Sidewalk Repair Ordinance Essay Example | Topics and Well Written Essays - 500 words

Sidewalk Repair Ordinance - Essay Example The quality of the sidewalks reflects on the quality of life for all the citizens of the city as well as the visitors who come here. It is only reasonable to have the burden of the repair costs shouldered by the city. The sidewalk is not the property of the owner of the adjacent property. The tactics of the Department of Public Works have been abusive, as they have threatened property owners with fines and unreasonable deadlines. The city should find taxpayer money to finance the repairs and leave the property owners alone. The estimated cost of repairing the nearly 5,200 blocks of city sidewalk has been quoted as $1.5 million. This is a reasonable amount and the city would benefit from this improvement. However, the cost of enforcing the ordinance has been put at $1.3 million. Instead of spending the money on enforcement, the city should spend the money to do the needed repairs. It does not make sense to spend $1.3 million to enforce a law that will only save the city $1.5 million. Financially, this is a break-even proposition. However, it will cause hardship to those citizens that are required to pay for the repairs. It will leave bitterness and resentment in its wake as property owners get slapped with a bill for a public works project. I am proud of our fine city and am fully in support of the efforts to renovate and repair

Truth and Socrates Essay Example for Free

Truth and Socrates Essay Euthyphro – Plato Explain how the concept of holiness emerges in the dialogue and why it takes a prominent position in the conversation between Socrates and Euthyphro. â€Å"Euthyphro answers that there is no difference of opinion, either among gods or men, as to the propriety of punishing a murderer. Yes, rejoins Socrates, when they know him to be a murderer; but you are assuming the point at issue. If all the circumstances of the case are considered, are you able to show that your father was guilty of murder, or that all the gods are agreed in approving of our prosecution of him? And must you not allow that what is hated by one god may be liked by another? Waiving this last, however, Socrates proposes to amend the definition, and say that what all the gods love is pious, and what they all hate is impious. To this Euthyphro agrees. † But the pious or holy is loved by the gods because it is pious or holy, which is equivalent to saying, that it is loved by them because it is dear to them. Here then appears to be a contradiction,Euthyphro has been giving an attribute or accident of piety only, and not the essence. Euthyphro acknowledges himself that his explanations seem to walk away or go round in a circle, like the moving figures of Daedalus, the ancestor of Socrates, who has communicated his art to his descendants. Present the three definitions that Euthyphro uses in his response to Socrates, and then explain how Socrates refutes each of Euthyphro’s definitions. 1) Euthyphro answers that there is no difference of opinion, either among gods or men, as to the propriety of punishing a murderer. Yes, rejoins Socrates, when they know him to be a murderer; but you are assuming the point at issue. If all the circumstances of the case are considered, are you able to show that your father was guilty of murder, or that all the gods are agreed in approving of our prosecution of him? And must you not allow that what is hated by one god may be liked by another? Socrates proceeds to analyze the new form of the definition. He shows that in other cases the act precedes the state; e. g. the act of being carried, loved, etc. precedes the state of being carried, loved, etc. , and therefore that which is dear to the gods is dear to the gods because it is first loved of them, not loved of them because it is dear to them. 2) The next definition, Piety is that which is loved of the gods, is shipwrecked on a refined distinction between the state and the act, corresponding respectively to the adjective (philon) and the participle (philoumenon), or rather perhaps to the participle and the verb (philoumenon and phileitai). The act is prior to the state (as in Aristotle the energeia precedes the dunamis); and the state of being loved is preceded by the act of being loved. But piety or holiness is preceded by the act of being pious, not by the act of being loved; and therefore piety and the state of being loved are different. Through such subtleties of dialectic Socrates is working his way into a deeper region of thought and feeling. He means to say that the words loved of the gods express an attribute only, and not the essence of piety. 3) Then follows the third and last definition, Piety is a part of justice. Thus far Socrates has proceeded in placing religion on a moral foundation. He is seeking to realize the harmony of religion and morality, which the great poets Aeschylus, Sophocles, and Pindar had unconsciously anticipated, and which is the universal want of all men. To this the soothsayer adds the ceremonial element, attending upon the gods. When further interrogated by Socrates as to the nature of this attention to the gods, he replies, that piety is an affair of business, a science of giving and asking, and the like. Socrates points out the anthropomorphism of these notions, (compare Symp. ; Republic; Politicus. ) But when we expect him to go on and show that the true service of the gods is the service of the spirit and the co-operation Formulate your own argument as to what you think Socrates’s goal is in this dialogue. How do you know that is his goal? What features of the dialogue align with your interpretation of his goal? Generally, we do assume that we know things, although the skeptic is always around to remind us that maybe our confidence shouldnt be too high. The correspondence theorist insists that our knowledge claims are true, or at least very reliable, if our claims match up, or correspond, to the way the world actually is. The coherence theorist, in contrast, suggests that our various beliefs all must fit together, or cohere, correctly. Kant offers an alternative that combines a correspondence theory of truth (that is, our claims are true if they correspond to the world) and a rule–oriented theory of knowledge (that is, what we call knowledge must not break any of the rules that give us the ability to make those knowledge claims in the first place). a. Provide your own definition of piety/holiness and then create a Socratic response/critique of your definition. After you present your definition, take on the role of Socrates and respond to your own definition as you think he would.

