European History Research Paper Topic Ideas

European History Research Paper Topic IdeasWhile European history can be a challenging subject, it can also be made even more interesting with some helpful, European history research paper topic ideas. The most important thing to remember about writing a research paper on European history is that you have to make your topic interesting enough to stimulate the reader's interest.When you are choosing your European history research paper topic ideas, you need to consider the major events that are important to the Europeans. This will help you develop a good topic that will stimulate the interest of your audience. You should consider the continent's major events, like the unification of Germany, as well as the major civilizations, like the Romans and the Renaissance. These events will help you to establish what the reader is going to find interesting.One way to get started on your European history research paper topic ideas is to find out what people know about the time period you want t o write about. It can help to consult the information you have on your own so that you will know what to expect from your audience. The information you gather may come in handy when it comes to developing your topic ideas.After you know what the audience knows about, you can go out and find out what they do not know. For example, did they know that there was a war between France and England? The readers are going to assume that this war was some sort of religious battle. If you talk about the religious nature of the conflict, you will be able to get them interested in the information that you will present.Instead of concentrating on the different points of view, you can explore what each side thought about the other. If you read through the history books, you will likely find that there are many different points of view on what happened. By considering different viewpoints, you will be able to come up with a more interesting set of ideas that will draw attention. It will also help t o make the topic more interesting since the reader will be able to see both sides of the argument.What people may not know is that there were many major events during the period you are writing about. One of the major events would be the French and English Revolutions. You can use this information to talk about how these two sides experienced their revolution. In addition, you can include the meaning of the word 'revolution' as well as the idea that one side would try to change the other.The ideas you present will also need to focus on the feelings that the people had as well as what was going on with their nations. This means that you will have to explore the feelings of both the individuals and of the countries involved. By exploring the thoughts of people, you will be able to write about different kinds of people and thus, different kinds of views.It is easier to write about European history research paper topic ideas if you consider what people might not know. Then you can go ab out writing about the facts that are important to people.

The 30-Second Trick for How to Make a Essay of Two Topics

The 30-Second Trick for How to Make a Essay of Two Topics You'll have to develop a very good argument, which encompasses not just your primary point, but also all the pieces which make this up. At some time, you're likely to be requested to compose an argumentative essay. You have to present your topic, obviously, and also your thesis statement that has the function of indicating to your readers what is the probable path of the full work. When choosing what to write about, ensure that it is something which you understand about. The above mentioned compare and contrast essay topics are only a few of the numerous topics you may decide to go over in your essay. Then it'll be much simpler to do a compare and contrast essay in the event the characteristics are many. A great compare-and-contrast essay goes beyond a very simple listing of similarities and buy to earn a meaningful statement about a bigger topic. You ought to make sure you remain on that 1 side during your whole essay. A thesis has to be arguable like in an argumentative or persuasive essay to create the readers wish to debate. When you've written the entire essay, you ought to go through it one final time to eliminate any mistakes and make any improvements you're able to. Your essays must consist of quotes from every text used to find total credit. If you've got to write your whole essay in 1 day, do your very best to give yourself breaks so you don't burn out. There are several steps which you should take to be able to compose an exceptional essay. How to Make a Essay of Two Topics for Dummies If your essay is describing a process, like how to make a huge chocolate cake, make sure your paragraphs fall in the right purchase. The instructions about how to write process ess ays should also end up being practical for readers. To compose a high-quality paper, you've got to understand how to pick your topic properly and utilize it to create a practical outline. A well-done research will produce a lot of information which one can look at including in their paper and no longer sit wondering how to compose long essays. The 5-Minute Rule for How to Make a Essay of Two Topics Needless to say, it's still your essay, and other people's comments ought to be taken critically, but they could still act as a valid source of inspiration on how best to earn essay longer. Now you know the fundamental argumentative essay template, as well as a few of the specifics of writing this kind of essay, let's discuss some topics you could write about and ways it's possible to brainstorm new topics. No matter the mission of the essay, make certain you're interested in your topic. Writing an argumentative essay can at times be confusing since you don't necessarily understand how to compose a convincing argument. Writing a persuasive, argumentative essay can be challenging, and at times it can find a little confusing. Since you may see, the topics are broken up into multiple categories so it would be simpler that you select one. You could have your topic assigned, or you might be given free reign to write on the topic of your selection. If you get to select your own topic, that's fantastic. Quite frequently, the very best topic is one which you truly care about, but you also will need to get well prepared to research it. The Importance of How to Make a Essay of Two Topics Simply create two overlapping circles, one for each one of the topics which you're comparing. You may also choose one particular topic at the moment and begin practicing. You may want to consider working on the how-to essay for a genre. Social science essays offer you an opportunity to present your opinion and speak up. You can begin with the sort of topic you select for your compare and contrast essay. The essay topics are categorized in various groups only for the ease of readers. Not just that but students will be in a position to access their online courses and be in a position to follow along with the lecture through powerpoints. With this kind of heavy content, it can be hard to provide writing topics which don't overwhelm your students. Choose from popular topics that folks are passionate about. What Does How to Make a Essay of Two Topics Mean? For example an individual may pick a topic like, life in the shoes of a werewolf. You may also order a fully written compare and contrast essay and alleviate the quantity of work you must do. Not everybody can write the very best essay and should you don't have the time to do the perfect quant ity of research and compose the paper within the deadline, you might find yourself struggling and stressing out. The very first thing you ought to do is identify the sort of compare and contrast essay that you're handling. How to Make a Essay of Two Topics Options Analyze and understand the 2 texts well before you begin writing, how successful your essay will be depends on the direction you display your wisdom and opinions in a clear. Your essay may concentrate on gender issues from different regions of the world such as women rights in the Middle East and so forth. A decent argumentative essay is going to be based on established or new research in place of only on your ideas and feelings. A decent compare-and-contrast essay goes beyond a very simple listing of similarities and differences to earn a meaningful statement about a bigger topic.

