnostic method is reliably used in diagnosing pelvic, neurological, skeletal abdominal thoracic conditions and cancers (Shetty, 2010). During pregnancy, it is used to diagnose congenital malformations such as neural tube defects tumors and hemorrhagic conditions in the fetus. However, when the CT scan is done in pregnancy it is likely to bring about the fear of teratogenic and carcinogenic effects due to the ionizing radiations to the growing fetus. The effects are more pronounced when the fetus is in the field of view during the procedure as chances of exposure to the beams are increased. Frequent exposures to the CT scans can also bring about stochastic effects through causing DNA changes in the fetus (Pommier et al., 2009). CT scan has been associated with use of contrast dyes to obtain clear images. Barium and other iodine based intravenous chemicals are used in the process; however, these chemicals have hazardous effects to the growth of the fetus and the health of the mother. Manriquez et al. (2010) also found out that the existence of maternal preeclampsia as an

Galileo on religion and science Essay Example for Free

Galileo on religion and science Essay Explain Galileo’s attempt to make science and religion compatible, with particular reference to methods of justification. How successful is he? Use Kuhn’s notion of incommensurability to investigate Galileo’s attempt to reconcile the propositions of science and religion. There will always be a battle between religion and science, it is a truth universally acknowledged. Galileo attempted to make the two compatible by suggesting that the truth can only be sought out if the notion under consideration can be accurately tested and if the opposing view can be founded as false. Galileo’s goes into depth about the truth of scripture and the sciences, intertwined with the reason of man, in his letter to Christina of Lorraine, Grand Duchess of Tuscany. Early on in the letter Galileo, infers from St Augustine that the Holy Ghost did not intend to teach â€Å"how heaven goes† rather â€Å"how one goes to heaven†. Galileo interprets this as the underlying basis for the â€Å"common† people to believe that man should not concern themselves with science and that it is against the Bible, and therefore blasphemous. Furthermore this misconception is continued, as Galileo believes that the â€Å"common† people understand the truth in the Bible is largely to do with one’s salvation and other physical things such as whether the Sun or Earth are mobile, are irrelevant. From this Galileo leads on to discuss that â€Å"physical problems† are able to be solved through â€Å"sense-experiences† and reason, as well as the â€Å"authority of scriptural passages† highlighting that either are valid to contain the truth. Galileo argues that God gifted man with the power of reason and logic, so that they would be able to discover and learn about his creation. God did not â€Å"set bounds to human ingenuity† so why should the church impose them, by discrediting and prohibiting some of the greatest work of philosophers and scientists? Galileo had two types of physical propositions: those that are able to be subjected to tests and experiments and those that can only be conjectured about; and these are best left to faith and Holy Scriptures. Galileo did not believe that everything in the universe was known to man, he believed that there were more truths to be discovered. He did not agree that â€Å"free-philosophizing† should be shunned, because the Holy Ghost states that â€Å"man cannot find out the work that God hath done from beginning even to  end†. Galileo is not satisfied by this and urges others to not side with the common opinion of the scriptures, to the point where it blocks logic and reason, and ultimately truth. He highlights this by using the Sun and the Earth: the debate about the still Sun and the mobile Earth, as many come to believe – â€Å"it was most absurd to believe otherwise†. This is because Nicholas Copernicus provided evidence for his claims which were reasonable and logical; that it was â€Å"plain as daylight†. Galileo stresses the importance of not bending the word of God to fulfil ones â€Å"foolish fancies† i.e. one should guard themselves against deliberately misinterpreting the Holy Scripture to suit their own end. The repetition of this (citing scripture to back up their skewed claims) will lead to the inevitable adoption of this understanding and consequently missing the true mean behind the scriptural passages. This is what Galileo means when he refers to as the â€Å"v ulgar† and â€Å"common† people, sometimes misinterpret the holy writings of the Bible â€Å"to fulfil their foolish fancies†. Because of this Galileo advocates the importance for mankind to step away from information that just concerns salvation and to broaden their horizons; most importantly, to not be afraid of the truth. By this he suggests that Holy Scripture and explanations of physical things have their own place in the world and that man should keep an open mind to explore both, because both are valid sources of the truth. He goes on to say that God did not intend for his Word to be misinterpreted like this and the true meaning to be obscured, and this â€Å"sort of abuse† should not â€Å"gain countenance and authority†. However as Galileo stated it is â€Å"more pleasant to gain a reputation for wisdom† without experiments and research than it is to pursue science and produce evidence for these physical observations. Galileo is thankful to God because he does not allow the majority of these â€Å"common folk† as stated above