The Life Of Konstantin Serseyevich Stanislavski Film Studies Essay

The Life Of Konstantin Serseyevich Stanislavski Film Studies Essay The American theatre is renown throughout the world for its acting and glamour. It has its beginnings in the early Eighteenth Century and was notably introduced by The Hallams in the year 1752. Though the acting at the time was noted to be above par, there was still room for improvement. Additionally, there was the lack of proper acting methods or procedures which would help actors to improve their acting. Although today the American theatre is widely known throughout the world for the production of thought provoking as well as entertaining plays, it should be noted that this is due to early pioneers of modern acting. One such pioneer is Konstantin Sergeyevich Stanislavski. Many of the current thespians consider acting techniques before the innovation of Konstantin s universal system to be archaic. Close research, thus shall be paid to this revolutionary theory in this paper and this is necessary when focusing on the evolution of theatre to its current level. In early acting productions, especially those of social signifance, it is noted that most of the acting techniques were based on Stanislavsky s Moscow Art theatre. Hence, it can be said that most of modern acting ideas and practices were drawn from Stanislavsky. This paper is therefore an in-depth analysis into the life of Konstantin Serseyevich Stanislavski. It will include research into areas such as his biography and the acting methods that he developed. Additionally, it will include research on how he influenced the acting industry both during his lifetime and after his death. Moreover, it will include his achievements as well as the contributions that he made towards modern acting. An understanding of the American theatre is essential for development of the film industry. Biography Konstantin (or Constantin) Sergeyevich Stanislavsky was born in Moscow on January 5th 1863 during the transition from the serfdom of Czar-ruled Russia under Peter the Great, to the free enterprise of the Industrial revolution. Stanislavsky s father was a manufacturer while his mother was born of a French actress. He is renowned for having impacted or influenced the acting process more than anyone else in the twentieth century. His acting career began when Stanislavski was 14. At that time he joined a theatrical group known as the Alekyseyev circle in which he soon became the main attraction. During the late 1800s, his acting improved and soon he was producing and directing plays. For Konstantin, being brought up by a wealthy father meant that he did not experience financial hindrances during his early stage performance days. In 1885, at age 25, he adopted the stage name Stanislavsky and a while later, established the Society of Art and Literature at the Maly Theatre, where he got experience in ethics, aesthetics and stagecraft. It wasn t long before he began to question and pose challenges to the traditional stage approach. In 1888, he formally married Maria Perevoshchikova who was a school teacher. She eventually became his devoted disciple and a gifted actress. She went by the name Lilina. In 1898, together with Vladimir Nemirovich Danchenko, Stanislavsky founded the Moscow Art Theatre, Russia s first ensemble theatre. Vladimir was responsible for administrative and literary matters while Stanislavsky catered for production and stage. In this capacity, he was not only stern, but also uncompromising in training of actors. He was strict on the genuineness of the performance on stage. The theatre emphasized on a realistic presentation and attention to every minute detail of a production. Consequent productions became legendary under the careful, often autocratic, direction of Stanislavski, achieving classical status in the coming years. Apart from being an actor, a director, coach and a successful businessman, Stanislavsky was also a teacher. Stanislavsky is renowned for developing the Stanislavsky system/method which is a theory of acting. In it, he explained that actors had to achieve an emotional identification with their characters, while at the same time remaining independent of the role in order to help it to the needs of the play. In a nutshell, Stanislavsky demanded the reproduction of genuine emotions at every performance in order to fully convey the character s emotions. As both a director and actor, Stanislavsky showed an amazing subtlety in rendering psychological patterns and a rare gift for satirical characterization. He eventually became a dominant influence on the Russian elite of the time. In 1912, he founded the First Studio. This is where many of his innovations were adopted by many