Using the Sample of a Photo Essay Examples

Using the Sample of a Photo Essay ExamplesThe sample of a photo essay is actually a series of images, usually in high resolution and often filled with information about the subject or the image itself. If you've got a unique image, it could be a great idea to upload your photo essay on several sites so others can have a look at it.You may find it a good idea to submit your photo essay to several of the top photo sharing sites available on the Internet. Some sites allow you to have an image only and some allow you to have one which is filled with information, such as text, embedded within it. So why not get a wide variety of sites to share your picture and include all the relevant information?If you do decide to make your image available to other sites, it's always a good idea to have your entry published on a blog site, as there are a number of blog sites that can post your entries without permission. It may take some time to get your images posted, but the thought of having these im ages displayed all over the Web will eventually pay dividends. Keep in mind that many blog sites charge a fee to view blog posts, so this may be something to consider if you're looking for free information on photo essays.Many bloggers who own blog sites have a newsletter that they send out to their subscribers. If you are a reader of a blog, you may want to subscribe to it and check out what your favorite bloggers have to say. Then you can go to their article archive, where you can see a sample of a photo essay by reading it first. You can also read blogs that are related to a topic that interests you, such as the sample of a photo essay examples.Of course, one way to have a look at a sample of a photo essay is to download them from the Internet, although some may not offer a good download quality. For instance, a photo essay with an image that is small in size can often be compressed before it is sent to the web. Fortunately, some websites will offer you a higher quality image whi ch is more easily downloaded.If you're interested in this type of image, take a look at the file extension and see if it begins with .jpg or .png. Those are generally the types of images that you want to get.If you are interested in creating your own images, you should know that there are many different types of photos. You'll also want to know how to create your own images if you want to create a gallery of your own creations. So keep in mind that if you are not a professional photographer, you may have trouble creating your own images.There are a number of other ways that you can use the sample of a photo essay examples, but these are generally the ways that you will see the most success. It really depends on the subject of the image that you want to illustrate.

When I began to look at the relationship between C Essay Example For Students

When I began to look at the relationship between C Essay hris Markers film, La Jetee, and Roland Barthess book, Camera Lucida, I was thinking only about their most obvious link: photography. The more I looked, though, the more Marker and Barthes seemed to have in common. It was almost uncanny. Some things had to be twisted a little, but the strangest sort of interplay between the two works seemed to be happening, and it felt as if I were the first to discover it. For example, the first lines in the film, This is the story of a man marked by an image from his childhood, coincide amazingly well with Barthess story, branded by the image from his Mothers childhood, and subsequently his own. Even where they differ, it seems to me that the fact that Marker and Barthes are even considering the same ideas upon which they can differ is an amazing similarity. Perhaps every single major idea Barthes addresses in his novel I can find addressed in La Jetee. Because of this fact, and because of the power of both works, I was led at the end of my researc h to some new, yet fundamental ideas about the nature of photography itself. We will write a custom essay on When I began to look at the relationship between C specifically for you for only $16.38 $13.9/page Order now One of the most interesting aspects of this study, and also the most challenging, is the nature of Markers film itself. Simply the fact that I have to put the word film in quotes when applying it to La Jetee is perhaps the strongest evidence of the enigma that this film has been throughout its history. What exactly is la Jetee? This is a question that haunted my research. How do you take a book about photography, and apply its statements to this film? Now, obviously there are some answers to this question. Markers film is of course largely about photography because it is largely photography. However, in many ways it also defies classification. We have a series of heterogeneous photographs. There is nothing to separate them out from any other photographs that one might find in the world, except that they are given a narrative. Suddenly a film is created. Yet, I would propose that the soul of Markers film is still photography, and that film is its heart. Thus, though there were some ve ry perplexing issues in applying Barthess ideas to La Jetee, I found that on the whole it could be done without making many stretches or leaps in interpretation. A startling number of similar themes and motifs are present in each of the works. As I said, the number of parallels is uncanny, and Barthes and Marker are certainly examining the same fundamental ideas that lie at the center of the photograph. Death, time, memory, history in the sense of the individual photographs history, and the raw power and mystery of the photographic image are all issues that are explored in both works. Barthes and Marker are looking at the same things in different ways. Barthess method is lucid and personal. It is essentially a long critical essay in a very liberal form. The important thing is that no interpretation is necessary, Barthes is telling us exactly what he thinks and feels about photography. We can learn from Camera Lucida and look at it in light of something else, but alone it is unassail able, we cannot read between the lines. La Jetee, however, is completely different. Marker is not simply examining the fundamental aspects of photography and giving us conclusions. Instead, he is playing off of these fundamental ideas, both on a theoretical level and upon that of the average persons paradigms. His film requires interpretation, and has gotten a great deal of it. I found Barthess book to be a perfect vehicle for this task. Barthes writes that, the photograph is violent. It is violent because on each occasion it fills the sight by force, and