to have all the authority, some learned people too have authority. Galileo is not speaking blasphemy, he is suggesting there is a place for both Holy doctrine as well as scientific doctrine and he attempts to prove this. Galileo is concerned with obtaining the truth about the world we live in, whether religion provides an answer or science. This is evident in the letter when he is discussing the â€Å"celestial bodies† concerning the work of Copernicus. Galileo believes that it would be wholly unjustified to ban  Copernicus’ work after it has been confirmed over the years, he puts it: â€Å"in my judgement to be a contravention of the truth† if this were to occur. Basically Galileo believes if something is true, the basis of the truth either, religious or scientific is equally creditable. He further states that if scientific fact is unattainable, it must be a thing of faith and religion; â€Å"where human reasoning cannot reach† and there â€Å"is no science but only opinion of faith† the truth must be in the Scripture. This is demonstrated in the letter â€Å"whether the stars are animate† or â€Å"whether or not the heavens are spherical†. Galileo believes that ultimately that the science behind a phenomena will equate to the Scripture that describes it; â€Å"the true senses of the Bible† â€Å"will most certainly be found to agree with the proven fact†. He further goes on to admit, that at first the two may seem completely different and closer scrutiny is required. Galileo proves his point further by stating that â€Å"two truths can never contradict each other† ultimately, the religious and scientific, must both be compatible for something to be proven true. The matter of Galileo’s success is dependent largely on his era and the audience. Being a follower of God as well as a man of science and a philosopher, Galileo had to come to terms with both his beliefs and what his physical senses and reasoning told him about the world. He achieved this by describing that the facts produced by reasoning will equal the truth held in the Scripture; both religion and science were correct. However, this was conditional: the Holy Scripture should not be misinterpreted and the notion under consideration should be tested through logic. Following this Galileo, believed that the understanding held by an individual of the Holy Scripture, chiefly relied upon how leaned such a person was and their capacity to understand the true meaning of the Scriptural passages. Primarily Galileo could not disregard the Bible wholly: firstly, as mentioned above he himself believed greatly in God and secondly the people of the time were immersed in the religion from infancy it was to them, â€Å"common† knowledge and the truth about the world. Given this Galileo had to find a solution to please both religious beliefs whilst allowing scientific inquiry and philosophising to occur. As he describe the â€Å"vulgar† and â€Å"common† people may shun his ideas, because they do not accept anything that is not Holy Scripture, and believe Galileo and other scientists and philosophers to be blasphemous. However Galileo attempts to  make sense of this by discussing that perhaps they misinterpreted the Bible and consequently the true meaning (which is compatible with science) is lost to them, that it is beyond their capacity to comprehend. It is remarked by Galileo: â€Å"people who are unable to understand both the Bible and the sciences far out number those who do understand† – perhaps this is Galileo commenting on his own success; that he is only able to reach people if they understand the true meaning of Scripture and are capable of understanding the sciences. Galileo in his attempt to reconcile the propositions of both religion and science, it is evident that he employed Kuhn’s measures of perpetual incommensurability. The evidence acquired via observation is an insufficient basis for theory comparison, due to the inherent idea that perceptual experience is theory dependant. Basically, one’s ability to develop a theory is based on their previous life experiences; whether it be from actual physical events, emotional or spiritual events. All play a role in the development of a theory, which is formed based on how an individual sees the world and what they conclude about it. This in mind, it can be observed that Galileo’s religious upbringing and his adulthood, greatly influenced his views on religion and science. Galileo believed that Holy Scripture and the sciences were compatible; it can be inferred from his letter (as previously discussed) that when human reasoning is unable to provide an answer than it must be left to faith. Extrapolating on this one may conclude that Galileo could be suggesting that the true meaning of science was written in the Bible and God gifted humans with the power to reason, to ultimately find out the truth of the world, of creation. It is this notion that people may find it hard to come to terms with because, it was believed that God did not want humans to discover the truth. However, Galileo questioned (as did many others) why then did God bestow reason and logic on humans? This ultimately drives Galileo in his quest to make religion and science compatible. This reflects the perpetual incommensurability of Kuhn; that one’s background will inevitably colour their perception, as demonstrated by Galileo’s attempt to reconcile religious faith and the s ciences. Reference list All in text citations and all information about this essay were sourced from the following: ATS2867, Thinking about Science Study guide and Readings, Monash University, 1998: 15-30;51-66.