upcoming actors. On October 29, 1928, Stanislavsky suffered a heart attack while acting in The Three Sisters during the Moscow Art Theatre s 30th anniversary. From then on, he put acting aside and focused on directing and educating actors and directors alike for the rest of his life. Stanislavski died on August 7th 1938, just before the start of World War II, maintaining the ideal of a peaceful, socially ethical world. Method Acting Method acting can be explained as an approach to acting based on the idea that an actor should have an emotional identification with their characters. This is important to come up with an enticing film. For the purposes of production several methods have been applied in a bid to expound on film science. Stanislavski viewed the theatre especially that of Russia to be one whose function is not only to entertain but to affect the audience directly with the life of the theatre. Method acting strives to aid actors develop a sincere and deeply felt performances. Vital features of method acting are derived from the work of Konstantin. He formulated an approach that dealt with the psychological and emotional aspects of acting. In his argument, Stanislavsky maintained that the core business for an actor was to be believable rather than to be understood. Stanislavsky implemented methods such as emotional memory to achieve this believable truth . In this case, he suggested that for a performer to get into character where he or she is expected to be frightened, the performer had to remember an occurrence in which they experienced fear, and physically reenact the fear that they felt when acting. Stanislavski further emphasized the need for an actor to take their own personality on stage when playing a character. This was in contrast to earlier methods of acting which encouraged the actor to become the character putting their emotions at bay. Method acting is the most common approach by most modern actors. The actor tries to think and feel the same way as what the character would. Stanislavsky protested against the old manner of acting where emotional rhetoric and non-stylized props, sets and costumes were used. Instead, he chose to show a different form of drama realism. In this setting, the dialogue involved more of everyday speech. Another distinct feature of method acting is that the actors perform to each other rather than to the audience. The play unfolds on stage in such a manner that to the audience, it is as if one wall to a house is transparent or invisible so they can see what is unfolding inside. Therefore, the actors perform without acknowledging the presence of the audience. In Stanislavsky s theory/method, the actor strives to achieve several objectives. Firstly, the actor aims to project the character s actions making them seemingly natural and convincing. Secondly, the actor is supposed to portray the character s inner drive, that is, their aims or objectives. Third, develop the character convincingly. Then most importantly, the ability and willingness to work as a team with fellow actors. Acting exercises and activities Actors implementing the Stanislavsky system perform several exercises to generally improve their performance on stage. Relaxation exercises are primarily designed to help the performer to release tension and anxiety and to make the use of their limbs and voices effortless and fluid. Some actors achieve this through yoga. During yoga, the body and mind are in state of calm, balance and tranquility and this enables the actor to be whatever character they are required to be. Concentration exercises are designed to help nurture the performer s ability to concentrate on an event, person or object on stage. Stanislavsky referred to the specific points of this focus as circles of attention . Actors focus on an object or position/location and afford it their utmost attention ignoring everything else. For this type of exercise, the actor can be done in numerous different ways. For instance, the actor can recite the alphabet backwards severally, or engage in a more challenging exercise that demands concentration. Observation is an acquired skill. The performers are required to observe different people from various backgrounds and ages. From this observation, they are expected to analyze how the subjects go along their daily business and then incorporate those details into their performances. An actor can easily and frequently engage in observation exercises. For example, an actor can try to remember the model, color and number plates, gender and approximate age of the drivers of vehicles passing at a street or outside their apartment. One such acting exercise developed by Konstantin Stanislavski was the Magic If Exercise. It