because nothing in it can be refused or transformed. What he means is that the photograph is only what you see, and nothing more. The individual photograph cannot be interpreted, it yields itself wholly to the viewer, and the viewer cannot and does not need to go anywhere else but to the photograph in order to understand it. I stress this point now because it is important when examining La Jetee. If the photograph arrests interpret ation, then one must go to the narration of the film to find out what Marker is trying to say. This is where the brilliance of La Jetee is for me. The photographs in the movie except for those of the time traveling experimentscould be pictures from just about anywhere, relating to just about anything, so one must ask, Why this story? When one does ask this question, the film opens up, and an understanding of what Marker is saying begins to form. I am not sure that I can totally agree with Barthess comment that the photograph arrests interpretation. I believe he must be speaking strictly of the image itself, of the actual action of looking at it. However, this is not where the mystery of the photograph lies. The mystery is behind the photograph, and this is why so many questions arise when people look at certain pictures. So very often, when looking at a photo, I want to know What. What is going on in this photo? How did the events leading up to it come about? Who are these people? How did the photographer do that? What, essentially, is the story behind this photograph. Obviously, Barthes is aware of this characteristic of the photograph. Looking at Kerteszs portrait of a young schoolboy, he exclaims, it is possible that Ernest, a schoolboy photographed in 1931 by Kertesz, is still alive today (but where? How? What a novel!) Barthes is looking at the future of the photographed subject, rather than the story behind it, but the re is still this underlying desire on the part of the viewer to want to know more. Furthermore, I believe that Marker, in La Jetee, is playing off of this instinctive desire of the viewer. He is giving the viewer of the story the History that he yearns for. As I said before, most of the pictures in the film are not strange or unbelievable. They are not science fiction, as is the story. Even the pictures of the time traveling experiments could, on second glance, be taken for some sort of Vietnam War photographs. What I am trying to say is that none of the photos in the film need this particular story in order to have a believable history. They are almost all ordinary photographs, and Marker is playing off this fact. One gets the feeling that he could almost have picked up some random family album and simply mad up a story to go along with the pictures he saw. Of course, this is not what Marker did. The story, an utterly fantastic fiction, is well chosen. Through the irony of this imp ossible story and these entirely possible photographs, Marker is saying that though the photograph may be so forcefully clear, so completely fact, this history that we yearn for can never be true to the photograph. Instead, it will always be a story, and if we ask for the history of the photograph we will get a narrative fiction. Moreover, this history, being a fiction, and therefore blind to all the facts, will leave us wanting, with as many if not more questions than when we began. This is why so many things in the film are not told to the viewer, who is made all the more aware of these gaps because there is a narration in the first place. We do not know anything really about the experiments, or the camp, or the war, or characters. We are not even told the name of the hero or the name of any character in the film for that matter! This fact leaves me thinking of all the photographs there must be in the world with nameless people in them. Even if one were to be given a history of th ese photographs, one essential question could never be answered: Who is that person?In fact, if there is one very striking thing in La Jetee, it is indeed this coalescence of sorts between the representation (what there is to see: theimages) and the experience (what there is to feel: the affect); we cannot think of La Jetee without being touched, moved, and even deeply upset. It is a film that leaves its mark, that cannot easily be forgotten. Near the beginning of his book Barthes writes that the photograph is composed of three practices: to do, to undergo, to look. These are the three things that are involved in the function of the photograph. The spectator is the viewer of it, the operator is he who takes the picture, and the target is that thing which is photographed. In La Jetee, the spectator and the target are obvious, but as soon as I read this in Camera Lucida I wondered, Who is the operator? It does not, to me, seem to be Marker for some reason. He seems connected with the story of the film, and perhaps with the order and composition of the photographs, but I cannot imagine him as the actual photographer. Not because he could not be the photographer, but the because the photographs in the film just seem to have none. This is, I feel, a large part of what creates the haunting quality of La Jetee mentioned in the quote above. We are used to photographs having a photographer, but here we have none. Even the occasion al anonymous in place of a photographs name is something, we know that it came from somewhere. Now obviously the photographs in the film came from somewhere, and were of course carefully planned out, but I cannot shake the haunting feeling I get when I think about and view the film. We have a director, not a photographer, and subsequently, for me, the photos in the film feel somehow ghostly and ethereal. .u374ade41cdc61e1dc741da6c94d925f0 , .u374ade41cdc61e1dc741da6c94d925f0 .postImageUrl , .u374ade41cdc61e1dc741da6c94d925f0 .centered-text-area { min-height: 80px; position: relative; } .u374ade41cdc61e1dc741da6c94d925f0 , .u374ade41cdc61e1dc741da6c94d925f0:hover , .u374ade41cdc61e1dc741da6c94d925f0:visited , .u374ade41cdc61e1dc741da6c94d925f0:active { border:0!important; } .u374ade41cdc61e1dc741da6c94d925f0 .clearfix:after { content: ""; display: table; clear: both; } .u374ade41cdc61e1dc741da6c94d925f0 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u374ade41cdc61e1dc741da6c94d925f0:active , .u374ade41cdc61e1dc741da6c94d925f0:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u374ade41cdc61e1dc741da6c94d925f0 .centered-text-area { width: 100%; position: relative ; } .u374ade41cdc61e1dc741da6c94d925f0 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u374ade41cdc61e1dc741da6c94d925f0 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u374ade41cdc61e1dc741da6c94d925f0 