Historical Account of Tragedy in Literature

Historical Account of Tragedy in Literature The chorus in Aeschylus Agamemnon clearly elucidates the Aristotelian principle of tragedy: Zeus, whose will has marked for man the sole way where wisdom lies, ordered one eternal plan: Man must suffer to be wise. Elizabethan tragedy is derived from this moralised model of tragedy as depicted by Aristotle in his Poetics. As a genre, Elizabethan tragedy is distinguished from that of Shakespeare, although Shakespeares tragedies are often held as the epitome of the tragic form. Indeed, the Oxford English Dictionary cites only two quotations from the Renaissance under the entry for tragedy, both of which are from Shakespeare. There appears to be a deliberate judgment in including Shakespeare in the dramatic cannon to the exclusion of such influential playwrights as Christopher Marlowe, Thomas Heywood and John Webster. Although it is clear that Shakespeare made an important contribution to the development of modern tragedy, derived from classical models, contemporary dramatists were much more formative in negotiating Aristotelian models of tragedy with the new philosophical, social and political climate of the Renaissance. Philips Sidneys defence of the tragic form in An Apologie for Poetrie (1595) articulates the moral and didactic purpose of poetry. So that the right vse of Comedy will (I thinke) by no body be blamed, and much lesse of the high and excellent Tragedy; that openeth the greatest wounds, and sheweth forth the Vlcers, that are couered with Tissues: that maketh Kinges feare to be Tyrants, and Tyrants manifest their tirannicall humors: that with stirring the affects of admiration and commiseration, teacheth, the vncertainety of this world, and vpon howe weake foundations guilden roofes are built (Sidney F3v-F4) The emphasis on moral instruction is clear, and informed the tragic form in the both Shakespearean and non-Shakespearean dramas. Tragedy, according to Aristotle, is noble and concerned with lofty matters, as opposed to the flippant and crude nature of comedy. Sidney defines the function of tragedy as uncovering the greatest wounds of the inherently weake foundations of the world. Tragedy, therefore, produces an emotional response in the audience by exposing human flaws, which allows them to participate in a form of moral regeneration. Thomas Heywoods An Apology for Actors (1612) also cites the classical model of tragedy in order to elevate English drama in general by accentuating the morally instructive nature of tragedy, as well as to tie his own works to the legitimate tradition of tragedy. If we present a Tragedy, we include the fatall and abortiue ends of such as commit notorious murders, which is aggrauated and acted with all the Art that may be, to terrifie men from the like ab horred practises (Heywood F3v). Heywood thus believes that the tragic downfall of the moral, but flawed, hero is a terrifying lesson to the audience through the pity and fear evoked by watching the play itself, a notion described by Aristotle and termed by modern scholars as catharsis. Despite Heywoods belief in the moral power of tragedy, Renaissance tragedy, for the most part, does not live up to the Aristotelean model. For Stephen Greenblatt (1980), Renaissance theatre, named after a queen whose power is constituted in theatrical celebrations of royal glory and theatrical violence visited upon the enemies of that glory, replays the process of provoking subversion central to the states authorization of its own power: the form itself, as a primary expression of Renaissance power, contains the radical doubts it continually produces (297). Thus, any echo of Aristotelian notions of tragedy in the works of playwrights such as Heywood, Marlowe, Webster, and even Shakespeare, can be seen not as a insistence upon the dramatic perfection of classical forms, but as a means of lending legitimacy to the challenge to political and cultural structures. As Moretti (1982) observed in respect of English Renaissance tragedy one of the decisive influences in the creation of a â€Å"public† that for the first time in history assumed the right to bring a king to justice †¦ Tragedy disentitled the absolute mo narch to all ethical and rational legitimation. Having deconsecrated the king, it thus made it possible to decapitate him (7-8). Rather than reinforcing the social order and legitimizing divine ordination, tragedy opened up the political elite to the possibility of human frailty. Renaissance tragedy can be defined as a violent series of events that is built upon the murder and revenge, concerning characters primarily motivated by jealousy, greed, and anger. According to Aristotle, the tragic hero must be of noble stature, and while his greatness is readily apparent, he is not perfect. Tragedies often concern the aristocratic elite and thus personal tragedies extend to tragedies of state. The tone of the play is sombre, clearly relating the grief and sorrow of the characters