Influence of live music on music industry

Introduction Music industry is arguably one of the largest and most dynamic of the entertainment industry. Music industry has evolved from one level to another since the origin of man. Music industry is very dynamic and keeps on changing with the change in all aspects of the society in terms of technology, tastes and preferences, marketing and communication.Advertising We will write a custom essay sample on Influence of live music on music industry specifically for you for only $16.05 $11/page Learn More Modern trends have introduced a variety of options for music industry especially in marketing. Things have changed from the traditional off shelf purchasing of music to more dynamic and interactive concept. Live music is an important part of music industry and this paper looks into how live music affect music industries. Sales Perhaps one of the most important uses of the live music is for marketing. The music industry has continually changed from the tr adition way where marketing was done through newspapers and media stations. The modern society has shifted from the â€Å"give receive† era to an interactive one. Music artists use live music to market their music since it is more effective (Knab and Day 7). Due to the emotional connection between the artists and the fans advertisement during live music shows is usually more effective as compared to other means of advertisement. A report by Wan argued that: Many retailers are looking to make and extensive involvement with live music an integral part of their marketing strategies citing consumer trends and the tenuous economic climate at retail as a reason for a move beyond more time proven methods. (Wan 43) By using live music concerts the retailers are able to narrow down on specific audience hence being more effective. Live shows go hand in hand with collaboration with other sponsors or even several artists holding such events together. Other promotional activities such as signing autographs giving out of promotional materials such as advertisement brochures and even selling of music in the live music events is a very effective tool of marketing. This has changed the way music industry markets its products (Lieberman and Esgate 245). Rearranging the Marketing Chain Live music enables the artists themselves to get access to their customers and this resulted to overriding middlemen whose role was to market music. With the current information avenues especially internet applications, music artists can use live music as an advertisement and then place their music on strategic locations such as internet and this has changed the whole marketing structure.Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More I concur with Moon G that with the modern marketing strategies especially live music then the artists are able to cut on costs and save a lot more in the long run (Summer 243; Summers 2). Customer Experience Every business strives to create customer loyalty by providing customer experience. Live music is usually the best leverage when it comes to giving customer experience. Music artists use these shows to entertain their fans first hand as this is more interactive and emotional. The report by Wan claims that Live music is an important part of the overall music experience and we wanted to be closer to the customer (who loves music and loves live music shows) we want to offer the customer a richer experience than just buying the CD and going home with it. (Wan 43) Recording Industry Music recording has recorded a significance change from the tradition recording of audio to recording of video music however live music brought yet another revolution to the recording industry. Live music performances are usually recorded and may be sold out as a product or used for advertisement purposes. Much of the internet music promotion materials are usually live mu sic performances. We can agree with Hull in his observation about use of live music â€Å"music videos and performances by popular recordings acts provide significant content for cable and broad-cast television† (Hull 2004). Live music as business There has been a noticeable shift of entertainment from the traditional listening to the music at home to the modern live entertainment. This may be attributed to the saturation of music in entertainment and advertisement media such as radio stations. People are no longer fascinated by listening music on the radio and instead prefer live music shows where there is more enthusiasm and the entertainment is more exciting. Live music has tapped into this and ticket selling for performances is the modern business. Britten has made similar observations in UK â€Å"the UK live music scene is in robust health, with major music festivals now as much a part of the national calendar as Wimbledon† (Britten 83).Advertising We will wr ite a custom essay sample on Influence of live music on music industry specifically for you for only $16.05 $11/page Learn More New business networks Live music has resulted to the emergence of new business networks that aim at utilizing the opportunities that come with live music performances. This is suggested by Poel and Rutten: â€Å"there exists a complex network of business relationships between the live-concert sector, the broadcast media, and the recording industry; each time a musical property is used in any of these contexts, value is added to that property† (Poel and Rutten 7). Conclusion Live music has made a great impact in the music industry in terms of new marketing strategy, giving customers value for their money, brought change in the marketing structures and other different changes. The power and influence of live music cannot be ignored and anyone interested in music industry may need to invest more in understanding impact of live m usic. Works Cited Britten, Alan. Working in the music industry. New York: Cengage, 2004. Print. Hull, George. The recording industry. New York: Routledge, 2004. Print. Knab, Sam and Day, Bary. Music Is Your Business. New York: Cengage, 2004. Print. Lieberman, Goe and Patricia, Esgate.The entertainment marketing revolution. New Jersey: FT Press, 2002. Print. Poel, Sam and Rutten, Ken. The Music Industry in the Netherlands. Data OECD, n.d. Web. http://www.oecd.org/internet/ieconomy/2072953.pdfAdvertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More Summers, Joseph. Making and marketing music. New Jersey: Allworth Communications, 2004. Print. Wan, Alex. Retailers see live music events as marketing opportunities. Journal. 114(2002): 30. This essay on Influence of live music on music industry was written and submitted by user Juliette Buchanan to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

How to Write a Reaction Paper on Social Stratification

How to Write a Reaction Paper on Social Stratification If you are tasked with writing a reaction paper on social stratification, there are 7 points to keep in mind. Following all seven will ensure you can complete the task with relative ease. Narrowing the Goal The structure you use for a reaction paper on social stratification is really based first and foremost on the type of writing you are doing. You want to be on the lookout for what type of work required of you. You might be required to do a more creative piece, or you might be required to craft something more research based. In any case, the purpose or intent to your work will influence the structure you use. Requirements Look over the assignment details and instructions for any new information, terms that define the structure, limiting terms, or specifying terms for your reaction paper on social stratification. Following all of these are paramount to your overall success. Listing the Needed You need to create a list of the things you know about the subject and what you want to know still. This will help lead the way for your research efforts. Strength of Research You want to make sure your research is thorough and comprehensive, using only top notch sources for your work. Organization Check You want to double check the organization. Organization for this type of assignment is key. That means you want to be certain that the organization of your body paragraphs is on point. The only real way to verify this is to check which order works best for your purpose using an outline. In some cases, chronological order is actually best suited to your needs but in other cases, you might be better off presenting your data in order from strongest to weakest argument or from weakest to strongest argument. You need to present your reader with an adequate background to your subject. Whatever subject you choose, you need to conduct a literature review to showcase where youre coming from, what work other people have completed on this topic, and what you are going to add to their work. You want to really put everything into perspective for your reader from the very beginning. Formatting You also want to consider the format required of you. You may need to physically move things around or alter the presentation of your final work once it is done contingent upon the type of format required of you. If, for example, your teacher requires you to follow APA format, then you will need to include the appropriate headings and subheadings as well as the appropriately laid out title page whereas MLA format requires no title page. Asking the Questions If you have any questions about writing a reaction paper on social stratification, always ask your teacher as soon as possible. The sooner you reach out for clarification, the more time you afford yourself to get things done properly without running the risk of having to go back and start things over after you are midway through. This guide should make your life easier at least a bit. To back it up we’ve also gotten you our 12 facts and 20 topics on the subject of social stratification for reaction paper writing, enjoy!

List of Elements in the Lathanide Group

List of Elements in the Lathanide Group The lanthanides or lanthanoid series is a group of transition metals located on the periodic table in the first row (period) below the main body of the table. The lanthanides are commonly referred to as the rare earths, although many people group scandium and yttrium together with the rare earth elements. Its less confusing to call the lanthanides a subset of the rare earth metals. The Lanthanides Heres a list of the 15 elements that are lanthanides, which run from atomic number 57 (lanthanum or Ln) and 71 (lutetium or Lu): Lanthanum: atomic number 57 with symbol Ln Cerium: atomic number 58 with symbol Ce Praseodymium: atomic number 59Â  with symbol Pr Neodymium: atomic number 60 with symbol Nd Promethium: atomic number 61 with symbol Pm Samarium: atomic number 62 with symbol Sm Europium: atomic number 63 with symbol Eu Gadolinium: atomic number 64 with symbol Gd Terbium: atomic number 65 with symbol Tb Dysprosium: atomic number 66 with symbol Dy Holmium: atomic number 67 with symbol Ho Erbium: atomic number 68Â  with symbol Er Thulium: atomic number 69 with symbol Tm Ytterbium: atomic number 70 with symbol Yb Lutetium: atomic number 71 with symbol Lu Note sometimes that lanthanides are considered to be the elements following lanthanum on the periodic table, making it a group of 14 elements. Some references also exclude lutetium from the group because it has a single valence electron in the 5d shell. Properties of the Lanthanides Because the lanthanides are all transition metals, these elements share common characteristics associated with metals. In pure form, they are bright, metallic, and silvery in appearance. Because the elements can have a variety of oxidation states, they tend to form brightly colored complexes. The most common oxidation state for most of these elements is 3, although 2 and 4 are also generally stable. The metals are reactive, readily forming ionic compounds with other elements. Lanthanum, cerium, praseodymium, neodymium, and europium react with oxygen to form oxide coatings or tarnish after brief exposure to air. Because of their reactivity, pure lanthanides are stored in an inert atmosphere, such as argon, or are kept under mineral oil. Unlike other most other transition metals, the lanthanides tend to be soft, sometimes to the point where they can be cut with a knife. None of the elements occurs free in nature. Moving across the periodic table, the radius of the 3 ion of each successive element decreases. This phenomenon is called lanthanide contraction. Except for lutetium, all of the lanthanide elements are f-block elements, referring to the filling of the 4f electron shell. Although lutetium is a d-block element, its usually considered a lanthanide because it shares so many chemical properties with the other elements in the group. Although the elements are called rare earth metals, they arent particularly scarce in nature. However, its difficult and time-consuming to isolate them from each other from their ores, adding to their value. Lanthanides are valued for their use in electronics, particularly television and monitor displays. They are used in lighters, lasers, superconductors, to color glass, to make materials phosphorescent, and to control nuclear reactions. A Note About Notation The chemical symbol Ln may be used to refer to any lanthanide in general, not specifically the element lanthanum. This may be confusing, especially in situations where lanthanum itself isnt considered a member of the group!