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u374ade41cdc61e1dc741da6c94d925f0:hover .ctaButton { background-color: #34495E!important; } .u374ade41cdc61e1dc741da6c94d925f0 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u374ade41cdc61e1dc741da6c94d925f0 .u374ade41cdc61e1dc741da6c94d925f0-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u374ade41cdc61e1dc741da6c94d925f0:after { content: ""; display: block; clear: both; } READ: Evaluation of 12 Angry Men Using the Seven Step Me EssayThere are, I believe, two imagesone from the film, and the other from the bookthat are amazingly similar in their function within their respective works and can be paralleled in two major ways. One is Barthess Winter Garden photographthe photo of his mother as a child that he uses to explore the link between memory and the photograph, and through which he discovers the photographs amazing power of being able to capture the air of a person. The image from the film, which parallels the Winter Garden photograph, is the image of the woman (the heroine of the film) on the jetty. It is, for the hero, the only peacetime imag e to survive the war, and it is the only thing that he loves or that gives him hope. This image also has to do with memory and it is, in fact, a memory of the heros. Furthermore, it holds, for him and for the viewer of the film, the air of that character in the film. Barthes sits down one day shortly after his mothers death to sort and compile the photographs of her. Why? Because this is what people do in modern society. We use the photograph as a memory device. It is ritualistic, so intertwined with memory as to be a supplement to it. We keep photographs of people so that we can remember what they will look like, and after their death a photograph of them is placed above their coffin or on their grave. However, though Barthes engages in the ritual, he denies the photograph as memory. Not only is the photograph never, in essence, a memorybut it actuallyblocks memory, quickly becomes a counter-memory. One day, somefriends were talking about their childhood memories; they had any number;but I, who had just been looking at my old photographs, had none left. This idea is an interesting one, and it is tied up with Barthess idea of Death and the photograph, which I shall deal with later. For now, I turn to the image of the woman on the jetty and its relation to memory. The first thing that struck me about the Jetty Image is that it seems, to me, to be an impossible image. The woman is staring thoughtfully into the distance, her fingers frozen on her lips in a pensive, poetic manner. It is an immediately striking image, and purposefully soit is the first time you see her in the film. But, it is first and foremost the mans memory of her, and it seems to me to be an impossible memory; the perfect frozen gesture, the hair blowing in the winddo people really remember this way?! What is Marker saying here about memory? Could he not have used a picture that was less stylized, more ordinary? This image is a central part of the film. It stays on screen form several seconds, long enough for the narrator to say a few sentences. Had he really seen it, the narrator asks, Or had he invented that tender moment? So is Marker saying that memory is invented, made into a likeness of the photograph by the mind, fantastic and romantic, or that memory is being replaced by the photograph, that we can no longer distinguish between the image on paper and the one in our heads? I cannot say for sure. Later in the film, during the early part of the heros time travels, he is bombarded by images. Other images appear, merge, in that museum, which is, perhaps, his memory. If memory is like a museum, a place where art is kept, then memory is like art, man made and built to please or perhaps horrify, but always constructed. I would not say, however, that Marker is proposing that the photograph is a counter-memory. The fact that this photographic photograph is used as a mans memory is saying something different, either that the photo is replacing memory, or that memory is photographic in the sense that it is stylized and fictionalized. The link between Barthess Winter Garden photo and Markers Jetty Image does not end with memory, though. They are also similar in that they both represent something more about the person in them than simply their image. Barthes, engaging in his ritualistic study of the photographs of his mother, immediately comes up against a wallnone of the pictures satisfy. He looks through dozens of photos, but he does not recognize his mother. The pictures carry only her likeness, they do not hold her being, her manna. Since photography (this is its noeme) authenticates the existence of a certain being, I want to discover that being in the photograph completely, i.e., in its essence. Suddenly, with this in mind, Barthes comes to the Winter Garden photo, and he has found what he was looking for, he has found her. It is at this point in his book that Barthes begins to consider the power the photograph has of being able to capture the air of a person. The air is a kind of intractable supplement of identityit expresses the subject. It is, furthermore, only through this quality of the air that Barthes believes a photograph comes alive and becomes more than simply a supplement to memory or something one can learn raw facts fr om. The Winter Garden picture becomes for him a symbol, almost an embodiment, of his mother. The Jetty Image serves an analogous function for the hero of the film. In it, Marker certainly has placed the air of the character. I feel that Marker would agree with Barthes about the importance of the air in a photograph, and that he is commenting on the raw power of it when it does happen. Not only does the hero of the film remember this image for his entire life, but also it is, as I said before, the only peacetime image to survive the war. Furthermore, it is the way that the viewer of the movie is introduced to the female character. Marker wants us to feel as struck by this image as the man in the film was; he wants us to see the air of that character in the photograph and remember it long after the movie has ended. The image is poetic and riveting, we are filled with the heros longing. Each photograph is a certificate of presence. Probably the most prevalent, important, and intertwined themes throughout both La Jetee and Camera Lucida are Death and Time. These two issues are at the heart of both the film and the book, and I was astounded by how often Barthes and Marker seem to be exploring these issues in a similar way. Barthes writes that within every photograph there is that terrible thing, which is the return of