themselves. This â€Å"language of lamentation† serves as a warning against the destructive potential of vice and depravity, and can be linked to the Medieval morality plays. Although the presence of othe r non-dramatic sources conceives a national tradition of tragedy which was established on the English stage as early as 1587, with the performance of Thomas Kyds The Spanish Tragedy. Both The Spanish Tragedy and Marlowes Tamburlaine, performed in the late 1580s, exhibit the beginnings of true Renaissance tragedy. Derived from the revenge plays of Seneca, The Spanish Tragedy is a play which satisfied the Aristotelian need for a binary model of moral order, which is complicated by the relations of individual justice to the social and divine order. Tamburlaine, however, moves away from the reductive moralising of earlier poetry and reflects the influence of the Reformation on the dramatic arts, as the theatre established a new place where human possibilities could be envisioned with new freedom. Marlowe is fully aware that he is making the stage the vehicle of a new consciousness: Onely this (Gentlemen) we must performe, The form of Faustus fortunes good or bad. To patient Iudgements we appeale our plaude. (Marlowe, Faustus, 7-9) This appeal to the moral purpose of the play is misleading, for neither Faustus nor Tamberlaine are characters directed by their moral choices. Tamberlaine, it is arguable, is an agent of God while at the same time exercising his free will with no apparent consequence. Marlowe appears to be addressing familiar issues of blasphemous defiance, tyranny, cruelty and arrogance in Tamburlaine, but ironically he presents these issues as the glory of the tragic hero. Unlike traditional tragedies, there is no stable moral framework, with the result that the audience is left feeling uneasy with the divine implications of the heros downfall. Tamburlaine, rather than submit to his pre-ordained fate, boasts of his own dynamic power: I hold the Fates bound fast in yron chaines, And with my hand turne Fortunes wheel about (369-70) Fate and Fortune, two of the most conventional symbols of human limitation, are here manipulated by the hero not as a sign of his hubris, but rather as a heroic achievement. Marlowe uses this gross inversion as a reflection of the changing values in Renaissance society. As Stephen Greenblatt (1980) says, Marlowe writes in the period in which European man embarked on his extraordinary career of consumption, his eager pursuit of knowledge, with one intellectual model after another seized, squeezed dry, and discarded, and his frenzied exhaustion of the worlds resources (199). The Enlightenment saw the questioning of fundamental assumptions about mans place in the world, a uncertainty reflected in the ambiguous relation between the tragic hero and his divinely ordained fate. C. L. Barber (1988) has commented on the way in which the audience engages with such egotistic individualism of the tragic hero, noting the role of the triumphal individual in the Renaissance and the significance of individualistic prophesying as a disruptive form of expression that challenged the authority and legitimacy of the Church and state. Marlowe writes at a time of religious transition and new philosophical notions of self-consciousness, and appropriates religious language and symbolism to launch an attack on the Church. Tamburlaine rebels against divine, political and social order, and in doing so sets himself beyond limitation and definition, alwaiies moouing as the restles Spheares (876). Tamburlaines rebellion is an uneasy one, for there is no possibility of reconciliation and restoration of order. Theridama, the Chiefest Captain of Mycetes hoste, reveals this as he says: Tamburlaine? A Scythian Shepheard, so imbelished With Natures pride, and richest furniture, His looks do menace heauen an dare the Gods †¦ What stronge enchantments tice my yielding soule? †¦ Won with they words, conquered with thy looks, I yield my selfe, my men horse to thee (350-52, 419, 423-4) Liberation is here figured as one of two choices: to reject the divine or to take it over. In Tamburlaines case, he alternatively threatens heaven and dares the gods, or claims identity with the divine to sanction his violence: til by vision, or by speech I heare / Immortall Ioue say, Cease my Tamburlaine, / I will persist a terrour to the world †¦ (3873-75). Tamburlaine self-aggrandizement is given divine legitimacy: Tamburlaine believes that his tyranny and martial lust are condoned through the gods through their silence. The two-part Tamburlaine is based on the historical figure of Timur, a bloody conqueror of Asia, whose greed for power and extravagance culminates with his inevitable downfall. Tamburlaine deviates from the tragic norm in his depiction of the tragic hero; Tamburlaine is not humbled by his dramatic fall, and no moral lesson is learned and repentance achieved. Tamburlaine does not conform to the model of the tragic hero set out in Poetics. The tragic hero is