basically requires the actor to question himself in order to proper assimilate the character s role that the actor will be playing. A sample of the exercise is as follows: 1. (Magic If) Sit, stand and walk with justification. (Sit by the window to see why there was shouting on the adjacent street. Sit in order to read the paper. Stand in order to better see the cause of shouting. Stand in order to stretch one s legs. Walk to take a walk. Walk to see what the commotion was all about. Stanislavski influence on the film/theatre industry during his time The Seagull a play produced by Anton Chekhov had been a failure in its original production in St Petersburg in 1896. However, and with a lot of challenges, Stanislavsky was authorized by Chekhov to restage it. Under Stanislavsky s and Danchenko s direction, The Seagull became a success, catapulting Moscow Art Theatre as a new force in the world stage. This led to the acknowledgement of Chekhov as a great playwright whereas after the failure of The Seagull during its debut, Chekhov had vowed never to write again. Consequently, after the success of The seagull , Chekhov wrote, The Three Sisters (1901) and the The Cherry Orchard (1903) exclusively for the Moscow Art Theatre. Were it not for Stanislavsky, it is safe to assume that Chekhov s career would have never made a come-back and the world would have been robbed of such a great playwright as Chekhov. Apart from helping actors get in touch with the concept of showing genuine emotions and feelings on stage breaking from the old system where the actor kept strictly to the exact words and actions dictated on script, Stanislavsky s method of acting also demanded that they acknowledge the unsaid messages within the script. This in turn influenced playwrights like Chekhov to make a change in their mode of writing in order to accommodate more elusive emotionally engaging work. In 1902 Stanislavski continued with his success streak when he staged Maksim Gorky s The Petty Bourgeois and The Lower Depths. Stanislavsky played several powerful roles including; Astrov in Uncle Vanya in 1899 and Gayev in The Cherry Orchard by Chekhov in 1904; Doctor Stockman in Henrik Ibsen s An Enemy of the People in 1900; and Satin in The Lower Depths. In these roles, Stanislavsky made yet another great contribution to theatre by being a great actor and setting the bar for young actors. He was shaping the world of acting not only as a director, but also as an accomplished actor in his own right. In 1912, Stanislavsky founded the First Studio and there, his models and ideas were undertaken by many young actors. By 1918, Stanislavsky was managing the Bolshoi Opera Studio, which was later named after him. In 1922, he staged Eugene Onegin by Pyotr Ilyich Tchaikovsky at the Bolshoi Opera Studio which was accredited as a major reform in opera. Stanislavsky made tremendous contribution in not only stage theatre, but also through excellent performance at the opera, sparked what may be termed as a revolution in opera at the time. Stanislavski realized that theatre was at its best when profound emotions content was in tandem with expressive theatrical form and oversaw the production of William Shakespeare s Twelfth Night in 1917 at the First Studio. From 1922 to 1924, Stanislavsky and the Moscow Art Theatre toured Europe and the United States. During this tour, Stanislavsky went in the capacity of the director and leading actor. He also, of course as the founder, had an administrative position in the group. As Stanislavsky travelled the world and introduced his system wherever they toured, many expressed great interest in his system. Therefore, he also contributed greatly in helping spread his system across the world and creating awareness among the circles of film and theatre at the time. It was also during this time that he wrote his autobiography which he called My Life in Art. Stanislavski went on to stage Aleksandr Ostrovsky s An Ardent Heart in 1926 and The Marriage of Figaro by Pierre-Augustin Caron de Beaumarchais in 1927. The latter demonstrated very bold attempts at theatricality. What proved to mark a milestone in the soviet theatre was Armoured Train 14-69 which was V.V. Ivanov s play about the Russian Revolution in 1927. Stanislavski continued his experiments and more research on finding what he termed as a conscious means to the sub-conscious which basically meant the search for an actor s emotions. In 1935, with the advantage of modern scientific research on the interaction of the brain and the body, he started on his final approach called method of physical actions. This approach was based on emotional creativity. It demanded that the actors assimilate the character s physical and psychological emotions