the dead. For Barthes, the photograph cannot escape from Death. Every single photograph is, at its heart, an image of death. This is because every photograph is shows something that has been. Each photograph shows a moment passed and gone, never to be repeatedin other words, dead. This idea is, in Camera Lucida, tied up with Time. Time, writes Barthes, is engorged in the photograph. Barthes comes to this conclusion through the observation that every photograph has the amazing quality to certify, unequivocally, that this has been. In Barthess opinion (and in my own), It is the advent of the photograph which divides the history of the world. Before the photograph nothing about the times before ones own memory was certain. History and art existed to teach people about the past, but both of these things were interpretations of the facts, fictionalized by the human intermediary. History is lik e a narrative, a story about the past seen through the eyes of certain people, while painting and other arts are simply representations of things, regardless of how hard they try to be realistic. Then, along comes the photograph, and the past is no longer uncertain. From a phenomenological viewpoint, in the Photograph, the power of authentication exceeds the power of representation. The fact of something, the existence of something can now be proven, undeniably, by this image on a sheet of paper, and the world is changed forever. Yet this eventthe proving of the past, of Timeseemingly so wonderful at first glance, is full of irony in Barthess eyes. The photograph, in trying to capture, prove, and celebrate life, unwittingly becomes a symbol of Death. Moreover, as the photograph tries to capture the individual person in order to celebrate, commemorate, or remember them, soon it has gone too far, and far too often the picture is more like a rape of the individual. In an added irony, t he photograph begins by trying to turn man into art, and ends by turning him into a spectacle. The modern age is full of this phenomenon. Bombarded by the media, we are constantly assaulted by the public images of other peoples private lives. Yet they are not real, they are a spectacle. It is through this type of action that photography, for Barthes, has transformed subject into object. A celebrity himself, he comments on the process: for what society makes of my photograph, what it reads there, I do notknowbut when I discover myself the product of this operation, what I see is that I have become Total Image, which is to say, Death in person;othersthe Otherdo not dispossess me of myself, they turn me, ferociously, into an object, they put me at their mercy, at their disposal,classified in a file, ready for the subtlest deceptions How unbelievable it was for me to take these ideas and apply them to La Jetee, a story about a dead man traveling in time to a world of dead people. Sent by a group of scientists who have turned him into an object, and before whom he has no private life, he is to be used and then discarded. Uncanny was an understatement, for Barthes and Marker seem to be seeing exactly the same issues in the photograph. Death and Time are as pervading in La Jetee as they are in Camera Lucida. They are everywhere in the film. Set in a future world of dead people, killed by World War III, the film tells us the story of the survivors, struggling to escape Death. The main character is a man, kept alive and given hope by memories of the scene of his own death, who must travel back in time to the world of the dead to try to save the present. This proves, to me, that Marker also sees that Death and Time are the most striking things about a photograph, and that he views their affect in a similar way to Barth es. When Marker sends his character into the future the inhabitants of that world are like Barthes, viewing a photograph from the past. This photograph, like the hero, is undeniable. Right there before us, it loudly demands that we remember it, that we look back to the certainty of its existence and are aware that it in fact existed, all under the guise of a sophism, which is, for the photograph, art. Moreover, the hero and heroine in the film meet in a museum filled with eternal creatures. Here we have the ultimate marriage between Death and Timea museum not of art, but of geology. Dead creatures in a parody of rebirth, they are put on display in an attempt to recapture their life and create a memory of them. The exact description Barthes gives of the photographic process. Adding another layer, Marker takes photographs of these statues and puts them in a story, thereby effectively removing them from time altogether. For this is what stories do, they negate time by taking you and pl acing you within the fiction of the story where real time is irrelevant. Perhaps this is what creates that strange, haunting quality of film, the certainty of the photograph combined with the fiction of the narrative. .u63e89a17cac7cdfc5a6ac30978c27923 , .u63e89a17cac7cdfc5a6ac30978c27923 .postImageUrl , .u63e89a17cac7cdfc5a6ac30978c27923 .centered-text-area { min-height: 80px; position: relative; } .u63e89a17cac7cdfc5a6ac30978c27923 , .u63e89a17cac7cdfc5a6ac30978c27923:hover , .u63e89a17cac7cdfc5a6ac30978c27923:visited , .u63e89a17cac7cdfc5a6ac30978c27923:active { border:0!important; } .u63e89a17cac7cdfc5a6ac30978c27923 .clearfix:after { content: ""; display: table; clear: both; } .u63e89a17cac7cdfc5a6ac30978c27923 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u63e89a17cac7cdfc5a6ac30978c27923:active , .u63e89a17cac7cdfc5a6ac30978c27923:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u63e89a17cac7cdfc5a6ac30978c27923 .centered-text-area { width: 100%; position: relative ; } .u63e89a17cac7cdfc5a6ac30978c27923 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u63e89a17cac7cdfc5a6ac30978c27923 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u63e89a17cac7cdfc5a6ac30978c27923 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u63e89a17cac7cdfc5a6ac30978c27923:hover .ctaButton { background-color: #34495E!important; } .u63e89a17cac7cdfc5a6ac30978c27923 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u63e89a17cac7cdfc5a6ac30978c27923 .u63e89a17cac7cdfc5a6ac30978c27923-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u63e89a17cac7cdfc5a6ac30978c27923:after { content: ""; display: block; clear: both; } READ: Overpopulation EssayThe hero of the film is, like the subject of the modern photograph, turned into an object. He is used by the scientists in the name of the race, much as a journalist uses the image in the name of society. He has no private life, The thought police see even into dreams. Barthes writes, the age of the photograph