My position on the Civil War and an argument against it. (MOD 2 Disc Assignment

My position on the Civil War and an argument against it. (MOD 2 Disc 1) - Assignment Example From a modern perspective, slavery and the associated treatment of black people are incomprehensible and immoral. Another reason to support the Union is that it was the side of the democratically elected Abraham Lincoln (McPherson & Hogue, 2009), and held the same view as the majority of Americans (23 states as opposed to 11 Confederate states [McPherson & Hogue, 2009]). It is wrong, however, to assume that the winning side is always the right side. In every story there are several viewpoints and we cannot see everything in black and white. One of the main problems with the Union is related to the democracy point raised above. 23 states wanted to abolish slavery, but 11 states didnt. The Union encouraged ignoring the views of over 5 million people (McPherson & Hogue, 2009) in the Southern states, which is something that a true democracy could not. It is easy to say that the Union was in favour of freedom, but another type of freedom is freedom of opinion, and it could be said that the Confederacy had this taken away from them by the Unionists zeal for abolition. It is also possible to argue in favour of the Confederacy. It can be argued that the Confederate states were aiming to protect themselves; not only their way of life with regard to slavery, but also to protect their economy from the Union (McPherson & Hogue, 2009). It is also wrongly assumed that Confederacy states were the only ones that employed and imported slaves (McPherson & Hogue, 2009). It is evident that the story here is not just black and

Political Correctness Essay Example | Topics and Well Written Essays - 500 words

Political Correctness - Essay Example There are controversial issues associated with the terminology—those who are â€Å"pro† politically correct, and those who are â€Å"con† politically correct. The â€Å"pro† for changing the language has to do with the need to not have human beings stereotyped. One example of this is the â€Å"hillbilly† and â€Å"redneck† stereotype, which has recently been changed to â€Å"Appalachian Americans,† leaving people from this cultural background now open to scholarships and grants for which they might not have been eligible previously. Arguments abound against this issue, saying that it doesn’t give enough â€Å"freedom of speech† to the public and gives an unfair advantage to those of the political left. In order to remember which is which, think in terms of â€Å"left† as liberal and â€Å"right† as correct and conservative. If that becomes difficult, think of left hand and right hand. Most people see the right hand as the â€Å"correct† hand to use. This concept can be explained with the language used to describe the Indians who are indigenous to North America. It was only in the latter part of the twentieth century that these people were called anything other than Indian. They now are Native Americans in the United States, First Nations and Aboriginals in Canada, and Amerindians or derivatives thereof. None of these are universally used and none are considered exactly â€Å"politically correct.† The politically correctness is found in humor, especially through such comedians as Bill Mahr, who hosted a television show called â€Å"Politically Incorrect.† George Carlin also had a comical routine titled â€Å"Euphemisms. There are comically written books related to this topic. Among them are two of the earlier and famous examples are 1992s Politically Correct Manifesto by Saul Jerushalmy and Rens Zbignieuw X and 1994s Politically Correct Bedtime Stories by James Finn Garner, in which traditional fairy tales are rewritten