at any given time. This approach also had another impact. It influenced the playwright s writing and structuring of the play. Stanislavsky s influence on the film/theatre industry after his time After the death of Stanislavsky, his work was advanced by Lee Strasberg at the Actors Studio from the 1940s. The success of Stanislavsky s work was clearly shown in the fact that some of the most successful actors/performers even after his death, had been educated using his system, being Strasberg s students. Some of those now renowned actors include: Al Pacino, Marilyn Monroe, Paul Newman, Robert De Niro, Alec Baldwin, and Dennis Hopper, just to name a few. Therefore, it is no assumption that Stanislavsky has had a tremendous impact on the film/theatre industry to this day. When a comparison is done between Lee Strasberg and Konstantin Stanislavsky s method, it is noted that Lee s method is heavily influenced by Affective Memory. Stella Adler, who was taught the Method of Physical Action, introduced Lee Strasberg to the new system or method of physical action. Lee who understood the differences rejected the method. He insisted that acting was recollection of emotion. However, it should be noted that Lee Strasberg was based on Stanislavsky s approach. Lee was a student of Boleslavski, the founder of the American Laboratory theatre, who was originally taught by Constantine Stanislavski. The famous actor Charlie Chaplin was quoted as saying that Stanislavski s book, An actor Prepares, tells what an actor needs to inspire himself or herself to profoundly express his emotions. Many other actors acknowledge that his books on acting preparation have been inspiring and his Universal Method has greatly impacted on their acting. Based on Stanislavski s system, many more approaches have been formulated by scholars over the years. Many of these are just a variation of Stanislavsky s system. Nevertheless, they have factored in new trends and colossal changes in the film and theatre industry since the 20s while trying to improve and build on the ideas of Stanislavsky making his system a kind of a framework on which many more innovations are designed to serve specific demands in a performance, or to formulate universally sound approaches to better performance by actors. Research has been carried out on the various works of Stanislavski in an attempt to better understand and implement his universal system. The system which he innovated is also the basis for which many modern acting schools were formed. Research has also shown that method acting is widely practiced among modern American actors. His theories are the used during study by many actors, some of who have become very successful. With Stanislavski s method acting approach still being taught in many acting schools his model is still very much in use in the modern world and has had impeccable effects on performance both in film and theatre. His books are crucial reading materials for aspiring actors and are used in many acing schools. His works (plays and theatre films) are subject to critical study and analysis in modern acting and film-making schools. His mansion in Moscow is currently a public museum and research centre containing the original manuscripts written by Stanislavski, his library collection and the collection of theatre costumes and stage sets used by Stanislavski. Summary Stanislavski s life was wholly emerged in acting. He devoted himself to perfecting his acting skills and of those around him. His mentors and coaches can be regarded as inspiring him and pushing him into visualizing and eventually realizing this dream. Stanislavski not only produced a system that was adopted by actors the world over, he was also a revered playwright, actor as well as director. His notable works which are now classics, many of which were adapted into black and white films include: Stanislasvski s single handedly changed the acting world by the introduction of seemingly simple methods. By many actors he is regarded as the father of acting. He taught actors the simple fact that in order to properly depict the character they are acting, it is necessary for the actor to fit himself in the actors shoes, thus his universal system. By the use of simple techniques, Stanislavski s was able to completely remodel how actors prepare for themselves. His contributions to the acting world can indeed not be ignored for without him the current acting scene would not be as captivating as it is now. Thus, Stanislavski has contributed greatly towards the evolution of modern acting through his universal method. His books, his films, and his universal system have enabled actors to greatly improve their own acting and are highly regarded in the acting world.