corresponds precisely to the explosion of the private into the public. At the end of the film the man is shot down, killed because he is no longer useful. Barthes writes, The only way that I can transform the Photograph is into refuse: either the drawer or the wastebasket. To end my analysis, I shall address one of Barthess most powerful and most important ideas in Camera Lucida, that of the punctum. The punctum of a picture is what, for Barthes, makes that picture special. It is a detail within a picture that somehow makes that picture stand out and prick the viewer. A photographs punctum is that accident which pricks me (but also bruises me, is poignant to me). Not all photographs have a punctum, and every photograph might have a different punctum for a each different person viewing it, but when the punctum is there the picture suddenly becomes alive for the viewer. For Barthes, the punctum is a necessary quality for any great photograph, it is the only thing that can make a photograph come alive. My first photography teacher often talked about the punctum, pointing it out in whatever photographs he found it in, and it is an idea that has been ingrained in my head for some time. So, when I first saw La Jetee, I immediately asked myself: What is its punctum? An answer came to me right away, and I felt very certain of it, but at the end of my research I came to question it, and was led to an alternate choice. This first thought, though, was that the punctum in Markers film is that one and only moment in the movie in which there is true movement (created with a motion camera rather than a photographic camera). The scene in which this happens is a very simple yet extremely powerful one, falling very close to the middle of the movie. The heroine of the film is lying in a bed, asleep. Though under the covers, we assume she is undressed and that she and the man whose story this is have just made love. We are shown a series of pictures of her like this. There is no music, only a sligh t and haunting rustling sound that begins quietly and builds to a crescendo. The pictures fade into one another, giving the illusion of movement, and then back into blackness. Suddenly, in the last photo, we see her open her eyes. As the rustling sound builds to a height we realize that this is not a trick of sandwiching negativesthis is actual film, we can see her breathing!! She stares right at the camera, which represents the mans point of view, and she blinks before fading to black. I was immediately struck by this moment the first time I saw the film, as were the people who watched it with me. Almost every person in the audience gasped or made some sort of comment. For me, it is the most memorable and powerful moment in the film. Moreover, I believe it is perhaps the most important moment in the journey of the main character as well. We are looking, at this point, through his eyes, and suddenly we see movement, suddenly the woman comes alive and is no longer frozen and dead lik e a photograph but moving and fluid like film. Or like a memory. Suddenly, in light of this part of the film, I am rethinking my earlier conclusion that Marker would not see the photograph as a counter-memory. If this moment is so important, so striking and memorable to the main character, whyif the photograph is like memorydoes Marker use film here? What makes this so interesting is that the only two images in the film that I am certain are from the heros point of view are this image and the Jetty Image. What is Marker trying to say? Is the photograph not like memory at all, is the Jetty Image a pure fabrication, or are both parts of the film equally a part of the characters memory? Once again, I cannot be sure, but I can say for certain that I think the film sequence is a true memory of the character, and that it is the photograph I am uncertain of. Another interesting aspect of this punctum of the film is that Marker achieves the power of this moment in the film by negating photography.He seems to be proving Barthess point that the photograph cannot escape death because at this point the woman comes alive for me, and also for the character in the film. She is suddenly living and breathing, real to both the viewer and the character, and photography had to be negated to achieve this effect. As I began to explore this idea, and as I began to reexamine Barthess idea of the punctum, I began to rethink this original conclusion. This is because Barthes wrote that the punctum of a photograph is that thing which makes it stand out, makes it prick the viewer. When I thought about it, though, I realized that most, if not nearly all of the images in La Jetee prick me, and then I realized that the entire movie pricks me. Looking at the individual photographs in the film, I realized that not every one really struck me as an individual photograph, and that yet somehow they did strike me within the experience of the film. Then I realized that what I was looking for was exactly what I had already decided I needed to look to for my answers: the narration. So, I propose that the narration, the story, in La Jetee is its punctum, that thing which makes these photographs stand out and prick the viewer. Another way to put it would be to say that the punctum of La Jetee is that it is a film, and not a slide show. Yet this does not negate the video image in the film as its own punctum. That part is the punctum of the story within the film, and the narration is the punctum of the film itself. To conclude, I would say that Roland Barthes and Chris Marker are, in their respective works of Camera Lucida and La Jetee, exploring the nature of photography and that, furthermore, they have come to, on the whole, almost exactly the same conclusions. They both are addressing Time, Death, and memory. They are both aware that these three things are deeply ingrained in the nature of the photograph and that they cannot be avoided by a person involved in the photograph, whether he be spectator, target, or operator. They are also examining the unique affects, powers, and characteristics of the photographic. Things such as the power of the photograph to capture the air of a person, or the power of specific photographs to come alive or deeply affect someone. Also, they are both aware of t he negative affects of the photograph in the modern age, and the modern persons tendency to become unfeeling in the face of so much symbolic Death. As I said before, the amount and quality of the parallels between La Jetee and Camera Lucida is uncanny, and I feel like there is much more that could be written on the subject. Alas, I do not have the time to delve any more deeply, and I shall end this study here.