A comparison between Jean Rhys and Una Marson Essay Example for Free

A comparison between Jean Rhys and Una Marson Essay Voyage into the Metropolis: Exile in the Works of Jean Rhys and Una Marson. In Jonathan Millers 1970 production of Shakespeares The Tempest the character of Caliban was cast as black, therefore reigniting the link between the Prospero/Caliban paradigm as the colonizer/colonized. It was not a new idea, indeed Shakespeare himself envisaged the play set on an island in the Antilles and the play would have had great appeal at the time when new territories were being discovered, conquered, plundered and providing seemingly inexhaustible revenue for the colonisers. What is particularly interesting, however, is how powerful the play later becomes for discourse on colonialism. This trope of Caliban is used by George Lamming in The Pleasures of Exile where he likens Prospero in his relationship with Caliban, to the first slave-traders who used physical force and then their culture to subjugate the African and the Carib, overcoming any rebellion with a self righteous determinism. In The Pleasures of Exile Lamming sees Caliban as: Man and other than man. Caliban is his convert, colonized by language, and excluded by language. It is precisely this gift of language, this attempt at transformation which has brought about the pleasure and the paradox of Calibans exile. Exiled from his gods, exiled from his nature, exiled from his own name! Yet Prospero is afraid of Caliban. He is afraid because he knows that his encounter with Caliban is, largely, his encounter with himself. 1 The Prospero/Caliban paradigm is a very relevant symbol for the colonizer/colonized situation of the West Indies but it nevertheless remains a paternalistic position. Where does that leave women of the Caribbean? It could be argued that the Caribbean woman has been even further marginalized. That in making Caliban the model of the Caribbean man it is therefore providing him with a voice. Yet nowhere in the Tempest is there a female counterpart, rendering the Caribbean woman invisible as well as silent and ignoring an essential part of their historical culture. Another issue raised here, is that Caribbean literature has for many years been male dominated. Just as the colonizer sought to ignore and marginalize their savage Other so the Caribbean male has ignored their female counterpart. Opal Palmer Adisa, in exploring this issue, believes that it is out of this patriarchal structure, designed to make her an object, part of the landscape to be used and discarded as seen fit by the colonizer, that the Caribbean woman has emerged.2 It was out of such a patriarchal structure that Jean Rhys and Una Marson emerged. The writing of both women revise and expand theme and personae, subverting a colonial and patriarchal culture. Both women may exist in different ethnological and ontological realms but they both exist in worlds which have, at one time or another, attempted to censure, silence or ignore the ideals and interests of women3 Like many of their male Caribbean counterparts to succeed them, their writing was greatly influenced by voyaging into the colonial metropolis and living in exile. In this essay I will discuss the importance of that journey in seeking to find a voice, an identity, and even a language to challenge established notions of Self, gender and race within the colonial structure. But essential to their experience is their struggle. Naipaul recognised, in Rhys, the themes of isolation, an absence of society or community, the sense of things falling apart, dependence, loss.4 This could also be said of Marson. Jean Rhys was born Ella Gwendoline Rees Williams on 24th August 1890, in Roseau, Dominica to a Creole mother of Scottish descent and a Welsh father who was a doctor. Rhys left Dominica in 1907, aged sixteen and continued her education in a Cambridge girls school and then at the Academy of Dramatic Art which she left after two terms. Rhys experienced feelings of alienation and isolation at both these institutions and these feelings were to stay with her for much of her life. Upon pursuing a career as a chorus girl under a variety of names Rhys embarked on an affair with a man twenty years older than herself and which lasted two years. It is broadly accepted that this early period of her London life formed the structure for Voyage In The Dark, and like all of Rhyss novels, explores homelessness, dislocation, the marginal and the migrant. The character of Anna, like most of her female protagonists exists in the demimonde of city life, living on the wrong side of respectability. What Rhy s does effectively in this novel is to centralize the marginalized, those subjects who belong nowhere, between cultures, between histories.5 Una Marson was born in rural Jamaica in 1905. Her father was a well respected Baptist minister and as a result of his standing within the community Marson had the opportunity to be educated on a scholarship at Hampton High School, a boarding school for mainly white, middle class girls. After finding employment as a stenographer, Marson went on to edit the Jamaican Critic, an established literary publication, and from 1928-1921, her own magazine The Cosmopolitan. Having established herself as a poet, playwright and womens activist Marson made the decision to travel to Britain. Her achievements in London were impressive; a social activist within the League of Coloured Peoples which led to her taking a post as secretary to the deposed Emperor Haile Selassie and later she was appointed as a BBC commentator. In reality, however, Marson, like Rhys found the voyage into the Metropolis very difficult. Facing blatant racial discrimination like so many West Indian women migrants of the 1950s, Una found herself blocked at every turn. She complained and cried; she felt lonely and humiliated,. 6 In spite of many literary and social connections she remained an isolated and marginal figure. Her poetry displays the uncertainty of cultural belonging where her language ties her to colonialism yet also provides her with a powerful tool with which to challenge it. In placing Rhys alongside Marson as pioneering female writers, it is important to explore the notion of nationality, of being Caribbean and to question the grounds upon which such ideas are constructed. Both women were writing at the same time, having been born and educated in the British colonies. Both these writers, whose lives span the twentieth century, are situated at the crossroads of the colonial and post-colonial, the modern and post modern, where the threat of fascism and war result in anti colonial struggles and eventual decolonisation across the world. Their voyages from the colonies into the metropolitan centre generate similar experiences. What is clear with both is that by journeying into the metropolis, as women, they occupy a double marginal position within an already marginalized community. Their journey can be seen as an exploration of displacement where, according to Edward W. Said, the intellectual exile exists in a median state, neither completely at one with the new setting nor fully disencumbered of the old, beset with half involvements and half attachments, nostalgic and sentimental at one level, an adept mimic or a secret outcast on the other.7 Rhys and Marson, having left the Caribbean are asking us to consider what it means to write from the margins. Within their work, both women challenge notions of womens place within society and womens place as a colonized subject in the metropolitan centre. The protagonist, Anna Morgan, in Voyage in the Dark, reflects Rhyss own multi indeterminate, multi conflicted identity. Anna, like Rhys is a white descendent of British colonists and slave traders who occupy a precarious position of being inbetween. Hated by the Blacks for their part in oppressing the slaves and continuing to cling on to that superior social position, they are also regarded by the mother country as the last vestiges of a degenerate part of their own history best forgotten. Moreover, 1930s England, still under the shadow of Victorian moral dicta, continued to judge harshly a young woman without wealth, family, social position and with an odd accent. Throughout the novel Anna is identified with characters who are usually objectified and silenced in canonical works: the chorus girl, the mannequin, the demimondaine.8 Much has been made of her reading of Zolas Nana and indeed there are many parallels between the two characters. Anna, like Nana becomes a prostitute and in the first version of Voyage in the Dark Anna like Nana dies very young. There is of course the obvious anagram of her name but, as Elaine Savory highlights, some interesting revisions by Rhys. Whereas Zola, in Nana, creates a character who brings about the downfall of upper class men not through power but with only the unsophisticated currency of youth and raw female sexuality9 Rhys, in Anna, creates a character who is herself destroyed by men. In Rhyss version the men who use her youth and beauty are for the most part evidently cowardly or downright disreputable: Anna herself begins as naively trusting, passes through a stage of self destructive hopelessness and passivity and ends, in Rhyss preferred, unpublished version, by dying from a botched abortion.10 If we are to see Walter Jeffries as the original European, existing in a world viewed certainly by himself as principally ordered and reasonable then Rhys is, through this character, highlighting the degenerate aspect of using power to commodify and even destroy, thereby subverting the colonizers position in relation to the colonized. Through the character of Anna, Rhys explores those oppositions of Self and Other, male and female, black and white. Even though she outwardly resembles the white European, enabling her, unlike Marson, to blend visually within London, her association with the Caribbean sets her apart as between black and white cultures and as an exotic Other. This ambiguity of Annas position results in slippage. Anna and her family would have been regarded in the West Indies as the white colonizers. In England and in her relationship with Jeffries she becomes the colonized Other. In being read as the colonized subject Anna is continually having to adapt her world view and sense of identity to the perspective being imposed on her. A good example of this is the chorus girlss renaming her as the Hottentot aligning her more with the black African and demonstrating the homogenizing of the colonized peoples by the colonizers. This is similar to Spivaks belief that so intimate a thing as personal and human identity might be determined by the politics of imperialism.11 Interestingly, Hottentot is the former name for the Nama, a nomadic tribe of Southern Africa. A somewhat apt comparison which reflects Annas own nomadic existence as she moves from town to town as a chorus girl and from one bed sit to another. The term Hottentot developed into a derogatory term during the Victorian era and became synonymous firstly with wide hipped, big bottomed African women with oversized genitals and then with the sexuality of a prostitute. Jeffries is fully aware of the implications of the name Hottentot. In response to hearing Annas renaming he says, I hope you call them something worse back.12 Elaine Savory makes a strong connection between Annas renaming and her relationship with Jeffries, her eventual seducer. Whilst not looking at Annas body in an obvious way, eventually the transaction between them is understood fully on his side to be a promise of sexual excitement from a white woman whom he perceives as having an extra thrill presumably from association with racist constructions of black females in his culture.13 Franz Fanon, in his book Black Skin, White Masks perceives these complex colonial relations as being in a state of flux rather than fixed or static. In his introduction to Fanons text, Homi Bhabha highlights this point, stating that the familiar alignment of colonial subjectsBlack/White, Self/Otheris disturbedand the traditional grounds of racial identity are dispersed.14 So it is in the relationship between Jeffries and Anna. In transposing the colonizers stereotypical images of a black woman onto Anna he is disrupting and dispersing those traditional grounds of racial identity. Moreover, Anna is subconsciously enacting a mediated performance, aware of her impact upon him and the implications of her actions, in an attempt to adhere to his preconceptions of her. The relationship cannot be sustained on these fundamentally unstable preconceptions. Anna, both as a female and racial Other is penetrated by Jeffries and with the exchange of money is commodified. Without independent means Anna becomes that purchasable girl who is at the mercy of and eventually becomes dependent upon the upper middle class Jeffries. The relationship between these two characters reflects Rhyss own location in the world where the West Indies was at the time still a commodity of the British Empire. In another analysis of the colonial stereotype, Homi Bhabha challenges the limiting and traditional reliance of the stereotype as offering, at any one time, a secure point of identification on the part of the individual,15 in this case Jeffries and Hester. Bhabha does not argue that the colonizers stereotyping of the colonized Other is as a result of his security in his own identity or conception of himself but more to do with the colonizers own identity and authority which is in fact destabilized by contradictory responses to the Other. In order to maintain a powerful position it is important, according to Bhabha, for the colonizer to identify the colonized with the image he has already fixed in his mind. This image can be ambiguous as the colonized subject can be simultaneously familiar under the penetrable gaze of the all seeing, all powerful colonial gaze and be incomprehensible like the inscrutable Oriental. The colonized can be both savageand yet the most obedient and dignified of servants; he is the embodiment of rampant sexuality and yet innocent as a child; he is mystical, primitive, simpleminded and yet the most worldly and accomplished liar , and the manipulator of social forces.16 In short, for Bhabha, the relationship between the colonizer and the colonized is riddled with contradictions and inconsistencies which, when imposed upon the colonized Other, cause a crisis of identity. So it is with Anna. Jeffries upon first meeting with the very young Anna can see that she is as innocent as a child and is most obedient sexually, but by her association with the Caribbean and the Hottentot as I have previously explored, she is subsequently attributed with being the embodiment of rampant sexuality resulting in his taking of her virginity, abandoning her to prostitution but also leading to as Veronica Clegg observes a loss of temporal referents17 Annas stepmother, Hester, also attempts to impose an identity upon Anna which not only conflicts with Annas own sense of identity but is also based around stereotypical perceptions. . Hester, whose voice represents a repressive English colonial law18 believes that Annas fathers troubles resulted from his having lost touch with everybody in England19 and that these severing of ties with the Imperial motherland is a signal to her that he was failing,20 losing his identity, reduced to the level of the black inhabitants of the island. This idea of contamination and racial reduction is explored by Paul B. Rich who explains that there was a belief in the early twentieth century that white people in the tropics risked in the absence of continual cultural contacts with their temperate northern culture, being reduced to the level of those black races with whom they had made their unnatural home.21 In Hesters eyes this apparent loss of identity is also experienced by Anna. She continually criticizes her speech, her relationship with Francine the black servant, and also insinuates degenerative behaviour on the part of her family, particularly Uncle Bo. Hesters views reflect the growing disapproval in England at that time, of relationships between white people and the black population in the West Indies. Inter-racial relationships were discouraged for fear of contamination of the white Self. In voicing her disapproval of Annas friendship with Francine along with her continual use of the racist and derogatory term nigger, Hester is alluding to the fact that, in her opinion, Anna, especially through her speech, has indeed been contaminated and reduced racially and that Annas association with Francine thwarts her attempts to reconnect her with the colonizers cultural contacts. Hester