Film Analysis of Bowling for Columbine by Michael Moore Essay -- Movie

Film Analysis of Bowling for Columbine by Michael Moore In the recent film â€Å"Bowling for Columbine,† Michael Moore claims that fear drives people to violence; a short animation clip is also used by Michael Moore to depict the history of the United States in the documentary. The animation brought out a number of issues that set people thinking. Issues on race, fear and violence are also discussed in the documentary (as well as the interview of Oprah Winfrey and Michael Moore.)It is shocking to realize how people have got involved in the culture of fear, and violence. The discrimination of the blacks in America is also discussed in the film. Having watched this documentary, I was totally appalled. Thoughts went through my head, and questions were left unanswered. Are people treated justly and equally? It seems to me that the answer is no. The world did not seem safe anymore, and an example of that being that bullets were made easily available in stores such as â€Å"K-mart†. â€Å"It’s an American tradition; it’s an American responsibility to be armed. If you’re not armed you’re not responsible.† is a quote given by a militia member. It seems to me that the Americans are caught up in their own world only worried about themselves. There is some form of self-obsession going on in the country, as people only care about their own well being, and another example is a quote given by a female militia member â€Å"Because, being a female, for one, I felt it was important to be able to protect myself with the best means possible. And one of those means is having a gun. When a criminal breaks in to your house, who is the first person you’re going to call? M... ... of guns, for example the killings of student in Columbine. In my opinion, â€Å"The biggest problem has been the gun possession by these adolescents in suburbia.† The six year old boy killing his classmate as the gun was of easy accessibility. All of these could have been avoided if fewer guns are involved. And with fewer guns, there would be less violence, more peace and security for the citizens of America. Thus in conclusion, I believe that more effort could be put in to stop all the issues of fear, killings and discrimination. Most of the issues could be avoided if people stopped being so paranoid and self-centred. I believe that the issues on killings and violence can be resolved peacefully without the involvement of guns. If people were to trust each other more, the world would be a much better place to live in.

History †MapQuest Chapters Essay

WebQuest Chapter 19: The Pullman Strike 1. ) George Pullman explained that the benefits of having his workers living in his company town was that he believed that the surroundings would remove the workers from the â€Å"Feeling of discontent† which â€Å"Characterized the American Workman†. This would protect his company from the economic loss that the discontented worker would suffer if he was living under bad conditions. He also took the rent that was due directly out of the paychecks of his employees. 2. ) The readings do not state a dollar amount for the hourly wage. The Parable of Pullman states that the workers wages were close to subsistence level. The amount of the pay cut averaged 25% 3. ) Eugene Deb was a Locomotive Fireman. It was under him that the American Railway Union was organized in June of 1893. He was the president of the ARU. It was a single organization that represented all types of railroad employees. In August of 1893 they had had success over the Great Northern Railway in a wage cut dispute. The Pullman workers also joined the ARU. When they went on strike in May of 1894, the ARU supported the strike and it became a nationwide strike between railroads and the American Railway Union. After the strike was broken by federal intervention, Debs was jailed for six months for his role in the strike,, specifically for violating a federal injunction and interfering with the mail. 4. ) The strike ended because the ARU members had refused to work any train that had Pullman’s cars included in it. The companies purposefully attached Pullman cars to mail trains. This caused the mail to be delayed. The result was the Federal Government issuing an injunction and President Cleveland sending Federal troops to enforce it, in order to stop the mail delay. A â€Å"yellow dog† contract is a contract that a worker signs promising not to join a labor union while he is an employee of the company who holds the contract. 5. ) The appellants had been refused employment, had no viable way to leave the Town of Pullman, and their families were starving. Instead of employing these individuals, Pullman had brought in substitute workers. Governor Altgeld wrote Pullman a letter basically stating that he should bear some responsibility for the plight of those in his town. He also stated that he was going to conduct a personal investigation. He made good on his word for the investigation. 