The Grand Illusion Essay Example

The Grand Illusion Essay Example The Grand Illusion Essay The Grand Illusion Essay To wage a modern war is to fuse into a gigantic machine the resources of our most advanced technologies. Petroleum, rubber, and a host of other chemicals are the fuel of War; light and heavy materials its armor. Without aluminum, magnesium, tin, tungsten, molybdenum, quinine those looking to wage a total war cannot survive very long. The buttress of the Allied strategy rested secure in the knowledge that they, not Germany, controlled these resources and could therefore restrict German access to them. Blockade enforced by British dreadnaughts and backed by the US navy had been the basic element of Allied hope to thwart the German menace. Simple in its grandeur and apparent impregnability, this barricade of the sea lanes had the semblance of a wall which a mailed fist could never breach. In 1914, the Schleiffen Plan called for a swift and overpowering march to Paris as the coup de gri ce to end the war. However, since the Schleiffen Plan was not diligently obeyed, the Great War lasted longer than originally expected and resulted directly in a German defeat, a complication the axis powers did not account for. The tourniquet of the British Royal Navy constricted the German arteries of supply. By 1917, the German resource coffer that was needed to fuel its war machine was sucked dry and her people were withering away from starvation. Forced at last to surrender to the Allies, Germany studied this imprisoning cordon with great detail. With the cunning and aggression of Germany militancy eliminated from the world stage, the Allied forces finally relaxed. As the world order was gradually restored, science and technology forged ahead. In the early 1920s, German industry became evermore integrated and as a result, its dependence on the outer world for resources increased dramatically. However, with every addition to the myriad of materials NOT found within the Reich, it seemed to the Allied powers that the German threat was virtually eliminated. Without the necessary materials essential to technological progress, Germany was bound to her Allied captors. To begin with, Germany had absolutely no oil reserves; for a new war to be waged she would require a fathomless amount of petroleum. Conversely, the United States and Britain commanded more that half of the worlds oil supply. Germany had no rubber; Britain controlled a significant proportion of the world supply. From the context clues surrounding Germanys economic and financial state of affairs, the Allies concluded that it would be impossible for Germany to engage in rearmament and to escape the strangulation brought about by a dearth of strategic resources. The Great War revealed vital weak spots in the German armor the difficult task of rearming would be futile unless any new war could be started with a wider margin of advantage than it did in 1914. This requisite superiority required that Germany become an absolute autarky with the ability to provide for all its domestic needs. Was this economically possible when the Nightmare of Versailles continually haunted Weimar Germany? The Treaty emaciated the German military machine, slapped crippling monetary reparations on her, removed swathes of land from the German Empire, and left her in no viable economic position for wage any future wars. Of course, this was the consensus in the short run; Germany knew it had to focus on domestic policy and the rebuilding of its devastated country in the short-run. However, in the long run, Germany harbored a devious hidden agenda In hindsight, it can be assumed that the sweep of German aims in the early 20th century had but one reoccurring theme: world domination. Viewed by its captors as the have-not power on the Continent, Germany could not have asked for a better predicament to become a fortress of self-sufficiency. Hitler had the ruthlessness and cold, cruel realism to consolidate a position of power out of the collapse of the German economic structure. Resultantly, the vast centralized cartel organization which characterized German industry became a tool in the hands of a disillusioned dictator who no longer embraced private profit, but operated solely to serve his ruthless political ambitions. Thus, Hitler shouldered the conquest of the continent on the German industrialist. The First World War should have taught democratic nations that Germany used international cartels as the spearhead of aggression. Stronger in 1933 than 20 years prior, Germanys cartel brethren took back control of crucial industrial fields despite all the constraints imposed by Versailles to prevent their from doing so. With Hitlers compulsive determination to rearm, German controlled cartels simply served as the economic puppets of German interests. Neither before 1914 nor 1939 did Allied industrialists and financiers discover the truly destructive connotation of this outlook. Rather, to the savvy turn-of-the-century industrialist, cartels were considered as an efficient means of guaranteeing domestic monopoly. The industrialists operating businesses outside of the Third Reich thought of cartels in terms of low output, high prices, and maximized profits. However, the cartels of democracy were easy dupes and did not suspect that Germanys output was growing by leaps and bounds. These industrialists who consorted with German economic arrangements during the interwar period knew not what they did. Of course, history tells us that Germany lost WWI, but neither by this loss nor by the period of social unrest and inflation slowed the production of German industrial cartels. The failure of the allies to recognize that these cartels were not disarmed was their biggest mistake. This fait accompli, possibly due to the political myopia of the Allied powers, had repercussions in the war to come. Germanys consortium of cartels concealed from prying eyes what it could of its real operations. Armed with patents and secret know-how, the German cartels laid siege to the economies of prospective antagonists. These bold tactics, interlocked perfectly in design, are evident in the succession of maneuvers which characterized German policies in the 1920s. For example, rampant inflation liquidated the costs of the First World War and with a stabilized Mark in the mid 1920s, Germany extended an alluring invitation for foreign capital. The victors, not the vanquished, unknowingly provided the capital that helped fund Germanys reconstruction and later her massive rearmament program. In the late 1920s Germany made a portentous discovery: coal could be made into oil and oil could be made from rubber. The obstructions on the road to Armageddon were slowly being removed. While the rest of the world floated into oblivion, in Germany, war became certain. Lulled into a state of sleep, the world did not detect the direst omens of catastrophe. Sporadically, embedded in academic science journals and business reports, hints of German economic plans could be found. However, clouded in a haze of polysyllables the smattering of German blueprints evaded the eyes of the outside world. The Allied forces had characterized the German nation as economically dependent, unable to stand without the Allied crutch of raw materials and supplies.