fated to make a serious error which will cause his fall and tragic death, usually caused by hubris, or prideful arrogance, but he remains likeable to the audience for his inherent goodness. Tamburlaine, in contrast, is a character whose goodness is notably absent. In contrast the Aristotlean model, in which the tragic hero is noble from birth, Tamburlaine is an obscure Scythian shepherd in the opening of part 1. He quickly ascends through his bravery and his eloquent speech, and his ferocity on the battlefield. Tamburlaine sees him self as the scourge of God and even dreams of leading his armies in war against the divine army in heaven. In a scene in which Tamburlaine has defeated Cosroe, he responds to Cosroes demands for the reasons behind his treachery. Nature, that framd us of four elements Warring within our breasts for regiment, Doth teach us all to have aspiring minds: Our souls, whose faculties can comprehend The wondrous architecture of the world, And measure every wandering planets course, Still climbing after knowledge infinite, And always moving as the restless spheres, Wills us to wear ourselves and never rest, Until we reach the ripest fruit of all, That perfect bliss and sole felicity, The sweet fruition of an earthly crown. (I.iv. 13-29) With this final line Tamburlaine snatches the crown from dying Cosroes head and places it on his own head, assuming the power of divine legitimacy for himself. Reordering the humours as in constant opposition, rather than harmonious order, is to legitimize his own militaristic behaviour as part of the natural world. He is, in essence, creating himself out of nothing, as he became an emperor from a shepherd, and as such is taking over the divine role of creation. In doing so, he upsets the authority of the moral order, and even his death does not resolve the moral hierarchy. Thomas Heywoods A Woman Killed with Kindness (1603) is described as a domestic tragedy as it deals not with the tragic downfall of the elite, but on the relationship between a husband and wife. Domesticity is the theme of the play, and the language is correspondingly straightforward and unadorned. In contrast with tragedies such as Hamlet or Tamburlaine, Heywoods play does not concern the intrigues and actions of the aristocratic elite or ruling order. A Woman Killed with Kindness is a morality play, concerned with the infidelity of Anne and her likely punishment. She herself expects only death upon her husbands discovery of her affair: Though I deserve a thousand thousand fold More than you can inflict, yet, once my husband, For womanhood – to which I am a shame, Though once an ornament – even for His sake That hath redeemd our couls, mark not my face Nor hack me with your sword, but let me go Perfect and undeformed to my tomb. (xiii.94-100) Her opinion is born out by the tradition of revenge in tragedies as well as in contemporary practice; indeed, by law husbands reserved the right to kill unfaithful wives (Powell 204). However, despite the clear Christian moralizing, Heywoods play departs drastically from the traditional structure of moral tragedy in that the tragic end of the main character results not from divine judgment and retribution, but from the effects of her wrongdoing on her own consciousness. Before the discovery of her betrayal by her husband, her guilt and remorse are apparent. You have tempted me to mischief, Master Wendoll; I have done I know not what. Well, you plead custom; That which for want of wit I granted erst I now must yield through fear. Come, come, lets in. Once oer shoes, we are straight oer head in sin (xi. 110-14) Her repentance is genuine, and carries forward her tragic end. Anne chooses to starve herself to death, thereby taking control both of her sin and her punishment. Heywood puts into dramatic form †¦ the punishment which arises from the erring characters consciousness of their guilt in the place of the punishment of an exterior physical revenge (Bowers 225). Annes emotional torment is meant as a lesson to the audience, and she makes of herself an exemplary figure, breaking away from the domestic thrust of the play towards the universal. Derived from the classical models of comedy and tragedy set out by Aristotle and envisaged by Seneca, Webseters The White Devil (1612) expands the classical tragic structure by adding elements associated with comedy: ironic repetition, theatrical self-consciousness, and inverted tragic situations. There is a repeated pattern in The White Devil of serious action followed by parody, working to undermine the dramatic tradition of tragedy to create what would become the genre of tragicomedy. Tragicomedy is a distinctly non-Aristotelian genre in which the action and subject of the play demand a tragic ending, but this ending is denied in an ironic reversal which produces the happy ending of a traditional comedy. Aristotle did, in fact, depict a kind of tragedy with a happy ending, which would later become tragicomedy, but it was not until the Renaissance