6. ) The investigations found that the letter of complaint was indeed valid. There were 1600 families that were without the basic necessities of life, such as food. The investigators also found that there were 600 new workers but 1600 old workers that were still unemployed. HISTORY PAGE 2 of 3 7. ) Pullman blamed the workers for their plight, stating that if they had not gone on strike, they would not be suffering. WebQuest Chapter 20: The Triangle Shirtwaist Fire 1. ) The workforce was mainly made up of young immigrant women. There were also men employed, and boys as elevator attendants. There were other boys and girls present during the fire. 2. ) There were a total of 146 people who died in the fire. Most of these were young women. The readings do not break out the deaths by gender. There were also men and boys who died in the fire. About a third jumped from the ledges to avoid burning to death. The rest died of burns, some at their sewing machines. 3. ) The exit doors on the ninth floor were locked, ostensibly to prevent employee theft. The one fire exit that was available was inadequate for the number of workers. The conditions existed because fire inspections and precautions were inadequate. The workers feared that if they spoke out about the conditions, that they would lose their job. Economics also played a role in why the conditions were not corrected. 4. ) The citizens of New York, from every physical and economic part of the City, demanded justice. Workers offered testimony and support. There were protests in the streets. They demanded a safer work environment. 5. ) The unions became strong after this tragedy. Many workers saw the benefit in having an organization speak on their behalf. The other legacy is the building codes and worker safety legislation that was passed after the fire. WebQuest Chapter 22: The Platt Amendment 1. ) The Platt Amendment was attached to the Cuban Constitution. The Cuban Government, with reluctance, included the amendment in their constitution. The United States was already occupying Cuba. The United States was not going to relinquish any control without the amendment in place. 2. ) The Platt Amendment was drafted by Secretary of War Elihu Root, and presented by Senator Orville Platt. It was attached as a rider to the Army Appropriations Bill of 1901. The intent was to protect Cuba from foreign intervention and allow the United States to exercise authority in Cuba if the situation warranted it. It was passed by the Senate HISTORY PAGE 3 of 3 3. ) The Platt Amendment barred Cuba from going into debt, making treaties with other nations that gave those nations any power over Cuban affairs, or stopping the US from creating a sanitation system. It restricted Cuban Sovereignty by giving the United States broad latitude of power over the domestic and foreign relations of Cuba. 4. ) The Platt Amendment was used by the United States as an excuse for intervention in Cuba in 1906, 1912, 1917, and 1920. The Platt Amendment was also used for the creation of the base at Guantanamo Bay. 5. ) The Cubans were reluctant to attach it to their Constitution. They feared rampant US intervention. Widespread criticism of the amendment and rising nationalism in Cuba resulted in President Franklin Roosevelt’s repeal of the Amendment in 1934, except for the lease of Guantanamo Bay. 6. ) Whereas the Platt Amendment specifically provided causes for the intervention in Cuba by the United States, the Teller Amendment stated that the United States disclaims sovereign claims to Cuba, and will leave control of the island to the Cubans, and will not claim jurisdiction. The two documents are in sharp contrast to one another.

confusion economics essays

confusion economics essays The Chinese Economy, Culture The social values and history have shaped and formed the economical developments and the current environment of business in the People's Republic of China. They have determined the patterns for negotiation and the Chinese perceptions of business, and their feelings towards westerners. The implicit and explicit rules that the Chinese society has on the development of businesses, and the economy in general, are very important issues for any person going into China to understand and consider. In order to achieve a successful partnership between Chinese and Western cultures it is essential to have a basic understanding of history and cultural developments that have shaped the current environment of business. The three pillars of China are economy, culture, and society. The Chinese economy has been formed as a result of centuries of history and development, which reflect the philosophy of China and its current economical position. China started as a mainly agricultural based society with the subsistence group; the family. For more than 2000 years the Chinese economy operated under a type of feudal system; land was concentrated in the hands of a relatively small group of landowners whose income depended on rents from their peasant tenants. Agricultural taxes levied by the imperial government and crop yields subject to drought and floods kept agriculture relatively underdeveloped and organized in small units with the use of primitive methods for basic subsistence. The conclusion of the Opium War of 1840 formally initiated a period of Western penetration of China from the coastal treaty ports. Railroads and highways were constructed, and some industrial development began. Such activity had little impact, however, on the overall Chinese economy. In effect, China was carved up into a number of competing colonial spheres of influence. Japan, which tried to attach China to its East Asia prosperity...