Consumer law Essay Example | Topics and Well Written Essays - 2000 words

Consumer law - Essay Example As a general rule, the goods sold must â€Å"meet the standard that a reasonable person would regards as satisfactory, taking into account any description of the goods, the price and all other relevant circumstances†.1 By quality of goods, the intent of the law is to include not only the appearance and finish of the goods but also their durability and safety. The sales of Goods Act of 1979 so provides that a seller must only sell goods that conforms to its description and the failure of the seller to meet the requirements of the standards set would result into a liability on the part of the seller. Note that even tiny defects that could have gone unnoticed both by the seller and the consumer at the time the goods were sold are considered as non-compliance to the standards of the goods sold and shall be considered as a ground to impose liability on the part of the seller, should the consumer demand for such. However, where the goods are sold as â€Å"shop-soiled† or as damaged goods and the seller openly declares such damage, the seller shall not be held liable for non-compliance with the standards of goods sold. The goods must therefore be as described2. Aside from the standard of goods sold which must be satisfied, the goods must be fit for its purpose. According to the Supply of Goods and Services Act of 1982, the goods must be fit for any particular purpose mentioned by the seller to the buyer. For instance, where the seller purports to sell a pair of climbing shoes, such climbing shoes should be fit for the purpose and will not break easily from the rigors of mountain climbing. Where the goods do not perform as the seller claims it would, then we can say that the goods does not match its description not just in its physical appearance but also in its capabilities. In our hypothetical case, Lil bought a pair of shoes from â€Å"tuffstuff† and wore them on a hill-walking holiday. By the end of the holiday, the shoes

Investors in People Essay Example | Topics and Well Written Essays - 3250 words

Investors in People - Essay Example a business whose focus seems mainly to be on the external people, their clients/members, to provide a haven from the everyday stressors. The business selected was Fitness First. As the leader in the leisure industry, Fitness First's staff focuses on quality services in order to take care of the members. Employees work so that members can take care of themselves and recuperate from the stressors of daily life. Perhaps by implementing Investors in People, the largest health club operator, which caters to people can also provide cater to their people (employee) and reach its objective more effectively. Hence, the focus of this project was to evaluate how the Investors in People Standard, can be useful to an organization, Fitness First UK, and to evaluate the changes, advantages and disadvantages and possible problems. Objectives of the Research The objectives of this research included: -To critically review the literature on Investors in People, or the Standard, companies that use, and the implementation of the Standard to Fitness First and similar organisations -To identify the strategies in implementing the Standard with Fitness First UK's policies -To find the result of investing in the people who take care of people as an occupation -To investigate the possible impact of the necessary changes, acceptance and rejection of staff,management, clients, and vendors when incorporating change -To monitor employees' motivation and attitude via training, benefits, empowerment,etc. -To examine management's role (this will even involve training managers) -To discover, implement, examine, and find the results of the planning, learning, anddevelopment to achieve organization's objectives as... Fitness First UK's employees work hard in order that client scan recuperate from the stresses of daily life. Perhaps by implementing Investors in People, the largest health club organization, which caters to their external people (clients) can also provide cater to their internal people (employee) and reach its objective more effectively. Hence, the focus of this project was to evaluate how the Investors in People Standard, can be implemented the current policies of Fitness First UK. The Investors in People Standard, or the Standard, provides a framework for organization to follow. However, the framework is kept open and flexible so that organisations can adjust and customize to meet its needs. Based on the actions of the planning cycle, the Standard's guidelines are to Plan, Do, and Review. It is not strictly structured in order that organizations can implement the Standard in the way that is best. This makes sense and is highly effective because each organization and its people are extremely unique. Investors in People UK list their framework: Scutt (1998) lists, "The current Director, John Layne, joined Airline Operations during 1994 and quickly identified the need to improve its business performance, customer service, and reduce costs.