rails that she finds it impossible to get you [Anna] away from the servants. That awful sing-song voice you had! Exactly like a nigger you talkedand still do. Exactly like that dreadful girl Francine. When you were jabbering away together in the pantry I never could tell which of you was speaking.22 Hesters constant criticism only serves to undermine Annas real identity and dislocate her further from the Caribbean world she once inhabited and the alienating London world she is now experiencing. Her accent sets her apart, drifting between two worlds. Annas difficulties in negotiating these two worlds is a result of the return of the diasporic to the metropolitan centre where the perplexity of the living is most acutely experienced.23 This can certainly be seen in her response to the weather which, according to Bhabha, invokes the most changeable and imminent signs of national difference24 The novel opens with; It was as if a curtain had fallen, hiding everything I had ever known. It was almost like being born again. The colours were different, the smells different, the feeling things gave you right down inside yourself was different. Not just the difference between heat and cold; light, darkness; purple, grey. But a difference in the way I was frightened and the way I was happy. I didnt like London at first. I couldnt get used to the cold.25 And later upon arriving in England with Hester she describes it as being divided into squares like pocket-handkerchiefs; a small tidy look it had, everywhere fenced off from everywhere else 26and then in London where the dark houses all alike frowning down one after another27 Throughout the novel Anna continually experiences feelings of being enclosed. Many of the bedsits are restricting and box-like. On one occasion she remarks that this damned rooms getting smaller and smallerAnd about the rows of houses outside gimcrack, rotten-looking and all exactly alike.28 The many small rooms between which Anna moves emphasize her disempowerment through enclosed spaces. These spaces, in turn, serve as metaphors for the consequences in voyaging into the metropolitan centre. She is at once shut inside these small monotonous rooms and shut out from that world which has sought to colonize her. It is perhaps ironic that the further she moves into the centre of the city, ending up as she does on Bi rd Street, just off Oxford Street , the more she is shut out and marginalized by that imperialist society. Her memories of the West Indies are in sharp contrast to her impressions of England. The images of home are always warm, vivid and exotic, Thinking of the walls of the Old Estate House, still standing, with moss on them. That was the garden. One ruined room for roses, one for orchids, one for ferns. And the honeysuckle all along the steep flight of steps.29 When comparing the two worlds she remarks to herself that the colours are red, purple, blue , gold, all shades of green. The colours here are black, grey, dim-green, pale blue, the white of peoples faces like woodlice. 30 Her memory of home is experienced sensuously as she recalls the sights and smells: Market Street smelt of the wind but the narrow street smelt of niggers and wood smoke and salt fishcakes fried in lard and the sound of the black women as they call out, salt fishcakes, all sweet an charmin, all sweet an charmin.'31 Anna attempts to convey this richness to Jeffries. His failure to appreciate the beauty she describes merely underlines the differences between the two. He expresses a preference for cold places remarking that The tropics would be altogether too lush.32 Jeffriess reaction to the West Indies in fact reflects the colonizers view that the ruined room for roses and orchids portray a disorder, a garden of Eden complete with its implications of moral decay and as Bhabha states, a tropical chaos that was deemed despotic and ungovernable and therefore worthy of the civilizing mission.33 Annas association with this world sets her up, in Walters eyes, as a figure representing a secret depravity promising forbidden desires. Anna, like the West Indies is something to be overpowered, enslaved and colonized, where the colonizer seeks to strip their identity and impose their own beliefs and desires. It is significant, therefore, that following this scene Anna loses her virginity to Jeffries and recalls the memory of the mulatto slave girl, Maillotte Boyd, aged 18, whose record Anna once found on an old slave list at Constance.34 Like Maillotte Boyd, Anna is now merely a commodity and Jeffries has no intention of ever seeing her as an equal. Her purity, in his eyes isnt worth preserving as he already considers her the contaminated Other. By his actions he succeeds in maintaining that patriarchal imperialism which relies on institutional forms of racial and national separateness. Anna, as a twentieth century white Creole, is no freer than the nineteenth century mulatto slave. Just as Maillotte Boyd is, as racially mixed, suspended between two races, so Anna as a white Creole is suspended between two cultures, leaving her dislocated. Annas voyage into the imperialist metropolis leads to boundaries and codes of behaviour, language and dress being constantly imposed upon her. She is aware for example of the importance of clothes as a means of controlling her social standing and also her standing as a woman. Through her dress Anna almost becomes that elegant white lady, mimicking Londons female high society. For Jeffries, Anna represents the menace of mimicry, which , according to Bhabha is a difference which is almost nothing but not quite and which turns to menace- a difference that is total but not quite.35 This mimicry serves to empower Anna as it ultimately destabilises the essentialism of colonialist ideology, resulting in Jeffries imposing upon Anna the identity of the West Indian Other This in turn leads to feelings of loss, alienation and dislocation, a rejection of being white and a desire to be black. I always wanted to be black. I was happy because Francine was there.Being black is warm and gay, being white is cold and sad.36 Annas association with Hester meant that she hated being white. Being white and getting like Hester, old and sad and everything.37 Yet the warmth she expresses in her memories of Francine are always tempered by her realisation that Francine disliked her because I [Anna] was white.38 Her feelings of being between cultures and feeling dislocated are never fully resolved. Annas voyage in the dark, reflects Rhyss own sense of exile and marginality as a white West Indian woman. Teresa OConnor remarks that Rhys, herself caught between places, cultures, classes and races, never able to identify clearly with one or the other, gives the same marginality to her heroines, so that they reflect the unique experience of dislocation of the white Creole woman.39 The language used to express feelings of exile and loneliness, destitution and dislocation is both sparse and economic. It is neither decorative nor contrived, devoid of sentiment or without seeking sympathy. In commenting upon an essay written by Rhys discussing gender politics, Gregg writes that It is important to note her [Rhyss] belief that writing has a subversive potential. Resistancecan be carried out through writing that exposes and opposes the political and social arrangements.40 Helen Carr, in her exploration of Rhyss language believes that: Rhys in her fictions unpicks and mocks the language by which the powerful keep control, while at the same time shifting, bending, re-inventing ways of using language to open up fresh possibilities of being.41 Una Marson, another Caribbean to voyage into the metropolis, also experienced loneliness, isolation and a struggle with the complexity of identity. Like Rhys, Marson fought with these feelings throughout her life, resulting in long periods of depression. Her belief in womens need for pride in their cultural heritage established Marson as the earliest female poet of significance to emerge in West Indian literature.42 She not only challenged received notions of womens place in society but also raised questions about the relationship of the colonized subject to the mother country43 There was a considerable amount of poetry emerging out of the West Indies around this time but most of it was dismissed as being not truly West Indian,44 the reason for this being partly because many of the writers were English but also because many of the styles used by these writers mimicked colonial forms. Many of Marsons early poetry reflects this mimicry showing a reliance upon the Romantics of the English poetic tradition, particularly Shelley, Wordsworth and Byron. The poem Spring in England reveals this indebtedness to the Romantics, including as it does a stanza where, having observed the arrival of Spring in London, the poet asks: And what are daffodils, daffodils Daffodils that Wordsworth praised? I asked. Wait for Spring, Wait for the Spring, the birds replied. I waited for Spring, and lo they came, A host of shining daffodils Beside the lake beneath the trees (The Moth p6)45 Clearly there are echoes of Wordsworths Daffodils throughout the stanza, reflecting the drive by colonialism through education to eradicate the West Indian selfhood. Yet for Marson this harnessing of English culture not only posed few problems but indeed was, I would argue, a necessary step in her voyage of self discovery. As seen with Rhys, mimicry was a subversive threat to colonial ideology, especially through language. Homi Bhabhas notion of mimicry seeks to explore those ambivalences of such destabilizing colonial and post-colonial exchanges. The menace of mimicry is its double vision which in disclosing the ambivalence of colonial discourse also disrupts its authority. The ambivalence of colonial authority repeatedly turns from mimicry a difference which is almost nothing but not quite to menace a difference that is almost total but not quite. And in that other scene of colonial power, where history turns to farce and presence to a part can be seen the twin figures of narcissism and paranoia that repeat furiously, uncontrollably.46 Bhabhas essay in recognising the power, the play and the dynamics between the colonizer and the colonized offers an alternative to the pessimistic view held by V.S. Naipaul who believed that West Indian culture was doomed to mimicry, unable to create anything original. Marsons mimicry of the Romantics could be seen as a preparation to enter the colonizers metropolis, and to attempt to assimilate into the colonizers world. In making that voyage to the metropolis, Una Marson succeeds in taking that step from the copy to the original. By remaining in Jamaica Marson risked remaining in an environment too rigidly ingrained by colonial prescriptions. Una Marsons voyage into the heart of the Empire, however, resulted in intense disappointment. For the first time, Marson experienced open racism and according to Jarrett-McCauley The truth was that Una dreaded going out because people stared at her, men were curious but their gaze insulted her, even small children with short dimpled legs called her NiggerShe was a black foreigner seen only as strange and unwanted. This was the Fact of Blackness which Fanon was to analyse in Black Skins, White Masks(1952), that inescapable, heightening level of consciousness which comes from being dissected by white eyes. 47 Unlike Rhys, Marson was finding it impossible to blend visually within London. Consciousness of her colour made Marson conscious of her marginality. This consciousness led her seriously to question the values of the mother country. Marsons work moved from mimicry to anti-patriarchal discourse, seen in her poem Politeness where she responds to the William Blake poem Little Black Boy with: They tell us That our skin is black But our hearts are white We tell them That their skin is white But their hearts are black (Tropic Reveries p 44) The poem demonstrates Marsons growing resentment at being alienated by the colonial power. There is an uncertainty in her desire to both belong and to challenge, echoing Rhys in her sense of cultural unbelonging. Those anti-patriarchal feelings are present once more in her poem Nigger where she communicates the anger she feels at being abused and marginalized as the racial Other. They call me Nigger Those little white urchins, They laughed and shouted As I passed along the street, They flung it at me: Nigger! Nigger! Nigger! She retorts to this abuse furiously with: You who feel that you are sprung Of earths first blood, your eyes Are blinded now with arrogance. With ruthlessness you seared My peoples flesh and now you still Would crush their very soul Add fierce insult to vilest injury.48 In its repetition of the shocking term Nigger, Marson is confronting the white colonialists use of the word to exert power over and oppress the colonized. The violence of its use reflects the violence of their shared history where Of those who drove the Negroes / To their death in days of slavery, regard Coloured folk aslow and base.49 In highlighting this history of violence, oppression and slavery, Marson is attempting to invert this oppression and dislodge the notion of white supremacy, whilst attempting to negotiate a position from West Indian to African and in doing so, fashion an identity. By writing the poem in the first person singular and moving from They to You when addressing the white colonizers, Marson succeeds in centralizing herself and reversing the binary system of Self and Other. Nigger marks Marsons sharpened perspective on issues such as racism and identity. Her voyage into the metropolitan centre triggers those emergent identifications and new social movements[being]played out.50 It was a time in Marsons life where she was made to feel inadequate, lonely and humiliated but it also roused her to resist the corrosive force of her oppressive world.51 Nigger reveals this sense of belonging and not belonging felt by Marson, of being part of the empire but never part of the Motherland, yet it simultaneously challenges the very essentialism in which the colonial Self is rooted. Moreover, the hostility she experiences in many ways acknowledges the success of Marsons performance as a hybrid. Marsons frustration and anger was compounded by the fact that in being middle class and educated she possibly saw herself as a notch above the poor, black working class women from the old communities in Cardiff, Liverpool and London52 Marson explores this question of how middle class West Indians negotiate being educated and yet marginalized and even considered inferior in her play London Calling. The play, based on the experiences of colonial students in London charts the story of a group of expatriates who, upon being invited to the house of an aristocratic English family, dress up in outlandish native costume and speak in broken English. The play, a comedy, takes a light hearted look at the stereotypical images held by the British, at the same time countering the myth of black inferiority. There is, in the play, a curious twist as the students from Novoko are presented as black versions of the British in their dress and behaviour, mimic men and yet they themselves attempt to mimic their own folk culture. They are eventually discovered by one of the family, Larkspur, who then proposes marriage to Rita, one of the Novokans. The play ends with Rita declining Larkspurs proposal in favour of Alton, another Novokan. This rejection of Larkspur places Rita in a powerful position. Rita is no longer the undesirable Other, she has resisted the oppressive world of the colonialists and placed herself as the centralised Self. Rita is Marsons fantasy where the black woman is recognised as beautiful and an equal. Marsons activities in the League of Coloured Nations gave her purpose, direction and the opportunity to advance her political education whilst introducing her to the Pan African movement a sort of boomerang from the horrors of slavery and colonialism, to which Una, like many of her generation, was being steadily drawn.53 Marsons work around this time reflects a desire to reclaim and restore that Other cultural tradition, a difficult task as the Caribbean was not an homogeneous agency and it was not easy to establish a pre-colonial culture. The ethnic mix was large and hybrid making the notion of Caribbeanness less easy to define. The Pan-African movement provided links with an alternative body to European colonialism and offered Marson a platform to renegotiate and redefine her idea of Caribbeaness and race, an option not offered to Rhys. Having established a sense of being a black person in a white imperialist centre, she now needed