that the genre was seen as a legitimate dramatic form. In The White Devil, the Duke of Florence comments on the popular dislike of the c lassically inspired plays which strictly conform to the structure of tragedy and comedy: My tragedy must have some idle mirth int, Else it will never pass (IV.i.119-20) The Dukes comment suggests that an increasingly demanding audience will no longer accept the single-minded classical plays of strict comedy or tragedy, but demand a sophistication of genre. The White Devil is not unique in its admission of tragicomedy, but it is treated as an expression of doubt about the tragic absolutes and as part of a critical double-vision. Incidents are repeated an parodied throughout Websters play, and this system of parallels is used to undermine the tragic status of the patrician characters. In the final scene the tragic hero Flamineo acts out a grotesque fiction of his own death, which is ironically followed by real murder. The farcical ending is paralleled with the authentic tragic image. With its elaborate system of repetition and parody, its ironic contrasts between interpretations of events, and the insistence that every incident is intimately connected with other incidents, The White Devil emphasises the shifting values and ironic double-visions of tragicomedy into the tragic framework of aspiration, failure, and ultimately death, depicting the double standard of the new society. The action of the play is confined to the relatively narrow setting of Rome and the court at Padua, hinting to the world beyond that of stage. Critics have often found the number of characters in The White Devil problematic, citing di fficulties in staging a production with so many bodies on stage. However, John Russell Brown (1940) has called attention to Websters power of using violent and crowded scenes for sudden and, therefore, striking manifestations of an individuals lies or hypocrisy, the â€Å"variety† of a â€Å"busy trade of life† (Brown 453). In the final act, the presence of so many members of the courtly society emphasises Flamineos fall from power, defining the extent of the competition for the Dukes favour and the uncertainty of Flamineos future now that his relationship with his master is ruined. As a young lord reports to Flamineo concerning Bracciano, A new vp-start: one that swears like a Falckner, and will lye in the Dukes eare day by day like a maker of Almanacks (V.i. 138-9). The White Devil deals with private behaviour made public, and public behaviour motivated by questionable private interests. Vittorias trial reveals her illicit liaison with Bracciano and the murderous consequences, but it is this public censure which results in private revenge. In comparison with Shakespearean tragedies such as Hamlet, or classical tragedies such as Oedipus Rex, the play is extremely social and emphasises Websters preoccupation with the intertwined spheres of public probity and private corruption. The White Devil focuses on the individuals freedom of choice between good and evil, human dignity and the fall from grace, binaries which appear to conform to the traditional Christian morality. Lodovico is accused by Antonelli and Gasparo: Worse then these, / You have acted certaine Murders here in Rome, / Bloody and full of horror (I.i.31-32), and Gasparo continues O my Lord / The law doth sometimes mediate, thinkes it good / Not ever to steepe violent sinnes in blood, / This gentle penance may both end your crimes, / And in the example better these bad times (I.i.33-37). Ludovico is presented a choice, but instead turns to criminality and revenge. His crimes have been presented, the possibility of reform and exoneration provided, and yet he wilfully chooses his course of conduct in spite of this. He exercises his free will, but unlike the Aristotelian tragic hero his destructive path is not redemptive in bringing out moral responsibility. The conclusion of The White Devil is ambig uous, fulfilling the catastrophic ending required of tragedy but without the suggestion of the nobility and greatness of man. Flamineo dies in despair of his worldly goods, wealth and advancement rather than in despair of his worthiness before God. There is the possibility of Flamineo accepting moral responsibility directly before his death as he reflects, While we looke up to heaven wee confound / Knowledge with knowledge (V.vi.259-60), and yet immediately before this he said , I doe not looke / Who went before, nor who shall follow mee; / Noe, at my self I will begin and end (V.vi.256-58). Although the play ends with the death of the tragic hero, as tradition dictates, this is not the satisfactory ending of classical tragedies. There is no remorse, no retraction of arrogance and greed in the face of the divine. As A.L. Kistner (1993) wondered, Where does it lie – in the triumph of will, in grabbing for every expression of self that this world has to offer or in the calm dis cipline of self-denial for a higher picture of man? (267). Webster leaves the audience