“Speak When You Are Angry- and You Will Make the Best Speech You Will Ever Regret” Essays

â€Å"Speak When You Are Angry- and You Will Make the Best Speech You Will Ever Regret† Essays â€Å"Speak When You Are Angry- and You Will Make the Best Speech You Will Ever Regret† Paper â€Å"Speak When You Are Angry- and You Will Make the Best Speech You Will Ever Regret† Paper â€Å"Speak when you are angry- and you will make the best speech you will ever regret† Dr. Laurence J. Peter How does the above quote relate to the use of language as a tool for expressing one’s emotion? There are many ways of expressing our emotions. We can do this by our face expressions, by our movements and acts, using our body language but the most powerful and common way is using the ordinary language. Ordinary language is the ability of people to communicate between them to share ideas, to make plans, and understand each other by using words. But it is also a way of sharing feelings and expressing emotions. Behind each word there are many thoughts and feelings hidden. Each one of us through out his life has learnt almost all that words and become aware of the deep meaning and the hidden feelings of that words. This is the reason why when we grow up we become able not to talk passive but with sentimentalism. Therefore language is one of the best ways of expressive our emotions. â€Å"Speak when you are angry- and you will make the best speech you will ever regret†, is a quote of Dr. Laurence J. Peter an educator and a hierarchiologist. From this quote we could see that our emotions are expressed by our speeches, words or otherwise that our words are effected by our emotions. Anger is a feeling that overcomes any other feeling of fear or depression, even though love. When you are angry according to Dr. Laurence J. Peter you can make the best speech because the only emotion coming out of that speech is anger, therefore your speech will be clear, and focusing only to the aim of it. This speech will have passion and zeal. All of this anger will come out of the speech, will eventually enter people hearts when they heard the tone of your voice pronouncing heartlessly words loudly, clearly with no doubt and coming out from a hard heart. Then by leaving them recording to their minds each word they will be able to understand what your feelings are, when you speak to them. If your words are full of anger that brings on that they will be barbed words. As people are sensitive living things, they will be hurt psychologically by those words. Your words might damage their lives immeasurable. Your words might sound to their ears forever and no excuse or apology can take them back. And when you finally discover this you will eventually regret about what you had said, you will feel ashamed of yourself because you let your anger to speak, instead of yourself. But if we change the concept and you are fell happiness instead of anger, then what you will give out will be totally different. The same speech, with the same point of view, might sound exactly different. What you will give out will be emotions of happiness and calmness. The atmosphere will change colour becoming lighter, as your voice will be lighter and calmer, full of joy. Language consists of so many words, and you will find yourself many times, want it or not, showing emotions but shouting small words or telling phrases. For example when you are impressed or enthusiastic with something, you will say â€Å"wow†, when you are disgust you will say â€Å"yuk† or when you’re in pain you will say â€Å"outs†. There are infinite examples of phrases too, showing emotions. The most common one is â€Å"I love you†, expressing love. Sometimes you might find yourself so depressed or full emotions; therefore you will need to expresses yourself in a way. The most common and effective way is to call a relative or a friend and talk to him. Or emotional people often become writers. They express themselves by writing their feelings on a paper. Then people reading those graven words can feel what the writer was feeling when he was witting the book. That are proves of how important is language for the expression of emotion. In some cases words can be misleading and expressing emotions that they don’t really exists. This is also the job of an actor. To get into the spirit of a film and say what he has to, with an emotion so it can sound real. How emotions are expressed by language is a topic that anthropologists and sociolinguistics had spend time about it, but it is also a topic that we are getting through every day and we are researching it with our own way. Dr. Laurence J. Peter taught us by his phrase that we have to control our words and don’t let our emotions to build sentences that will destroy friendships or create misunderstandings. Words been driven by bad emotions can kill positive feelings and this is the worst death a person can have. This bond between people’s emotions and language will never brake, and if it is controlled and used correctly can express all types of feelings with a beautiful way and draw smiles to people’s faces and hearts. References: A. http://en. wikipedia. org/wiki/Laurence_J. _Peter B. consistent-parenting-advice. com/raising-emotional-intelligence. html C. Cambridge University Press 0521641632 Metaphor and Emotion: Language, Culture, and Body in Human Feeling Zoltan Kovecses