to make sense of being a black woman within this paternalistic centre. The poem Little Brown Girl attempts just this, constructing a dialogue of sorts between a white Londoner, whose gender is unclear, and a little brown girl. The poem begins with a series of questions put to the child: Little brown girl Why do you wander alone About the streets Of the great city Of London? Why do you start and wince When white folk stare at you Dont you think they wonder Why a little brown girl Should roam about their city Their white, white city? (The Moth, p11) The questioning of the little brown girls presence in London suggests a linguistic imperialism. It may be construed as the speaker challenging her right to be in the city, establishing her as the nameless, black Other. Her feeling of difference is emphasized in the repetition of the word white on the final line of the second stanza. The third stanza plays out an interesting reversal in notions of blackness. The speaker asks why she has left the little sunlit land / where we sometimes go / to rest and get brown54 alluding to the desire of white skinned people to tan which for the white colonialist signifies wealth, for the black Other being inferior and uneducated. From here there is a subtle shift of speaker and London is seen through the eyes of the little brown girl. Her perception of the city is distinctly unattractive where There are no laughing faces, / people frown if one really laughs and: Theres nothing picturesque To be seen in the streets, Nothing but people clad In Coats, Coats, Coats, (The Moth, p11) If the poem began with the strangeness of the brown girl to the white gaze, here it teases out those feelings of alienation felt by the little brown girl at being in such a cold, drab place, so different from her own home. Once more Marson creates a reversal in the stereotype as she seeks to objectify white people observing that the folks are all white -/ White, white, white, / And they all seem the same.55 In homogenizing the colonizers, the hybridity of the West Indians are then celebrated in the many varied skin tones of black and bronze and brown which are themselves homogenized by the label Black. The vibrancy, colour and friendliness of back home where the folks are Parading the city wearing Bright attractive bandanas contrasts with the previous stanza of the dour images of London. The dialogue is handed back to the white speaker who attempts to establish the origins of the little black girl but succeeds in once more re-establishing the homogeneic white gaze indicated in the speakers inability to distinguish between many distinct nations : And from whence are you Little brown girl? I guess Africa, or India, Ah no, from some island In the West Indies But isnt that India All the same? (The Moth, p13) More than anything the poem conveys that sense of isolation felt by the little brown girl in the city. She never answers the white speaker directly and is positioned in the middle of the poem, again centralizing the colonized. In asking the question Would you like to be white/Little brown girl? there is a sense of the colonizer attempting to manipulate and dominate the colonized, to Europeanise, ultimately leading to mimicry. Yet the questioner responds himself with I dont think you would / For you toss your head / As though you are proud / To be brown. 56 Marson, here, signals a move away from being a mimic man seeking to challenge that whole Eurocentric paternalistic world and centralise the black women, the most marginalized figure in society. The themes central to Little Brown Girls themes echo Rhyss own negative reactions to London seen in the opening page of Voyage in the Dark. Like Rhys, Marson succeeds in capturing that colour and warmth of the West Indies contrasting greatly with the misery of London, experienced by both and which reinforce that racial and national separateness. Those differences prove for both to be irreconcilable, making it impossible for both Rhys and Marson to integrate, leaving both women dislocated from the metropolis. Little Black Girl serves as a useful reminder that many immigrants were women. This encounter between the city and a woman (in Marsons case, a black woman) echoes Annas encounter in Voyage in the Dark albeit as a prostitute. Both walk the streets of the city and as women-as-walkers encounter the metropolis, negotiating its spaces. Denise deCaires Narian suggests that certainly Marson could be considered as a flaneuse.57 Neither Rhys nor Marson, however have the confident panache of the flaneuse and neither fulfil the requirements of flanerie originally set out by Baudelaire. The flaneur, he asserted, saw the crowd as his domain, His passion and his profession is to merge with the crowd.58 The flaneur and therefore the flaneuse is engaged in strolling and looking but most importantly merging with the crowd. For Marson this is impossible as she is a black woman in a white city. Moreover, Baudelaire expands upon the idea of the flaneur as having the ability to be away from home and yet to feel at home anywhere, to be at the centre of the world, and yet to be unseen of the world.59 Again this is problematic for both Marson and Rhys as their wanderings around the metropolis seek only to reinforce those feelings of Otherness, isolation and marginality. For Marson these feelings of alienation gained her the reputation of being a true loner who didnt exactly seek out company60 leading to a heightened level of bodily consciousness which comes from being dissected by white eyes.61 In her struggle with being marginalized as a black women always at the mercy of the white metropolitan gaze, Marson was always aware of that Europeanised sense of beauty being white. This idea of beauty was so entrenched, even within the black community that they themselves set beauty against the paleness of their own skin. The importance of popularly disseminated images is tackled in Cinema Eyes where a black mother in addressing her daughter attempts to challenge the idea that Europeans still provide the aesthetic reference point.62 The speaker urges her eighteen year old daughter to avoid the cinema fearing that it might reinforce the idea that white is beautiful causing the girl to lose sight of her own beauty: Come, I will let you go When black beauties Are chosen for the screen; That you may know Your own sweet beauty And not the white loveliness Of others for envy. (The Moth, p88) By growing up with a cinema mind the mother has allowed herself to be at the mercy of those tools used by the colonizer to marginalize and indoctrinate, promoting their own superiority. Once again the mimic man re-emerges when black women reject their own in seeking an ideal man. No kinky haired man for me, / No black face, no black children for me.63 This rather melodramatic narrative within the poem tells of the mothers fair husband shooting her first suitor whom she had initially rejected for being too dark, and then committing suicide. The shooting scene, a re enactment of a gun fight in a western, presents the cinema as a racist and degenerate institution. By the end of the poem, the speaker acknowledges her mistake in rejecting the first lover and finds a sense of self, previously denied by the saturation of cinematic images. In shaking off the colonizers indoctrination, which seeks to marginalize her, she addresses the question posed by Franz Fanon which is to what extent authentic love will remain unattainable before one has purged oneself of that feeling of inferiority?64 Black invisibility in the cinema results in white ideology being forced upon a black body and essentially commodifying it and it is this which Marson seeks to deconstruct. Another poem which tackles the reconstruction of female identity is Black is Fancy, where the speaker compares her reflection in the mirror with a picture Of a beautiful white lady.65 The mirror serves to reclaim the idea of black as being beautiful and a rediscovery of self: Since Aunt Lisa gave me This nice looking glass I begin to feel proud Of my own self (The Moth, p75) The speaker eventually removes the picture of the white woman suggesting that black worth and beauty can only really exist in the absence of white colonialism. The poem ends in a victory of sorts as she declares that John, her lover has rejected the pale skin in favour of His black ivory girl.66 Kinky Haired Blues represents Marsons quest for a more effective and authentic poetic voice in its use of African American speech.. The poem explores the rhythms and musical influences found in Harlem and gathering momentum about this time. Kinky Haired Blues like Cinema Eyes and Black is Fancy criticizes the oppressive beauty regime of white colonialism which seeks to disfigure and marginalize the black woman. The poem opens with the speaker attempting to find a beauty shop: Gwine find a beauty shop Cause I aint a belle Gwine find a beauty shop Cause I aint a lovely belle. The boys pass me by They say Is not so swell (The Moth, p91) The speaker seeks to Europeanise her black features in an attempt to make herself more attractive. Male indifference experienced in the metropolis forces the speaker to see herself as an aberration, thrusting her onto the margins of a society which is continually projecting the idea that white is right. The beauty shop contains all the trappings of the colonizers idea of beauty, ironed hair and bleached skin. Yet she is caught between being left to die on de shelf 67 if she doesnt change herself, or eradicating her ethnic features and therefore her inner self if she does. By using blues within the poetry she is able to communicate this misery felt within her, that male perceptions of beauty projected by the colonizers dictate that she must distort her own natural beauty in order to fit in and conform. The poem highlights the struggle Marson experiences in trying to preserve her selfhood against such oppressive cultural forces. Marson defiantly attempts to stand against this patriarchal order. She proudly announces that I like me black face / And me kinky hair. Inspite of this brave stand Marson eventually succumbs and admits that she is gwine press me hair / And bleach me skin. She, like Rhys can only resist internally to the colonialists ideals imposed on them. As writers voyaging into the metropolis both Rhys and Marson share in their writing a pervasive sense of isolation where, from the location of London, their particular voices and concerns are, at the time, not recognised. Both writers, from this isolated position on the periphery of the centre. explore issues of womanhood, race and identity,. Marsons experiences bring about an acute awareness of her difference and Otherness as a Black woman. Her work is a defiant voice against this marginalisation and isolation. She was, as Jarrett MaCauley claims the first Black feminist to speak out against racism and sexism in Britain.68 She was a pioneer in a growing literary culture which was to become the new postcolonial order. Rhys, by contrast, a white West Indian from Dominica was experiencing a declining white minority status against a growing black population, itself an isolating factor both at home and within the metropolis. Kenneth Ramchard suggests that the work of white West Indian writers is characterized by a sense of embattlement: Adapted from Fanon we might use the phrase terrified consciousness to suggest the White minoritys sensations of shock and disorientation as a smouldering Black population is released into an awareness of power.69 It is this terrified consciousness which contributes to the struggle experienced by Anna in Voyage in the Dark . Located simultaneously both inside and outside West Indian socio cultural history, her journey to the mother country seeks only to exacerbate these feelings of in-betweenness and to suffer feelings of dislocation and alienation. Both writers, therefore, in their voyage into the metropolis endure different kinds of anxieties in their sense of unbelonging to either or both cultural worlds. Both use their writing to speak for the marginal, the hegemonic, the dispossessed, the colonized silenced female voice situated as they were within the cold, oppressive, hierarchical colonial metropolis attempting to impose an oppressive identity upon the exiled women. 1 George Lamming The Pleasures of Exile (London: Alison, 1960) p15 2 Palmer Adisa De Language Reflect Dem Ethos in The Winds of Change: The Transforming Voices of Caribbean Women Writers and Scholars ed. By Adele S. Newson and Linda Strong Leek. (New York: Peter Lang 1998 p23) 3 The Winds of Change: The Transforming Voices of Caribbean Women Writers and Scholars ed By Adele S. Newson and Linda Strong-Leek. (New York: Peter Lang 1998 p6) 4 V.S. Naipaul New York Review of Books 1992. Quoted in Helen Carr Jean Rhys (Plymouth: Northcote House Publishers Ltd., 1996) p15 5 Helen Carr Jean Rhys (Plymouth: Northcote House Publishers Ltd., 1996) p. xiv 6 Delia Jarrett-MaCauley The Life of Una Marson (Manchester: Manchester University Press, 1998) p51 7 Edward W. Said Representations of the Intellectual (London: Vintage 1994) p49 8 Molly Hite The Other Side of the Story: Structures and Strategies of Contemporary Feminist Narrative Quoted in Joy Castro Jean Rhys in The Review of Contemporary Fiction Vol. 20, 2000. www.highbeam.com/library/doc.3.asp p6.Accessed 1 December 2005. 9 Elaine Savory Jean Rhys p92 10 Elaine Savory Jean Rhys p93 11 Gayatri Spivak Three Womens Text and a Critique of Imperialism in Henry Louis Jr. Gates Race, Writing and Difference (Chicago: University of Chicago Press, 1987) p269 12Jean Rhys Voyage in the Dark (London: Penguin Books 1969) 13 Elaine Savoury Jean Rhys (Cambridge: Cambridge University Press 1998) p 95 14 Homi Bhabha Remembering Fanon, forward to Franz Fanon s Black Skin, White Masks (London: Pluto, 1986) p ix 15 Homi Bhabha The Other Question Location of Culture (London: Routledge 1994)p69 16 Ibid p69 17 Veronica Marie Gregg Jean Rhyss Historical Imagination: Reading and Writing the Creole (North Carolina: The University of North Carolina Press, 1995) p115 18 Sue Thomas The Worlding of Jean Rhys ( Westport: Greenwood Press 1999) p106 19 Jean Rhys Voyage in the Dark p53 20 Ibid 21 Paul B. Rich Race and Empire in British Politics (Cambridge: Cambridge University Press, 1986) p19 22 Voyage in the Dark p56 23 Ibid p320 24 Homi Bhabha DissemInation: Time, Narrative and the margins of the Modern Nation The Location of Culture p319 25 Voyage in the Dark p7 26 Ibid p15 27 Ibid p16 28 Ibid p26 29 Ibid p45 30 Ibid p47 31 Ibid p7 32 Ibid p46 33 Homi Bhabha The Location of Culture p319 34 Voyage in the Dark p45 35 Homi Bhabha Location of Culture p85 36 Ibid p27 37 Ibid p62 38 Ibid p62 39 Teresa OConnor The Meaning of the West Indian Experience for Jean Rhys (PhD dissertation, New York University, 1985)cited in Caribbean Woman Writers; Essays from the first International Conference. p19 40 Taken from Rhyss non fictional analysis of Gender Politics. Veronica Gregg, Jean Rhyss Historical Imagination p47 41 Helen Carr Jean Rhys, (Plymouth: Northcote House Publishers Ltd, 1996) p 77 42 Lloyd W. Brown, West Indian Poetry (London: Heineman, 1978) p 38 43 Denise deCaires Contemporary Caribbean Womens Poetry: Making style (London: Routledge, 2002) p 2 44 Ibid p4 45 Una Marson The Moth and the Star, (Kingston, Jamaica: Published by the Author, 1937) p24 46 Homi Bhabha The Location of Culture, (London: Routledge, 1994) pp85-92 47 Delia Jarrett-MaCauley The Life of Una Marson pp 49, 50 48 The Routledge Reader in Caribbean Literature ed. Alison Donnell and Sarah Lawson Welsh (London: Routledge, 1996) p140-141 49 Ibid 50 Homi Bhabha Location of Culture p 320 51 Jarrett-MaCauley The Life of Una Marson p51 52 Ibid p51 53 Ibid p54 54 Una Marson Little Brown Girl, The Moth and the Star. (Jamaica: The Gleaner. 1937) p11 55 Ibid 56 Ibid p13 57 deCaires Narain puts forward an interesting link between Marson and Sam Selvons The Lonely Londoners highlighting external identity in her book Contemporary Caribbean Womens Poetry p 21 58 Baudelaire The Painter and the Modern Life cited in Keith Tester The Flaneur (New York: Routledge, 1994), p 2 59 Ibid p3 60 Jarrett-MaCauley, p53 61 Ibid p50 62 Laurence A. Brainer An Introduction to West Indian Poetry (Cambridge: CUP, 1998), p154 63 Una Marson Cinema Eyes The Moth and the Star. (Jamaica: The Gleaner.1937) p87 64 Franz Fanon Black Skins, White Masks (London: Pluto, 1986), p4 65 Una Marson Black is Fancy The Moth and the Star p75 66 Ibid p76 67 Una Marson Kinky Hair Blues The Moth and the Star p91 68 Jarret MaCauley pvii 69 Kenneth Ramchard The West Indian Novel and its Background (London: Faber, 1870), p225