with an unsatisfactory portrait of free choice and the capacity for moral responsibility. The emergence in the 1580s of an Elizabethan tragic tradition which manipulated the limitations of classical generic boundaries points toward the developing self-consciousness of a modern culture. As evidenced in such works as Tamburlaine and The White Devil, the theatre was the site of an evolving culture in conflict with the older, traditional forms of expression. Marlowe, Webster and Heywood used the stage for the assertion and defense of an ego which †¦ was constantly threatened by powerful forces of desire and conscience, forces which [they] coped with as best as [they] could by making them conscious, by finding a form for them which would command social understanding and the control of shared social attitudes (Barber 37). The new tragic genre was a way of registering an experience of change and di slocation, a shift from the Classical tradition of moral order and stability. Works Cited Aristotle, (1953) Aristotle on the Art of Fiction: an English translation of Aristotles Poetics. Trans. by L. J. Potts. Cambridge: University of Cambridge Press. Barber, C. L. (1988) Creating Elizabethan Tragedy: the theatre of Marlowe and Kyd. Chicago: The University of Chicago Press. Bowers, F. T. (1940) Elizabethan Revenge Tragedy 1587-1642. Princeton: Princeton University Press. Brown, J. R. (1962) Theater research and the Criticism of Shakespeare and his Contemporaries Shakespeare Quarterly, 13 Falco, R. (2000) Charismatic Authority in Early Modern English Tragedy. Baltimore and London: Johns Hopkins University Press. Goldberg, D. (1987) Between Worlds: A study of the plays of John Webster, Wilfrid Laurier University Press. Greenblatt, S. (1985) Invisible Bullets: Renaissance Authority and Its Subversion, Henry IV and Henry V in J. Dollimore and A. Sinfield, (eds.), Political Shakespeare: New Essays in Cultural Materialism , pp. 18-47. Manchester: Manchester University Press. - (1980) Renaissance Self-Fashioning: from More to Shakespeare. Chicago: Chicago University Press. Heywood, T. (1973) An Apology for Actors (1612). New York: Garland. (1961) A Woman Killed with Kindness. R. W. Van Fossen (ed). London: Mentheun Co. Kistner, A.L. and Kistner, M.K (1993) Free Choice in The White Devil English Studies, 74, no. 3: 258-267 Marlowe, C. (1993) Doctor Faustus. D. Bevington and E. Rasmussen (eds). Manchester: Manchester University Press. -(1995) Tamburlaine. D. Bevington and E. Rasmussen (eds). Oxford, New York: Oxford University Press. Moretti, F. (1982) †A Huge Eclipse†: Tragic Form and the Deconsecration of Sovereignty, in The Power of Forms in the English Renaissance, S. Greenblatt (ed). Norman, Oklahoma: Pilgrim Books. Powell, C.L. (1917) English Domestic Relations 1487-1653. New York: Columbia University Press. Sidney, P. (1971) An Apologie for Poetrie. New York: De Capo Press. Webster, J. (1983) The Selected Play of John Webster. J. Dollimore and A. Sinfield (eds). Cambridge: Cambridge University Press.

the bear :: essays research papers fc

Composition II Research Paper Rough Draft title   Ã‚  Ã‚  Ã‚  Ã‚  In â€Å"The Bear† by William Faulkner, there are several different personalities and attitudes that come into play at various times in the story. The story is told from the perspective of Isaac McCaslin, the boy of the story and one of the main characters as well, and many critics feel that this was â€Å"probably a projection of Faulkner’s own youthful self†(Monarch Notes 5). Isaac was of the aristocratic class of people who were a part of the South, and who also played a significant part of the stories that Faulkner wrote. Another class of people that were a consistent part of Faulkner’s short stories were the poor-whites such as the Snopes family in â€Å"Barn Burning.† Abner Snopes is a man who seems to blame everyone but himself for his problems. Being a Civil War veteren from the Confederate point of view, he was bitter about the War and the way that the Southerners were treated, though it appears that he brought his parti cular condition upon himself. During the War, the only loyalty was to himself and he remained that way Another class of people that are a significant part of Faulkner short stories are the non-whites which include the Negro, the Indian, and any mixture of the different races found in the South. Abner Snopes gave no regard or respect to the â€Å"nigger†(155), who was the de Spain servant and door man, when the Snopeses came to announce their arrival for the sharecropper job, but muttered â€Å"get out of my way, nigger.† Sam Waters gained more kindness and respect than that, though he was still a mixed blood in a wealthy, white world. He was Works Cited Faulkner, William. â€Å"The Bear.† Big Woods New York: Random House, 1955. 11-97. Faulkner, William. â€Å"Barn Burning.† Short Story Masterpieces Ed. Robert Penn Warren and Albert Erskine. New York: Dell, 1954. 148-68. â€Å"Works of William Faulkner: Introduction and Bibliographical Scetch(sic).