Is the Shroud of Turin Authentic? Essay -- Religion, Jesus, Resurrecti

The Shroud of Turin is probably one of the most unusual, profound, studied artifacts in the world. The Shroud is a linen cloth that contains the image of what appears to be a crucified man. Many people have speculated that it is the burial cloth of Jesus, while others speculate that it is an artistic painting. Over the years many test and studies have been conducted to prove once and for all if the Shroud of Turin is authentic or fake. Let’s look at different perspectives and outcomes of the testing and you decide for yourself what you think to be true. One study believes that the Shroud could be evidence of the resurrection of Jesus. It is believed that the linen cloth contains areas that coincide with the wounds Jesus is said to have incurred according to the Bible during his crucifixion. The patterns have a distinctive resemblance to where each cut, bruise, and punishment inflicted upon Jesus would have left on his body. (Thomsen, Science News) Some scientists are even saying that the image on the cloth is from a scorch or possible burn of some kind. However, they seem to think it is from a form of projection, because no contact was actually made to the cloth. (Thomsen, Science News) How can that even be possible? Scientist can’t explain that reasoning, so if it can’t be explained does that mean it didn’t happen? To those who feel everything needs proof or reasoning, yes, but to those who trust in faith and certain religious belief, anything is possible. The earliest documentation we have tells us that the mystery began in 1389. A Bishop by the name of Pierre d’ Areis wrote a letter to the pope of that era accusing a knight by the name of Geoffray II of placing a cloth in the church claiming it to be the original cloth us... ...hentic or not. I don’t believe that it’s a painting of any kind, but I’m still not convinced that it was the burial cloth of Christ. I do believe there was a resurrection and that Jesus suffered at the hands of those who set out to crucify him. I believe he was tortured, beaten, scourged, nailed, and speared through the side. However, even with my belief I’m not truly convinced that there’s enough factual evidence to say that the Shroud was that used to wrap Jesus. I’m no scientist by any means of the word. There is a lot of evidence that proves it could be authentic, but there’s not enough to prove without a shadow of doubt in my own eyes that is the case. To be completely honest we may never know if the Shroud of Turin is authentic, but we’ve made it this far without knowing. Does it really make a difference one way or the other to know? To me the answer is no.

Meaning of life essay Essay

What is the meaning of life? Many agree that the answer depends on the person asking the question. When Albert Camus and Richard Taylor decide to answer this question, they must take an in-depth look into the real and mythological worlds to arrive at a concise answer to this question that has baffled so many. Both have similar views with subtle differences – however Taylor’s view is the more accurate of the two. When looking into the biological world, Taylor clearly describes how much of it can be identified with the Greek tale of Sisyphus. His first of two examples take an in-depth look into glowworms. They go through this cycle like Sisyphus did with his rock and ultimately they have nothing more to show for it than reproducing. They are condemned to this fate and like the rock that Sisyphus rolls up the hill, once they fall down, the burden is passed onto the next generation of worms, making their existence ultimately pointless. The story is the same with migrating birds, as they seasonally migrate across the planet just to do the exact same thing the next year (Klemke, 2008). The effort put into this, like the effort Sisyphus puts into rolling the rock up the hill, ultimately accomplishes nothing and in the end is futile. The birds are condemned to a meaningless task that has no meaning, but gives them purpose. Taylor states â€Å"The point of any living thing’s life is, evidently, nothing but life itself† (Klemke, 2008), something that Sisyphus himself endures as he rolls the rock throughout eternity, with the only difference between him and the biological beings being that instead of each organism doing the same repetitive task for eternity, they pass on their mundane tasks to the next generation. Taylor’s solution to the meaning of life is a complicated one since he truly sees absolutely no meaning to it. Everything in this world is contingent and as a whole is seemingly meaningless. This is what he calls ‘objective meaning’. He went on to say that life has no end goal and that what you do can never be more than you, something similar to what Sisyphus went through. At the same time, he went on to say how life also has subjective meaning, meaning that life matters to the person living in that world in that period of time. As Sisyphus was rolling the rock up hill hill for eternity, Taylor asks what if the gods had made it his eternal desire to roll that rock up that hill, and what if he enjoyed nothing else more than rolling that rock for the rest of his life (Klemke, 2008). The same can be said about those that do what they love, and even though that has no objective meaning as a whole, it could have subjective meaning to the individual performing the task since there is nothing else they would rather do. He went on to say that as time passes â€Å"A curious eye can in imagination reconstruct from what is left a once warm and thriving life, filled with purpose. † (Klemke, 2008). This was in reference to looking back at an old barren wasteland, where although now it has no meaning, it once had subjective meaning to others – and even though something has no end goal, that does not mean that it is meaningless, since in that moment in time it had meaning. He sees the meaning of life as nothing but life itself, and that the only way to live a full and meaningful life is to do something that has meaning to you. The end goal does not matter as long as what you are doing has meaning to you, and one thing does not have greater meaning over another. His solution involved projecting meaning onto our own lives by embracing our struggles, even if they accomplish nothing lasting and worthwhile (Cengage, 2013). Camus had a slightly different solution to the meaning of life. He truly saw no meaning to life and questioned why anyone would ever want to live in it (Klemke, 2008). He questioned people’s motives and why all individuals would never commit suicide when they know that they saw the world they lived in. He sees the world as absurd and the fact that we can accept that as surprising. Rational beings live in an irrational world, where people who are obsessed with reason cannot find it. He sees that the there is absolutely no meaning to the world. When he relates human lives to Sisyphus, he considers our everyday lives as pushing a rock up a hill and pushing it back down in a never-ending cycle until death. The tragedy of it is that we are never truly conscious of the absurd, and in those moments when we are conscious of the absurd, we experience the greatest moral downfall imaginable. The only way to live in this world is to live in contradiction. Once we can accept that the world we live in is absurd, we no longer need to live for hope or have this dying need for purpose (Tomo, 2013). It means not only accepting it but also being fully conscious and aware of it, because that is the only way we can enjoy the freedoms of life as long as we abide by a few common rules (Lane, 2013). He sees this as being the ultimate way to embrace everything the unreasonable world has to offer us. This is known as absurd freedom, when you are conscious of the world you live in and are freed from the absurdity. You can then reach a point of acceptance where you can feel truly content with your own life (Lane, 2013). He considers Sisyphus as being the absurd hero, since he performs a meaningless task because he hates death, and so he does this meaningless task to live to the fullest. He embraces his destiny and one could truly believe that he is happy with it. The meaning of life also does not matter about what are the best moments of living, or doing what is meaningful to the individual, but who did the most living. This can be further explained with Camus’s reference to Sisyphus, where the only thing differentiating our lives from his is that his is eternal. As humans, we will eventually deteriorate and die off, and in a world where nothing has meaning and everything is repetitive, the one who has lived for the longest period of time has truly made the most of it. Out of the two solutions, it is clear why both Camus and Taylor thought the way they did. One solution was based on doing things in general while the other focused on living as long as physically possible. In my opinion, although both have strong footings, I must say that although Camus position is slightly stronger logically, Taylor’s position has much better emotional traction. When Camus states that the world is completely absurd and that none of it has any meaning, his argument makes sense. We live in a world where even though we are creatures that demand reasoning and meaning for everything, there is none in the world we are currently in. Taylor agrees to a certain extent, but then introduces his idea of different kinds of meaning: subjective. He tries to give meaning to tasks that give us fulfillment – true subjective meaning, but these same tasks have no objective meaning since they have no end goal. Logically, such tasks can have no meaning because they have no lasting value, something that Camus himself tried to explain, ultimately making Camus’s position stronger logically. Emotionally, the case is quite the opposite. Camus tells us we should accept our fate and just try to live on this planet for as long as we can, something only an atheist would willingly accept with grace. He goes on to say as long as there is no end goal in life; there is no meaning in life. However, many that live their every day lives do not think on such an emotionless level. Taylor on the other hand gives the position of there being two different kinds of meanings, and although objective meaning doesn’t exist, subjective meaning can give each one of us our own definition of what meaning is, which in this case is something to do. Even though the culmination of these events will ultimately lead to nothing, it doesn’t mean that they were a complete waste of time since they gave us something to do (. The same can be said about the birds and the glowworms. Their lives have no end goal as their lives were nothing but a never-ending cycle, but it gave them something to do in life – no matter how meaningless it may seem to someone looking from the outside in. The most important point Taylor makes is that the tasks we do can have meaning to us, but another individual looking in could see the exact same task as being meaningless, and that is to be expected. Subjective meaning depends on the exact moment in time, which relates to such expressions as â€Å"live in the moment† or â€Å"Carpe Diem†, because after that moment has passed, all the meaning that is associated with it disappears. People like to believe that what they’re doing will always have meaning in one form or another, and as long as they believe in that, they are in a better state of mind than believing that everything in life is meaningless and that we should only strive to live as long as we can. This can be seen as living in denial, but emotions are something humans unlike many animals live with on a minutely basis and must be accounted for. Furthermore, although Camus position makes logical sense, it makes little to know emotional sense since it does not account for the human aspect of life. CITATIONS Barnett, Richard. â€Å"An absurd faith: Camus and The Myth of Sisyphus. † Internet Archive: Wayback Machine. http://web. archive. org/web/20071012140207/http://www. geocities. com/a_and_e_uk/Sisyphus. htm (accessed March 19, 2013). (Only for research purposes) Lane , Bob. â€Å"The Absurd Hero. † Vancouver Island University, Degree Programs Canada – Master & Bachelor Education Degrees Canada | VIU. http://records. viu. ca/www/ipp/absurd. htm (accessed March 19, 2013). Klemke, E. D. , and Steven M. Cahn. â€Å"Albert Camus: The Myth of Sisyphus. † In _The meaning of life: a reader_. 3rd ed. New York: Oxford University Press, 2008. 72-82. Klemke, E. D. , and Steven M. Cahn. â€Å"Richard Taylor: The Meaning of Life. † In _The meaning of life: a reader_. 3rd ed. New York: Oxford University Press, 2008. 134-143. â€Å"The Meaning of life: Richard Taylor. † Cengage. www. cengage. com/philosophy/book_content/1439046948_feinberg/introductions/part_5/ch19/Life_Taylor. html (accessed March 19, 2013). Tomo, Ramirez. â€Å"Camus, â€Å"Sisyphus† Taylor, â€Å"The Meaning of Life†. † Deanza. edu. www. deanza. edu/faculty/ramireztono/phil01/camustaylornotes. pdf (accessed March 19, 2013).

Executive Summary: Streamline the Nursing Admission Process Essay

The health care industry continues to be challenged by daily patient turnover due to the number of admissions, transfers, and discharges (Spader, 2008). The increase in number of admissions, in turn, puts a high demand on nurses in keeping up with the pace resulting in nurse frustration and dissatisfaction. According to Lane (2009), a thorough and comprehensive admission process is critical in providing quality patient care. Completing the admission process in a timely, efficient, and comprehensive manner has been a challenge for nurses due to the increase number of admissions, and also the fact that the nurses still have to provide ongoing care to the other patients. Creating a new position as the role of an admission nurse will help to combat some of the challenges associated with the admission process. Purpose of the Project The purpose of this project is to streamline the admission process. This can result in a decrease in nurse workload and improve patient flow. A reduction in nurses’ workload and demands can contribute to a decrease in nurse turnover and promote positive patient outcomes. The role of the admission nurse provides an opportunity for a dedicated nurse to gather the pertinent information in order to complete a comprehensive admission process. Target Population The targeted population for this project is the direct care nursing staff. This nursing staff is currently responsible for the admission process. It is not unusual for a nurse to be interrupted several times while trying to admit a patient. It is also not unusual for a patient to be admitted and discharged from the hospital with an incomplete admission process. Regardless of what line of service, all nurses can benefit from streamlining the admission process Benefits of the Project An admission assessment in the admission process provides important details that are relevant to patients’ need. That is why it is critical that this information is completed thoroughly and accurately. Unlike the staff nurse, an admission nurse will have the necessary time to spend with patients and families. The role of an admission nurse can help to provide the comprehensive assessment associated with the admission process and also help to alleviate the nurses ‘stress associated with increased patient turnover. In addition to the benefit of the nurses, the hospital can benefit as well by potentially having a decrease in nurse turnover, increase patient flow, and an increase in patient satisfaction. Budget Justification The expense of losing an experienced nurse can be costly to the hospital. Not to mention the nursing knowledge and skills. Estimates of the actual dollar amount incurred by nurse turnover range from 10 to 20 thousand dollars per nurse to as much as well over the nurse’s yearly salary. According to Anderson (2004), Nurse Executives estimate that â€Å"†¦visible costs represent only 24 percent of total costs for medical/surgical nurses and only 18 percent for specialty nurses. A true total cost of $42,000 per medical/ surgical RN and $64,000 per specialty nurse is more close to reality.† Turnover costs, average approximately $47,403 per medical/surgical RN and $85,197 for specialty RNs. â€Å"A 400-nurse hospital with a 20 percent turnover rate is replacing 80 nurses per year. The direct costs might average $800,000 per year, but the true total costs are closer to $4 million.† Project Evaluation Currently there is not sufficient evidence -based data to on admission models. But, there are still a number of ways to evaluate the success and or outcome of this project. One way is to do a pre and post survey of the nursing staff regarding the admission process. Another way is to survey patients pre and post implementation of the proposed admission process to evaluate success. In addition, evaluating the costs associated with nurse retention would also be another mechanism in evaluating this project. Conclusion Working in a fast paced environment such as the hospital setting can be stressful. The number of daily patient turnover, admissions, and discharges are continues to be a challenge for nurses working in the hospital setting (Spader, 2008). The role of the admission nurse to streamline some of the challenges associated with the admission process. In essence, this will free up the staff nurse to provide ongoing care to the other patients. This will also result in increased satisfaction for both nurses and patients. Mechanisms and process improvements that can be put in place to help alleviate the stress and strain associated with the admission process due to increased daily turnovers can be proven beneficial. References Anderson, R. (2004). Complexity science and the dynamics of climate and communication: reducing nursing home turnover. Gerontologist, 44, 378-388 Lane, B. (2009). Nurse satisfaction and creation of an admission, discharge, and teaching nurse position. Journal Of Nursing Care Quality, 24(2), 148-152. doi:http://dx.doi.org.library.gcu.edu:2048/10.1097/01.NCQ.0000347452.36418.78 Spader, C, (2008). Admission RNs Make Fast-Paced Admits Less Stressful. Retrieved on January 24, 2013 from http://news.nurse.com/apps/pbcs.dll/article?AID=2008108110080

Grounded and Ten Other Idioms with Ground

Grounded and Ten Other Idioms with Ground Grounded and Ten Other Idioms with Ground Grounded and Ten Other Idioms with Ground By Maeve Maddox When I was still young enough to be under parental supervision, if I did something ill-considered, I was not â€Å"grounded†; I â€Å"lost privileges.† The use of grounded to mean â€Å"confined to home outside school hours† had not yet penetrated to our neck of the woods. I was familiar with grounded in connection with electricity and flying: grounded adjective: electrically connected with the ground, either directly or through another conductor. grounded adjective: of an airplane or pilot, unable, or not allowed to fly. For example, a pilot might be grounded because of illness. A plane might be grounded by reason of bad weather. In the 1940s, the word grounded acquired the general sense of suspended or disqualified. For example, a truck driver whose license had been revoked was said to be â€Å"grounded,† as was a jockey who had been suspended from riding. It was not a leap to apply the use of grounded to a teenager whose driving privileges had been revoked. Nowadays, even young children are said to be grounded when they have privileges denied as the result of misbehavior unconnected with using a vehicle. The noun ground is from a Germanic source meaning earth. Literally and figuratively, ground represents the basis or bottom of something. A ship in shallow water may strike ground. The plural, grounds, denotes the premise or reason on which something rests. For example, â€Å"grounds for divorce, â€Å"objections on religious grounds.† Ground occurs in numerous idioms. Here are just ten. ground rules: the basic rules or principles. For example, â€Å"Establishing the classroom  ground rules  on the first day can provide year-long benefits for your challenging students.†Ã‚   groundswell: a long, deep rolling of the sea caused by a disturbance, possibly originating at the bottom. Figuratively, a ground swell is strong public opinion that seems to be rising from somewhere and becoming stronger. For example, â€Å"Whether New York businessman Donald Trump is serious about running for president or just serious about getting publicity, his groundswell of support in recent weeks is hard to ignore.† ground zero: This expression stems from nuclear testing. â€Å"Ground zero† was the point on the earth’s surface either at or immediately above or below the center of a nuclear explosion. Now it can mean the center of any cataclysmic blast, such as the site of the World Trade Center that was destroyed in 2001. The expression is also used figuratively, as in this reference: â€Å"The Interview - the Hollywood movie that became ground zero in the extortionate cyber attack that U.S. authorities are now blaming on North Korea.†Ã‚   To break new ground: to do something that has never been done before, like a settler digging a foundation for a home in the wilderness. â€Å"Anomalisa filmmakers break new ground with stop-motion drama.† To cut the ground from under someone’s feet: in a debate, to disprove all possible arguments before they can be made by one’s adversary; to leave someone at a loss as to what to do. â€Å"Depression  cuts the ground from under  ones  feet!†Ã‚   To get in on the ground floor: to be involved at the beginning of an enterprise, especially in anticipation of profiting greatly. â€Å"If you are hoping to get in on the ground floor of Maryland’s medical cannabis program, you should not underestimate the importance of this very short comment period.†Ã‚   To put one’s ear to the ground: be on the alert for possible developments on a topic of interest. â€Å"It is not a secret among those who  keep their ears to the ground  in matters political in Michigan that Commissioner Mershon, of the state tax commission,  intends to resign as soon as the new administration takes office.† To go to ground: to make oneself inaccessible for a time, like an animal holing up in its lair. For example, â€Å"Similarly, a proportion of  fugitives  had  gone to ground  because they knew some of their Francoist neighbours were working in tandem with the authorities.†Ã‚   To get off the ground: to begin a project; begin to show success. This newspaper headline plays on both the literal and figurative meanings of â€Å"to get off the ground†: â€Å"In Chicago, rooftop farming is getting off the ground.† To hold one’s ground: to maintain one’s position in the face of opposition or attack. â€Å"A workplace bully may try to verbally pound you into submission. If he insists on getting his way, hold your ground.† Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Expressions category, check our popular posts, or choose a related post below:70 Idioms with HeartDoes "Mr" Take a Period?Uses of the Past Participle

Implementing QuickSort Sorting Algorithm in Delphi

Implementing QuickSort Sorting Algorithm in Delphi One of the common problems in programming is to sort an array of values in some order (ascending or descending). While there are many standard sorting algorithms, QuickSort is one of the fastest. Quicksort sorts by employing a divide and conquer strategy to divide a list into two sub-lists. QuickSort Algorithm The basic concept is to pick one of the elements in the array, called a pivot. Around the pivot, other elements will be rearranged. Everything less than the pivot is moved left of the pivot - into the left partition. Everything greater than the pivot goes into the right partition. At this point, each partition is recursive quick sorted. Heres QuickSort algorithm implemented in Delphi: procedure QuickSort(var A: array of Integer; iLo, iHi: Integer) ; var   Ã‚  Lo, Hi, Pivot, T: Integer; begin   Ã‚  Lo : iLo;   Ã‚  Hi : iHi;   Ã‚  Pivot : A[(Lo Hi) div 2];   Ã‚  repeat   Ã‚  Ã‚  Ã‚  while A[Lo] Pivot do Inc(Lo) ;   Ã‚  Ã‚  Ã‚  while A[Hi] Pivot do Dec(Hi) ;   Ã‚  Ã‚  Ã‚  if Lo Hi then   Ã‚  Ã‚  Ã‚  begin   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  T : A[Lo];   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  A[Lo] : A[Hi];   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  A[Hi] : T;   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Inc(Lo) ;   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Dec(Hi) ;   Ã‚  Ã‚  Ã‚  end;   Ã‚  until Lo Hi;   Ã‚  if Hi iLo then QuickSort(A, iLo, Hi) ;   Ã‚  if Lo iHi then QuickSort(A, Lo, iHi) ; end; Usage: var   Ã‚  intArray : array of integer; begin   Ã‚  SetLength(intArray,10) ;   Ã‚  //Add values to intArray   Ã‚  intArray[0] : 2007;   Ã‚  ...   Ã‚  intArray[9] : 1973;   Ã‚  //sort   Ã‚  QuickSort(intArray, Low(intArray), High(intArray)) ; Note: in practice, the QuickSort becomes very slow when the array passed to it is already close to being sorted. Theres a demo program that ships with Delphi, called thrddemo in the Threads folder which shows additional two sorting algorithms: Bubble sort and Selection Sort.

Do you believe it is fair or reasonable that snapshot photos of famous Essay

Do you believe it is fair or reasonable that snapshot photos of famous or well-known people taken for personal reasons become open to public scrutiny - Essay Example The other approach towards accomplishing this is through the establishment of a establishing a monitoring system aimed at solely monitoring for legitimate and stated personal-related reasons. For this reason, the monitoring policy will have to be to be given sufficient support of their respective users with the intent of monitor, as well as the reason for the same. This will also include a form of monitoring to be used. Good monitoring approach will have to address computer, Internet, and e-mail use with the sole purpose of eliminating any possible mishaps where the privately meant pictures remain confidential. The state privacy laws keep varying hence the need to keep consulting with relevant attorneys with sufficient experience in employment law while a company is drafting electronic communication monitoring and usage policies. Even as it remains critical that the individual’s right to privacy for personal pictures do not negatively affect the public image and loyalty. Furth er, rigid policies for personal application of communication platforms translate into sustainable relationships. Concerns exist in determining the professionalism of social media handlers. It is because posted content today could alter the public views to such degrees that they are not recognizable. Legislators in United Kingdom suggest that such online platforms should be held liable in preventing users from being in a position of to posting anonymously (Vermaat 34). It is aimed at effectively tracking down the issue. Ethical issues at the technology keep arising with regards to gathering information, disclosing, assessing its accuracy, and correcting it including the issues that are related to the substance of the information by itself. The simple knowledge that an individual is entitled to personal pictures will generate an understanding that one feels overly